Die Abschrift als Schreibszene. Der ›Nuwe Parzifal‹ in der Handschrift Rom, Biblioteca Casanatense, Mss. 1409

The Codex Biblioteca Casanatense 1409 which has for a long time been neg- lected in Parzival scholarship, transmits German translations of three continuations of Chre ́tien de Troyes‘ Roman de Perceval ou Le Conte du Graal together with the last two books (XV/XVI) of Wolfram von Eschenbach’s Parzival. This article supports the for- merly casually made assumption that the Casanatense manuscript is in fact a direct copy of Codex Donaueschingen 97, the so called Rappoltsteiner Parzifal. As is to be shown, marks in the Donaueschingen codex, as well as significant copying errors in the Casanatense text and its treatment of initials suggest a direct relationship of the two witnesses. The notion of ,writing scene‘ (Schreibszene) with its implications of linguistic semantics, instrumentality, gesture and self reflection, proposed in modern literary scholarship, can help to understand peculiarities of the copying process in the Casanatensis, such as the numerous conceptual abbreviations and the adaptations in the handling of headings. In the final part of the article, the hypothesis is corroborated, that the copy of the Casa- natensis might have been produced in the surroundings of Lamprecht von Brunn (ca. 1320–1399), bishop of Strasburg and Bamberg, and counsellor of the emperor Charles IV.

Butor et le livre-installation: montage de textes, œuvre plurielle, transits entre univers culturels

La complétude des Œuvres complètes de Butor est problématique, car elle ne prend pas en compte les collaborations de toutes sortes et les œuvres inscrites sur d’autres supports que du papier. Pour avoir une véritable idée de cette complétude, il faudrait donc imaginer une installation qui réunirait à la fois, entre autres, les codex habituels de Butor, les livres d’artistes, les œuvres numériques. On se rendrait compte que cette installation est fondée sur des passages de frontières entre les genres artistiques, l’assemblage et le collage permettant de passer des frontières entre univers culturels différents.

The Role of the European Imperial Powers throughout the Armenian Schism in the 1870s

The Bull "Reversurus" (1867) and its dogmatic legitimization at the First Vatican Council in 1870 caused not only ecclesiastical controversy and Schism in the Armenian Catholic Church, but it had also wide political consequences for the Armenian Catholics in the Ottoman Empire. The conflict originally between the Armenian Catholics and Rome attracted very soon the attention of the European imperial Powers. France, the British Empire, the German Empire, Austria-Hungary and Russia were the main political powers who were involved in the Armenian affair. A full picture of the role of all these powers for the course of the Armenian Schism is missing. Mostly the role of France is foregrounded in the printed sources, as the main power, which supported the papacy to win during the Armenian affair. The role and the motives of the other imperial powers is almost missing. This article will try to describe as completely as possible the historical and political background, which brought to the escalation of the Armenian conflict beyond the national frontiers and led to number of conflicts at the international and transnational level. It will be shown that the imperial policy in Europe in the 19th century have played an enormous role throughout the Armenian Schism. It will be explained that several historical circumstances in Europe, especially the relation of the European imperial powers to each other as well as their expectations from the Ottoman Empire and its Armenian subjects were decisive for the duration and conclusion of the Armenian Schism.