Ars Edendi: Lecture Series. Volume IV

232 Pages·2016·10.7 MB·English

by  Barbara Crostini

STUDIA LATINA STOCKHOLMIENSIA
LXII
Volume IV
Edited by
Barbara Crostini, Gunilla Iversen, and Brian M Jensen

STUDIA LATINA STOCKHOLMIENSIA
LXII
Ars Edendi
LECTURE SERIES
Volume IV
Edited by
Barbara Crostini, Gunilla Iversen, and Brian M. Jensen
2016
Published by
Stockholm University Press
Stockholm University
SE-106 91 Stockholm
Sweden
www.stockholmuniversitypress.se
Text © The Author(s) 2016
License CC-BY
Supporting Agency (funding): Riksbankens Jubileumsfond
First published 2016
Cover Illustration: Miniature from Den Haag, Koninklijke Bibliotheek, ms 71 A 24,
fol.2v, containing the legend of the monk Theophilus.
Cover image copyright: CC-BY-NC-ND
Cover design by SUP
Studia Latina Stockholmiensia (Online) ISSN: 2002-472X
ISBN (Paperback): 978-91-7635-039-3
ISBN (PDF): 978-91-7635-036-2
ISBN (EPUB): 978-91-7635-037-9
ISBN (Mobi/Kindle): 978-91-7635-038-6
DOI: http://dx.doi.org/10.16993/baj
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Suggested citation:
Crostini, B., Iversen, G. and Jensen, B. M. (eds.) 2016. Ars Edendi Lecture Series,
vol. IV. Stockholm: Stockholm University Press. DOI: http://dx.doi.org/10.16993/baj.
License: CC-BY 4.0
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Studia Latina Stockholmiensia
Studia Latina Stockholmiensia is a peer-reviewed series of scholarly
editions of Latin texts as well as monographs and anthologies of Latin
studies. While continuing Stockholm University’s tradition of Medieval
studies, the series is also open to Latin from the Ancient and the Modern
periods.
The textual editions include an introduction, a critical apparatus
and usually a translation. The literary, linguistic and other philological
studies of Latin feature a range of methodological approaches, both
modern and traditional.
SLS includes Ars Edendi Lectures as a sub-series.
Studia Latina Stockholmiensia was previously included in the series
Acta Universitatis Stockholmiensis (ISSN 0491-2764).
Editorial board
Maria Plaza, PhD, Associate Professor of Latin, Dept. of Romance
Studies and Classics, Stockholm University, Sweden.
ORCID: 0000-0003-1643-2660
Hans Aili, PhD, Professor emeritus of Latin, Dept. of Romance Studies
and Classics, Stockholm University, Sweden.
Erika Kihlman, PhD, Associate Professor of Latin, Dept. of Romance
Studies and Classics, Stockholm University, Sweden.
ORCID: 0000-0001-8081-1740
Titles in the series
62. Barbara Crostini, Gunilla Iversen, Brian M. Jensen, ed. 2016. Ars
Edendi Lecture Series, vol. IV. Stockholm: Stockholm University Press.

Table of Contents
Introduction vii
Barbara Crostini, Gunilla Iversen and Brian M. Jensen
Contributors xii
Writing in the Blank Space of Manuscripts: Evidence from
the Ninth Century 1
Mariken Teeuwen
Editing Errors 26
Giovanni Paolo Maggioni
The Ordinary Chants of the Roman Mass, with their Tropes: The
Odyssey of an Edition 50
Charles M. Atkinson
Ars computistica ancilla artis editionum: Modern IT at the Service of
Editors of (Greek) Texts 85
Charalambos Dendrinos and Philip Taylor
How to Read and Reconstruct a Herculaneum Papyrus 117
Richard Janko
What is a Critical Edition? 162
Glenn W. Most
The Digital Revolution in Scholarly Editing 181
Peter Robinson

