Manuscripts

Script for video https://www.youtube.com/watch?v=OjepyBwdpOY, which is part of the MOOC "Deciphering the secrets of medieval illuminated manuscripts", offered by the universities of Colorado (US) and Complutense (Spain) through www.coursera.org,

The present work tries to deal with some questions about the stage directions in Lope de Vega’s autograph comedies, an aspect that has been neglected by the critic and that needs to be analysed in depth. We will study three aspects (location, verbal forms and graphic indications) to contribute ideas, clarify details, launch hypotheses, and above all, invite reflection and research

Η Ιστορία της οικογένειας Παναγιώτη Σπυρίδωνος Σαμαρτζή από τα Ιωάννινα αποτελεί χαρακτηριστικό μικροδείγμα γένεσης και εξέλιξης των φτωχών οικογενειών του 19ου αιώνα, που κάποιο ή κάποια από τα μέλη τους ευημέρησαν. Ο Παναγιώτης Σαμαρτζής, ο οποίος τελικά εγκαταστάθηκε στην Κέρκυρα, άφησε σε χειρόγραφο την ιστορία της οικογένειάς του, το οποίο και εκδίδεται στην παρούσα μελέτη.

Исследуется вятская оброчная книга, содержащая уникальные сведения за 7101–7124 (1592/93–1615/16) гг. Данные этой книги ранее не привлекались исследователями в их работах по вопросам оброчного землевладения в России. Для второй части книги применяется статистический метод исследования, на основе которого делаются выводы об особенностях раздачи угодий на оброк на Вятской земле в Смутное время. Подтверждается сделанное предположение о зависимости дачи на оброк от социально-политических событий, уменьшение количества оброчных записей в книге за отдельные годы коррелирует с периодами социальных возмущений в регионе. Фактические данные оброчной книги предоставляют разнообразные и часто уникальные сведения для изучения истории Вятской земли указанного периода.

One of four known ancient Maya books, the Grolier Codex depicts different manifestations of Venus; the column of glyphs on the left of each panel records days in a 104-year Venus almanac. These plaster-coated bark-paper pages, carbon-dated to the 13th century, represent only half of the 20-page original. This article is an excerpt of pages 98-99 from the March 1990 National Geographic Magazine article "America's Ancient Skywatchers" by John B. Carlson with a numbered photographic arrangement of the Grolier Codex depicting the author's discovery that Codex pages 10 and 11 are actually two parts of the same "page 10".  Carlson clarifies the identities of Venus deities depicted in the Grolier Codex from a comparison of images from the Cacaxtla murals and links the images of the Grolier Codex with ancient Maya astronomically timed ritual warfare and sacrifice. (Grolier Codex photographs: Enrico Ferorelli; Mural photograph: Bob Sacha)

This article has been posted on Academia.edu as part of the Grolier Codex Project of the Center for Archaeoastronomy under the directorship of John B. Carlson, Ph.D.  The Grolier Codex Project seeks to further advance the study of the Maya Grolier Codex.

Pour le paléographe, il est plus commode de travailler avec des classifications nettes et des périodisations distinctes qu’en suivant une tradition confuse. Les styles d’écriture arménienne ne sont pas clairement définis, et il est commun de mélanger un type avec un autre. Une véritable catégorisation universelle n’est véritablement apparue qu’avec l’imprimerie, où l’idiosyncrasie du scribe laisse la place à une implacable logique des formes de lettres.

This article deals with two authors connected through the region traditionally called Basaburu Txikia. They left written evidence of the Basque language during the 19th Century. One of them is Mariano Erbiti of whom we only knew his name, up until now. It is to him we owe thanks for a translation of a doctrine to the Beinza-Labayen dialect, which was in the
hands of Louis Lucien Bonaparte. In the first part of this article we create a portrait of the prince’s assistant. The other author is a Dominican called Miguel Ignacio Armasa. He was, up until now, an unknown navarran author in the basque language. He wrote at least some sermons in that language which have been recently recovered. We will transcribe the oldest of these
sermons as well as give a brief biography of the author.

