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Per una ricostruzione del Calendario Italico nel Martirologio geronimiano
No full textThe Martyrologium Hieronymianum, the most trustworthy collection of martyrs’ memories bequeathal, is an assemblage of many different sources. The author of this paper tries to extract from that work only the part relating to Italy, collating an Italian calendar – also known as Calendarium Italicum – as complete as possible. Through the analysis of more than 250 memories, thus collected, and of the norms of the ancient Councils and of the regulae monasticae, the author identifies a direct relationship between fasting and exclusion of martyrs’ memories, which influenced, between fifth and sixth centuries, the position of memories on the ancient martyrology itself. Le Martyrologe Hiéronymien, la collection la plus fiable de souvenirs des martyrs transmis, est une sorte de spicilège de nombreuses sources différentes. L’auteur de cet article tente d’extraire du martyrologe la partie relative à l’Italie, rassemblant un calendrier italique, aussi complète que possible. À travers l’analyse de plus de 250 événements, ainsi recueillies, sur la base des normes des Conseils et des regulae monastiques, l’auteur identifie une relation directe entre le jeûne et l’exclusion de certaines mémoires des martyrs, qui ont influencé, entre les cinquième et sixième siècles, la disposition des souvenirs sur le martyrologe lui-même
Natura, viaggio e viandanti nell’opera omiletica di Asterio di Amasea
Get PDFNonostante negli ultimi decenni la figura di Asterio di Amasea abbia suscitato un discreto interesse tra gli studiosi, egli continua a essere considerato un autore minore, schiacciato tra i grandi Cappadoci, suoi contemporanei, e l'omonimo Sofista. Talvolta giudicato un emulatore privo di ingegno, talvolta un compilatore costantemente debitore alla tradizione precedente, pur riconoscendogli un certo valore letterario, viene ritenuto inferiore ai suoi contemporanei per la mancanza di un pensiero filosofico e teologico profondo. Tuttavia, attraverso l’analisi di un tema apparentemente marginale come quello del viaggio nelle sue opere, è possibile dimostrare come Asterio sia riuscito a rielaborare temi tradizionali con un’originalità e una coerenza sorprendenti. Egli si rivela un autore raffinato, capace di aggiungere sfumature e profondità letteraria, e dimostra, infatti, un’autonomia di pensiero, discostandosi dagli esempi del suo tempo e avvicinandosi a una concezione dell’umanità più vicina alla nostra sensibilità contemporanea.Although considerable scholarly activity has been produced on Asterius of Amasea in the last century, he continues to be considered a minor author, pressed between the great Cappadocians, his contemporaries, and the homonymous Sophist. Judged sometimes a witless emulator, sometimes an epitomizer in perpetual debt to the previous tradition, and while acknowledging him some literary merit, he is deemed to be unequal to his contemporaries for lack of philosophical and theological thought. By tracing an apparently marginal theme such as that of the journey within his works, it is instead possible to demonstrate how Asterius was able to rework traditional themes in an original and coherent perspective. He proves to be a refined author, acquiring nuances and literary volume and he demonstrates indeed an autonomy of thought, departing from the examples of his time, and approaching an idea of humanity closer to that of us contemporaries
Note sull'iconografia di Noè nell'arca (III-VI sec.)
