This paper presents an original use of Twitter to interpret and rewrite the poems of Francesco Petrarca's Rerum vulgarium fragmenta implemented within the Oregon Petrarch Open Book OPOB). This activity was partially inspired by the idea of Twitterature developed by Alexander Aciman and Emmett Rensin; we believe with them that our digital time should develop new and more functional ways of addressing literary texts but at the same time we are convinced that the "burdensome duty of hours spent (...) reading" cannot be eliminated. On the contrary, the new ways of reading in the digital era as we envisage them are the result and consequence of broader and deeper reading activities. We conceived the project of writing 366 tweets, out of the 366 poems that make the last form of Petrarca’s Rvf, as the result of different philological activities, from reading the texts in the original language to consulting manuscripts, translations and intersemiotic renderings of the texts. Before writing the 140 characters that make one tweet we also elaborated paraphrases, summaries and keywords related to the individual poems. Students created the first version of the tweets during the 2011 UO seminar on Re-reading Petrarca’s Rvf in the Digtal Era. The second version was elaborated in the context of a seminar on the same topic during Winter 2014. This paper presents the two versions of the Twitter Edition of Petrarca's Rvf now available in the OPOB and focuses on the philology connected to the latest edition that provided an English translation of the original tweets written in Italian. The actual Italian and English 366 tweets are published in the Appendix to the article. (shrink)

As part of the seminar Re-reading Petrarch in the Digital Age –taught at the University of Oregon in Winter 2014– a digital close reading of Francesco Petrarca’s Rerum Vulgarium Fragmenta led to a series of parallel and entwined activities and projects. Deeply integrated with the Oregon Petrarch Open Book Project, the course was oriented towards the encoding of Petrarca’s masterpiece based on the implementation of a network of different themes. The various occurrences and data obtained from the encoding (...) were collected into an online database that is still operating and updatable. The results of this qualitative data collection were also compared with a quantitative computer-based research of selected keywords extracted from the various themes. From the beginning of the seminar, the class was divided into groups and each of them read the Rvf focusing on one of themes chosen while at the same time paying attention to the others. The different groups considered these themes as interrelated and interdependent. The poet is the sphere in which all the topics emerge in their specific connotations. However, his sphere is related to, dependent on and intersected with the other four spheres. The encoding allowed measuring the different manifestations, levels and meanings of the intersecting relationships. The study of the visual interpretation of the Rvf in the Inc. Queriniano G V 15 paralleled the close reading and encoding activity and helped students to develop a visual rendering of their themes and a pointed and original and creative interpretation of Petrarca’s masterpiece. (shrink)

The Alexandrian emphasis on smallness, elegance, and slightness at the expense of grand themes in major poetic genres was not preciosity for its own sake: although the poetry was written by and for scholars, it had much larger sources than the bibliothecal context in which it was composed. Since the time of the classical poets, much had changed. Earlier Greek poetry was an intimate part of the life of the city-state, written for its religious occasions and performed by its citizens. (...) But eh conquests of Alexander had altered the structure and the boundaries of the Greek world to an astonishing degree. Alexandria, the center of the poetic culture of the new age, was a city that had not even existed at the time of Euripides; it was in Egypt, not in Greece, and was a huge, polyglot community. As immigrants immersed in a new, impersonal, and bureaucratic society, the poets not unreasonably sought out what was small, intimate, and personal in their verses. The heroes of early Greek poetry are larger than life; those of Alexandrian poetry are life-size. They are human, like us; they have a childhood and an old age; they are afraid or in love or caught in a rainstorm. It was simply one way of reducing the world to more manageable dimensions. At the same time, the new world of Alexandria needed a new poetry. To continue writing epics about a mythology that seemed very far away was senseless; it was impossible to recapture either the style or the immediacy of Homer, lyric poetry, or Attic tragedy. The scholar-poets of Alexandria admired the literature of classical Greece; for them Homer was incomparable and inimitable, to be studied—but not to be copied. Far better, then, to find a new voice on a more manageable scale: instead of oral epic, erudite epyllion; instead of lyric, epigram; instead of tragedy, mime. The poets of an urban and unheroic world might long for but could never re-create the grandeur of the past. James E. G. Zetzel is associate professor of classics at Princeton University and editor of the Transactions of the American Philological Association. He is the author of Latin Textual Criticism in Antiquity and, with Anthony T. Grafton and Glenn W. Most, has translated Friedrich August Wolf’s Prolegomena ad Homerum. (shrink)

