Canonization and " decanonization " of a patristic authority

What makes Ambrosian hymns Ambrosian? Returning to the beleaguered basilica where Ambrose invented a new form for Christian hymnody, we aim to understand the link between poetic intuition and political institution. But it's also a way of raising the question of the relationship between the author's name and the authority of the name. Based on the manuscript transmission of the Ambrosian hymnary, its dissemination in the liturgical corpus and its integration into the patristic canon, the session is devoted to shedding some light on the invention of the category "Church Fathers", from pseudo-Gelasius to Boniface VIII. Over and above the florilegia and canonical collections that reflect the agreement of the Fathers - in François Dolbeau's words, "a kind of virtual council of authors deemed orthodox" - we attempt to grasp Ambrose's own place in the Ambrosian tradition. In other words, what part did Ambrose play in shaping his textual memory? Using his correspondence as an epistolary collection, which includes dedicatees rather than correspondents, we suggest the importance of a more general investigation into the names of works. Martino Corbo's invention of the opera omnia and the collection of Ambrosian manuscripts in the seventeenth^century are analyzed according to the categories of canonization and decanonization proposed by Jack Goody.

Contents

• Epistula...non erubescit : from Cicero to Ambrose, the anonymity of Latin sentences between oral transmission and written memory
• The inversion of a formula(Verba volant, scripta manent)
• What is a "consecrated" author?
• Back to the beleaguered basilica: poetic intuition and political institution
• Ambrose and Christian hymnody: the invention of a form (Jacques Fontaine)
• How are Ambrosian hymns Ambrosian? Author's name, authority of name
• The manuscript transmission of the Ambrosian hymnary according to Marie-Hélène Julien: a liturgical heritage
• The "seal of the work" (Gérard Leclerc): searching for Ambrose in Ambrosian hymns, from Walafrid Strabon to Francesco della Croce
• Dissemination in the liturgical corpus, integration in the patristic canon
• The invention of the "Church Fathers" category, from pseudo-Gelasius to Boniface VIII
• The two sources of Revelation contra la sola scriptura : a major issue for the^16th-century Catholic Reformation
• The agreement of the Fathers, "a kind of virtual council of authors deemed orthodox" (François Dolbeau)
• Miscellanies and canonical collections
• Florus de Lyon's Collectio ex dictis XII patrum : surprising the compiler at work
• The example of the transmission of De fuga saeculi (Camille Gerzaguet)
• It would be better to describe medieval thought as anonymous, rather than subject it to this "relation of order between signatures" (Alain de Libera, Penser au Moyen Âge)
• Once again, "What is an author?" michel Foucault criticizes himself
• The "author-function" in the Middle Ages: auctor, actor, autor (Marie-Dominique Chenu)
• The invention of opera omnia : Martino Corbo and the collection of Ambrosian manuscripts in the 12th^century (Martino Corbo)
• How did Ambrose shape his textual memory? Correspondence as an epistolary collection
• "This letter that I exchange with you is a first essay that I will insert, if you agree, in the books of my letters(Libros nostrarum epistularum)" (Epist. 32)
• Ambrose, his network and his followers: dedicatees rather than correspondents
• Understanding the varietas in the composition of the ten books of the Correspondence
• An example: Book 10 and the insertion of Theodosius' eulogy between two letters (76 and 77) to Marceline recounting the conflict over the basilicas (after Gérard Nauroy)
• Names of works: codicological research and library inventories
• The "anonymous name" as fiction of the proper name: Ambrosiaster
• Erasmus, the Maurists and Migne's Latin Patrology : phantom transmission
• Why do forgeries often circulate more and better than authentic ones? The case of Augustine's Soliloquia (after Eligius Dekkers), or how imitation is preferred to the original
• The "cold war" of false attributions: a controversy between Lancelot d'Andrews, Bishop of Ely, and Cardinal Jacques du Perron
• "Here is the paradox that affects the formation as well as the transmission of the canon: we can have an immutable text only with the help of a medium[writing] that, in other contexts, invites de-canonization" (Jack Goody, "Canonization in oral and written traditions", in Pouvoirs et savoirs de l'écrit)
• Jan Assmann and Cultural Memory : the vital energy of commentary as "disciplined variation