The Crónica Particular De San Fernando – a Case Study
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DIGITALLY EDITING MANUSCRIPT PROSE IN CASTILIAN: THE CRÓNICA PARTICULAR DE SAN FERNANDO – A CASE STUDY by POLLY LOUISE DUXFIELD A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History and Music College of Arts and Law University of Birmingham January 2019 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis accompanies the digital edition of the Crónica particular de San Fernando, and includes a rationale for and an explanation of many of the implications of the decisions taken in the preparation of this edition. The edition is used as a case study for the digital editing of medieval prose in Castilian at the present time. To this end, there is an in-depth examination of the history, context and current situation of the digital editing of medieval texts, focussing specifically on prose, and in particular prose in Castilian. The text and context of the Crónica particular de San Fernando are also studied, to inform the preparation of its digital edition. My central thesis is that the decisions made when preparing a digital edition should take into account the perceived needs of edition users, including both contemporary users and, as far as is possible, future users. These decisions should be informed by the nature of the text itself, its context, and transmission, as these will affect how and by whom the edition is used. They should also be informed by an understanding of how digital editions differ from their print counterparts, in both preparation and usage. ACKOWLEDGEMENTS AND DEDICATION Writing this thesis has been the most enjoyable challenge I have ever set myself. There are certain people, without whom, this thesis would never have been completed. Others, without whom, this thesis would never have been started in the first place. To them, I offer my most sincere thanks. To my supervisor, mentor and friend, Aengus Ward. Thank you for asking me to be part of the Estoria de Espanna Digital project, for nurturing my new-found love of digital editing, and for helping me in so many ways as I wrote this thesis. Nobody could ask for a more supportive supervisor. To the Arts and Humanities Research Council, for funding this degree, as part of the wider Estoria de Espanna Digital project. To the staff of Library Services at the University of Birmingham, who have always been friendly and helpful throughout my studies. To Cat Smith and Peter Robinson, without whose technical support I would still be staring at raw transcriptions. To Ricardo Pichel, who proof-read sections of, and offered ideas for improving my digital edition. And to Helen Abbott and Manolo Hijano, whose carefully-considered feedback when examining this thesis and the accompanying edition enabled me to improve them both. To the team and wannabes of the project – Bárbara Bordalejo, Enrique Jerez, Christian Kusi-Obodum (my partner in crime), Fiona Maguire, Alicia Montero, Ricardo Pichel, Marine Poirier and Aengus Ward – thank you all for making the past five years such a great experience. I am proud to have worked alongside you, learnt from you, and to be able to count you amongst my friends. May the naughty drawer in each of your new offices never be lacking in biscuits. To my mom and stepdad, Julie and Pete Evans, and parents-in-law Jane and Roger Duxfield, with a special mention to my mom – without your support and baby-sitting services this thesis would almost certainly never have been finished. To the makers of CBeebies – without you, this thesis would definitely not be finished. To my husband and chief proof-reader Will Duxfield – without you, this thesis would never even have been started. You gave me the support and confidence to leave my job, and have ensured our house was not a complete tip, our bills were paid, and our children were clean and didn’t have scurvy whilst I was busy realising my dream (and inputting XML). Thank you. And finally, to Erica and Immy Duxfield – my girls, this thesis is for you. May you read it in years to come and see that with hard work and determination you can achieve anything you set your heart on. Sorry about all the CBeebies. TABLE OF CONTENTS Introduction 1 Chapter One – Editing: An Introduction 7 1.0.1 Chapter introduction 7 1.0.2 Definitions of key terms 8 1.1 