Apocrypha Hiberniae. I. Evangelia infantiae

In 1927 M. R. James published Latin Infancy Gospels, identified by him in two related but not identical manuscripts (one the British Library Arundel 404; the other from Hereford), together with a parallel text from the Irish manuscript known as the Leabhar Breac. Later researches brought to light more manuscripts of this Latin work, and also of the Irish text. James recognized that his apocryphal Latin Infancy text was compiled from a combination of the Protevangelium of James and a hitherto unknown text which he named "The Source". Recent research has identified a full Latin translation of the Protevangelium of James. A hitherto unrecognized Irish Infancy Narrative has also been identified in the Dublin manuscript known as the Liber Flavus Fergusiorum. A deep study of this related tradition was called for. This has been carried out over the past ten years by an Irish team in conjunction with Professor Daniel Kaestli and AELAC. The fruits of this labour are published in these two volumes. Volume 13 has a general introduction with a historical sketch of New Testament apocrypha in Ireland and a history of research on the subject. This is followed by a comparison of the Infancy Narratives in the Leabhar Breac and the Liber Flavus Fergusiorum. There are special introductions to these Infancy texts, followed by critical editions of the Irish texts, accompanied by English translations and rich annotation. Next there is similar treatment of the Irish versified Narrative (from ca. 700) of the Childhood Deeds of Jesus (commonly known as the Infancy Narrative (or Gospel) of Thomas. There is then (in volume 14, but with continuous pagination) the edition and translation of an Irish thirteenth-century poem with elements from Infancy Narratives, and both Latin and Irish texts on the wonders at Christ's birth, accompanied by translations and notes. The edition of the Irish material is followed by a critical edition of the full Arundel and Hereford forms of the Infancy Narrative (here referred to as the "J Compilation"), together with a detailed study of all the questions relating to this work. The volume concludes with a critical edition (by Rita Beyers) of the Latin text of the Protevangelium of James, accompanied by a detailed study of the work.. The work contains a detailed study of the Latin translations of the Protevangelium of James and the transmission of this work in the West. The "J Compilation" (a combination of the Protevangelium and texts of Pseudo-Matthew) can be traced back in manuscript transmission to ca. 800,and must have originated some time earlier. Behind it stands an earlier "I ("I" for Irish) Compilation" without influence from Pseudo-Matthew, the form found in the Irish witnesses. It is argued that M. R. James's "Source" may be of Judaeo-Christian origin and may really be the Gospel of the Nazoreans. Among the indexes there is a list of all the Irish words found in the texts. This edition of the Irish and related Latin texts is a major contribution to the study of the apocryphal Infancy Narratives. It should also be of particular interest to Celtic scholars, to students of Irish ecclesiastical learning, and in general to all medievalists.

The Irish Infancy Narratives and their Relationship with Latin Sources

(Résumé de l'ouvrage) In 1927 M. R. James published Latin Infancy Gospels, identified by him in two related but not identical manuscripts (one the British Library Arundel 404; the other from Hereford), together with a parallel text from the Irish manuscript known as the Leabhar Breac. Later researches brought to light more manuscripts of this Latin work, and also of the Irish text. James recognized that his apocryphal Latin Infancy text was compiled from a combination of the Protevangelium of James and a hitherto unknown text which he named "The Source". Recent research has identified a full Latin translation of the Protevangelium of James. A hitherto unrecognized Irish Infancy Narrative has also been identified in the Dublin manuscript known as the Liber Flavus Fergusiorum. A deep study of this related tradition was called for. This has been carried out over the past ten years by an Irish team in conjunction with Professor Daniel Kaestli and AELAC. The fruits of this labour are published in these two volumes. Volume 13 has a general introduction with a historical sketch of New Testament apocrypha in Ireland and a history of research on the subject. This is followed by a comparison of the Infancy Narratives in the Leabhar Breac and the Liber Flavus Fergusiorum. There are special introductions to these Infancy texts, followed by critical editions of the Irish texts, accompanied by English translations and rich annotation. Next there is similar treatment of the Irish versified Narrative (from ca. 700) of the Childhood Deeds of Jesus (commonly known as the Infancy Narrative (or Gospel) of Thomas. There is then (in volume 14, but with continuous pagination) the edition and translation of an Irish thirteenth-century poem with elements from Infancy Narratives, and both Latin and Irish texts on the wonders at Christ's birth, accompanied by translations and notes. The edition of the Irish material is followed by a critical edition of the full Arundel and Hereford forms of the Infancy Narrative (here referred to as the "J Compilation"), together with a detailed study of all the questions relating to this work. The volume concludes with a critical edition (by Rita Beyers) of the Latin text of the Protevangelium of James, accompanied by a detailed study of the work.. The work contains a detailed study of the Latin translations of the Protevangelium of James and the transmission of this work in the West. The "J Compilation" (a combination of the Protevangelium and texts of Pseudo-Matthew) can be traced back in manuscript transmission to ca. 800,and must have originated some time earlier. Behind it stands an earlier "I ("I" for Irish) Compilation" without influence from Pseudo-Matthew, the form found in the Irish witnesses. It is argued that M. R. James's "Source" may be of Judaeo-Christian origin and may really be the Gospel of the Nazoreans. Among the indexes there is a list of all the Irish words found in the texts. This edition of the Irish and related Latin texts is a major contribution to the study of the apocryphal Infancy Narratives. It should also be of particular interest to Celtic scholars, to students of Irish ecclesiastical learning, and in general to all medievalists.