Introduction
Barbara Crostini, Gunilla Iversen and Brian M. Jensen
The fourth volume of the by now established Ars Edendi Lectures Series
is also the last to be published within the Riksbankens Jubileumsfond
programme by the same name that ran at the University of Stockholm
2008-2015. As in the other volumes, the reader will find here gathered
the lectures, printed in the same order in which they were chronologically
delivered, which animated the main themes of that programme, but also
echoed more closely the concerns of this or that researcher who contributed
to the event. Fittingly, this volume is edited by Barbara Crostini, Gunilla
Iversen, and Brian M. Jensen, who were responsible for organizing most
of the events that see the light of publication in this volume.
The contributions to this volume are well balanced between Latin
and Greek, the two languages at the centre of the programme, and
reflect the range of approaches to editing and types of editions that
well exemplify the activity of the group throughout these years. Both
a reflection on the fundamentals (e.g. What is a critical edition?) and
a closer look at the specifics (e.g. marginalia, errors, musical notation)
of editing are explored by the topics addressed by our expert lecturers,
whose participation in the Ars edendi programme we gratefully
acknowledge here. Their contributions have broadened and enlivened
our work on our own editions, and given us food for thought in the
knowledge that we were confronted with state-of-the-art approaches
in our respective fields. The oral tone of the presentations has not been
entirely edited out from this book.
Mariken Teeuwen represented the distinguished Huygens Institute for
Text-Critical Studies, and focused our attention on the margins of the
manuscripts, and what the annotations there can offer us for a knowledge
of their texts, history, and readership; in many ways, her research is at
How to cite this book chapter:
Crostini, B., Iversen, G. and Jensen, B. M. 2016. Introduction. In: Crostini, B., Iversen, G.
and Jensen, B. M. (eds.) Ars Edendi Lecture Series, vol. IV. Pp. vii–xi. Stockholm:
Stockholm University Press. DOI: http://dx.doi.org/10.16993/baj.a. License: CC-BY 4.0
viii Barbara Crostini, Gunilla Iversen and Brian M. Jensen
the forefront of the new interest in ‘paratexts’, intended broadly, as an
area so far neglected but which appears very fruitful for the textual
and cultural scholar. Teeuwen suggests different editorial strategies to
present the glosses and annotations to the reader: a digital edition, where
it is possible to highlight with colours which parts came first, which
later. She discusses questions of how to encode the interconnectedness
of marginal texts to other texts. A marginal text is in fact a set of texts,
and each individual annotation would need its own apparatus, but it
would result in a rather confusing page when presented in the standard
lay-out of a modern scholarly edition. Thus, she concludes, we need
better means to visualize structure and movement, in order to gain a
better understanding of these marginal texts.
The edition by Giovanni Maggioni of one of the major (if not the
major) medieval collection of hagiographies, the Legenda aurea,
puts him in a privileged position of the hands-on scholar with a vast
experience of the world of borrowings, reworkings, and translations,
the essential ingredients of such influential compilations. These formed
the cultural (and cultual) perspective of generations of medieval and
early modern Christians. The examples discussed are therefore taken
mainly from Maggioni’s own editions of the Legenda aurea and are
compared to the primary source for Jacobus’s work, Jean de Mailly’s
Abbreviatio in gestis sanctorum.
Maggioni’s application of Lachmannian principles for the
understanding of textual issues is a fascinating journey into the mechanics
and dynamics of manuscript copying. ‘Error’ has been a significant
term in philology from the very beginning of editorial practice and
the central issue in the traditional editorial method named after Karl
Lachmann. Maggioni defines error as “something (a term, a phrase, a
chronological notation) that contradicts the culture of the author, as
we know it, […] and is incompatible with the author’s actual work of
composition and edition”. How do we then recognize authorial errors
in the textual complexity of sources, author, original, archetype, copies
and readers? Primum recensere! was the lesson of Karl Lachmann,
and Maggioni underlines the importance of recensio, the traditional
distinction between original and archetype, an editor’s knowledge of
the sources the author used for his work and acquaintance with an
author’s method of composition as a means to recognize these errors.
The distinguished musicologist Charles Atkinson combines in a
similar way the traditional principles of critical editing with a complex
situation where texts are found together with music. The musicological
knowledge and transmission of the texts sung in the medieval liturgy