Being exposed to the Nominalist expansion in early modernity, Petrarch and Shakespeare are highly preoccupied with a Nominalist dimension of language and representation. Against this background, the study shows how these Renaissance poets advanced a special notion of subjectivity and identity as rooted in negativity, otherness, and representation. The book thus argues for a new understanding of negative modes of subjectivity in Petrarch and Shakespeare. A new and sharpened understanding emerging from an interpretation of Francesco Petrarch's notion of exile and (...) of love in his great poetical cycle Rerum vulgarium fragmenta as well as a meticulous examination of the concept of nothingness in William Shakespeare's works. Petrarch and Shakespeare poetically show how identity is alien and decentred - yet also free and expanding. In other words, these poets illustrate how subjectivity is constituted by heterogeneity. Moreover, pointing to other examples of this negative subjectivity in Renaissance philosophy and poetry, the study suggests that these models for subjectivity could be extended to other early modern writers. (shrink)

Digital tools offer new dimensions and additional contexts both in teaching and in researching Petrarch’s Rerum vulgarium fragmenta, providing users with visual insights into his carefully planned work. This essay investigates interactive and visual representations of material and spatial systems of the Fragmenta and the deep interaction between the digital code created to build the Petrarchive’s visual indexes and the original Medieval forms.

Everyone interested in Arabic and Persian literature, in Islam and in comparative religion, regrets the death of Arthur J. Arberry, Sir Thomas Adams's Professor of Arabic in the University of Cambridge. Arberry combined rare human qualities and exceptional professional attainment, and this enabled him to make a unique contribution both to learning and to mutual understanding between East and West. He had a deep sense of vocation, which he brought to his unremitting labours as a skilled editor of texts, especially (...) in the field of Islamic mysticism, and as an imaginative translator of these texts of the Koran and of Arabic and Persian poetry, and as a sympathetic interpreter of Sūfism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kant's Critique of Berkeley HENRY E. ALLISON THE CLAIMTHAT KANT'S IDEALISM,or at least certain strands of it, is essentially identical to that of Berkeley has a long and distinguished history. It was first voiced by several of Kant's contemporaries such as Mendelssohn, Herder, Hamann, Pistorius and Eberhard who attacked the alleged subjectivism of the Critique of Pure Reason. 1 This viewpoint found its sharpest contemporary expression in the notorious (...) Garve-Feder review to which Kant responded at length in the Prolegomena. In subsequent times it has been championed by Schopenhauer, and most nineteenth century German commentators on the relation between the two philosophers. 2 In addition, it has been, and continues to be, the prevailing view of the vast majority of British writers on Kant, including, with significant qualifications, Norman Kemp Smith. 3 This tradition continues despite the fact that Kant specifically, and in no uncertain terms, repudiated this identification in the Prolegomena and the second edition of the Critique. In both works he responds to the charges of subjectivism, and in so doing distinguishes his position from that of Berkeley, who in the eighteenth century was commonly regarded as a solipsist and denier of the "external world." 4 In contra-distinction to Kant's own critical or transcendental idealism, which explains the possibility of synthetic a priori knowledge within the realm of possible experience, Berkeley is characterized as a "dogmatic" or "visionary idealist." He is judged guilty of "degrading bodies to mere illusion" (B69), of regarding things in space as "merely imaginary entities" (B274), and of holding with all "genuine idealists" that: "all knowledge through the senses and experience is i Cf. Hans Vaihinger, Commentar zu Kant's Kritik der Reinen Vernunft (Stuttgart, Berlin, Leipzig, 1892), II, 494-505. Cf. Friederich Fredericks, Der Phainomenale Idealisraus Berkeley's und Kant's (Berlin, 1871); Robert Zimmerman, "Ober Kant's Widerlegung des Idealismus yon Berkeley" (Sitzungsberichte der Akademie der Wissenschaften, Vienna, Philox.-hist. Kl.), LXVIII (1871); Gustav Dieckert, tiber dos Verhiiltnis des Berkeleyschen ldealismus zu Kantischen Vernun]tkritik (Konitz, 1888). Tiffs is a consequence of the general British tendency to view Kant in phenomenalist terms. A typical recent example is found in P. F. Strawson, The Bounds of Sense (London, 1966). Kemp Smith in his Commentary to Kant's Critique o[ Pure Reason (2nd ed., rev., 1923) takes greaZ pains to distinguish between the subjectivist strand in Kant's thought, which is essentially identical to Berkeley's position, and the genuine critical doctrine which stands side by side with it in the text. 9 Cf. I-I.M. Bracken, The Early Reception of Berkeley's Materialism 1710-1733, rev. ed. (The Hague: Martinus Nijhoff, 1965). [43] 44 HISTORY OF PHILOSOPHY nothing but sheer illusion, and only in the ideas of pure understanding is there truth" (374). 5 One of the chief reasons for the continuation of the Kant-Berkeley tradition is that these, and similar statements about Berkeley, which we find in these works and in Kant's correspondenc e with Beck, have not been taken very seriously by Kant's critics. They are usually dismissed as obvious misinterpretations, due to Kant's ignorance of Berkeley's actual writings, and of his reliance upon distorted second and third hand accounts of Berkeley's thought such as is to be found in Beattie. Furthermore, this view is often supported by the philological reflection that Kant did not read English, and that Berkeley's writings were not yet available in German translation. 6 The philological argument, however, loses much of its force when we consider that there was indeed a German translation of Berkeley's Dialogues, which although apparently unknown to nineteenth century scholars, was readily accessible to Kant. This is to be found, together with a translation of Collier's Clavis Universalis and critical analyses, in a work by the professor of philosophy at Rostock, Johann Christian Eschenbach, entitled: Samlung der vornehmsten Schri[tsteller die die tFirklichkeit ihres eignen K~rpers und der ganzen Ki~rperwelt leugnen (Rostock, 1756). Furthermore, in addition to this work, which was probably known to Kant, there is Berkeley's important Latin work, De Motu (1721), as well as French translations of many of... (shrink)

