Anthologies

Nos últimos 15 anos, empreendedores culturais em Portugal e no resto do mundo de língua portuguesa têm investido cada vez mais na divulgação do patrimônio musical dos seus países. Eventos internacionais; o influente documentário ‘Lusofonia, a (R)evolução’; bem como numerosas associações locais e festivais de música anuais, revigoraram uma visão cultural do Atlântico lusófono. Especificamente com relação à música, gravadoras estabelecidas converteram parte dos seus arquivos (coloniais) em antologias de CD. Com o surgimento da internet, outras plataformas ou formatos digitais, tais como mp3, YouTube, soundclouds, mixtapes, audioblogs e podcasts, causaram mudanças substanciais na forma com a qual músicas são concebidas e consumidas.

Como é que essa digitalização alterou ou complementou a preservação e divulgação do patrimônio musical lusófono? Quais são os atores sociais que fazem circular as gravações, e quais são as motivações deles? Que tipo de negociações ocorre entre eles, o público e os músicos? Qual pode ser o papel da etnomusicologia na interpretação destes processos?

Pretendo construir meu argumento em duas partes: (1) a antologização do patrimônio musical lusófono dentro do ramo da indústria fonográfica, a partir do sucesso de festivais de música, e (2) a divulgação desse mesmo patrimônio por empreendedores culturais, através de plataformas na internet e as mídias digitais.

Espero contribuir para uma melhor compreensão do papel da memória cultural em iniciativas recentes de antologização analógica e digital. Além da tradicional indústria fonográfica, empreendedores on-line estão profundamente democratizando a cultura contemporânea do mundo lusófono, questionando os limites das indústrias culturais, estado-nações e memórias culturais.

To pick up an American literature anthology is to pick up a political and educational tool.  Its editorial craftwork emerges against an ideological matrix that determines the basis of inclusion.  In constructing a representative literature anthology the possible set of exclusions is nearly limitless.  Instead, the genre demands a political consciousness of anthology editing that does not merely expand the table of contents but rather encourages reading practices that connect literatures with geopolitical histories and futures.

The publication of recent anthologies of modern Chinese literature, such as Joseph S. M. Lau and Howard Goldblatt’s The Columbia Anthology of Modern Chinese Literature (2007) and Yunte Huang’s The Big Red Book of Modern Chinese Literature (2017), alongside anthologies canonising key Chinese authors of the twentieth century,  has revived debates on the current state of the Chinese literary canon.

This proposal engages with the literary careers of Mo Yan, Ma Jian and Yan Lianke: three contemporary Chinese writers whose collective works challenge the boundaries between literature and history in contemporary Chinese literature. The dynamic of each author’s relationship with the Chinese censorship apparatus is considered alongside analysis of their respective inclusion (or exclusion) from the Chinese literary canon. As writers whose collective work crosses the boundaries of what is considered suitable for public consumption in China, Mo Yan, Ma Jian and Yan Lianke each exemplify a different ability to publish their work within Mainland China, whilst their work is simultaneously disseminated, analysed and categorised into Western scholars’ imaginings of the Chinese literary corpus.

The context of this investigation is further developed by a case study of the publication of The Routledge Companion to Yan Lianke: the first English-language volume on Yan which, with an Introduction by Yan Lianke himself, acts as a canonising text and authoritative resource for students and scholars looking to understand Yan’s works from both his own perspective, and those of leading critics. By exploring the life cycle of the volume and analysing the editorial process of assembling a canonising volume in collaboration with its central author, this study thus considers the transcultural reception of contemporary Chinese authors and the role which the publication of literary anthologies and criticism in the West has in the construction of a contentious Chinese literary canon.

Se ofrece un análisis detallado de los testimonios y fragmentos de los filósofos cínicos transmitidos en la «Antología» de Juan Estobeo (s. V d.C.), y se aborda la cuestión de la visión que este podía tener de la aportación del cinismo y, en general, de los filósofos que, lejos de realizar su actividad en el seno de las escuelas convencionales, se dirigían al conjunto de sus contemporáneos, y en este sentido pueden ser caracterizados como «populares», según la denominación acuñada por la filología decimonónica alemana. Estobeo parece haber manifestado un interés muy particular por este tipo de filósofo «popular», y en su «Antología», donde recoge lo más relevante a sus ojos de la literatura griega pagana, nos ha conservado al respecto piezas enormemente raras y valiosas, entre las que se encuentran y destacan por su antigüedad los fragmentos de las «diatribas» del moralista Teles del siglo 3º a.C.

