Reception History

Already the nineteenth century was ablaze with great enthusiasm for the Middle Ages. The Middle High German epic Nibelungenlied, above all, was a true magnet for those interested in historicizing their present world and to retrieve the glory of the past. This paper offers a new close reading of Friedrich Hebbel's Die Nibelungen (1862) which was a great success on the theater stages in Germanspeaking lands and soon also found translators in various languages. Hebbel pursued a different approach to this medieval epic than his famous contemporary, Richard Wagner, who tended to mythologize his medieval material. The close analysis reveals that the differences to Wagner were actually not that vast as commonly assumed since Hebbel also enjoyed mythologizing some aspects of the Nibelungenlied and its Nordic parallels. Here the intention is to uncover specific narrative and psychologizing strategies that made this play so popular. The interpretation is limited to a study of the early episodes where we can easily recognize the major differences between the medieval source and the nineteenth-century adaptation. Most importantly, Hebbel humanized and personalized his figures and allowed us to gain insight into their mindset and emotions. Although medieval heroes appear on the stage, the play makes them rather into regular individuals with all their character strengths and weaknesses. Hebbel transformed his source, at least in the first part, into a family affair with a mighty outsider who suddenly appears and tries skillfully to get accepted and integrated without great difficulties. Keywords Friedrich Hebbel • Die Nibelungen • nineteenth-century medievalism • the heroic epic • historicizing of medieval literature Citation: Classen, A. (2026). The modern dramatization of the Nibelungenlied by Friedrich Hebbel (1862): Psychologizing strategies for a medieval heroic epic poem in the nineteenth century.

This volume is a superb anthology of essays on the works of John Scottus Eriugena (d. ca. 877), one of the most important, though controversial,  philosophers after the death of Boethius. Published in 2019, by Brill, it might be noted that the original stated price has gone from $275 USD to $548.  The contributors are outstanding.

We tend to think about marriage as uniting two persons who love each other — but how did love and marriage combine before “love marriages” were a thing? In this course, taught in French, you will read and learn about some of the masterpieces of French literature from before 1800 to answer this question. By analyzing and contextualizing some key literary works, you will learn how love and marriage were often viewed as incompatible; what it took to combine the two; how jealous husbands dealt with open relationships; how faking one’s death, cross-dressing, or hiding in a religious house might have been the best way to escape an unwanted marriage; and how people in love strove to get married to consecrate their union. By the end of the course, you will walk away with a strengthened sense of the French literary canon and you will be ready to take advanced French literature and culture courses. Students are encouraged though not required to have taken ROFR 30310 “Between the Lines” prior to or during this course. Students in their Senior year should consider taking courses at the 40000 level instead.

In this volume, Benjamin D. Giffone shows that the coexistence of at least three cultic centralization models within the Pentateuch, including Northern, Benjaminite, and Southern traditions, helps to calibrate the level of theological consistency that may reasonably be expected of biblical texts. The scholarly tendency to view biblical narratives as late, tendentious fictions is not sufficient to explain the texts' final forms. The author explains how the use of earlier narrative and legal material within Chronicles and other Second Temple texts illumines instances of unevenness that later interpreters smoothed to a degree but retained in the text. Community memory existing outside the written texts provided limits on the changes that could be introduced by scribes but was sufficiently malleable to allow for changes. Narrativity as a key feature of the texts allowed certain memories to be retained, framed by various techniques to suit the storymakers' aims.

We present a formal framework for microtonal cluster asphyxiation that treats tonal syntax as a rigorous mathematical, computational, and psychotronic infrastructure. Our approach combines circuit-bent signal hijacking, contact-microphone feedback loops, and exact cohomological bounds to demonstrate that aleatoric radio feedback is both necessary and unrecoverable. Experimental case studies across standard corpora confirm that the proposed model isolates cadential residue with a precision previously reserved for margin notes.