Basaburu Txikiko hizkera nafarraren lekukotasun idatzia utzi zuten bi pertsona ditu aztergai lan honek. Horietako bat Mariano Erbiti da, Bonaparte printzearen eskuetara iritsitako Beintza-Labaiengo doktrinaren egilea, gaur arte azterkizun zegoena; artikuluaren lehen zatian irakasle honen inguruko
hainbat xehetasun eman ditugu. Bestea, aurrerantzean euskararen lekukotzat hartu behar den Miguel Ignacio Armasa domingotarra (1770-1814), XIX. mendearen hasierako guda-giroak harrapatua eta indarrean sorterriratua, predikari
aritu zen Labaienen eta Nafarroako euskal testuen ondarea aberastera datozen hainbat sermoi prestatu zituen. Sermoi horietako baten edizioa eskaini dugu lanaren bigarren zatian, Armasari buruzko datu biografiko batzuekin batera.

En este artículo nos ocupamos de dos navarros unidos por su vinculación con la comarca tradicionalmente conocida como Basaburúa Menor que nos legaron textos escritos en euskera a lo largo del siglo XIX. Uno de ellos es Mariano Erbiti, maestro de instrucción primaria a quien debemos una doctrina traducida al habla de Beinza-Labayen que obró en poder de Luis Luciano Bonaparte, y de quien no se conocía hasta hoy más dato que su nombre; en la primera parte de nuestro trabajo aportamos una semblanza de este colaborador del príncipe. El otro, Miguel Ignacio Armasa, dominico inédito hasta hoy en el ámbito de la literatura parroquial en euskera, compuso en dicho idioma varios sermones recientemente recuperados, el más antiguo de loscuales incluimos en estas páginas junto con un breve bosquejo biográfico del autor.

Many of the Anglo-Saxon charms identify locations for their performance and function. Previous scholarship has used locations as evidence of continuous pre-Christian practices and this argument has impacted on how the charms are perceived. As a result, the role of the church building as one of the charms’ identified locations has not yet been properly highlighted. Rather than focusing on the potential pre-Christian associations with certain sites in the charms, it is more enlightening to look at how other locations orientate around the church building. In this article I will explore how charms use liturgical and public spaces to signify their function during the late Anglo-Saxon period. After outlining the main scholarly views of Anglo-Saxon locations that have had an impact on charm studies, my analysis will make a comparative case study of two charms against elf-sickness to open readings of the corpus of Anglo-Saxon charms. This approach reveals interesting information about the Anglo-Saxons’ interaction with their landscape in the tenth and eleventh centuries and helps us to redefine the religious nature of these rituals.

This is a double research paper: (1) Tipology and evolution of the musical forms across the three 13th-century notated MSS. of the Cantigas de Santa Maria: the first systematic revision of the subject since Anglés (1958) [a few mistakes crept in and were corrected in the same author's paper "Jograis, contrafacta, formas musicais: cultura urbana nas Cantigas de Santa Maria", in Alcanate. Revista de Estudios Alfonsíes, nº 8 (2012-2013), pp. 43-53, where the table of musical forms was expanded from codex T to the whole collection]. (2) The notation of codex T.j.1: the first systematic analysis of the Escorial type of notation, with the differences between codices E and T outlined in detail.

В предлагаемой статье рассматриваются тексты для полной бденной службы на день памяти священномученика Климента I, Папы Римского, отобранные на основании гимнографического материала из печатных изданий и рукописей ряда европейских собраний. В византийском обряде до настоящего времени не было полной праздничной службы на память святого Климента, мужа апостольского, чье почитание в античном христианском мире было чрезвычайно велико, однако значение святого и для славянства, и для христианского мира в целом, несомненно, заслуживает чествования по высшему литургическому рангу.