In the history of literary experimentation, the writer has evolved into a social medium for literary readings of numerous literary works that were previously only known to those with a keen interest in literature and literary genres. As a result, many well-known literary works have been succinctly summarised in front of everyone in a way that is both helpful and provides details while still remaining concise. In this essay, the researcher wants to show how Twitter has developed into a literary (...) form, competing with other well-known literary works like novels, plays, short stories, and poetry, particularly haiku. Beginning with an introduction to Twitter literature and its definition, the study then focuses on the format in which literary tweets are provided, including the word count and length of the presentation of the literary work. Then, the literary subgenres that appeared on Twitter were criticised. The paper provides instances of literary accounts on Twitter and distinguishes the literary genres on Twitter. The study also discusses Twitter’s literary value in educating readers about a variety of literary works, particularly those who are uninterested in or uninterested in literature. Moreover, the distinction between reading literary works in their authentic forms vs their Twitter-based forms. The researcher contrasts the literary subgenres that are best suited for Twitter distribution. As a complement to the other well-known literary genres and in keeping with the varied, quick, and advanced modern day, the researcher concludes by presenting Twitter as one of the crucial literary genres of the new millennium that must be given significance and relevance. However, this study makes the case that Twitter might be. It is seen as an expression of an experimental platform for postmodern electronic literature that can ensure a revival of the steadily dwindling fantasy reading habit that is appealing to the generation of technology enthusiasts. (shrink)