Les Lettres grecques : Anthologie de la littérature grecque d'Homère à Justinien | 1 Pour une histoire au temps long Le travail colossal dont nous proposons aujourd'hui l'exposition-il ne saurait y avoir une recension qui fût exhaustive pour un tel ouvrage-côtoie simultanément plusieurs catégories. De même que le Nouveau Testament réunit en un seul ouvrage vingt-sept livres, tous à peu près autonomes mais bénéficiant d'une tradition commune, présentant un témoignage commun et homogénéisés par une longue et patiente exégèse s'étalant aujourd'hui sur plus de dix-sept siècles, l'ouvrage que nous présentons aujourd'hui est à la fois unique et pluriel. Unique dans sa composition, en ce qu'il offre à tout lecteur un accès direct à treize siècles de littérature grecque, dont on pourrait bien dire qu'elle serait « canonique ». Canonique par l'intention de chacun des textes qui la composent, mais canonique aussi par l'extraordinaire fécondité de leurs lectures, pour certains, depuis vingt-cinq siècles. Pluriel puisque, justement, Les Lettres grecques donnent à voir un magnifique panorama textuel-en langue originale-de ce qui est sans contestation possible le patrimoine fondamental de l'Occident littéraire. Or cette tradition essaime dans toutes les langues de la modernité occidentale, et jusqu'au Nouveau Continent qui ne cesse pas de rappeler son lien à la littérature grecque antique. Leslie Klinger aux États-Unis, par exemple, dans la présentation de la nouvelle édition annotée des oeuvres de Lovecraft [1] , renvoie plusieurs pages durant à certaines pratiques antiques et nous indique surtout une tradition-très répandue dans les milieux anglo-saxons, d'une présentation d'un auteur ou d'une tradition esthétique propre selon un certain point de vue. Le cas des Bibliothèques idéales ou la pratique apologétique des Belles Lettres Le caractère apologétique d'une telle pratique ne nous paraît pas tout à fait gratuit : c'est à la fois l'occasion de réunir des textes tels qu'ils n'étaient pas rassemblés jusqu'alors et, dans le cas de notre ouvrage : faire bibliothèque. Les Lettres grecques sont d'ailleurs tournées dans une logique toute semblable aux Bibliothèques idéales [2] également publiées par les éditions des Belles Lettres, bien qu'elles aillent plus loin encore, rejoignant la tradition des Collections des Universités de France (voir note 4). Chacun de ces opus réunit des florilèges de textes tout à fait conformes à la pratique antique de catalogues et de petites bibliothèques théoriquement hétérogènes mais réunis en un seul ouvrage par une volonté éditoriale d'exposition bien spécifique. On sait par exemple que Cicéron avait sans doute accès à une compréhension de la politique d'Aristote ainsi conditionnée par de tels catalogues, rendant l'étude de la

This article discusses how contemporary Asian Canadian literature was
established at the end of the 1970s and developed with internal support
from the members of the Japanese Canadian and Chinese Canadian
communities in particular. I argue that the Asian Canadian literary
enterprise was created and supported by communal efforts, and especially
by the publication of magazines and anthologies. Communal grassroots
magazines were efficient in mobilising Asian Canadian activism in the late
1970s and throughout the 1980s. They also provided space for writers to
explore various methods and aspects of self-expression and thus shaped
a distinctive Asian Canadian consciousness. At the same time, they faced
practical challenges which can be directly related to the political and
cultural climate of late twentieth-century Canada. Anthologies not only
announced the birth of contemporary Asian Canadian literature but also
recorded and celebrated its various stages of development.

This article examines changes in the teaching of modern and contemporary literature in the United States. As university students become more socioeconomically and ethnically diverse, and as universities claim to be offering a more global curriculum, what are students really learning? What kinds of non-Western modern and contemporary writers find their way into the classroom? To answer these questions, we examine how much The Norton Anthology of World Literature, The Longman Anthology of World Literature , and The Bedford Anthology of World Literature have changed over time with respect to their content and presentation. We then use a unique database of course syllabi to analyze the extent to which the non-Western authors included in these anthologies find their way more broadly into university classrooms. Getting included in anthologies, texts, and course syllabi is extremely powerful. It determines the parameters of the pedagogical canon — a shared common ground that generations of students will learn and continue to reference collectively throughout their lifetimes.