Background to scholarly editing 9 1.1.1 The Lachmannian approach 9 1.1.2 The Bédierist approach 12 1.1.3 The Anglo-American school of editing 14 1.1.4 Social textual criticism 19 1.1.5 Gabler’s ‘Ulysses’ 24 1.2 The shift towards electronic editing 27 1.2.1 Early digital editions 27 1.2.2 The rise of Hypertext editions 28 1.2.3 Robinson’s 2003 stocktake 29 1.2.4 The advantages of digital over print editions 33 1.2.5 Document, text and work 35 1.2.6 Extensible Markup Language and the Text Encoding 41 Initiative 1.2.7 Digitally editing manuscript prose 46 1.2.7.1 Searchable files 47 1.2.7.2 Electronic collation 48 1.2.7.3 More control for users 53 1.2.7.4 Including or linking to manuscript images 54 1.2.7.5 Digital images vs. original manuscripts 58 1.2.7.6 Financial aspects 59 1.2.7.7 Storage issues 62 1.2.7.8 Providing a stable edition 64 1.2.7.9 Preparing an edition over the Internet and the 66 opportunities for collaboration 1.2.7.10 Copyright and attribution of work 68 1.2.7.11 Making the tools fit the job (and not vice versa) 69 1.2.7.12 Transcribing from images and the lily pad effect 72 1.2.7.13 Visualisation of data 74 1.2.8 Crowdsourcing 77 1.2.8.1 What is crowdsourcing? What is its purpose for 80 transcription projects? 1.2.8.2 The purpose of crowdsourcing for volunteer 85 transcribers 1.2.8.3 Recruitment of volunteer transcribers 90 1.2.8.4 Section conclusion 91 1.3 Editing medieval prose 95 1.3.1 Authorship, patronage, and emendation 95 1.3.2 Marginalia 100 1.3.3 Scribal practice 102 1.3.4 Orthography 103 1.3.5 Fragmentary traditions 105 1.4 Editing medieval texts in Castilian 107 1.4.1 Germán Orduna and SECRIT 108 1.4.2 Alberto Blecua 113 1.4.3 Pedro Sánchez-Prieto Borja 116 1.4.4 CHARTA 118 1.4.5 José Manuel Fradejas Rueda 121 1.4.6 HSMS 123 1.4.7 Conclusion 125 1.5 Case Study: The Online Froissart Project 127 1.6 Chapter conclusion 134 Chapter Two – The Estoria de Espanna: Text and Context 136 2.0.1 Chapter introduction 136 2.1 Historical Context of the Estoria de Espanna 138 2.1.1 Lineage of Alfonso X 139 2.1.2 Alfonso’s accession to the throne and his ‘talleres’ 141 2.1.3 Alfonsine authority, legislation and the legal texts 145 2.1.4 The historical texts 150 2.1.5 The wider Alfonsine oeuvre 156 2.1.6 Alfonso and the nobility 162 2.1.7 Alfonso and the quest for empire 169 2.1.8 1275: Alfonso’s annus horribilis 171 2.1.9 Events following 1275: the issue of succession and Alfonso’s 172 time in Seville 2.1.10 The succession of Sancho IV 175 2.1.11 Section conclusion 177 2.2 The interest of the Estoria de Espanna and the CPSF to scholars of 183 historical linguistics and sociolinguistics 2.2.1 The sociolinguistic context of late Medieval Iberia 186 2.2.1.1 The sociolinguistic context prior to the reign of 186 Alfonso X 2.2.1.2 The Alfonsine taller, Alfonsine sociolinguistics, 193 and the digital editor 2.2.1.3 Alfonso’s promotion of Castilian: a 197 concordance study of selected texts in his oeuvre 2.2.1.4 Alfonso and sociolinguistics: linguistic 206 conceptual separation, orthographic reform, language-naming and language promotion 2.2.2 Section conclusion 210 Chapter Three – Case Study – A digital edition of the Crónica 215 particular de San Fernando 3.0.1 Chapter introduction 215 3.1 The Estoria de Espanna and the Crónica particular de San Fernando 216 3.2 The Crónica particular de San Fernando: Text and context 218 3.2.1 Witnesses and editions 218 3.2.2 Historical context 222 3.2.3 Significance of the chronicle 223 3.2.4 The presentation of Fernando III 226 3.2.5 Structure, key features and sources 227 3.2.6 What constitutes the CPSF? 232 3.3 Edition(s) and discussion 236 3.3.0.1 Manuscripts used to create the edition 237 3.3.1 Version 1: Transcriptions – preparation and presentation 243 3.3.1.1 Transcribers and witnesses 244 3.3.1.2 Crowdsourcing 245 3.3.1.3 Base text 246 3.3.1.4 Transcription Guidelines 247 3.3.2 Editions 259 Version 2a: Collated edition 259 Version 2b: Reader’s text 268 Version 2c: Digital critical edition 275 3.3.3 Version 3: Modern English translation with annotations 284 3.3.4 Manuscript images 295 3.3.5 Opportunities for further study 298 3.3.5.1 Other features 298 3.3.5.2 Print edition 300 Conclusion 302 LIST OF FIGURES Figure 1: Screenshot of f.20v of Estoria de Espanna Q (BNE 5795) 71 partway through transcription on Textual Communities.