Latin Infancy Gospels: The J Compilation. Introduction and Edition

(Résumé de l'ouvrage) In 1927 M. R. James published Latin Infancy Gospels, identified by him in two related but not identical manuscripts (one the British Library Arundel 404; the other from Hereford), together with a parallel text from the Irish manuscript known as the Leabhar Breac. Later researches brought to light more manuscripts of this Latin work, and also of the Irish text. James recognized that his apocryphal Latin Infancy text was compiled from a combination of the Protevangelium of James and a hitherto unknown text which he named "The Source". Recent research has identified a full Latin translation of the Protevangelium of James. A hitherto unrecognized Irish Infancy Narrative has also been identified in the Dublin manuscript known as the Liber Flavus Fergusiorum. A deep study of this related tradition was called for. This has been carried out over the past ten years by an Irish team in conjunction with Professor Daniel Kaestli and AELAC. The fruits of this labour are published in these two volumes. Volume 13 has a general introduction with a historical sketch of New Testament apocrypha in Ireland and a history of research on the subject. This is followed by a comparison of the Infancy Narratives in the Leabhar Breac and the Liber Flavus Fergusiorum. There are special introductions to these Infancy texts, followed by critical editions of the Irish texts, accompanied by English translations and rich annotation. Next there is similar treatment of the Irish versified Narrative (from ca. 700) of the Childhood Deeds of Jesus (commonly known as the Infancy Narrative (or Gospel) of Thomas. There is then (in volume 14, but with continuous pagination) the edition and translation of an Irish thirteenth-century poem with elements from Infancy Narratives, and both Latin and Irish texts on the wonders at Christ's birth, accompanied by translations and notes. The edition of the Irish material is followed by a critical edition of the full Arundel and Hereford forms of the Infancy Narrative (here referred to as the "J Compilation"), together with a detailed study of all the questions relating to this work. The volume concludes with a critical edition (by Rita Beyers) of the Latin text of the Protevangelium of James, accompanied by a detailed study of the work.. The work contains a detailed study of the Latin translations of the Protevangelium of James and the transmission of this work in the West. The "J Compilation" (a combination of the Protevangelium and texts of Pseudo-Matthew) can be traced back in manuscript transmission to ca. 800,and must have originated some time earlier. Behind it stands an earlier "I ("I" for Irish) Compilation" without influence from Pseudo-Matthew, the form found in the Irish witnesses. It is argued that M. R. James's "Source" may be of Judaeo-Christian origin and may really be the Gospel of the Nazoreans. Among the indexes there is a list of all the Irish words found in the texts. This edition of the Irish and related Latin texts is a major contribution to the study of the apocryphal Infancy Narratives. It should also be of particular interest to Celtic scholars, to students of Irish ecclesiastical learning, and in general to all medievalists.

Multiple imputations applied to the DREAM3 phosphoproteomics challenge: a winning strategy.

DREAM is an initiative that allows researchers to assess how well their methods or approaches can describe and predict networks of interacting molecules [1]. Each year, recently acquired datasets are released to predictors ahead of publication. Researchers typically have about three months to predict the masked data or network of interactions, using any predictive method. Predictions are assessed prior to an annual conference where the best predictions are unveiled and discussed. Here we present the strategy we used to make a winning prediction for the DREAM3 phosphoproteomics challenge. We used Amelia II, a multiple imputation software method developed by Gary King, James Honaker and Matthew Blackwell[2] in the context of social sciences to predict the 476 out of 4624 measurements that had been masked for the challenge. To chose the best possible multiple imputation parameters to apply for the challenge, we evaluated how transforming the data and varying the imputation parameters affected the ability to predict additionally masked data. We discuss the accuracy of our findings and show that multiple imputations applied to this dataset is a powerful method to accurately estimate the missing data. We postulate that multiple imputations methods might become an integral part of experimental design as a mean to achieve cost savings in experimental design or to increase the quantity of samples that could be handled for a given cost.