This volume, an important contribution to dialogic and Bakhtin studies, shows the natural fit between Bakhtin’s ideas and the pluralistic culture of India to a global academic audience. It is premised on the fact that long before principles of dialogism took shape in the Western world, these ideas, though not labelled as such, were an integral part of intellectual histories in India. Bakhtin’s ideas and intellectual traditions of India stand under the same banner of plurality, open-endedness and diversity of languages (...) and social speech types and, therefore, the affinity between the thinker and the culture seems natural. Rather than being a mechanical import of Bakhtin’s ideas, it is an occasion to reclaim, reactivate and reenergize inherent dialogicality in the Indian cultural, historical and philosophical histories. Bakhtin is not an incidental figure, for he offers precise analytical tools to make sense of the incredibly complex differences at every level in the cultural life of India. Indian heterodoxy lends well to a Bakhtinian reading and analysis and the papers herein attest to this. The papers range from how ideas from Indo-European philology reached Bakhtin through a circuitous route, to responses to Bakhtin’s thought on the carnival from the philosophical perspectives of Abhinavagupta, to a Bakhtinian reading of literary texts from India. The volume also includes an essay on ‘translation as dialogue’ – an issue central to multilingual cultures – and on inherent dialogicality in the long intellectual traditions in India. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Semiotics and Pragmatism: Theoretical Interfaces by Ivo Assad IbriRobert E. InnisIvo Assad Ibri Semiotics and Pragmatism: Theoretical Interfaces Springer, 2022, xxvii + 341 pp., incl. indexIn the chapter on 'The Heuristic Power of Agapism in Peirce's Philosophy' in his recent book, Semiotics and Pragmatism: Theoretical Interfaces, Ivo Ibri points out that access to Peirce's work requires something on the part of the reader that is "not readily available (...) in everyone's spirit: a sense of poetry, an aesthetic sensitivity that will, ultimately, become the sharpest and strongest tool to penetrate the deepest meaning of his philosophy" (116). Such a sensitivity is manifested in Ibri's own responsiveness to Peirce's accounts of the permeating qualities of things in a dynamic universe of emerging novel orders and patterns. Ibri's book presents the record, indeed the culmination, of a well-known and wide-ranging long-term engagement with the work of Peirce. It makes available in English translation the contents of the two-volume [End Page 257] collection of his papers in Portuguese published in 2020 and 2021, although a number of them were originally published in English. The title of the book indicates the dynamic triadic nature of Ibri's central Peircean themes: semiotics and pragmatism and their theoretical as well as historical 'interfaces.'Paradoxically, taken alone, the book's main title, 'Semiotics and Pragmatism,' gives no indication that it is principally about Peirce. The reason, I think, is that there is an interwoven duality of, or tension between, the tasks that Ibri has taken upon himself to accomplish in the intellectual journey manifested in the book's contents: (a) Thinking about Peirce, on the one hand, and (b) Thinking with and through Peirce, on the other. This duality of tasks accounts both for the expository and argumentative richness of Peircean themes and the accompanying sense of intellectual engagement and exploration as they are taken up in the various parts of the book: art as an articulated realm of 'nameless things,' the presence of a poetic ground and its links to Schelling in Peirce's philosophy, the nature of abduction and of agapism as heuristic principles, the scope of Peirce's theory of signs and interpretants, the theory of beliefs and the intellectual dangers and poverty of dogmatism, the nature of habits and rational conduct, the centrality of the categories for Peircean pragmatism and objective idealism, the relations between pragmatism, pragmaticism, and neopragmatism, and other technical and subsidiary topics of current social and political importance. The discussion of these themes involves wide-ranging and generous linkages to other parallel discussions that support or expand Ibri's own positions and existential commitments.Ibri frames in a variety of ways the inextricably intertwined strands of semiotics and pragmatism (or pragmaticism) in Peirce's work and argues forcefully in other chapters for Peirce's metaphysical vision of an emergent creative universe marked by the "infinite faces of chance" (122), a vision rooted in Schelling's objective idealism and in scientific discoveries of the 19th century. The organization of the book is thematic and does not develop in linear fashion as a treatise. It can be seen as sequence of engagements or as a series of analytical spirals in which the topics and issues of the book, focused on Peirce's heuristic fertility, are taken up in a kind of dialectical dance of 'retrievals and continuations,' leading inevitably, as Ibri points out, to a high number of repetitions and recapitulations. This is partially due to each chapter in the book, while free standing, functioning as a heuristic device for exploring and arguing for the nature and power of Peirce's interlocking main positions and their shared conceptual underpinnings.In a stimulating chapter on 'The Poetics of Nameless things,' Ibri writes that the Peircean claim of a "correspondence between external and internal worlds" is the "deepest root of pragmatism" (60). This root gives rise to a system of spiraling tendrils marking the growth of the [End Page 258] Peircean philosophical project. We can think of the chapters of Ibri's book as themselves spiraling, and at times entangled, analytical tendrils that support the growth of our... (shrink)

