Abstract This article examines the notion of the copy as it developed in early modernity, focusing in particular on its persistent association with the projection of sunlight through apertures, and with the special case of the solar eclipse, where the sun is partially or fully occluded by the lunar globe. It argues for the importance of these two optical models as allegories of the constant and imperfect transmission of images and, more surprisingly, of texts. Both models privilege an effaced original, a substantive absence emerging only as a retrospective effect of the copy. At issue, then, are the ways in which poets and natural philosophers, and the confederates they found in translators, commentators, printers, and philologists, portrayed the transmission of word and image, particularly with the advent of print. This configuration of the effaced original and the ambitious successor applies to Johannes Kepler’s relationship with the imperfectly known work of Francesco Maurolico, and to Horace’s association with the fragmentary œuvre of his legendary Greek predecessor Archilochus. As argued, scrutiny of the optical problem of the transmission of light produced not simply a model for replicated images, but, more crucially, one for the reception and reproduction of texts.

中文翻译：

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原始副本商店：日食和范例

摘要本文研究了副本的概念，该副本是在近代早期发展的，特别关注其与通过光阑的阳光投射的持续联系，以及日食的特殊情况，在这种情况下，太阳被部分或全部遮挡住了。月球。它论证了这两种光学模型的重要性，因为它们寓言着图像和文本不断且不完美的传输。两种模式均优先使用已删除的原件，而实质缺失仅作为副本的追溯效果出现。那么，有争议的是诗人和自然哲学家，以及他们在翻译，评论员，印刷者和语言学家中所发现的同盟如何描绘文字和图像的传播，特别是在印刷品出现时。original废的原始人和雄心勃勃的继任者的这种配置适用于约翰内斯·开普勒与弗朗切斯科·莫洛里科的不完美作品的关系，也适用于霍拉斯与他传奇的希腊前任阿奇洛丘斯的零碎作品之间的联系。如前所述，对光传输的光学问题的审查不仅产生了复制图像的模型，而且更重要的是，产生了文本的接收和再现的模型。