Contenuti e contenitori. Frammenti di storia nell’Antologia di Giovanni Stobeo, in Ex fragmentis / Per fragmenta Historiam tradere. Atti della II giornata di studio sulla storiografia greca frammentaria (Genova, 8 ottobre 2009), a c. di F. GAZZANO, G. OTTONE, L. S. AMANTINI, Edizioni Tored, Tivoli 2011, pp. 197-207.

Between 1900 and 1930, steps were taken on both sides of the Atlantic to delineate, defend, organize, and popularize detective fiction through the publication of articles, introductions, collections, and anthologies, resulting in the construction of a genealogy for the genre.

Although the anthology has its roots in the ancient world, it arose in German letters in the eighteenth century. While the nineteenth century can be called – quantitatively and terminologically – the heyday of the anthology, the eighteenth century was the dawn of its diversity. The present special number examines this variety, as represented in particular examples. The first and most obvious problem for our period is terminological. Once we overcome the heterogeneous terms for anthologies, however, we propose a focus on their functions. Central to these is an acknowledgement of an anthology's agenda, which can be applied or aesthetic, cultural-political or poetological. Consequently, we contend that examining eighteenth-century anthologies and collections into the mid-nineteenth century contributes more broadly to an emergent body of scholarship on editorship and its relationship to the topic of authorship at a time when a commercial book market was becoming established, and for which the ‘modern author’ was increasingly plural in its manifestations.

Die Anthologie hat zwar ihre Wurzeln in der Antike, in der deutschsprachigen Literatur gewinnt die Sammelform jedoch erst im 18. Jahrhundert an Aktualität. Während das 19. Jahrhundert zahlenmäßig wie terminologisch als das eigentliche Jahrhundert der Anthologie angesehen werden kann, gilt es hier, das 18. Jahrhundert bis in die Mitte des 19. Jahrhunderts als Formierungsphase der deutschsprachigen Anthologie in den Blick zu nehmen. Das vorliegende Themenheft widmet sich dieser Vielfalt mit einer Reihe von exemplarischen Studien. Die folgende Einleitung stellt die deutschsprachige Anthologie von ca. 1700 bis 1850 als Forschungsgegenstand vor und unternimmt sowohl terminologische wie funktionale Abgrenzungsversuche, um sie im Spannungsverhältnis zu anderen Sammelformen zu thematisieren. Dabei wird dem ästhetischen, kulturellen und poetologischen Potenzial der anthologischen Sammlung Rechnung getragen. Die unternommene Neuperspektivierung der Anthologie des 18. Jahrhunderts bis in das 19. Jahrhundert hinein versteht sich im weiteren Sinne als Beitrag zu einem wachsenden Forschungsinteresse am Thema der Herausgeberschaft, das nicht zu trennen ist von Überlegungen zu Autorschaftskonzepten in einer Zeit, als sich ein literarischer Markt etablierte.

This article outlines some of the translation and exegetic reflections from both inside and outside Rumania on the figure of Mihai Eminescu, the national bard, according to Zoe Dumitrescu-Bușulenga (1971: IX) and the most universal Rumanian poet, whose works are considered quintessential to the culture and sentiments of the Rumanian people. The analysis begins with some preliminary observations on the translation of poetry from an anthological perspective and refers to various classical dichotomies (sound-sense; naturalizationforeignization,
acceptability-adequacy) in order to approach the diverse ranslations into
Spanish of Eminescu’s poetry published in the Pensinsula, or in Latin America, or even in Rumania. Finally, the article proposes and defends a methodological approach to the analysis of these translations from the cultural paradigm of modern translation, or more precisely from the so-called “social turn”.

Lamei Gorgani was a famous poet who lived in 5th century AH during the reign of great Seljuks. Since he belongs to the period of cultural transition from the Ghaznavids to the Seljuks, he can be considered as an important notable poet, and because the volume of court and official poetry in early Seljuk period (the period of Tughril, Alp Arsalan and Malik Shah) was less than the periods before and after Lamei, so it can be said that he was the most prominent poet of Seljuk court who had composed odes in praise of 'Amid al Molk Kondori, the Seljuk portentous rationalist minister. There is no complete Divan of him. There are some incomplete copies of his works which none of their writing history goes before the Qajar era and are all collected from different anthologies and biographies. With about 1200 verses by the efforts of some scholars such as Nafisi, Dabir-Siyaqi and Ali Ashraf Sadeqi, his incomplete divan has been frequently published.Another part of this old poet may be recovered through a careful search in manuscripts.Including his 52 newly founded verses, this article introduces new resources of Lamei's poems.