Recent years have seen the flourishing of research on Lithuanian Kabbalists in the nineteenth and twentieth centuries, to the point that some scholars speak of a defined and delineated stream of Kabbalah, a school unto itself dubbed "Lithuanian Kabbalah." Such scholars include within this stream all those who saw the Vilna Gaon as their teacher in Kabbalah (parallel to the position of the Baal Shem Tov in Hasidism) and they ascribe to it such fixed categories as its "Articles of Faith." In their conception, this stream was part and parcel of the broader and well-known nationalist-messianic current that had its source, supposedly, in the Vilna Gaon himself; this current reached its full fruition in the twentieth century, and so too has the smaller stream within it, now a clearly defined "school," developed in various ways until the present. As if this were not enough, scholars have joined the later ideological trend which seeks to revise the history of Jewish settlement in the Land of Israel in the nineteenth and twentieth centuries in a decidedly messianic way, presenting it in a continuous line from the Vilna Gaon to the emergence of Zionism and then to the founding of the State of Israel. Again, the Vilna Gaon is not merely presented as a "herald" of Zionism but as one who encoded within his Torah the secret of redemption, the beginning of which, apparently, we are witnessing today. The article conducts a critical analysis of the concept of "Lithuanian Kabbalah," and uses as its case study the life and teachings of Rabbi Shimon Tsvi Horowitz.


בשנים האחרונות צומח ועולה מחקר סביב למקובלים בני ליטא במאות התשע עשרה והעשרים, עד שיש כאלו המדברים על זרם מוגדר ומובחן, אסכולה בפני עצמה, המכונה 'קבלה ליטאית'. בתוך זרם זה כוללים את כל אלו שראו בגר"א את מורם בקבלה, כמעין בעש"ט לחסידות, ומונים קטגוריות מקובעות של 'עיקרי אמונה' של אותו זרם הרוכב על מהלך משיחי ולאומי ידוע שמקורו כביכול בגר"א עצמו והגיע לגמר בישולו במאה העשרים. עד שנוצר בעיני כמה חוקרים מעין 'חוג' ברור ומוגדר שמתגלגל באופנים שונים עד לימינו. אם לא די בכך, הרי שהמדברים על אותו זרם קבלי רוכבים למעשה על קו אידיאולוגי מאוחר שבא לפרש מחדש את ההיסטוריה של היישוב היהודי בארץ ישראל במאה התשע עשרה ברוח משיחית וליצור מעין המשכיות מימי הגר"א עד להופעתה של הציונות ולמאורעות שהתרחשו עם הקמת מדינת ישראל. שוב אין הגר"א מצטייר רק כ'מבשר' הציונות אלא כמי שצפן בתורתו את סוד הגאולה שאנו עומדים לכאורה בפתחה. המאמר עוסק בניתוח ביקורתי של המשוג "קבלת ליטאית" וכמקרה מבחן יש כאן דיון בדרכו של ר' שמעון צבי הורביץ

“El Cancionero de Abraham Israel, un manuscrito sefardí de Gibraltar del siglo XVIII”, Proceedings of the Fourteenth British Conference on Judeo-Spanish Studies, ed. Hilary Pomeroy,Christopher J. Pountain y Elena Romero, Londres, Queen Mary-University of London, 2008, pp. 73-84.
Presentación del Cancionero de Abraham Israel, un manuscrito sefardí de Gibraltar del siglo XVIII, que se conserva en la Biblioteca Nacional de España. Se aportan datos sobre su procedencia (perteneció al bibliófilo inglés sir Thomas Phillipps), su contenido y la personalidad de su compilador

The preservation of complex materials and associated environments presents the Digital Preservation (DP) community in general and the JISC community in particular with considerable intellectual and logistical challenges. While many of the techniques that have been developed within the context of migration-based DP approaches are of continuing value, others cannot be applied so well given the extra complexity presented by, for example, interactive videogames. Recent work undertaken in the Planets and KEEP projects has shown that the problems involved in preserving such materials and
their associated environments, while substantial, are by no means intractable, but in order to continue to make progress in this area it is important to engage and energize the wider
DP community.

A vital aspect of this process comprises articulating the state of the art in
1. Simulations and Visualisations;
2. Software Based Art
3. Gaming Environments and Virtual Worlds.