While scholars have generally agreed that the Cynegetica, a didactic epic in four books from the third century CE falsely ascribed to Oppian of Cilicia, are missing their ending, the structural implications of this loss are rarely considered seriously. This article brings together all available evidence (or lack thereof) from the poem itself and the secondary tradition about the intended scope of the Cynegetica. It argues that the Cynegetica were probably never completed, with the final 29 lines being a blueprint (...) of an unfinished product, and that the Cynegetica were most likely conceived with a five book structure in mind. (shrink)

Ce livre retrace le cheminement du chercheur: le journal de ses intuitions, ses espoirs, ses doutes, ses certitudes, - jusqu'au silence d'avril 1908. Il replace la quete dans l'activite d'ensemble du savant: monographies, cours de linguistique generale, travaux de mythographie. Il la situe dans un paysage intellectuel scrupuleusement balise. Par dela des considerations d'une technicite souvent rebutante, et non exemptes de contradictions (parfois flagrantes), il s'attache a suivre le fil d'une quete autant mystique que linguistique. Par surcroit il donne a (...) lire le texte de Lucrece (accompagne de sa traduction), et la facon dont le transfigurent les Cahiers (dont une part importante est reproduite en fac simile). Il en soumet la lecture a certaines epreuves (dont un test informatique), qui demontrent que le phenomene echappe a la prison binaire qu'evoquait R. Barthes (son/graphie, demontre/indemontrable...), et reste d'une implacable actualite: qu'il pose dans toute son acuite la problematique d'une ecriture. Reste largement meconnu, Saussure le sera-t-il moins apres ce livre? Une chose est sure: on ne pourra, une fois ces pages refermees, conserver le meme regard sur celui qui fut en linguistique, selon le mot de Benveniste, une 'autre facon de commencer'. (shrink)

Assinalando o quinto centenário da morte do pintor Sandro Botticelli (1445-1510), homenageia-se aqui a obra deste artista destacado do Renascimento através da relação entre dois dos seus mais importantes quadros e textos de dois autores italianos: Nastagio degli Onesti e Nascimento de Vénus contêm duas representações da mulher, coincidindo tanto no comportamento que dela espera a sociedade renascentista, como nos modelos medievais de Giovanni Boccaccio (1313-1375) e de Francesco Petrarca (1304-1374).O conjunto pictórico Nastagio degli Onesti, baseado em “A terrível visão” (...) (um dos cem contos da obra Decameron, de Boccaccio), pode ser entendido como um veículo de propaganda doutrinária ao serviço de uma ideologia feudal, que propõe a submissão do “objecto” feminino ao sujeito masculino, ao matrimónio e aos mais elevados interesses oligárquicos.O Nascimento de Vénus é, muito provavelmente, o quadro mais famoso de Botticelli. Pintado no auge da sua carreira, procura transpor o cânone estético da Vénus pagã da Antiguidade para a Laura cristã de Petrarca: a mulher, como símbolo da baixa paixão carnal, metamorfoseia-se no mais elevado amor espiritual. Com efeito, a Vénus botticelliana tem a beleza da Laura petrarquista, seguindo ainda o cânone provençal para destacar os seus predicados físicos. (shrink)