La fleur de toutes les nouvelles est un texte unique: un n'existe qu'un seul exemplaire de ce texte, conservé à Wolfenbüttel. Or, ce texte unique, est en réalité issu de l'assemblante d'autres textes: nouvelles, facéties, dicta. L'analyse de ce livre servira de point de départ pour comprendre la pratique des anthologies des nouvelles, le rapport entre anthologie et recueil, et la distance qui sépare anthologie de poésie et de nouvelles

The present paper aims to shed light on the reception of John Zonaras' chronicle (12 th cent.) by later Byzantine readers. One of the main reasons why the chronicle, known as the Epitome of Histories, is of great interest to modern scholars is because it preserves classical and late antique sources no longer extant, with Cassius Dio's Roman History being the most prominent example. But why was the Epitome read in Byzantium? What were the elements of the text that mostly attracted the attention of Byzantine audiences? To answer these questions, I will take into consideration the evidence of the manuscript tradition of the work. The Epitome was certainly one of the bestsellers of the Middle Ages; about fifty codices dated from the thirteenth to the fifteenth centuries transmit the entire text or shorter parts of it. In this paper, I am going to look into the manuscripts of this period in terms of two different aspects; one is concerned with the number of manuscripts that contain the entire chronicle or only a certain section of it, and the other with the number of manuscripts that transmit the Epitome alone or along with other texts. Examining the first issue, one can gain a clear sense of what parts of the chronicle readers were mostly fascinated with. As to the second one, it is crucial to consider not so much the manuscripts that preserve exclusively the Epitome as those that contain other works too. The textual context of these codices offers significant indications concerning the way in which later audiences would view the chronicle. Special mention will be made of a small group of manuscripts that are anthologies, namely collections of excerpts of a great number of works, the Epitome included. Among other things, I would like to show that Byzantine readers were much more interested in the chronicle as a source of Roman/Byzantine imperial history rather than a source of information about Jewish antiquities and the Roman Republic. I will further try to account for the presence of Zonaras' work in codices which are exclusively secular in character, and also in manuscripts whose commissioners had very specific reading tastes. Exploring the implications of these issues, this paper will finally try to demonstrate that the Epitome became enormously popular because it was able to accommodate the needs and aims of a wide range of different readers. It is observed that: ■ The entire chronicle is preserved in twenty manuscripts. ■ The first volume of the chronicle is transmitted in only one manuscript, whereas the second one in ten. ■ Combinations' of books other than those of the first and the second volume are found in very few codices.

An official system of censorship was established during Franco's dictatorship in Spain in order to control the cultural sphere in the country for the duration of the political regime. In the seventies, the publishing market consisted mainly of mass literature, and the translation of anthologies of science fiction narratives and horror stories from North America was an important part of this process. These stories originated as pulps, published with titles such as Weird Tales or Terror Tales, and it is a difficult task today to trace the English versions from which they were translated, mainly due to the fact that different tales by different authors are included in these magazines. The anthologies had to follow the same control procedures as other narrative material and were closely scrutinised regarding aspects such as sexual morals and language, two of the most controversial issues during the time of the dictatorship. Some of them encountered problems because of their depiction of sexually charged scenes or immoral attitudes. This article offers a brief depiction of the kind of anthologized material translated at the time, together with an examination of some of these files, with a descriptive aim in mind. Whether they were censored or authorised or not, the main objective of the publishers of these kinds of anthologies was achieved since, thanks to them, both genres became well known in the country and encouraged Spanish writers to engage in the production of similar material, in a process of pseudotranslation that confirms their importance in the recipient culture.

« Une Bible de la négritude : The New Negro d’Alain Locke », p.15-19, Études Littéraires Africaines n°29, 2010.