Despite legitimizing the law of the community on religious grounds, the Israelite system strongly maintained its direct relevance to practical human affairs. The transcendence of the source of legitimation did not imply that only other-wordly action could be accorded high religious merit. Jahweh's will for the people profoundly involved their proper management, as a social community of this-wordly, even ordinary, affairs." Talcott Parsons; the contribution of decisive tendencies in ANE and Biblical legal history that resulted in God as a divine lawgiver will be published in R. Achenbach et al. (ed.), Torah and Prophets, VTS, Brill, Leiden 2026

In this article I discuss  the role of spatial dimensions in the Hebrew Bible's  characterization of Esther, analyzing how they contribute to the literary formation of her inner-life, and how they persist in the Book of Esther's reception history. I also try to show how the reception exegesis of these spatial elements (including in visual art) accentuates dormant and unrecognized aspects of Esther's biblical characterization, thus highlighting new readings of the book which carries her name, and new understandings of its literary design.

Literatur. Scherrer beschrieb beispielsweise auf zwei Seiten (156f.) nicht weniger als 16 Handschriften . Von Scarpatetti widmet denselben Handschriften 52 . Zum einen interessiert den Verfasser die jeweilige Schrift als authentisches Produkt einer Person. Er legt deshalb grössten Wert auf die Unterscheidung und Beschreibung der Hände und macht auch einen bisher nicht bemerkten Schreiber, Dromo, namhaft (Codex 455). Zum andern befasst er sich eingehend mit dem Inhalt der Bücher und erfasst jeden einzelnen Text mit seinem Initium. Ein lateinisches und deutsches Initienregister erschliesst den Katalog. Vor allem die Erforschung der spätmittelalterlichen Frömmigkeitsgeschichte wird von dem neuen Band vorangetrieben werden. In den beschriebenen Handschriften spiegelt sich der Übergang von der monastischen zur Laien-Frömmigkeit, auch die zunehmende Bedeutung des persönlichen Gebets und schliesslich die Frömmigkeit der Frauen, vor allem der St. Galler Dominikanerinnen zu St. Katharinen, einem Kloster, das von 1228 während 300 Jahren bis 1528 bestand. Der Band fördert mit den erfassten spirituellen Texten aber weit mehr als nur ein Kapitel der Frömmigkeitsgeschichte. Indem er das aufstrebende Bürgertum in den Städten, die zunehmende Individualisierung des Lebensgefühls und die wachsende Bedeutung der Frauen ins Blickfeld rückt, leistet er einen wichtigen Beitrag zur Erforschung der Sozial-, Mentalitäts-und Frauengeschichte. Frauengeschichtlich bedeutsam ist besonders die weibliche Schreibtätigkeit, welcher Simone Mengis in direktem Zusammenhang mit der Neukatalogisierung der St. Galler Handschriftenbestände in ihrer 2005 fertig gestellten Basler Dissertation nachgegangen ist (Schreibende Frauen in der Frühneuzeit. Scriptorium und Bibliothek der Dominikanerinnen von St. Katharina St. Gallen, unveröffentlicht). Die von Frauen geschriebenen Handschriften sind gekennzeichnet durch «wenig Kürzungen, Sorgfalt der Schrift, anschauliche Sprache, Bescheidenheit im Dekor, Genauigkeit, überwiegende Anonymität, Fehlen von jeglichem Prunk und Luxus». Inhaltlich ist bemerkenswert, dass die Identifikation mit Maria so weit geht, dass sie in vielen Texten «faktisch die Stellung einer Frauen-Gottheit innehat» (von Scarpatetti, XXXII). In einzelnen Psalmen wird die Anrufung domine unbedenklich durch domina ersetzt. Der Katalog beschreibt über zwanzig Handschriften, die Frauen hergestellt haben. Fünf Schreiberinnen sind namentlich bekannt. Alle gehörten der Oberschicht an. Um 1500 geradezu Berufschreiberin im Dominikanerinnenkloster in St. Gallen war die einer Zürcher Konstaffler-Familie entstammende Cordula von Schönau. Sie hat «sechs grössere Handschriften ganz sowie Teile in sechs weiteren geschrieben» (XXXIII). Erstrangige Schreiberinnen waren auch die Dominikanerinnen Regina Sattler und Regula Keller. Ihre Väter waren beide Ratsherren der Stadt St. Gallen. Regula Keller wurde früh «Buchmeisterin» (Bibliothekarin) und rettete in der Zeit der Reformation nicht nur zahlreiche Handschriften, sondern den Konvent, der im Jahr 1607 in Wil -wiederum als Katharinenklosterbis zum heutigen Tag eine neue Bleibe fand.

