Hybrid Critical Editions of Opera: Motives, Milestones, and Quandaries

Notes ◽  
2015 ◽  
Vol 72 (1) ◽  
pp. 9-22
Author(s):  
Eleanor Selfridge-Field
Keyword(s):  
Critical Editions

The Founding Attempts of the Literary Historian. Solitudes, Singularities, Exemplarities

2020 ◽  
Vol 25 (2) ◽  
pp. 385-398
Author(s):  
Ioana Bot
Keyword(s):  
Literary History ◽  
Scientific Journal ◽  
Literary Studies ◽  
Research School ◽  
Critical Editions

The present study reviews D. Popovici’s founding attempts in the field of literary history. It pursues his activity along four axes: critical editions of modern Romanian authors, studies in literary history, university lectures and “Studii literare” [Literary Studies], the scientific journal he founded as a professor of Cluj University. Both original and modern in his theoretic, methodologic as well as academic options, Popovici is a founder of institutions and initiator of a research school. His scientific projects are singular in their scope. Yet his critic posterity destines him to an unwarranted “singularity”. Our reflection focuses upon the exemplary elements in the scholar’s destiny.

scholarly journals GEI. Greek Economic Inscriptions (online)

Axon ◽  
2019 ◽  
Author(s):  
Donatella Erdas ◽  
Anna Magnetto
Keyword(s):  
Detailed Analysis ◽  
English Translation ◽  
Technical Information ◽  
Ancient Greece ◽  
Economic Life ◽  
Ancient Greek ◽  
Critical Editions ◽  
Greek Economy ◽  
Selection Of

In recent years the attention of modern scholars to ancient Greek economy has received impetus from a series of newly published documents of undisputed significance. The results have been a deeply renewed examination of consolidated theoretical positions, and a detailed analysis of specific aspects of the economic life of the polis. Within this framework the GEI project aims at providing an online collection of epigraphic documents related to the economy of ancient Greece. Some of these documents, already known or newly discovered, have never been collected in a selection of this kind. The project covers a period from the archaic age to 1st century BC. The selected texts are representative of the different areas of ancient Greek economy, and are marked-up using the EpiDoc encoding conventions. For each document all technical information has been provided along with existing critical editions, bibliography, a critical apparatus, an English translation and a commentary.

scholarly journals Specifying a TEI-XML Based Format for Aligning Text to Image at Character Level

2015 ◽  
Author(s):  
Alexei Lavrentiev ◽  
Yann Leydier ◽  
Dominique Stutzmann
Keyword(s):  
Digital Images ◽  
Image Alignment ◽  
Research Project ◽  
Grain Alignment ◽  
Medieval Latin ◽  
Critical Editions ◽  
Fine Grain

This papers presents an experience of specifying and implementing an XML format for text to image alignment at word and character level within the TEI framework. The format in question is a supplementary markup layer applied to heterogeneous transcriptions of medieval Latin and French manuscripts encoded using different “flavors” of the TEI (normalized for critical editions, diplomatic or palaeographic transcriptions). One of the problems that had to be solved was identifying “non-alignable” spans in various kinds of transcriptions. Originally designed in the framework of a research project on the ontology of letter-forms in medieval Latin and vernacular (mostly French) manuscripts and inscriptions, this format can be of use for all kinds of projects that involve fine-grain alignment of transcriptions with zones on digital images.

scholarly journals Utopia. Norton Critical Editions, 3rd ed.

2011 ◽  
Vol 33 (4) ◽  
pp. 130-133
Author(s):  
Thomas More (book author) ◽  
George M. Logan (book editor) ◽  
Robert Appelbaum (review author)
Keyword(s):  
Critical Editions

Printing and Publishing of Music

2022 ◽  
Keyword(s):  
Intellectual History ◽  
Critical Editions ◽  
Technical Requirements ◽  
Musical Scores ◽  
Multiple Copies ◽  
Printed Music ◽  
House Music ◽  
The One ◽  
Ottaviano Petrucci

This article covers the dissemination of musical scores by technical means. The function of both printing and publication is to produce multiple copies of a work or a group of works and to arrange for the distribution of those copies to many purchasers. This requires diverse skills: on the one hand, the ability to print, involving preparing a copy of the music in a form suitable for the printing press, and then producing the copies; on the other, to make marketing decisions, to handle advertising and distribution of copies to individuals or to music shops, and to budget and plan for profits. Since the first printed music produced by Ottaviano Petrucci at the beginning of the 16th century, printing has been developed in Europe on a broad scale. Its technical requirements have changed from movable type to engraving, lithography, and, most recently, the computer. Entries are arranged to cover these activities separately, and then provide an introduction to bibliography, the scholarly study of both activities. Descriptive bibliography and analytic bibliography are recent in the field of music; they have been primarily devoted to the study of the printers and publishers from the 16th to the 18th centuries established in the main centers in Europe, including Venice, Paris, Antwerp, Frankfurt, London, and Vienna. Specific topics have become of increasing interest in recent years, including patterns of distributing copies and reaching markets and music appearing in general cultural periodicals and magazines. In addition, two subjects have risen to importance, the first, the paratext, or matters of design, which is sparsely discussed in connection with music; and the second, the place of music and its editions in cultural and intellectual history. Use of printed music has changed during the 20th century. Employed as a mean for performing and circulating music among musicians, professionals, and amateurs during four centuries, printed music became a support to produce performing rights when audiovisual media became the main access to music. Another important evolution has been the production of different kind of editions. During a long period, publishers sold the music written day by day for the entertainment of specific groups in society and for a specific purpose—liturgy, concert life, house music. Following a growing interest in the music of the past, they began to produce collected works and critical editions that reconcile mass production to the quality of the publishing.

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