No full textThe depiction of Noah in Early Christian iconography lives two distinct phases. The first phase, only burial, covering the years between the end of the third century and the end of the fourth; the second, mainly of Church apparatus, was born with the fifth century and lasted well beyond the seventh. In the first phase, the burial can be identified basically two modes of representation intended to express the same paradigm of salvation. In the narrative scene Noah is caught in the moment which includes the dove in her arms, while the ark is still at the mercy of the waves. In the typological scene Noah is a metaphor of the deceased, the ark of the grave. In the second phase, after the fifth century, the scene of Noah is also represented outside the context of burial: the symbolic function vanishes, while appearing the numerous narrative moments neglected by previous tradition, such as the construction of the ark, the entrance of the animals, the presence of seven other companions or of the drowned. Finally, although no longer tied to a concept of salvation staff, the theme of Noah's flood iconography remains as an issue of collective salvation of the community
Le « gammadiae »
No full textSull'uso delle « gammadiae », simboli a forma di lettera disegnati sui tessuti, attestato nelle fonti iconografiche a partire dal 1° sec. a.C. e assunto nel 5°-6° sec. come emblema cristiano, legato probabilmente al riconoscimento del ruolo pubblico e ufficiale di chi lo indossava. Symbol elusive to the extent that have not its own name in antiquity, the gammadia, diversiform right from the beginning, has been an unsolvable riddle to scholars since the 1500. The analysis of the iconographic sources, attested from the first century AD, leads one to suppose that the use of representing gammadiae on tissue has been imported from the Near East and, hence, has gone to the catacombs: gradually, belatedly - probably since the beginning of the fourth century - and patchy. Only by the age of the churches in the West gammadiae take an official function, more explicit, becoming a Christian symbol. Although the vast gap in literary sources will not allow sharp statements, this symbol appears linked to hierarchy and power and would be understood as a symbol of apparatus, expression and celebration of auctoritas. Symbole fuyant au point à ne pas posséder un propre nom dans l'antiquité, le gammadia, multiforme déjà à l'origine, il a été un énigme sans solution pour les spécialistes depuis le '500. L'analyse des sources iconographiques, attesté depuis le Ie siècle apr. J.-C., laisse supposer que l'usage de représenter gammadiae sur les tissus a été importé par le Proche-Orient et, par conséquent, est passée dans les catacombes: graduellement, tardivement - sans doute depuis le début du quatrième siècle - et inégal. Il sera avec l'âge des basiliques seulement qui en Ouest les gammadiae prendront une fonction officielle plus explicite en devenant un symbole chrétien. Quoique la grande lacune de sources littéraires ne permette pas affirmations nettes, ce symbole apparaît lié à la hiérarchie et au pouvoir et il serait à s'entendre comme symbole d'apparat en expression et célébration de l'auctoritas
La bottega di Noè. Una scena di vendita su una lastra di Anagni, Sala delle lapidi, monastero delle suore Cistercensi della Carità (Solin 1996 n. 98)
No full textH. Solin and P. Tuomisto, in the volume Le iscrizioni urbane di Anagni, Rome 1996, describe the epigraph no. 98 as: Noah’s ark, on the left Noah holding the hand of his wife. Into the Ark, at the right of Noah, ax and tongs. Behind, garlands. The image, indeed, does not reflect the noetic iconography, but it seems a lively figuration of a shop, the type of which is not clear. If we exclude a food shop, the decor of the counter and the object in the man’s hand may indicate a nummularius, even if the forceps and the malleus to the right would lean more to an anularius or an aurifex. This iconographical interpretation, not otherwise attested and of remarkable interest, would also better explain the presence of garlands, the hole at the center of the traded object and the female buyer.Dans le volume de H. Solin et P. Tuomisto, Le iscrizioni urbane di Anagni, Rome 1996, l’épigraphe n° 98 est décrit comme: l’arche de Noé, tenant la main de sa femme à gauche. Dans l’arche, à droite de Noé, hache et pinces. Derrière, des guirlandes. L’image ne reflète pas l’iconographie noétique, mais elle ressemble à une représentation animée de la vie quotidienne dans l’atelier d’un artisan. Il est difficile savoir de quel type d’atelier il s’agit. Si l’on exclut qu’il s’agit d’une épicerie, les décorations du comptoir et l’objet que l’homme a en main pourraient laisser penser que la scène a lieu dans un nummularius, même si la pince et le marteau à droite nous font plutôt pencher pour un anularius ou un aurifex. Cette dernière iconographie, d’un grand intérêt, mais qui n’est attestée qu’ici, expliquerait plus facilement la présence de guirlandes, en particulier la guirlande à losanges qui pourrait être interprétée comme une chaîne, le trou au centre de l’objet d’échange et la femme qui l’achète
Un'applicazione pratica per l’edizione digitale di testi agiografici e calendariali
No full textTesti d’uso come martirologi e calendari pongono problemi peculiari alla critica testuale e all’edizione. La
loro funzione pratica, legata a esigenze liturgiche e comunitarie, e la connotazione locale li ha esposti a
modifiche, interpolazioni e trasformazioni che ne hanno frammentato e ampiamente contaminato la
tradizione manoscritta. Questi aspetti rendono complessa la ricostruzione di un archetipo, ponendo la
necessità di una ridefinizione di un metodo filologico adeguato. Il Martyrologium Hieronymianum (MH) è un
caso particolare di tali difficoltà. Strutturato secondo il calendario solare, non segue i criteri formali di
un’opera letteraria. Interpolazioni, compendi e contaminazioni rendono incerti i rapporti genealogici tra i
testimoni. Le sole edizioni di questo testo, quella diplomatica di De Rossi e Duchesne del 1894 e quella
critica di Quentin e Delehaye del 1931, irte di contrasti e traversie, hanno evidenziato i limiti delle tecniche
di edizione tradizionali. Questo studio propone un’edizione digitale basata su EVT3, affrontando aspetti
fondamentali, quali la gestione delle varianti, la rappresentazione delle contaminazioni e la conservazione
delle peculiarità dei testimoni. L’obiettivo è sperimentare delle soluzioni, utilizzando anche l’IA, che
possano offrire un modello applicabile ad altri testi simili, caratterizzati da una continua rielaborazione e
stratificazione testuale.A practical application for the digital edition of hagiographic and calendrical texts. Texts intended for
Practical texts such as martyrologies and calendars pose unique challenges to textual criticism and editing.