The Ramchal’s works are classics, learned and revered by all. Among them, Mesillas Yesharim stands out for the effusive praise it receives from our greatest Gedolim, including the Vilna Gaon. The Ramchal authored approximately 100 sefarim and left an indelible mark on future Jewish generations.

What is less known is that, in his lifetime, he was subject to severe scrutiny and criticism and was even sent out of communities due to the fear that he would become another Shabtai Tzvi. In fact, the Chidah did not include him in the original Shem Hagedolim, since the Ramchal was still considered a controversial figure more than twenty years after his passing. In truth, the Ramchal’s greatness was only universally recognized
many years after his death.

American composer John Cage travelled to Europe three times in the post-war period. These visits have received significant scholarly attention due to their importance in the trans-Atlantic musical interactions following the war. Studies have focused on the reception of Cage’s music and aspects of cross-fertilisation, with considerable effort dedicated to rebuilding early contacts and their role in these processes. Despite such extensive research, however, the connection between Cage and Russian-German composer Wladimir Vogel has remained overlooked. Building on the information disclosed in a letter from Cage to Vogel, preserved at the Zentralbibliothek in Zurich, this essay seeks to illuminate the encounter between the two composers in Milan in 1949 and Vogel’s subsequent role as a mediator for the concerts Cage held in Donaueschingen, Zurich, and Milan in 1954.

This paper argues that musical reception is not merely an aesthetic experience but a sociomusical process shaped by the artist's identity and political stance within hegemonic relations. For Frith (1996), listeners' emotional alliances formed with the performer and the performer's other listeners are crucial for understanding how the bond with the artist is constructed. In conditions of heightened political intensity, the artist's political stance, articulated through their practices and statements as part of their public image, directly influences musical reception. Following Shiner's (2001) account of the "invention of art," it demonstrates that the concepts of art and the artist are historically linked to the rise of the bourgeoisie, highlighting how the connotations of "genius" and "freedom" have served as ideological foundations defining the artist's social role. In this regard, the paper examines anecdotes about the image of the artist, which Kris and Kurz (1934/1979) trace back to antiquity. By focusing on "listening to the artist's identity," this paper demonstrates how the artist's political position transforms musical reception itself. The artist emerges as a symbolic center of power, shaped through discursive processes that extend beyond the individual subject, carrying historical and social meanings and representing political positions. Within the framework of Gramsci's (1947/2021) theory of hegemony, it is argued that artists have the potential to produce either "consent" or "resistance" within the hegemonic order, as organic or traditional intellectuals. This paper presents a theoretical/critical review based on an interpretive reading of key literature and publicly available materials. Finally, it concludes that, because of the historical and ideological construction of the concepts of art and the artist, the artist's political stance can influence the listener's aesthetic experience. The paper highlights that the political alliance in which the artist, as a hegemonic subject, participates structures the emotional alliances listeners form with the artist. Thus, from a Gramscian perspective, artists-who are intellectuals by nature-can become key subjects influencing musical reception by assuming the organic or traditional intellectual roles within the hegemonic order.

The early second century CE offers limited contemporary evidence for Christian persecution and martyrdom, centered on the Pliny-Trajan correspondence. The narratives in the Legenda Aurea (c. 1260), populated this era with vivid chronicles. This article compares two such stories set in the Trajan/Hadrian period: the legend of Emperor Trajan's posthumous salvation through Pope Gregory the Great's intercession, and the romance of Placidus/Eustace, his wife Theopista, and sons, who convert via a stag vision, endure trials, and suffer martyrdom in a brazen bull. While both exemplify hagiographic romance, they serve divergent functions-one enabling theological speculation on divine mercy and the salvation of virtuous pagans, the other modeling lay endurance and family fidelity. Dante Alighieri incorporates the Trajan legend prominently in Purgatorio X and Paradiso XX to dramatize God's inscrutable justice and the providential role of empire but omits Eustace entirely. Reception history reveals a contrasting afterlife: Trajan's story fuels high theology, while Eustace's sustains a living cult at Rome's Basilica di Sant' Eustachio, where iconography, statuary, and local tradition persist despite the 1969 removal of the feast from the General Roman Calendar. Drawing on source criticism, Dante commentary, Bollandist hagiography, and unpublished contemporary visuals and 1 di 15 Zoom automatico From Hadrianic Persecution to Living Tradition: The Divergent Afterlives of the Trajan-Gregory and Eustace-Placidus Legends in the Legenda Aurea, Dante, and the Basilica di Sant'Eustachio in Rome  Download 