ALDH1A3 loss of function causes bilateral anophthalmia/microphthalmia and hypoplasia of the optic nerve and optic chiasm.

The major active retinoid, all-trans retinoic acid, has long been recognized as critical for the development of several organs, including the eye. Mutations in STRA6, the gene encoding the cellular receptor for vitamin A, in patients with Matthew-Wood syndrome and anophthalmia/microphthalmia (A/M), have previously demonstrated the importance of retinol metabolism in human eye disease. We used homozygosity mapping combined with next-generation sequencing to interrogate patients with anophthalmia and microphthalmia for new causative genes. We used whole-exome and whole-genome sequencing to study a family with two affected brothers with bilateral A/M and a simplex case with bilateral anophthalmia and hypoplasia of the optic nerve and optic chiasm. Analysis of novel sequence variants revealed homozygosity for two nonsense mutations in ALDH1A3, c.568A>G, predicting p.Lys190*, in the familial cases, and c.1165A>T, predicting p.Lys389*, in the simplex case. Both mutations predict nonsense-mediated decay and complete loss of function. We performed antisense morpholino (MO) studies in Danio rerio to characterize the developmental effects of loss of Aldh1a3 function. MO-injected larvae showed a significant reduction in eye size, and aberrant axonal projections to the tectum were noted. We conclude that ALDH1A3 loss of function causes anophthalmia and aberrant eye development in humans and in animal model systems.

Coulier, Paul-Jean (1824-1890) : a precursor in the history of fingermark detection and their potential use for identifying their source (1863)

An online copy of a 1863 French book, The Scientific and Industrial Year (English translation of the title), that predates other historically significant writings about fingerprints suggests the use of iodine stains to reproduce papillary lines of the skin and suggests the feasibility of identifying suspects by touch. It also suggests the use of a magnifying glass for comparing those impressions whose origins need to be determined.

Lethal skeletal dysplasia in mice and humans lacking the golgin GMAP-210.

BACKGROUND: Establishing the genetic basis of phenotypes such as skeletal dysplasia in model organisms can provide insights into biologic processes and their role in human disease. METHODS: We screened mutagenized mice and observed a neonatal lethal skeletal dysplasia with an autosomal recessive pattern of inheritance. Through genetic mapping and positional cloning, we identified the causative mutation. RESULTS: Affected mice had a nonsense mutation in the thyroid hormone receptor interactor 11 gene (Trip11), which encodes the Golgi microtubule-associated protein 210 (GMAP-210); the affected mice lacked this protein. Golgi architecture was disturbed in multiple tissues, including cartilage. Skeletal development was severely impaired, with chondrocytes showing swelling and stress in the endoplasmic reticulum, abnormal cellular differentiation, and increased cell death. Golgi-mediated glycosylation events were altered in fibroblasts and chondrocytes lacking GMAP-210, and these chondrocytes had intracellular accumulation of perlecan, an extracellular matrix protein, but not of type II collagen or aggrecan, two other extracellular matrix proteins. The similarities between the skeletal and cellular phenotypes in these mice and those in patients with achondrogenesis type 1A, a neonatal lethal form of skeletal dysplasia in humans, suggested that achondrogenesis type 1A may be caused by GMAP-210 deficiency. Sequence analysis revealed loss-of-function mutations in the 10 unrelated patients with achondrogenesis type 1A whom we studied. CONCLUSIONS: GMAP-210 is required for the efficient glycosylation and cellular transport of multiple proteins. The identification of a mutation affecting GMAP-210 in mice, and then in humans, as the cause of a lethal skeletal dysplasia underscores the value of screening for abnormal phenotypes in model organisms and identifying the causative mutations.

