Ioannis Duns Scoti Collationes Oxonienses eds. by Guido Alliney e Marina Fedeli (review)

Q4 Arts and Humanities Franciscan Studies Pub Date : 2017-11-17 DOI:10.1353/frc.2017.0021
Mary Beth Ingham
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Abstract

As the final volumes of John Duns Scotus’s Opera Omnia are published by the International Scotistic Commission (Vatican), this volume of the Subtle Doctor’s Oxford Collationes are a welcome addition to all the texts we now have at our disposal. Indeed, we can enumerate the corpus of critical works now available: the Opera Philosophica (Noone et al) along with the ‘safe’ texts of the Reportatio IA (Wolter/Bychkov) and, at this writing, the first seventeen distinctions of Reportatio IV (Bychkov/Pomplun). The Oxford and Parisian Collationes offer the remaining pieces to the scholarly puzzle around Scotus, and a clearer portrait of his development as philosopher and theologian is slowly coming into view. The scholarly debates around the Collationes (their authenticity as well as their dating) have been alive since the beginning of the 20th century. While the Wadding (III: 339-430) and Vivès (V: 131-317) editions reproduce the Collationes under one title (Collationes Parisienses), there is textual evidence from Scotus himself that some of these belong to the period during which he was a student in Oxford, at the Franciscan house of studies. As early at 1927, Carlo Balić claimed that it was a mistake to consider all these as part of his Parisian years, and that, indeed, the greater part were from his earlier years in Oxford. It was later established that the Wadding/Vivès editions did not contain all the Collationes. Between 1927 and 1929 various additional Collationes were discovered. As a result, the listing of (what would become) the first fourteen was established on the basis of Magdalen Codex 194 (discovered by Longpré) and the ordering of numbers fifteen to twenty-four were the result of the discovery of Merton Codex 65 and Balliol Codex 209 (Balić). To these we can add the discoveries of Merton Codex 90 and Peterborough Codex 241 (Cambridge), both by Balić. Collationes were student exercises, held outside of ordinary university work and most often in the houses of studies of the various religious orders. Ephrem Bettoni held them to be authentic but not important to our understanding of Scotus’s teaching. Palémon Glorieux thought they
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Ioannis Duns Scoti Collationes Oxonienses编辑:Guido Alliney e Marina Fedeli(评论)
由于约翰·邓斯·斯科特的歌剧《Omnia》的最后几卷由国际童子军委员会(梵蒂冈)出版,这本《神秘博士的牛津校勘》是我们现在掌握的所有文本的一个受欢迎的补充。事实上,我们可以列举出现在可用的批评作品集:《歌剧哲学》(Noone等人),以及《报告文学IA》(Wolter/Bychkov)的“安全”文本,以及在本文中,《报告文学IV》的前十七个区别(Bychkov/Pumplun)。牛津和巴黎的校订本为围绕斯科特的学术谜题提供了剩余的部分,对他作为哲学家和神学家的发展的更清晰的描述正在慢慢进入视野。自20世纪初以来,围绕校勘院(校勘院的真实性和年代)的学术争论就一直存在。虽然Wadding(III:339-430)和Vivès(V:131-317)版本在一个标题下复制了《巴黎校勘》,但斯科特本人有文本证据表明,其中一些属于他在牛津方济各会研究院学习的时期。早在1927年,Carlo Balić就声称,将所有这些都视为他巴黎岁月的一部分是错误的,事实上,大部分都来自他早年在牛津的时光。后来证实,Wadding/Viveès版本并没有包含所有的校订本。1927年至1929年间,人们又发现了各种各样的校订本。因此,第一个14的列表是在马格达伦法典194(由朗普雷发现)的基础上建立的,数字15到24的排序是默顿法典65和贝利奥尔法典209(Balić)发现的结果。除此之外,我们还可以添加Balić的Merton Codex 90和Peterborough Codex 241(剑桥)的发现。校订是学生的练习,在普通大学工作之外进行,通常在各种宗教教团的研究室进行。Ephrem Bettoni认为它们是真实的,但对我们理解Scotus的教学并不重要。Palémon Glorieux认为
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Franciscan Studies
Franciscan Studies Arts and Humanities-Religious Studies
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