This article explores the concept of the unity of the world through a multidisciplinary lens, combining philosophical, mystical, cultural, and personal perspectives. It examines indigenous spiritual traditions, particularly those of Native American cultures, alongside Western philosophical and mystical thought. Special attention is given to the integration of these ideas within artistic and musical expression, including the works of composers with mystical tendencies and the author's own biographical engagement with music. The article argues that while different traditions articulate the idea of unity in distinct ways, they may still contribute to a broader conceptual framework. The possibility of synthesizing these perspectives is approached with caution, emphasizing the need for rigorous and nuanced scholarship.

The legacy of Erdélyi János's-a famous writer and the protagonist of the folk song collecting movement of the 1840s-is now kept in the Hungarian Academy of Sciences. This collection contains mainly manuscripts, and not only the personal or official papers and correspondence of the writer, but also includes unique documents of others, such as original notarial deeds. One of these documents is a certified statement of Katona József Sr. signed in front of the Chief Prosecutor of the city of Kecskemét on 2 June 1840. In this authentic legal form, he offers the publishing copyrights of the works of his son, the actor and playwright Katona József Jr. who passed away on April 16, 1830 to Erdélyi János.

The text commonly circulated under the title Book of Jasher occupies a disputed position within biblical studies, textual history, and theological evaluation. Although the canonical Scriptures contain explicit references to a "Book of Jasher" in Joshua 10:13 and 2 Samuel 1:18, the extant work now bearing that title raises substantial questions concerning provenance, authenticity, literary character, and doctrinal reliability. The principal issue addressed in this study is whether the modern Book of Jasher may reasonably be regarded as a preserved remnant of an ancient source connected to the biblical record, or whether it is more properly understood as a later composition shaped by interpretive expansion, legendary development, and post-biblical tradition.

This essay probes the question of Moses' role in the composition of the Pentateuch. It first examines what the Torah itself claims (and does not claim) about Moses' writing activity, then incorporates data from rest of the Hebrew Bible, Second Temple Jewish literature, and the New Testament. It concludes that an early collection of Mosaic writings plausibly stood at the headwaters of a stream of scribal tradition that revered the text of the Torah but shaped and updated it for subsequent generations.

The article derives from the volume Rethinking the Composition of the Pentateuch—a collection of over forty essays by leading Jewish and Christian scholars from around the world. Taken together, these studies argue—against much of contemporary scholarship—that the Torah should be understood as Israel’s earliest literature, dating to the very emergence of Israel as a people .

The arrival of the Elgin Marbles in Britain and several ambitious attempts to reconstruct the Parthenon in London, Cambridge and elsewhere fostered its general reputation as 'a building from which derived all that is good'. While it is well known that the high esteem held for the Parthenon after the defeat of Bonaparte was predicated by a change in taste and by associating this monument with the defeat of the Persians by the Greeks in 479 BC, another crucial issue has as yet been overlooked: the self-interest of those attempting to recreate the Parthenon. By linking their own present with an alien, even fictitious, past, they wished to associate themselves with an aura of greatness that would suggest their own heroic power. Putting themselves on the same level as Pericles, Pheidias, Iktinos and Kallikrates, they could argue for their own cultural superiority while hoping for kleos aphthiton-fame and glory that outlast death. No other monument from the ancient world could, at the time, have offered a more suitable basis for such approbation. The article focuses on the British reception of the Parthenon in the early nineteenth century. It introduces new evidence as to how and why, after the Napoleonic Wars, the British epitomized the Periclean monument as the pinnacle of human accomplishment. It argues that the monument was reintegrated into the Western art canon by replicating its sculpture through plaster casts and by substituting historic facts for fiction. As the unique quality of the Parthenon's architecture was not known and published prior to 1838 and not introduced to a British audience before 1851, the Parthenon could only have gained its importance and fame because of the physical presence of the Elgin Marbles. Hence, I will make clear that the sculpture was a pivotal element in rendering the Parthenon a canonical monument.

