Kitāb al-Taʻarruf li-madhhab ahl al-taṣawwuf : manuscript, 1605

Title from f. 2v.

Syair sindiran badan, manuscript, [183-]

The writing is in two columns within a border, 13 lines per column.

Hādhihi al-safīnah al-mubārakah : manuscript, 1821

Title from colophon.

[ Collection of Mohammedan prayers] : manuscript, undated

Collection of prayers and various devotional writings in prose and poetry.

A collection of Turkish and Persian poetry : manuscript, undated

Cream laid paper with watermarks. 19.9 x 14.3 cm.

Sharḥ al-Ḥamāsah : manuscript, undated

Volume 1 of a two-volume set.

[ Poetry reading

The Autumn of the World -- Formal Incantation -- My Company -- Sonnet ["One day you will intuitively come"] -- Sonnet ["This plain is a full arena"] -- Daphne -- A Short Poem for Armistice Day -- Moon's Farm [excerpt] -- Felix Transitus.

O cancioneiro de Airas Engeitado, trovador

As cantigas da lírica galego-portuguesa são obras de um conjunto diversificado de autores e constituem-se como um rico património literário e cultural da Idade Média, produzido entre os séculos XII e XIV. Ao longo dos tempos, o seu interesse tem conduzido ao estudo de aspetos da transmissão dos textos, da biografia dos trovadores e das influências recebidas de territórios além peninsulares, bem como tem levado à concretização de diversas edições críticas. A presente tese tem como objetivo a edição crítica das cantigas de um dos trovadores da lírica galego-portuguesa, Airas Engeitado. Este autor foi editado pela última vez em 1932, por José Joaquim Nunes, juntamente com as cantigas de amor que Carolina Michaëlis considerou excluídas do cancioneiro da Ajuda. Esta edição não foi, até à data e que seja do nosso conhecimento, revista por nenhum editor. A edição de Nunes, sobre a qual o próprio Nunes manifestou dúvidas, apresenta os textos de Engeitado bastante deturpados, pelo que se procede aqui a uma nova edição crítica, com critérios de edição mais exigentes que os de Nunes na edição referida e normas de transcrição diferentes. Procede-se também ao enquadramento e explicação de uma lírica de autor com caraterísticas que podemos considerar singulares, no contexto da lírica galego-portuguesa. As quatro cantigas de amor que considero da autoria de Airas Engeitado chegaram até nós pelo Cancioneiro da Biblioteca Nacional (B), pelo Cancioneiro da Biblioteca Vaticana (V) e foram mencionadas na Tavola Colocciana, índice de B. Além do estabelecimento crítico das cantigas de Airas Engeitado, fazem-se diversos apontamentos sobre questões paleográficas, notas que abordam as divergências existentes entre as minhas leituras dos testemunhos e as leituras do editor anterior, bem como notas que remetem para peculiaridades lexicais, sintáticas ou dos esquemas de versificação das cantigas. Em breve capítulo, resume-se o pouco que se sabe sobre a biografia de Airas Engeitado e faz-se o enquadramento das cantigas editadas na tradição manuscrita. Questão de extrema relevância é a da dupla atribuição da cantiga A gran direito lazerei, que equaciono e discuto também no capítulo sobre a tradição manuscrita. É nesta reflexão que fundamento a minha decisão de incluir a cantiga na presente edição, apesar de ela ter sido, até à data, unanimemente atribuída a Afonso Eanes do Coton.

Tough love for sinners in the eurozone banking union. CEPS Commentary, 1 July 2013

The ministers of finance and the economy of the eurozone have now agreed on the main features of a new ESM instrument for the direct recapitalisation of euro area banks (Eurogroup, 2013) and on a framework for the recovery and resolution of credit institutions (Council of the European Union, 2013). However, as Stefano Micossi explains in this Commentary, the text that has come out of the frantic late-night negotiations in the Ecofin Council seems to leave unwelcome uncertainty as to the real scope of the new rules in the different national jurisdictions, while the lack of depositor preference in the bail-in pecking order may result in destabilisation. The proposed system appears not only highly intrusive but it also places a considerable burden of aid to the failing institution on the member state, raising doubts about its ability to “break the vicious circle between banks and sovereigns”.

Kazakhstan's attitude towards integration with Russia: less love, more fear. OSW Commentary No. 137, 29.05.2014

Russia’s annexation of Crimea and destabilization of Ukraine have created a new context for Kazakhstan’s foreign and domestic policy. The ongoing crisis in the relations with Russia and the West has also changed the current order in the entire post-Soviet area. From Astana’s perspective, the Kremlin’s policy towards Ukraine can be considered dangerous since it shows Russia’s determination to interfere with the domestic affairs of its neighbours in the pursuit of its own interests. Furthermore, this policy reveals and raises the price a country needs to pay for its potential attempts to break free from the Russian zone of influence. At present the biggest challenge for the authorities in Astana is the accelerated implementation of the idea of the Eurasian Union promoted by Moscow, which is to be another stage in the integration of post-Soviet states (presently Russia, Kazakhstan and Belarus). The signing of the Eurasian Union’s founding documents planned for late May 2014 and the launch of this organisation (scheduled for January 2015) is sure to bring Kazakhstan closer to Russia and simultaneously limit its economic and political independence. Nevertheless, Astana’s position in relations with Moscow will to a large extent depend on the new shape of the relations between Russia and China. China is pursuing its own strategic interests in Central Asia (including in the energy sector) and its main partner in the region is Kazakhstan. At the domestic level, Russia’s actions in Ukraine made the authorities in Astana fear that measures similar to those used in Ukraine could be applied towards Kazakhstan. On the one hand this has led to increased efforts aimed at consolidating the state and strengthening its structures, and on the other hand it has brought about a revision of those aspects of domestic policy which Russia could interpret as a pretext for interfering.

The power of language and the language of power in M. T. Anderson’s Feed and Gary Stheyngart’s Super Sad True Love Story. A comparative analysis

The aim of my dissertation is to analyze how selected elements of language are addressed in two contemporary dystopias, Feed by M. T. Anderson (2002) and Super Sad True Love Story by Gary Shteyngart (2010). I chose these two novels because language plays a key role in both of them: both are primarily focused on the pervasiveness of technology, and on how the use/abuse of technology affects language in all its forms. In particular, I examine four key aspects of language: books, literacy, diary writing, as well as oral language. In order to analyze how the aforementioned elements of language are dealt with in Feed and Super Sad True Love Story, I consider how the same aspects of language are presented in a sample of classical dystopias selected as benchmarks: We by Yevgeny Zamyatin (1921), Brave New World by Aldous Huxley (1932), Animal Farm (1945) and Nineteen Eighty-Four (1949) by George Orwell, Fahrenheit 451 by Ray Bradbury (1952), and The Handmaid's Tale by Margaret Atwood (1986). In this way, I look at how language, books, literacy, and diaries are dealt with in Anderson’s Feed and in Shteyngart’s Super Sad True Love Story, both in comparison with the classical dystopias as well as with one another. This allows for an analysis of the similarities, as well as the differences, between the two novels. The comparative analysis carried out also takes into account the fact that the two contemporary dystopias have different target audiences: one is for young adults (Feed), whereas the other is for adults (Super Sad True Love Story). Consequently, I also consider whether further differences related to target readers affect differences in how language is dealt with. Preliminary findings indicate that, despite their different target audiences, the linguistic elements considered are addressed in the two novels in similar ways.