Writing Beyond Pen and Parchment最新文献

{"title":"Inscriptions On Stone","authors":"Sascha A. Schultz","doi":"10.1515/9783110645446-009","DOIUrl":"https://doi.org/10.1515/9783110645446-009","url":null,"abstract":"","PeriodicalId":118391,"journal":{"name":"Writing Beyond Pen and Parchment","volume":"9 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116928981","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Text-Bearing Warriors: Inscriptions On Weapons","authors":"Michael R. Ott","doi":"10.1515/9783110645446-015","DOIUrl":"https://doi.org/10.1515/9783110645446-015","url":null,"abstract":"Weapons are, as any dictionary entry will readily confirm, objects which can be used to inflict bodily harm or to defend oneself in conflict and combat. Certainly, this definition encompasses a rather large number of things that may potentially serve as an offensive or defensive weapon. The weaponry I will treat in this chapter, however, will be rather more limited since medieval knights, fashioned as they are by chivalric romances and chansons de geste, do not typically exhaust all such possibilities. This limitation is due to several reasons that have much more to do with the cultural imagination than with practical purposes and real-world requirements. And what is true for weapons in general is also true for inscriptions on weapons. The form and function of inscriptions are very much shaped by cultural concepts, by notions of heroism, for example, and by concepts of identity. Consequently, my discussion begins with a broader view of this cultural figuration before focussing more narrowly on several concrete script-bearing artefacts as case studies. Finally, I will provide a more detailed reading of Perceval/Parzival to show script-bearing weapons within a wider network of inscribed artefacts. As I have just suggested, the choices knights have with regard to the weapons they employ are culturally predetermined. This selection assures the knight’s status and restricts his behaviour. After all, chivalry obliges, at least according to courtly literature, that the knight must abide by a strict set of rules. Knightly etiquette, spelled out for example in Hartmann von Aue’s Iwein (524–542), allows for jousting and sword-fighting, but certainly not for a bar fight. These rules of engagement work to contain the violence of the encounter—urging the winner, for instance, to spare a defeated opponent’s life. Consequently, these rules construct a combatant’s victory not only as a function of his physical prowess, but as a manifestation of his superior moral values, with both qualities reciprocally establishing his honour. Vernacular literatures of the Middle Ages promoted those norms and standards firmly and effectively—mostly (but not exclusively) by means of male role models.1 Thus imaginative","PeriodicalId":118391,"journal":{"name":"Writing Beyond Pen and Parchment","volume":"129 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124231835","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Inscriptions In British Literature: From Runes To The Rise Of Public Poetry","authors":"C. Neufeld, R. Wagner","doi":"10.1515/9783110645446-004","DOIUrl":"https://doi.org/10.1515/9783110645446-004","url":null,"abstract":"From the retreat of the Roman Empire until the rise of the Tudors, medieval Britain’s landscape was a veritable palimpsest on which successive conquerors sought to leave their marks. The topic of inscriptionality and the inscribed material object requires the scholar of medieval British literature to make both cultural and temporal distinctions. Anglo-Saxon poetry reminds us that the Britain encountered by the tribes migrating from northwest Germany, the Netherlands, and Denmark in the fifth to the seventh centuries was littered with traces of earlier cultures: both the mythical, the race of “giants” whose monuments they viewed in Stonehenge, and the historical, the Latinised Celts pushed from their Roman centres to the fringes of the island. A few centuries later, the Anglo-Saxon society that had begun to coalesce into an “English” culture through the literary labours of the Church and monarchs such as King Alfred the Great (849–899) was disrupted by another military incursion from the Continent. The linguistic and literary shifts precipitated by the Norman invasion in 1066 would take another two centuries of a distinct Anglo-Norman ruling class to resolve into the Middle English tradition familiar to readers of Chaucer or Malory. Since the different periods of literary history in medieval England discourage a strictly chronological account, this chapter is divided into three thematic sections: writing artefacts and cultural difference; public and private forms of texts; and inscriptionality in the rise of an “English” literary tradition. Consequently, even as Anglo-Saxon texts will, of necessity, feature more prominently in our discussion of cultural difference, and late Middle English ones in our account of the literary tradition that emerges in the period, each section will develop a thematic argument with reference to texts from multiple periods.1","PeriodicalId":118391,"journal":{"name":"Writing Beyond Pen and Parchment","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132978283","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Inscriptions On The Iberian Peninsula: Material Script And Narrative Logic In Castilian