Forme e funzioni del coro tragico in Italia (1524-1824)

Ce travail n'a pas pour but d'établir une histoire du choeur tragique pour ainsi dire 'd'anthologie', mais bien plutôt de tracer un parcours sélectif et dynamique, en suivant l'évolution de ses formes et de ses fonctions dans la tragédie italienne, à partir du début du XVIe siècle jusqu' à la production alfiérienne et au retour du choeur dans le théâtre de Manzoni ; à cela s'ajoute un exercice en dehors du genre dramatique tel que le Dialogo di Federico Ruysch e delle sue mummie dans les Operette morali di Giacomo Leopardi. Dans la première partie - la plus ample et complexe, portant sur l'emploi du choeur dans la tragédie de la Renaissance - on essaye de cerner le contexte qui favorise la persistance d'un espace choral en examinant plusieurs commentaires de la Poétique aristotélicienne, et des essais de théorie dramaturgique comme Della poesia rappresentativa de Angelo Ingegneri, ou le Discorso intorno al comporre de Giambattista Giraldi Cinzio. À côté de la discussion sur le rôle du choeur on envisage aussi le profil formel des sections chorales, en s'appuyant sur l'analyse métrique, dans le cadre plus général du 'petrarchismo metrico', et en particulier de la réception de la chanson pétrarquesque. Interroger la présence de trois constantes thématiques - par exemple la forme de l'hymne à Éros - signifie en suite relever l'importance de Sophocle pour le théâtre de la Renaissance dans la perspective du choeur. Cette première section est complétée par un chapitre entièrement consacré à Torquato Tasso et à son Re Torrismondo, qui présente un troisième chant choral de grande épaisseur philosophique, central dans l'économie du drame et analysé ici à travers un exercice de lecture qui utilise à la fois les instruments de la stylistique, de l'intertextualité, et de l'intratextualité concernant l'entier corpus poétique et philosophique tassien, de ses Rime aux Dialoghi. La deuxième section, qui commence par une exploration théorique de la question du choeur, conduite par exemple sur les textes de Paolo Beni e Tommaso Campanella, a pour cible principale de expliquer comment le choeur assume le rôle d'un vrai 'personnage collectif' dans le théâtre de Federico Della Valle : un choeur bien installé dans l'action tragique, mais conservant au même temps les qualités lyriques et philosophiques d'un chant riche de mémoire culturelle et intertextuelle, de la Phaedra de Sénèque à la Commedia dantesque dans la Reina di Scozia, centre principal de l'analyse et coeur du catholicisme contreréformiste dellavallien. Dans la troisième partie le discours se concentre sur les formes de la métamorphose, pour ainsi dire, du choeur : par exemple la figure du confident, conçu comme un substitut du groupe choral dans les discussions des théoriciens et des auteurs français - voir Corneille, D'Aubignac, Dacier - et italiens, de Riccoboni à Calepio et Maffei. Cependant dans cette section il est surtout question de la définition de l'aria mélodramatique compris comme le 'nouveau choeur' des Modernes, formulée par Ranieri Calzabigi et par Metastasio. Il s'agit donc ici de mettre en relation l'élaboration théorique contenue dans la Dissertazione de Calzabigi et dans l'Estratto de l'Arte poetica de Metastasio avec le premier et unique essai tragique de jeunesse de ce dernier, le Giustino, et le livret de son Artaserse. On essaye de montrer le profond lien entre l'aria et l'action dramatique : donc c'est le dramma musicale qui est capable d'accueillir la seule forme de choeur - l'aria - encore possible dans le théâtre moderne, tandis que le choeur proprement tragique est désormais considéré inutilisable et pour ainsi dire hors-contexte (sans toutefois oublier qu'à la fin du siècle Vittorio Alfieri essayait de ne pas renoncer au choeur dans sa traduction des Perses d'Eschyle ; et surtout dans un essai tragique comme l'Alceste seconda ou dans sa tramelogedia, l'Abele). Comme conclusion une section contenant des remarques qui voudrait juste indiquer trois possibles directions de recherche ultérieure : une comparaison entre Manzoni et Leopardi - dans la perspective de leur intérêt pour le choeur et de la différence entre le sujet lyrique manzonien et celui léopardien ; une incursion dans le livret du mélodrame verdien, afin de comprendre la fonction du choeur manzonien et sa persistance dans le texte pour l'opéra ; et enfin quelque note sur la réception du choeur manzonien et du Coro di morti léopardien dans le XXe siècle, en