Imbus d’un certain modèle littéraire français, où les mouvements se succèdent à coup de manifestes et de magistères (Hugo, Zola, Breton, etc.) les premiers critiques de la littérature négro-africaine ont souvent fait de l’anthologie du New Negro, éditée en 1925 par Alain Locke, tout à la fois « le manifeste de la Renaissance de Harlem » et une « Bible de la négritude », selon les revendications de Léopold Sédar Senghor lui-même. Or l’examen de l’histoire littéraire noire américaine, et l’étude de cette anthologie en particulier, modifient considérablement l’image de cette avant-garde et de son chef de file : ce n’est en réalité pas seulement Alain Locke, mais plusieurs sociologues et journalistes, noirs et blancs, qui ont donné corps au mouvement New Negro ; quant à l’anthologie, elle n’a rien de classique en ce sens où elle n’est pas seulement un florilège de littérature, mais plutôt un état des lieux du monde noir dans ses différentes expressions et selon diverses approches (poétique, sociologique, historique, critique, artistique…). Le livre inaugure par ailleurs un nouveau modèle anthologique, dans la mesure où il est orchestré selon des codes musicaux, à la manière d’une suite jazz où divers thèmes reviennent en spirale, suivant des instrumentations et des tonalités diverses. Il témoigne donc autant du nouvel âge de la culture américaine – l’ère du jazz – que d’un mouvement voué à s’internationaliser – comme le prouvent les multiples reprises de ses textes dans diverses revues et anthologies francophones.

One form of musical library that is a mainstay of traditional mu-sicology and which stands to benefit from digital attention is the 'anthology'. These collections, often paired with a textbook, are tasked with bringing together a set of 'representative' examples for musical devices such as particular chords. This paper provides lists of such examples, both manually cu-rated and automatically retrieved, bringing computational methods to complement and extend the traditional concept and preparation of a musical anthology. The lists and code are available at https://github.com/MarkGotham/Moments. Discussion centres on the motivations for and issues with preparing such lists, including the design of retrieval algorithms. A final section discusses the special case of examples for teaching musicianship which can face additional difficulties in finding suitable repertoire examples. Again, this culminates in datasets of repertoire examples, but for specifications such as 'diatonic, stepwise melodies in quarter and eight notes'.

"In an imaginary space of expiation, punishment and mainly self-punishment six characters, under strict surveillance, retrace their stories and their ‘sins’ which are all related to the expression of desire. Specifically, the typology of the characters of the play (Bodyguard, Bodybuilder, Anorexic, Dominatrix, the Priest) which makes them paradigramic but not unhistorical, is connected to universal kinds of repression or self-willed control of a bodily desire but also to the expulsion from the assumed normal (body).

The condition within which these characters are placed, angel-state, is an existential condition of «being», which is transformed dramaturgically into an ambiguous, border space of an existential state of suspension (a laboratory-prison cum Purgatory, where the characters of the play act confessionally under the constantly watchful eye of the controlling authorities which historically produce obedient bodies and entrenchment  ).  As a result, these types become dramaturgical beings, reliving their endogenous weaknessess and contradictions (always in connection with a social rule) way beyond the everyday. Angel-state is primarily a situation of coming-into-being/self-realisation, but also of a reconstitution of the boundaries of desire for those willing to perform the transition to a new personal structure (of exoneration and refusal of previous guilt). "
George Sabatakakis, Senior Lecturer, University of Patras, Greece.

This article offers the first study of a contaminated version of the Byzantine alphabetical anthology known as the Florilegium Coislinianum (9th-10th c.). The paper presents a stemma codicum for the four known witnesses of that version of the anthology (namely, Athen. EBE, Met., S.
Sep. 243, Oxon. Bodl. Bar. 91, Ath. Dion. 274, and Oxon. Aed. Chr. 47). It also probes into the way the contamination was carried out and reconstructs the format and layout of the lost exemplar of this peculiar version of the Florilegium Coislinianum.

PEN NIGERIA is the Nigerian Centre of PEN INTERNATIONAL which is an international association of poets, playwrights, editors, essayists and novelists. It is a worldwide association of writers founded in 1921, known to play a leading role in promoting literature as a force of global culture and defending freedom of expression and linguistic rights across the world. PEN Nigeria became affiliated to PEN International on November 21st, 2001 at the congress held in London.

Ce volume réunit treize siècles de littérature grecque. Époque après époque se succèdent les auteurs de cette vaste période, dont les textes illustrent la diversité, la richesse et la pérennité de la littérature en grec ancien, mise à l’honneur dans cette anthologie, à laquelle ont collaboré quelque soixante-dix spécialistes.

