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2 | 2021<\/strong><\/p>\n Messina, Centro Internazionale di Studi Umanistici, 2020, 320 pp.; 25 cm. \u20ac 70<\/p>\n <\/p>\n <\/p>\n INDICE GENERALE<\/p>\n Vincenzo Fera, Edizioni in cerca d\u2019identit\u00e0<\/em> Indice dei manoscritti e delle fonti d\u2019archivio <\/p>\n ABSTRACT<\/p>\n VINCENZO FERA, Edizioni in cerca d\u2019identit\u00e0<\/em> GIOVANNI BARBERI SQUAROTTI, \u00abCon la coscienza di compiere un dovere\u00bb: i <\/em>Poemi del Risorgimento nell\u2019edizione di Maria Pascoli (1913)<\/em> MASSIMO CASTOLDI, Giovanni Pascoli: varianti d\u2019oltre tomba<\/em> GIORGIO FORNI, Maria editrice di Giovanni. Qualche caso dantesco e il Piccolo Vangelo<\/em> LUCA VERRELLI, Per l\u2019edizione delle prose pascoliane: i <\/em>Discorsi ANNARITA ZAZZARONI, Pubblicare i testi teatrali: <\/em>Gretchen\u2019s Tochter – La figlia di Ghita CATERINA MALTA, \u00abUn complesso sistema d\u2019edifici, lasciato a mezzo\u00bb. Qualche interrogativo editoriale sui <\/em>Carmina XAVIER BINNEBEKE, Un poeta moderno ad Amsterdam: Pascoli e il <\/em>Certamen Hoeufftianum. I. Da <\/em>Leucothoe a <\/em>Pecudes
\nISSN 2724-0835
\nISBN 978-88-87541-84-7<\/p>\n
\nGiovanni Barberi Squarotti, \u00abCon la coscienza di compiere un dovere\u00bb: i <\/em>Poemi del Risorgimento nell\u2019edizione di Maria Pascoli (1913)<\/em>
\nMassimo Castoldi, Giovanni Pascoli: varianti d\u2019oltre tomba<\/em>
\nGiorgio Forni, Maria editrice di Giovanni. Qualche caso dantesco e il <\/em>Piccolo Vangelo
\nLuca Verrelli, Per l\u2019edizione delle prose pascoliane: i <\/em>Discorsi
\nAnnarita \u00a0Zazzaroni, Pubblicare i testi teatrali: <\/em>Gretchen\u2019s Tochter – La figlia di Ghita
\nCaterina Malta, \u00abUn complesso sistema d\u2019edifici, lasciato a mezzo\u00bb. Qualche interrogativo editoriale sui <\/em>Carmina
\nXavier \u00a0Van \u00a0Binnebeke, Un poeta moderno ad Amsterdam: Pascoli e il <\/em>Certamen Hoeufftianum. I. Da <\/em>Leucothoe a <\/em>Pecudes
\nFrancesco \u00a0Galat\u00e0, Maria Pascoli e le carte giovanili del fratello<\/em>
\nDaniela Gionta, Verso un <\/em>corpus delle epigrafi pascoliane<\/em><\/p>\n
\nIndice dei nomi<\/p>\n
\nThe article focuses on the texts by Giovanni Pascoli, which were published by his sister Maria after his death (April 1912), identifying the reasons and objectives of the artistic and editorial choices and highlighting the critical aspects of the metho- dology adopted in the preparation of the editions.<\/p>\n
\nThe posthumous edition of Giovanni Pascoli\u2019s Poems of the Risorgimento<\/em>(1913) is based on mostly unfinished and largely provisional texts, on which his sister Maria proceeded with the aim of providing an overall organic and complete work both on a structural and on a textual level. The article summarizes the status quaestionis on the basis of the manuscript testimonies and reconstructs the editorial interventions by Maria, who acted as the interpreter of an author\u2019s will that was never fully or defi- nitively expressed.<\/p>\n
\nThe posthumous publishing history of Giovanni Pascoli\u2019s Canzone del Carroccio<\/em> and Canzone dell\u2019Olifante<\/em> confirms that, even after the author\u2019s death, variants or redactions of texts attributable to him may have reached the printer. These, which I have called \u2018variants from the afterlife\u2019, may be due either to the annotations left for the printer or to working copies revised and corrected by the author and then used by others to review the texts. The copy of Canzone dell\u2019Olifante<\/em> is preserved in the Castelvecchio Library. The confirmed existence of these \u2018variants from the afterlife\u2019 forces us to reconsider the entire posthumous printed tradition of the other works published at a reasonable, but undefinable, time after the author\u2019s death as well. Investigations in this sense lead to significant results, especially for the Dante-related essay Sotto il velame<\/em>, but must be extended to all works.<\/p>\n
\nAll of Maria Pascoli\u2019s activity as her brother Giovanni\u2019s posthumous publisher appears dominated by a sense of a prematurely interrupted work and by a desire to preserve it and almost to continue it, in such a way as to make up for the heart- break. By examining the re-editions of Minerva oscura<\/em>and Sotto il velame<\/em> and the editorial history of the Piccolo Vangelo<\/em>, the essay offers significant examples of the editorial work carried out by Maria, who proved to be attentive to the auto- graph testimonies from her brother\u2019s writing desk, yet willing to undertake an exer- cise in inlaying heterogeneous fragments in order to make what was still sketchy and provisional fully accomplished.<\/p>\n
\nThis article studies the philological methodologies and some textual issues regarding Giovanni Pascoli\u2019s published discourses. In particular the essay analyzes the transi- tion of these texts from extemporaneous publication (e.g. on newspapers), to pam- phlet editions and ultimately to collections of essays in volume. This analysis starts necessarily with the making of Pensieri e discorsi<\/em>, but the point of view immediate- ly broadens to Pascoli\u2019s other essays, in particular those collected in the posthumous editions. In the \ufb01nal section the study deals with Pascoli as a reviewer and proof- reader of his own prose; it analyzes a series of errors and misprints that were never corrected and remained in the posthumous editions of Pascoli\u2019s discourses.<\/p>\n
\nThe libretto Gretchen\u2019s Tochter \u2013 La figlia di Ghita<\/em> by Pascoli is an example of a posthumous edition by Maria Pascoli. After a philological history of the text, the article illustrates the criteria of the edition of this and others Pascoli\u2019s librettos by Maria. Also, through two case studies, some hypotheses are advanced in order to restore the documentary facts.<\/p>\n
\nThe contribution focuses on the philological problem of the occasional compositions included in the collection Poematia et epigrammata. In particular, it discusses the issue of ode XXXIV, which accompanied the gift of the poem Veianius to Pope Leo X. Pascoli reused the ode with slight changes as a dedication to his Livornese friend Pietro Micheli. The compositional process of the text and the historical-cultural background of the double destination are clarified.<\/em><\/p>\n
\nThe recuperation in 2012 in Haarlem and Castelvecchio of the original Latin poems submitted by Giovanni Pascoli to the Certamen Hoeufftianum<\/em> has favored a new approach to the transmission history of Pascoli\u2019s Latin oeuvre. Fundamental to this approach is the analysis of the reading notes and judgments that were made by the Dutch Certamen<\/em> committee. In this contribution the poet\u2019s Certamen poetry from Leucothoe (1884) to Pecudes<\/em> (1899) is lined up. We will facilitate access to the ori- ginal manuscripts and extant reading notes, and provide in Italian translations of the Dutch verdicts of Pascoli\u2019s submissions. A future instalment will treat the re- maining poems up to Thallusa<\/em> (1912).<\/p>\n