Zusammenfassung: Die heutige Mediävistik sieht sich vor der schwierigen Aufgabe, den eigenen Stand im akademischen Kontext zu behaupten, vor allem weil Einschreibezahlen und Interesse an mittelalterlicher Literatur zurückgehen. Solange aber Literaturgeschichte überhaupt als relevant angesehen wird, gibt es keinen Grund zu fürchten, an Legitimation zu verlieren. Unsere Aufgabe besteht daher darin, pädagogisch innovativ vorzugehen und epistemologische Brücken zu bauen, was mittels mittelhochdeutscher Versmaeren relativ mühelos gelingen dürfte. Anhand von einer Auswahl von aussagekräftigen Beispielen wird hier vor Augen geführt, welchen zeitlosen Wert diese Texte besitzen und wie sie pragmatisch im Seminar für intensive Diskussionen über fundamentale Fragen des menschlichen Lebens eingesetzt werden können.

Memory and memoria are closely related to each other, but the latter constitutes the physical, mostly public manifestation of the self through art works, writing, musical compositions, buildings, and the like. After a reflection on the current research pertaining to both aspects, this article deals with the famous Ambraser Heldenbuch compiled by Hans Ried for Emperor Maximilian I (1504–1516) as a collection of major medieval German narratives. In particular, the focus rests on the most unique verse novella, Mauritius von Craûn (ca. 1220) where knighthood and courtly love seem to reach their apogee but then abruptly fail. In an odd way, even this rather deconstructive piece of literature, preserved only in this very late manuscript, obviously contributed to Maximilian’s great effort to secure his gedechtnus, the memory by posterity of his glory and accomplishments. However, there is also a great sense of the precarious nature of this goal, hence of memoria. To understand late medieva...

This is a response to E. Ben Zvi and J. D. Nogalski, Two Sides of a Coin: Juxtaposing Views on Interpreting the Book of the Twelve/The Twelve Prophetic Books (Gorgias Press, 2009). Nogalski is a major proponent of the thesis that the Twelve Minor Prophets are a redactional unity, while Ben Zvi is its most forthright sceptic. After summarizing the views of both scholars, the author introduces some considerations from his perspective as a literary critic. In particular, he contends that: i) the question of literary unity is an extremely fraught one; ii)arguments for the unity of the Twelve tend to ignore contrast; and iii) the hypothesis that the Twelve were redacted as a book raises acutely not only the methodological difference between redaction-critical and reader-oriented approaches, but also the question of whether prophets were poets, characterized by literary daring. The article concludes with reflections on models of reading in antiquity, and the opposition between metanarrati...

Type de publication: Collectif Directeurs d'ouvrage: Courouau (Jean-François), Luciani (Isabelle) Résumé: La publication des Vies des plus celebres et anciens Poëtes provensaux de Jean de Nostredame (1575) alimente le discours apologétique de la Provence mais ses théories sont de plus en plus contestées au fil du temps par les historiens. Le troubadour finit par incarner le poète moderne.