« Grecque, sans laquelle c’est honte que une personne se die sçavant. »
Rabelais


Avec la participation de Julien Alibert, Magali Année, Guillaume Bady, Marie-Laure Bellard, Marion Bellissime, Michèle Biraud, Emmanuèle Blanc, Julien Bocholier, Julien du Bouchet, Mathilde Brémond, Catherine Broc, Catherine Bry, Emmanuèle Caire, Jean-Claude Carrière, Florent Cistac, Eleonora Colangelo, Franck Colotte, Antoine Contensou, Laurence Daniel, Bénédicte Daniel-Muller, Micheline Decorps-Foulquier, Saulo Delle Donne, Guillaume Diana, Isabelle Dumont-Dayot, Cécile Durvye, Maud Étienne-Duplessis, Frédéric Fauquier, Luigi Ferreri, Hélène Frangoulis, Danièle Gaillard-Goukowsky, Benoît Gain, Anne-Laure Gallon-Sauvage, Xavier Gheerbrant, Emmanuel Golfin, Laurent Gourmelen, Thierry Grandjean, Marie-Rose Guelfucci, Laurence Houdu, Emmanuelle Jouët-Pastré, Christine Kossaifi, Sarah Lagrou, Jean Lallot, Patricia Lambert, Denis Lamour, Benoît Laudenbach, Antoine Lavaux, Nadine Le Meur, Isabelle Lejault, Marie-Françoise Marein, Rocco Marseglia, François Martin, Marie-Hélène Menaut, Odile Mortier-Waldschmidt, Béatrice Nicolas, Anne-Sophie Noël, Sylvie Perceau, Brigitte Pérez-Jean, Sylvain Perrot, Jérémie Pinguet, Marie Platon, Claire Poulle, Juliette Prudhomme, Catherine Psilakis, Fabrice Robert, Yannick Scolan, Francesca Scrofani, Patrice Soler, Cécilia Suzzoni, Sophie Van der Meeren-Ferreri, Delphine Viellard, Guy Vottéro, Emmanuel Weiss, Sabine Willem-Auverlot et Anne-Lise Worms.

Literary anthologies are publicly available and historically significant bodies of writing, not only because they present a fine collection of the nation's belles letres and artistic tendencies at a certain time in cultural history but also because they represent national and social interests, which characterize imaginary totalities of art, conveying the notion of cultural evolution and hierarchy. The historical, and to a great extent political, significance of anthologies merely lies in the selection processes during which the intellectual elite deemed worthy of being collected and handed down to the next generations as cultural heritage. This paper, therefore, will discuss the significance of anthologies and literary selections in the making of American literary tradition. The discussion will necessarily focus on the ideological and political decision making procedures that intersect and intervene with the literary production and consumption networks. It will be further stated that literary canons often refuse to stay as monolithic structures but instead they endlessly circulate and perpetually modify themselves in accordance with the current ideas and inclinations of the readers and shifting power hierarchies and changing the criteria for selection can't mean in any way overthrowing the canon and ideology because each and every paradigmatic selection reinstitutes the process of canon formation and power relations that are strongly embedded in the process of production and consumption of art. Consequently, it will be shown that selection of texts as the linguistic capital never represents a consensus of a community of readers or literary elites but it is a product of power relations that created the hegemony of educational institutions, publishing houses and literary intelligentsia. American literary tradition, in this context, was shaped under the leadership of New England intelligentsia derived from historical and political functions of the region dominated by Puritan culture and values. The American character in literature, therefore, became a continuum of Puritan nativism and elitism, which was apparently a political and ideological project that aimed to establish a form of government, laws, private manners and pursuits and a certain type of people.

An additional 12 videos playlist to the record An Anthology of Mongolian Khöömii

Монгол Хөөмийн Сонгомол цомгийн нэмэлт видео

Audiovisual recording : Johanni Curtet, 2015.
Editing : Jean-François Castell, Les Films du Rocher, 2016.
Дуу, дүрс бичлэг: Жоанни Кюртэ, 2015.
Эвлүүлэг: Жон-Фронсуа Кастэлл (Лэ Филм дю Рошэ) 2016.

Production : Routes Nomades
Artistic direction : Johanni Curtet & Nomindari Shagdarsuren
Продюсер: Нүүдэлчин Зам Холбоо
Уран сайхны удирдлага: Жоанни Кюртэ, Шагдарсүрэнгийн Номиндарь

http://www.routesnomades.fr/en/anthology

The article discusses the debated question of the relationship between two manuscripts of the second recension of the alphabetically arranged Florilegium Coislinianum, viz Atheniensis, Bibliotheca nationalis 464 and Parisinus graecus 924. On the basis of a close examination of the titles of the first chapters of each letter in the florilegium it is argued that the Parisinus is the model of the Atheniensis.