And Catalan Literatures","authors":"Stephanie Béreiziat-Lang","doi":"10.1515/9783110645446-007","DOIUrl":"https://doi.org/10.1515/9783110645446-007","url":null,"abstract":"Before the unification of the Castilian and the Aragonés crowns under the “Catholic Kings” Ferdinand II of Aragon and Isabella I of Castile in 1479, the medieval Iberian Peninsula was a heterogeneous mosaic of smaller kingdoms. This linguistic diversity has not changed significantly until today. The Iberian primary dialects català, gallego, old castellano, (navarro-)aragonés and astur-leonés (the latter three combining into Castilian) all developed from vernacular Latin. While Castilian1 and Catalan2 evolved into important juridical and administrative languages after political unification campaigns during the thirteenth and fourteenth centuries, Gallego-Portuguese was prized as the language of poetry (cantigas) and was, as such, also used by Castilian writers.3 Nevertheless, each of the three dominant romances (vernacular languages) developed a sophisticated literary register and rich textual corpora. If the bureaucratic structures set up for the rivalries between the royal houses and the campaigns against the Muslim domination were great motors for the rise of vernacular cultural expression,","PeriodicalId":118391,"journal":{"name":"Writing Beyond Pen and Parchment","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114458514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"More Than Bling: Inscribed Jewellery Between Social Distinction, Amatory Gift-Giving, And Spiritual Practice","authors":"Christoph Witt","doi":"10.1515/9783110645446-016","DOIUrl":"https://doi.org/10.1515/9783110645446-016","url":null,"abstract":"One of the most fascinating aspects of inscribed jewellery is how far it can cross time and space, and how it can connect different cultural practices and fields of knowledge. It is often durable, and attractive or valuable enough to be transported and preserved. For example, a ring with a Kufic inscription interpreted as il-la-lah (“For/to Allah”) found its way to ninth-century Sweden, and survived into the twenty-first century.1 The ring began as a religious ornament, was traded, maybe given as a gift, worn as an amulet, buried with a woman, unearthed and misinterpreted by nineteenth-century archaeologists, and finally analysed with an electron microscope and turned from Arabic silver into a virtual 3D model. The ring has thus been part of religious devotional customs, trade, personal ornamentation, burial cult, and archaeological practices. Medieval literature expresses great interest in setting up such constellations around inscribed jewellery, which often refuse strong categorisation and instead entwine different phenomena, practices and fields.2 This article interprets such examples, mostly from Middle High German, Old and Middle English texts. As I will show, jewellery functions primarily to create relationships between people—it can symbolize, initiate, affect, and bear witness to them. Inscriptions can increase such constellations’ complexity: they can intensify or personalise gifts, add layers of ambiguity, and even stress the way objects interact with people as nonhuman actors.","PeriodicalId":118391,"journal":{"name":"Writing Beyond Pen and Parchment","volume":"00 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123976481","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sepulchral Representation: Inscribed Tombs And Narrated Epitaphs In The High Middle Ages","authors":"Laura Velte","doi":"10.1515/9783110645446-014","DOIUrl":"https://doi.org/10.1515/9783110645446-014","url":null,"abstract":"we are dead, such of praise!","PeriodicalId":118391,"journal":{"name":"Writing Beyond Pen and Parchment","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122307571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Inscriptions In Old Norse Literature","authors":"Katja Schulz","doi":"10.1515/9783110645446-003","DOIUrl":"https://doi.org/10.1515/9783110645446-003","url":null,"abstract":"I row so that it makes a difference; I am able to understand both: harp-playing and poems”. on the root and reddened them with her blood and recited spells over them. She walked backwards withershins round the log and spoke over it many powerful formulas. After that she had the log pushed into the sea and made this pronouncement that it was to drift out to Drangey and be a source of every evil to Grettir. retell those feats of their ancestors which had been made popular in the songs of their mother tongue. Adher-ing to the tracks of these verses, as if to some ancient volumes, and following the sense with the true steps of a translator, I have assiduously rendered one poem by another; my chronicle, relying on these aids, should be recognised not as something freshly compiled but as the utter-ance of antiquity; this book is thereby guaranteed to give a faithful understanding of the past, not a frivolous glitter of style. Moreover, how much historical writing might we suppose men of such genius would have published if they had slaked their thirst for composition knowing Latin? Even when they had no acquaintance with the Roman tongue, they were taken by such an urge to transmit their record to posterity that in absence of books they resorted to massive boulders and granite for their pages.","PeriodicalId":118391,"journal":{"name":"Writing