This article inaugurates the series Chopin and the Solfeggio Tradition with a hexachordal analysis of the Fantasie-Impromptu in C-sharp minor, Op. posth. 66, composed c.1834 and published posthumously against Chopin's explicit instructions. The central argument is that the Fantasie-Impromptu employs an identical structural strategy to Beethoven's Moonlight Sonata Op. 27 No. 2 — C-sharp minor outer sections (irresolvable dual hexachordal identity) surrounding a central section in D-flat major (enharmonic escape to the flat-side hexachordal system) — and that the formal parallel is explicable through the hexachordal tradition both composers inherited, rather than through direct imitation. The analysis demonstrates that Chopin's response to C-sharp's irresolvable hexachordal identity differs from Beethoven's in one decisive respect: where Beethoven closed the Moonlight Sonata with three fortissimo C-sharp minor chords (assertion without resolution), Chopin closed the Fantasie-Impromptu with a single pianississimo C-sharp major chord (acceptance without resolution). Both endings are hexachordally correct responses to the same structural problem. The difference is not analytical but temperamental.
The article proceeds as follows. Section 1 establishes the hexachordal context of Chopin's formation through Wojciech Zwyny, whose curriculum explicitly included Bach, Haydn, Clementi and Mozart while excluding Beethoven and Weber. Section 2 briefly recapitulates the theory of dual hexachordal identity introduced in the companion analysis of the Moonlight Sonata, as a necessary foundation. Section 3 provides a complete analysis of the Allegro agitato outer sections, documenting the structural parallel with the Moonlight's governing C-sharp environment and the systematic withholding of D natural throughout. Section 4 analyses the Largo transition as the enharmonic crossing made visible in notation. Section 5 analyses the Moderato cantabile in D-flat major as the enharmonic escape, demonstrating that C(mi)→D-flat(fa) is stated effortlessly in bar 2 of the middle section — the resolution the outer section spent its entire length withholding. Section 6 analyses the return and coda, with special attention to the marking il canto un poco marcato and the recalled D-flat melody. Section 7 provides a detailed analysis of the final C-sharp major chord as an internal enharmonic escape accomplished through harmony rather than re-notation. Section 8 conducts a systematic comparison of the Fantasie-Impromptu and the Moonlight Sonata. Section 9 addresses Chopin's reasons for withholding the piece. Section 10 draws implications for the series.

As it is argued that the Kalevala is not a local story, but a similar political analysis of the trojan war by the Finnish point of view, like the Scandinavian two EDDAs, the role of the horse in the 4 stories is important to be compared. A ló központi motívumként jelenik meg a homéroszi eposzokban, a skandináv *Eddában* és a finn *Kalevalában*, ám mindenhol egyedi helyi jelleggel bír. Míg a görög hagyományban (Homérosz és Dares Phrygius) a ló a hadicsel és a pusztulás eszköze, addig az északi és finn eposzokban a mágia, az alakváltás és a teremtés szimbóluma. Jelen elemzés Dares Phrygius munkájából kiindulva közelít az *Edda* és a *Kalevala* világához.

Royal authority and large-scale dynastic power are attained only through a group and group feeling. This is because aggressive and defensive strength is obtained only through asabiyyah-and it is upon such solidarity that the prophets, too, have always relied.

The early exilic account of the Priestly Code (Pg = Grundschrift) was combined with non-priestly and dtr narratives before the Holiness Code was brought into the composition of the Pentateuch. After that there have been additional priestly reworkings that do not belong to "P", but are post-H priestly layers. (Lecture held 2007 at SBL, Vienna).

On issues surrounding the demonic in late-antique Jewish contexts, see Daniel Waller's contribution in this volume; relatedly, see Molin !A!Ṭ, <AB-<Ṭṭ; for roughly contemporaneous Christian monastic contexts, see, e. g., the late <th or early Ḥth century writing of Climacus ṭBC!; relatedly, see the discussion of "dispassion" in Zecher !A!!, <Ḥ-<C.

The identity of “Elise” in Beethoven’s Für Elise has long remained one of musicology’s most persistent mysteries. Proposed biographical solutions have never fully settled the question. This hypothesis approaches the problem from another angle, suggesting that the answer may lie not in biography alone, but in a literary tradition circulating through the intellectual and artistic currents of emerging German Romanticism, a world Beethoven likely knew. Drawing on the eighteenth-century reception of the Pygmalion myth, this essay considers whether Für Elise may be read less as a personal dedication than as a symbolic reflection on artistic creation and the hope that art might outlive the artist.

A synthetic formation requiring acting universality, which the world-famous theorist, theatre expert and dramaturg Ivo Osolsobě summed up with the words "Theatre that speaks, sings and dances", has a complex history in our theatre with roots reaching back to the horizon of pre-romantic singspiels. The varied palette of often schematic plots in terms of themes and motif structure, sometimes set by local, sometimes fairy-tale, exotic or fantastic plots, gaining popularity with a wide audience, has not always reached the attention of theatre critics who would have noted the quality-if not musical or librettist, then at least artistic. The systematic work of the operetta ensemble of the Brno Theatre under the direction of Oldřich Nový in the years 1923-1935 meant a significant contribution in its time in terms of dramaturgy, translation activities, direction, musical arrangements and, of course, also the scenographic concept, testifying the quality, invention, humour and playful communication with the audience.

