Les manuscrits de Dante à la Bibliothèque nationale de France

La bibliothèque nationale de France conserve quarante-six manuscrits de la _Divine Comédie_ qui sont venues au fil des siècles enrichir ses collections. Cet exposé est l'occasion de retracer à grands traits leur histoire au sein de cette institution.

Dante’s _Commedia_ as an Italian National Edition

This chapter analyses two initiatives in the framework of Italian National Editions with regard to Dante’s _Commedia_, namely its critical edition and the critical edition of its historical commentaries. It comprehends an overview of their historical development since the late 19th. century and an assessment of their most debated aspects.

Manuscrits et écritures dans la plus ancienne tradition de la Comédie

The contribution examines, through some examples of famous manuscripts (such as Ash, Parm, Triv, Urb, etc.), the oldest handwritten production of the Dante’s _Commedia_. After analyzing the production (even not Dante) and the writing of the so-called "copyist of Parm", it is of great interest to identify the name to associate with this extraordinary amanuensis, "Dinus", who signed the ms. Rehdiger 227 of the Staatsbibliothek zu Berlin, which the contribution proves to be of the same hand that copied Parmense 3285 (Parm).

The French manuscripts of Dante’s _Commedia_

This essay deals with the _corpus_ of manuscripts of Dante's _Commedia_ preserved in the Bibliothèque National de France from a stemmatics and cultural history point of view. Indeed, through the crossing between external data (signature, date, presence of explicit, interpolations, etc.) and genealogical classification we can draw some interesting information on the cultural circulation of the text and on the 14th and 15th century reception of Dante.

Textual criticism(s) and the edition of Spanish classics

This essay has two main goals: first, to give an idea of both the increasing interest in textual criticism that, over the last thirty years, has shaken Hispanic philology, and the plurality of methods that scholars have been trying out in order to edit Spanish classics; second, to offer an example of the genealogical-reconstructive method’s application by summarizing the most relevant outcomes of my previous research on the tradition of one of the most significant texts of the debate over Góngora’s Soledades, i.e. Francisco Fernández de Córdoba’s Examen del Antídoto. Such case study, in fact, displays three of the main issues faced by philologists: the existence of an archetype, contamination, and potentially authorial variants.

Quelques anticipations de “notre” _Commedia_ : confirmations et nouveautés textuelles

The paper addresses some features of a forthcoming critical edition of the _Commedia_. After a short presentation of the state of the art and of the possibilities offered by a neo-lachmannian approach, it lists and comments upon some new readings which can give some idea of the outcome of our research.

On the latest stemmas of the _Commedia_ (2007-2017)

In the decade between 2007 and 2017, the text of Dante's Commedia underwent a large and substantial revision: this process was triggered by a deep rethinking of the tradition which - in 2001 - led to the revolutionary edition by Federico Sanguineti. This essay examines the new stemmatic configurations proposed by the latest publishers, with particular attention to those of Paolo Trovato and his group.

"One way like a Gorgon, the other way’s a Mars"

The present essay aims at reconstructing the editorial history of Shakespeare’s _Antony and Cleopatra_, by comparing the original text printed in the so-called _First Folio_ (1623) with the later sixteenth- and eighteenth-century English editions, as well as with the Italian translations that were published from the 1900s on. By focussing on such a _corpus_, I will try to demonstrate how the evolution of both the theories and the techniques of translation, and the renewal of the publishing market have, in some cases, altered the original work, conditioning and orienting the reading.

Primi appunti sulle rubriche della _Commedia_

The essay seeks to investigate the fourteenth- and fifteenth-century manuscript tradition of the _Divine Comedy_'s vernacular and Latin rubrics. Despite its hermeneutic relevance and its importance for the study of the early reception of Dante’s poem, such a paratextual feature has been long disregarded by critics. Taking advantage of the devices developed by the Neolachmannian philology, the study aims to provide a first approach to this incredibly complex and fluid tradition. Seventy codices have been taken into account and extensively collated, thus allowing to trace twenty-six manuscripts back to a single archetype omega (which arguably predates many types of rubrics attested in the surviving witnesses).