Some of the foremost living scholars in Islamic thought have come together to create a standard and definitive work on the subject of Islamic thought. Noted scholars from North America, Europe, and the Middle East offer new and generative interpretations of major themes in the field. They address perennial theological and philosophical questions: the nature of the God-head, the ultimate constitution of matter, the world's origin, causality, divine providence and the existence of evil, freedom and determinism, political wisdom, and the (...) reaches of human knowledge, The contributions include historical and analytical expositions of these issues in medieval Islam as well as discussions of individual thinkers, translations of Arabic texts with commentary, comparisons of Greek and Islamic thought, and bibliographical and textual sources. As a whole, these essays offer a wealth of philosophical, theological, bibliographical, philological, and historical information. Among the outstanding contributions are: an article by Charles Butterworth on Aristotle's rhetoric and how it was understood by al-Farabi, Avicenna and Averroes; Richard M. Frank's essay on the concepts of atoms and bodies, one of the most complex subjects in Islamic theology; and an article by Shams Inati on Ibn Sina and single expressions that discusses how language relates to mental processes and the unknown. Michael E. Marmura develops a new perspective on the subject of efficient causality, emphasizing the paradigmatic position of God's relationship to the world; Muhsin Mahdi analyzes a treatise of Averroes' that deals with the relationship between philosophy and law. (shrink)

Berenicen statim ab urbe dimisit invitus invitam.As for Berenice, he immediately dismissed her from the city against his will, against her will. Suetonius' laconic description of Titus' dismissal of his consort, the Herodian Berenice, after his accession to the Principate has attracted the attention of readers across the centuries. The biographer's use of polyptoton, invitus invitam, to describe the mental states of the Roman princeps and Judaean princess has been read as particularly moving. Perhaps most notably, Racine turned the emperor's (...) banishment of his lover into the central dilemma of his tragedy Bérénice. At the start of his preface to the text of the play, the dramatist amalgamates this sentence with another from earlier in the chapter, retaining the striking repetition, ‘Titus reginam Berenicen cui etiam nuptias pollicitus ferebatur, statim ab Urbe dimisit invitus invitam’. Racine claims that this account of the dismissal of Berenice provides appropriate subject matter for tragic poetry and, to support his case, he compares Virgil's treatment of the separation of Aeneas and Dido to the situation of Titus and Berenice. Suetonius is not normally read as a literarily sophisticated writer, but we should take a cue from Racine's response to this sentence. In this article, I argue that Suetonius himself chose to compare Titus and Berenice with Dido and Aeneas by an allusion in this sentence to Virgil's Aeneid and to Catullus' translation of the Coma Berenices. Within a rather matter-of-fact presentation of the relationship between the Flavian emperor and his Herodian consort, Suetonius evoked a more dramatic model. (shrink)

The Routledge Handbook of Language and Emotion offers a variety of critical theoretical and methodological perspectives that interrogate the ways in which ideas about and experiences of emotion are shaped by linguistic encounters, and vice versa. Taking an interdisciplinary approach which incorporates disciplines such as linguistic anthropology, sociolinguistics, applied linguistics, psychology, communication studies, education, sociology, folklore, religious studies, and literature, this book: explores and illustrates the relationship between language and emotion in the five key areas of language socialisation; culture, translation (...) and transformation; poetry, pragmatics and power; the affective body-self; and emotion communities; situates our present-day thinking about language and emotion by providing a historical and cultural overview of distinctions and moral values that have traditionally dominated Western thought relating to emotions and their management; provides a unique insight into the multiple ways in which language incites emotion, and vice versa, especially in the context of culture. With contributions from an international range of leading and emerging scholars in their fields, The Routledge Handbook of Language and Emotion is an indispensable resource for students and researchers who are interested in incorporating interdisciplinary perspectives on language and emotion into their work. (shrink)