During the preparation of the revised English version of La Syntaxe du codex, the authors highlighted the need to reconsider the current notion of 'content' from a codicological point of view, in order to complement the more traditional textual and philological perspectives. This contribution offers a first overview of an ongoing reflection on the identification and delimitation of the various types of contents that can be found in a codex including the notions of BlocConts and UniConts. The analysis of contents raises a number of (partially open) questions concerning their interaction, aimed at a better understanding of the structure of the codex, as well as of its genesis and subsequent transformations.

the relationship between manuscripts and printed texts of sermons by the thirteenthcentury Dominican Nicolas de Biard. Pietro Delcorno focuses on Ludovico Pittorio's popular but lesser known Lenten sermon collection, the Omiliario quadragisimale. What sets this work apart is its appeal to lay and clerical readers alike with an easy access to the Bible and practical applications. The sections on Germanic territories and the Low Countries offer an additional three articles each. Combing through Carmelite library catalogues, Ralf Lützelschwab offers a wealth of information on "neglected" Carmelite preaching in the late medieval period. Natalija Ganina looks at the fifteenth-century preacher, Johannes Kreutzer and his work in Strasbourg and Basel. This article illustrates well how one popular individual's reform efforts may have contributed to a relative lack of textual transmission in sixteenth-century printed texts. Rita Voltmer then focuses on Johannes Geiler von Kaysersberg and the strong efforts made to preserve his written work in print for successive generations. Thom Mertens looks at the manuscript and print transmission of the Middle Dutch pericope sermons of the Gouda cycle. This essay examines how a once popular collection of pericope sermons fell out of usage in the late sixteenth century, following the Council of Trent. Kees Schepers then compares two sixteenthcentury editions of Johannes Tauler's sermons, one from Cologne for Catholics and the other, a Dutch translation, for Protestants. The final essay in this collection is from Patricia Stoop and looks at the sixteenth-and early seventeenth-century manuscript and early print sermon collections of the Jesuit Franciscus Costerus and how those sermons were used for Counter-Reformation efforts in the Low Countries. What comes out clearly in this excellent collection of essays is the variety of ways in which manuscript and printed texts coexisted, were used and how the manuscript tradition was not simply eliminated with the rise of print. This volume also highlights the much needed continuation of research in these fields. To that end, each of these articles provides a wealth of information in the form of appendices and bibliography to help scholars working the field of sermon studies, preaching and early printed books continue this important work.

Der Beitrag untersucht die Realität eines 1998 eingeführten Palisadenwalls als Vorgänger der Feldsteinmauer des Danewerks. Jüngere archäologische Arbeiten hatten diesen Wall unter Berufung auf die Begründungen vom Jahre 1998 aufgegriffen und weitgehende historische  Aussagen abgeleitet. Die Prüfung der publizierten Quellen lässt den Palisadenwall als Fiktion erscheinen. Die jüngste Version eines Palisadenwalles mit steinernem Laufgang ist ohne Nachweis und bautechnisch unplausibel. Eine Neudatierung des Sodenwalls unterliegt einem methodischen Fehler.

The article examines the reality of a Palisade Rampart (Palisadenwall) introduced in 1998 as the predecessor of the Fieldstone Rampart (Feldsteinmauer). Recent archaeological studies have revisited this Rampart, referring to the reasons given in 1998, and derived far-reaching historical conclusions. An examination of the published sources indicates the Palisade Rampart as a fiction. The most recent version of a Palisade Rampart with a stone walkway behind is unsubstantiated and, based on the stratigraphic evidence, implausible. A new dating of the Turf Rampart (Sodenwall) is erroneous due to a methodical error.

The study examines how the political and ideological context of the second half of the twentieth century shaped the interpretation of Adolf Fényes’s oeuvre, with particular attention to its social-socialist reading. It demonstrates how the elevation of his early “Armeleutemalerei" became the basis for his incorporation into the socialist canon during the Rákosi era, and how his entire body of work was measured against the norms of realism. The article also analyzes how this concept was transformed and nuanced in Kádár-era art historiography as political pressure gradually eased. Through close philological analysis, the study contributes not only to Fényes’s reception history but also offers broader insights into the historiography of Hungarian art, canon formation, and shifting narratives of artistic development.