Beyond Pen and Parchment","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134639674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Culture In Nature: Writing On Wood","authors":"Michael R. Ott","doi":"10.1515/9783110645446-008","DOIUrl":"https://doi.org/10.1515/9783110645446-008","url":null,"abstract":"Apart from Scandinavia with its enduring runic tradition, most medieval literatures have little use for wooden inscriptions. This may come as a surprise given the ubiquity of such artefacts in the Middle Ages, which even lend their name to writing and written objects: etymologically, the Brothers Grimm proposed, the German word for letter (Buchstabe) and terms like Gothic bôka and Old Saxon buok derive from the early Germanic words for “beech tree” (Buche in present-day German).1 Moreover, inscriptions in wood feature prominently in both antiquity and the early modern period, where we witness a large amount of narrated tree inscriptions especially in Pastoral poetry. These pastorals were closely linked to ancient textual traditions which were rarely available in the Middle Ages.2 Consequently, there is a gap in vernacular literary history concerning tree inscriptions and wooden inscriptions in general,3 beginning roughly with Vergil’s Eclogues (c. 40 BCE) and ending with the Pastoral renaissance of the fourteenth and fifteenth century (e. g. Petrarch, Sannazaro, Boiardo) which subsequently shaped Europe’s literary landscape. This article examines some medieval exceptions in this void, turning first to the Scandinavian runic tradition and the Continental reminiscence of wood’s magical power. Secondly I examine the sad, short, love story between the nymph Oenone and Paris, as retold in several accounts of the Trojan War. Finally, I take a closer look at Marie de France’s and Gottfried von Straßburg’s stories of Tristan and Iseult, both of which present letters on wood as a form of secret communication. Although there is little evidence with which to develop a broader argument about inscriptions on wood, this scarcity is itself worth considering. In fact, instead of lamenting the sparsity of examples, we should make an argument of it. The rareness of writing on wood, I propose, is due to wood’s categorisation as part of the realm of nature rather than culture. As such, wood is a counterpart to the courtly sphere with","PeriodicalId":118391,"journal":{"name":"Writing Beyond Pen and Parchment","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121296985","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Writing Spaces: Inscriptions On Architecture","authors":"C. Neufeld","doi":"10.1515/9783110645446-012","DOIUrl":"https://doi.org/10.1515/9783110645446-012","url":null,"abstract":"The interpretive challenge posed by the inscription has given scholars pause as well.2 As Freccero observes, “[t]he uncertainty of the commentators about whether the dark color is a physical description or a characterisation of the meaning of the phrase, its rhetorical color, suggests that they cannot decide whether the pilgrim is seeing or reading the inscription.”3 Scholars alert to medieval hermeneutics have engaged rhetorical models to explain the challenge posed by the text—referencing, for example, the disciples’ incomprehension in John 6:61 (“This saying is hard, and who can hear it?”) or Augustine’s discussion in De Genesi ad Litteram of the uncomprehending","PeriodicalId":118391,"journal":{"name":"Writing Beyond Pen and Parchment","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122535702","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Inscriptions In Italian Literature","authors":"Elisa De Roberto","doi":"10.1515/9783110645446-006","DOIUrl":"https://doi.org/10.1515/9783110645446-006","url":null,"abstract":"Developing classic and Old Testament motifs, Italian literature of the thirteenth and fourteenth centuries recovers and reinforces the profound symbolism linked to the book as object. It can be a treasure trove of science and knowledge, a monument capable of opposing the flow of time and mortal things, a mirror of human interiority (as we see in Dante’s Vita nova or Petrarch’s Familiares), and even an allegory of the universe (Paradiso, XXXIII, 85–88).1 However, we must not forget that other types of writing frequently played important roles in medieval life. Italian scholars have for a long time (and often using interdisciplinary perspectives) turned their attention to the scritture esposte,2 what Dante refers to as visibile parlare (“speaking visibly”) in the Commedia,3 which is to say texts written on “public” surfaces not intended primarily to accommodate writing. Scholars have considered epigraphs, inscriptions and graffiti on walls, tablets or memorial plaques for their historical, artistic and literary value, but also as important sources for the study of ancient Italo-Romance varieties.4 Two Roman scritture esposte—the inscription of the catacomb of Commodilla (first half of the ninth century) and the inscription accompanying the fresco of the underground basilica of St Clement (end of the eleventh century)—represent some of the earliest examples of writing in an Italian vernacular.5 Furthermore, the scritture","PeriodicalId":118391,"journal":{"name":"Writing Beyond Pen and Parchment","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127072147","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}