Their practical function, tied to liturgical and communal needs, along with their local character, has
subjected them to modifications, interpolations, and transformations that have fragmented and extensively
contaminated the manuscript tradition. These factors make the reconstruction of an archetype particularly
challenging, necessitating the redefinition of an appropriate philological method. The Martyrologium
Hieronymianum (MH) exemplifies these difficulties. Structured according to the solar calendar, it does not
adhere to the formal criteria of a literary work. Interpolations, abbreviations, and contaminations create
uncertainty in establishing genealogical relationships between the witnesses. The only editions of this
text—the diplomatic edition by De Rossi and Duchesne (1894) and the critical edition by Quentin and
Delehaye (1931)—marked by controversies and difficulties, have highlighted the limitations of traditional
editorial techniques. This study proposes a digital edition based on EVT3, addressing fundamental issues
such as the management of textual variants, the representation of contaminations, and the preservation of
the witnesses’ unique features. The goal is to experiment with solutions, including the use of AI, that could
provide a model applicable to other similar texts characterized by ongoing reworking and textual
stratification
IEROFANIE E LUOGHI DI CULTO Atti del IV Convegno Internazionale (Monte Sant’Angelo, 21-23 aprile 2015)
No full text“Indagare la ierofania, quale manifestazione sensibile del sacro, presente in molti aspetti del vissuto religioso antico e moderno, acquista un significato ben preciso che coinvolge e interessa il rapporto, talvolta ambiguo e inspiegabile, che questa nostra epoca ha con il sacro e con il divino nelle sue varie forme. Indagare la ierofania, fenomeno peraltro ricco di sfaccettature ancora da studiare, con particolare attenzione alle forme e ai luoghi, anche non fisici, nei quali si verifica, significa indagare anche questo nostro presente e il suo rapporto con il divino.
Leggendo i contributi nel volume si potrà constatare quanto nel tempo sia maturato questo rapporto e non in una direzione univoca. Da una dimestichezza con il divino, ricordata/immaginata fin nei miti delle popolazioni non storiche e ancora presente in forme diverse nella narrazione omerica, poi rinnovata nell’Antico e nel Nuovo Testamento, si giunge all’intimo rapporto col divino degli stigmatizzati, i quali portano sul proprio corpo il segno di questo incontro: è questa l’esperienza protrattasi da san Francesco a san Pio, vissuta contemporaneamente come dolore e terrore – similmente ai miti primitivi -, ma anche compassione e gioia estatica”
Il metodo ecdotico di Quentin: gli Essais de critique textuelle (Ecdotique)
No full textHenri Quentin, historian and hagiographer, was also the creator of an innovative philological method based on principles of mechanism and objectivity. The first exposition of the method was published in the 1922 Mémoire sur l’établissement du texte de la Vulgate. Quentin’s method was used under the author’s supervision only in two cases: the edition of the Octateuch of the Vulgate and the commented edition of the Martyrologium Hieronymianum. The system has been bitterly contested since its first appearance. Quentin, intimately convinced of the goodness of his philological method, to defend himself from the criticisms received after the publication of the Mémoire..., published the Essais de Critique
textuelle (Ecdotique), that contain the most complete attempt of formalization of the method by its author. The work had an effect opposite to that sought: the dormant criticism was renewed, and the condemnation of the method was expressed without appeal. The Quentin’s method was never affirmed, nevertheless its author could count on admirers, followers and epigones. This contribution traces the debate that took place around the Quentin ecdotic system and the reasons that led to its condemnation from the publication of Essais in 1926 to the death of its author in 1935
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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