In Japan, it is often said that Jesus was born in a horse stable. But, in Western Europe, it is in a livestock stable that Jesus was said to have been born. There has been no research into the origin of the horse stable legend in Japan.
In the early Japanese Christian documents, the stable in which Jesus was born was often designated as an "umaya". Etymologically, this word meant a horse stable. But, it was used to designate a cowshed as well. This suggests that, in the early Christian period in Japan, it was used in the sense of livestock stable. I proposed the hypothesis that, after the abolition of the Christianity prohibition, the word "umaya" was understood to mean “horse stable”, which generated the horse stable legend. This process may have been reinforced by other factors: (1) Prince Shōtoku is said to have been born in front of a horse stable. This legend may have influenced the nativity legend. (2) In English, “stable” is used to designate the livestock stable in which Jesus was born. But, this usage is archaic and the word usually means “horse stable”. This is misleading to the Japanese people. (3) As it was difficult to find an appropriate word to refer to the manger in Luke 2, Japanese translations of the Bible, such as the Meiji Version and the Taisho Revised Version, used the word "umabune", which literally meant "horse manger".
Keywords: Jesus, horse stable, umaya, kirishitan, Bible

日本では，しばしば，イエスは馬小屋で生まれたと言われる。しかし，西ヨーロッパにおいては，イエスが生まれたのは，家畜小屋である。日本における馬小屋伝承の起源については，これまで研究がなかった。
キリシタン書では，イエスの生まれた場所は，しばしば，「うまや」とされていた。この語は，語源的には馬小屋を意味するが，牛小屋を指すのにも転用されてきた。キリシタン書における「うまや」は，家畜小屋の意味で使われたと考えられる。本稿では，禁教時代を経てキリスト教解禁以後，「うまや」という語が馬小屋の意味で理解されて，馬小屋伝承が流布し定着したという仮説を提案した。その他に，以下の要因が働いた可能性も指摘した。（1）聖徳太子が厩の前で生まれたという伝説に影響された。（2）英語においてイエスの生まれた家畜小屋を指すにはstable が用いられる。しかし，この語は，通常，馬小屋を指すように意味変化している。（3）ルカ2 章に出てくる飼い葉桶の適当な訳語がなく，『明治元訳聖書』や『大正改訳』などの日本語訳聖書で「槽（うまぶね）」や「馬槽（うまぶね）」が用いられた。
キーワード： イエス，馬小屋，「うまや」，キリシタン，聖書

The Ten Commandments (አሥርቱ ቃላት, ’Aśśərtu Qālāt), considered an identity‑forming text of Beta Israel (Ethiopian Jews), has become the main text cited orally by Qesočč (priests) and community in their liturgical practice. Recently committed to writing, the oral tradition is here compared to three written versions of Orit‑Exodus (the Book of Exodus). Textual criticism and early translations, interpretive techniques, and oral transmission of interpretative traditions are the methodologies used to illustrate the close (and complicated) relationships between oral and literary phases of liturgical traditions/texts. I argue below that (i) Beta Israel Orit versions have textual (not only oral) traditions that are distinct from those of the Christian Orthodox Church of Ethiopia, represented in the Ethiopic Modern Textus Receptus. (ii) ’Aśśərtu Qālāt oral tradition captures interpretive‑harmonistic traditions unique to Beta Israel. The study showcases the research project carried on within the Orit Guardians program at Tel Aviv University, which aims to investigate the traditions of reading, translating, and interpreting the Bible among Beta Israel religious leaders.

This brief proposal summarizes the artistic concept and context, as well as performance procedures and technical apparatus, for an approximately 9-minute solo performance piece whose playfully unwieldy title is given above. This piece builds upon a series of recent sound artworks by the author that intersect with data sonification practices. These works draw upon the inherent criticality of artistic practice to demonstrate how structures phenomenologically encountered within sonification reveal as much about their environmental and systemic context as they do about the data sonified. The present work draws upon a dataset constructed from pseudorandom values. The piece slowly unfolds from a process of gradual rescaling and reframing, applying common sonification techniques to this (random) data. Structure is clearly perceivable in the resulting sound-world, but where does it come from and what is structuring what?