This encompasses exploring with international experts the research results achieved so far across each of these domains; presenting coherent pathfinder solutions; and clearly signposting areas where work remains to be done. A further step is
to synthesize key findings across all three areas and emphasize synergies that can be built upon, and to disseminate these to the various stakeholder communities.

These are the principal objectives that POCOS addresses and POCOS partners are well placed to tackle the problem space, with the University of Portsmouth as overall coordinator bringing research and technical input from KEEP; the British Library
supplying project management and research expertise from Planets, King’s Visualisation Lab bringing their specialist visualisation and simulation knowledge and experience; The
Humanities Advanced Technology & Information Institute giving their specialist Software Based Art expertise from Planets.

Доклад «’’Звенигородский чин” прп. Андрея Рублева: современные проблемы изучения» на III Чтениях памяти В.А. Плугина на историческом факультете МГУ 14 ноября 2017 г.  В докладе полностью доказана по данным всего комплекса источников неоспоримая принадлежность знаменитого «Звенигородского чина» кисти великого иконописца прп. Андрея Рублева († 17.10.1428). Тем самым начисто развенчаны легковесные мнения молодых сотрудников ГТГ Л.В. Нерсесяна и С.В. Свердловой (поддержанных только А.М. Лидовым), прозвучавшие на круглом столе в Третьяковской галерее 21 июня 2017 г., что «Звенигородский чин» 1396 г. якобы не был написан прп. Андреем Рублевым и отличается от его общепризнанных икон, таких, как чудотворная икона «Живоначальная Троица». Такие незрелые суждения не соответствуют уровню современного научного знания об этих шедеврах и обусловлены недостаточной осведомленностью авторов «сенсации» о творческой биографии всемирно известного иконописца Древней Руси, которая взята ими для корреляции: «получается, что Рублев, будучи еще совсем молодым мастером, создал одно из самых совершенных и сложных по технике произведений древнерусской живописи, но через четверть века по какой-то неизвестной причине радикальным образом изменил свою манеру» (Софья Свердлова).
Доклад проф. О.Г. Ульянова, заведующего Сектором церковной археологии ФГБУК «Центральный музей древнерусской культуры и искусства имени прп. Андрея Рублева», подготовлен на базе научно-исследовательского проекта «Преподобный Андрей Рублев в Спасо-Андрониковом монастыре».

"Megaleh Temirin (Revealer of Secrets), ed. Jonatan Meir, Three volumes, Mosad Bialik, Jerusalem

Megaleh Temirin (Revealer of Secrets), first published in Vienna in 1819, is one of the sharpest and wittiest pieces of Jewish literature written in the first half of the nineteenth century, and is perhaps the most important piece of Hebrew prose composed before the stories of Mendele Mocher Seforim. A sly and complex story deriding Hasidism and Hasidim, it is told through the correspondence between the beadles of Hasidic courts and contemporary rabbis, and it presents a dark picture of  avaricious frauds and swindlers whose main concern was control over territory and the souls of believers, a goal achieved by beguiling the authorities and attacking all opponents. Perl lends his book a ‘Hasidic’ feel both in its physical design and in its language, presenting a Maskilic version of In Praise of the Ba’al Shem Tov that lays Hasidism bare so that no reader will ever be able to look at that, or any other Hasidic book, in the same way again. In addition to the book’s satiric sting, which would have been enough to bring its readers a dual pleasure, Perl’s hints at contemporary people and places, hidden within anagrams and numerological tricks. With the unraveling of these clues, which also include the use of actual Hasidic sources, the book is a valuable, contemporary view of historical reality. A meticulous reading of the book may therefore open a window on the hidden worlds of Hasidism and the Haskalah at the start of the nineteenth century.


