Who are we ?

Le Puy-en-Velay - June 2018
  • Les voix du dialogue chez Thomas More

  • Orléans May 2018
  • Les premières utopies : des Cités de Dieu ?

  • Niort April 2018
  • L'Utopie de Thomas More

  • Dallas CTMS Nov 2016

    Bruges 2016 - SCSC
  • Literature and Geography
  • Utopian mirrors and images
  • Spiritual Masters
  • Translations of Utopia
  • Utopia and De Tristitia Christi
  • Margaret Roper and Erasmus

  • Berlin 2015 - RSA
  • 16th and 17th Utopias
  • More and Publishing (I)
  • More and Publishing (II)
  • Humanism and spirituality

  • New York 2014 - RSA
  • Introduction
  • Geography and Utopias I
  • Geography and Utopias II
  • Geography and Utopias III
  • More Facing his Time
  • Intertextual Connections
  • More Circle I
  • More Circle II

  • Washington DC 2014 - TMS
  • Washington DC 2014

  • Paris 2012 - Amici Thomae Mori
  • Paris 2012 - Recordings

  • Other Conferences
  • Montreal 2011
  • Venice 2010
  • Dallas 2008
  • Liverpool 2008

  • 2016 M-C Phélippeau Talks
    2013 - M-C P at Boulogne

    Thomas More on air

    Web links

    Margaret Roper’s correction of a letter to St Cyprian, or
    "How dare you contradict Erasmus!”

            Eugenio M. Olivares Merino
                       University of Jaén             

              When Margaret Roper (née More) read Erasmus’ edition of St Cyprian’s works – Opera divi Caecilii Cypriani episcope Carthaginensis (first printed at Basel in 1520) –, she came across a passage which did not make much sense. And so, says Nicholas Harpsfield in his biography of Thomas More, she corrected it “without any helpe of other sample, or any instruction” (Harpsfield, 1963: 81). Almost 25 years after Margaret’s death (1544), Jacobus Pamelius acknowledged Margaret’s emendation in his 1568 edition of St Cyprian's works. 
                This paper presents unnoticed evidence of the editorial impact of Margaret’s correction, together with a careful revision of all the sources of this episode. It will also deal with an issue that (surprisingly) has not aroused the curiosity of scholars: why did Erasmus –who had praised Margaret as Britanniae decus– not include her correction at once in his later editions of St Cyprian’s Opera?

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