assumant comme point d'observation la poésie de Carlo Michelstaedter, Andrea Zanzotto et Franco Fortini. Il lavoro non intende tracciare una storia 'da manuale' del coro tragico, ma piuttosto indicare un percorso selettivo e dinamico, seguendo l'evoluzione delle sue forme e delle sue funzioni nella tragedia italiana, a partire dall'inizio del sedicesimo secolo per arrivare alla produzione alfieriana e al ritorno del coro nel teatro di Manzoni; a ciò si aggiunge una prova estranea al genere drammatico come il Dialogo di Federico Ruysch e delle sue mummie nelle Operette morali di Giacomo Leopardi. Nella prima parte - la più ampia e complessa, riguardante l'impiego del coro nella tragedia rinascimentale - si cerca di ricostruire il contesto che favorisce la persistenza dello spazio corale attraverso l'esame di diversi commenti alla Poetica aristotelica, e di alcuni saggi di teoria drammaturgica come Della poesia rappresentativa di Angelo Ingegneri, o il Discorso intorno al comporre di Giambattista Giraldi Cinzio. La discussione sul ruolo del coro è affiancata dall'esame del profilo formale delle sezioni corali, grazie a un'indagine metrica nel quadro del più ampio petrarchismo metrico cinquecentesco, e in particolare nel quadro della ricezione della formacanzone petrarchesca. Interrogare la presenza di tre costanti tematiche - per esempio la forma dell'inno a Eros - significherà in seguito rilevare l'importanza di Sofocle per il teatro rinascimentale anche nella prospettiva angolata del coro. Questa prima sezione è completata da un capitolo interamente dedicato a Torquato Tasso e al suo Re Torrismondo, che presenta un terzo canto corale di grande spessore stilistico e filosofico, centrale nell'economia del dramma e analizzato qui attraverso un esercizio di lettura che si serve degli strumenti della stilistica e dell'intertestualità, oltre che del rapporto intratestuale fra i vari luoghi del corpus tassiano, dalle Rime ai suoi Dialoghi. La seconda sezione, che si avvia con un'esplorazione teorica della questione del coro nel Seicento - condotta per esempio sui testi di Paolo Beni e Tommaso Campanella - ha per fulcro la descrizione di un coro quale 'personaggio collettivo' nelle tragedie di Federico Della Valle: un coro ben inserito nell'azione tragica, ma che conserva allo stesso tempo le qualità liriche e filosofiche di un canto ricco di memoria culturale e intertestuale, dalla Fedra di Seneca alla Commedia dantesca, nella sua Reina di Scozia, centro dell'analisi e cardine del cattolicesimo controriformista dellavalliano. Nella terza sezione il discorso si concentra sulle forme della metamorfosi, per così dire, del coro: per esempio la figura del confidente, interpretato come un sostituto del gruppo corale nelle discussioni di teorici e autori francesi - Corneille, D'Aubignac, Dacier - e italiani, da Riccoboni a Calepio e Maffei. Ma qui ci si rivolge anzitutto alla definizione dell'aria melodrammatica, sentita quale 'nuovo coro' dei Moderni da Ranieri Calzabigi e Pietro Metastasio. Si tratterà dunque di mettere in relazione l'elaborazione teorica svolta nella Dissertazione di Calzabigi e nell'Estratto dell'arte poetica di Metastasio con il primo e unico - e giovanile - tentativo tragico di quest'ultimo, il Giustino, e con il libretto del suo Artaserse. L'intenzione è quella di mostrare il profondo legame tra l'aria e l'azione drammatica: è perciò il dramma musicale che è capace di accogliere la sola forma di coro - l'aria - ancora possibile nel teatro moderno, mentre il vero e proprio coro tragico si rassegna ormai a essere considerato inutile e per così dire fuori contesto (senza dimenticare, tuttavia, che al chiudersi del secolo Vittorio Alfieri tentava di non rinunciare al coro nella sua traduzione dei Persiani di Eschilo; e soprattutto in un tentativo tragico come la sua Alceste seconda o nella tramelogedia Abele). In conclusione una più veloce sezione che vorrebbe semplicemente indicare qualche altra possibile direzione di ricerca: un confronto fra Manzoni e Leopardi - nella prospettiva del coro interesse per il coro, e della differenza fra il soggetto lirico manzoniano e quello leopardiano; un'incursione nel libretto del melodramma verdiano, per misurarvi la funzione del coro manzoniano e la sua persistenza nel testo operistico; e infine qualche appunto sulla ricezione del coro manzoniano e del Coro di morti di Leopardi nel Novecento, assumendo quale punto d'osservazione la poesia di Carlo Michelstaedter, Andrea Zanzotto e Franco Fortini.