The first volume (Imagined Hasidism) serves as an introduction to the complex satirical writings of Josef Perl of Tarnopol (1773-1839). At the center of the book stands an analysis of the satires, Megaleh Temirin (1819) and Bochen Tzadik (1838), including a systematic treatment of the ‘characters’ in the central works and a discussion of the dozens of manuscripts to be found in the Perl Archive in Jerusalem. Perl’s writings are analyzed here in the fuller context of Hebrew and Yiddish literature in general and Maskilic and Hasidic literature in particular, as well as other polemical writings and governmental records critical of Hasidism. The study thus presents a complex and nuanced picture of the relationship between literature and history, between the anti-Hasidic reports and the more complicated historical reality, and lays the groundwork for further research into the genre of nineteenth-century Maskilic satire.

The second and third volumes (Megaleh Temirin) present for the first time an annotated edition of Megaleh Temirin. It is based on the first edition and the scattered manuscripts and it includes a comparison to its Yiddish translation. The book is accompanied by appendices on its origins and contents, including fundamental treatments of several passages: an explication of the encoded names, the Hasidic sources used by the author, and the variants found in the manuscripts and in the only edition of the book in Yiddish.

The editor of the book, Professor Jonatan Meir, teaches in the Goldstein-Goren Department of Jewish Thought at Ben-Gurion University. He has published several articles on the Haskalah of Eastern Europe, Hasidism, and a number of varied topics in twentieth-century Kabbalah.


Contents

Volume 1  - Critical Edition

Concerning this edition
Key personalities
Sefer Megale Temirin – Critical Edition


Volume 2 - Appendixes:
1. Glossary, Abbreviations, Acronyms
2. Explanation of the Speaking Names
3. Perl’s Hasidic Sources
4. Manuscripts of Sefer Megale Temirin
5. Yiddish Introduction to Sefer Megale Temirin
Bibliographic Abbreviations

-------------------------------
Reviews:
(1) Dan Meron, 2013, ‘Megaleh Temirin’, Kivunim Hadashim 29, 55 pages (Hebrew)
(2) David Assaf, 2014, ‘Hasidim will not Read it but Tear it’, Haaretz, Tarbut ve-Sifrut, p .6 (Hebrew) http://onegshabbat.blogspot.co.il/2014/04/blog-post_18.html
(3) Eliezer Brodt, 2014, 'New book Announcement- Megale Temirin', The Seforim Blog http://seforim.blogspot.co.il/2014/01/new-book-announcement-megale-temirin.html
(4) Matan Hermoni, 2014,  הסבתא המופקרת של הספרות העבריתHaaretz, Sfarim (Hebrew) http://www.haaretz.co.il/.premium-1.2382365
(5) Shinichi Yamamoto, 2015, 山本　伸一, "ヨナタン・メイール編著『想像のハシディズム』", ユダヤ・イスラエル研究　第28号  http://www.waseda.jp/assoc-jsjs/jistudies.html
(6) David Biale and David Assaf,, 2015, 'Revealer Revealed', Jewish Review of Books, pp. 17-21  http://jewishreviewofbooks.com/articles/1454/revealer-revealed/
(7) Hillel Halkin, 2015, "Sex, Magic, Bigotry, Corruption- and the First Hebrew Novel', Mosaic Magazine,  http://mosaicmagazine.com/observation/2015/05/sex-magic-bigotry-corruption-and-the-first-hebrew-novel/
(8) Tomer Persico, 2015, "Interview", Lula'at haEl Blog, http://tomerpersico.com/2015/08/10/meir_perl/

Muy significativa entre los manuscritos litúrgicos del rito hispano-mozárabe actualmente es la colección de libros de Toledo. Está conformada por siete códices relativamente completos y el mismo número de fragmentos de libros mozárabes de los siglos X-XIII que se conservan en el Archivo y Biblioteca Capitulares de la Catedral de Toledo, así como en el Museo de los Concilios y de la Cultura Visigoda. En este artículo vamos a considerar los manuscritos litúrgicos mozárabes de Toledo para mostrar, analizar y generalizar las peculiaridades del orden de la misa del rito hispano-mozárabe, contenidas en estos libros. Según sea necesario utilizaremos también otras fuentes litúrgicas.