It is, I think, generally believed that the last oracle delivered at Delphi was that given to Oreibasios announcing the inability of Apollo to prophesy there again. This oracle begins with the line: επατε τ βασιλϊ· χαμα πσε δαδαλος αλ and has been translated by Swinburne as The Last Oracle. Of it Myers wrote: ‘ the last fragment of Greek poetry which has moved the hearts of men, the last Greek hexameters which retain the ancient cadence, the majestic melancholy flow.’ (...) But there is evidence which suggests that this was, in fact, not the last prophetic utterance of the Pythian god, and no ancient authority implies that it was. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Critical Tales: New Studies of the Heptaméron and Early Modern CultureDora E. PolachekCritical Tales: New Studies of the Heptaméron and Early Modern Culture, edited by John D. Lyons and Mary B. McKinley; xii & 296 pp. Philadelphia: University of Pennsylvania Press, 1993, $36.95.What a difference a decade can make. In 1983 H. P. Clive’s slim Marguerite de Navarre: An Annotated Bibliography made pointedly clear the marginal position of (...) this author in the French Renaissance literary canon, and the relative obscurity of her Heptaméron (there were less than 200 entries dealing with her unfinished collection of stories that first appeared in 1558). The 500th anniversary of Marguerite’s birth in 1992 brought with it a remarkable outpouring of reflections on this neglected masterpiece. Critical Tales ranks among the best of such undertakings. Eclectic in its approach, the volume comprises fifteen articles by scholars whose analyses advance the reader’s appreciation of the Heptaméron in all “its inexhaustible complexity” (p. 279).As complex as Marguerite’s tales may be, Lyons and McKinley have done an admirable job making their volume’s contents as accessible as possible to the growing number of scholars interested in the work both as text and as important artifact in the history of the evolution of narrative. All the articles are in English (with three translated from French). Citations from the Heptaméron appear in French, but for each, the editors include the corresponding page numbers in the most accessible English translation. In addition to a selected bibliography, the volume provides a useful index.The volume’s introduction presents the dominant issues, as well as a sketch of each article’s vantage point. The editors then divide the book into three sections: “Generic Transformations and Graphic Transgressions” (with articles by Robert D. Cottrell, Hope Glidden, Marcel Tetel, Donald Stone, and Tom Conley); “Narrative Systems and Structures” (with articles by Michel Jeanneret, Cathleen M. Bauschatz, François Cornilliat and Ullrich Langer, McKinley herself, Philippe de Lajarte, and André Tournon); “Character and Community” (with articles by Daniel Russell, François Rigolot, Paula Sommers, and Edwin M. Duval). The epilogue that follows, by virtue of its length and quality, could easily be considered the sixteenth article in the collection. It shows how these heterogeneous pieces relate to issues of narrative and narrative theory.Just how radical an upheaval did the Reformation cause? The contributions bear witness to the major changes in ways of thinking and writing that played themselves out even in secular texts. The theological tensions caused by the evangelical movement are evident in all three sections of the volume, and the introduction will lead readers to the relevant essays. Among them, Rigolot’s striking allegorical reading of novella 32 in terms of “The Magadelen Controversy” (i.e., was she really one person or a conflation of three different women?) demonstrates why the discoveries of the intellectually driven philological projects of such humanists as Lefèvre d’Etaples posed such pragmatic [End Page 392] quagmires for the late medieval church. Another piece likely to cause discussion is Duval’s “Et puis, quelles nouvelles?” His lexical findings on the Renaissance meaning of nouvelle lead him to conclude that the ten characters assembled at Saint-Serrance “do no tell tales” but rather “report news” (p. 245). For Duval the evangelical resonances of the “Good News” highlight the fundamental philosophical dilemma in the discussions of the frame story characters: how to reconcile living in the world of news while still abiding to the Word of the Good News.For articles more specifically on narrative theory, readers will benefit from the epilogue by using its insights and directional signs to locate those essays particularly relevant to their interests. Among these, two focus on the interplay between the revolution in printing and narrative strategies. In “Modular Narrative and the Crisis of Interpretation,” Jeanneret shows how the short tale structure of the Heptaméron was part of an important Renaissance trend favoring creation of “modules,” defined as moveable segments of discourse that could be reassembled and put to other uses, while at the same time allowing for the intercalation of commentary. In his “The Graphics of... (shrink)

Bits and snatches of the poetry, drama, philosophy, history and oratory of Greek literature are gathered with minimal biographical and introductory notes. Only one translation is acknowledged, that of Aristophanes' The Birds. The selection, though varied, shows no underlying plan.—W. G. E.

This anthology is heavy on poetry and letters, light in the other categories. There are some anomolies: Seneca's philosophy is represented by a piece of little historical interest, Cicero is alloted only five letters, Ovid is correspondingly slighted in poetry. Here also, as in the volume above, the editor's contribution is slight. No translations are acknowledged.—W. G. E.