A Glossary of Latin and Italo-Romance Medico-Botanical Terms in Hebrew Characters on an Illustrated Manuscript Page (Ms. Oxford, Bodleian Opp. 688, fol. 117b)

Aleph ◽  
2019 ◽  
Vol 19 (2) ◽  
pp. 169
Author(s):  
Bos ◽  
Hajek ◽  
Kogman-Appel ◽  
Mensching
Keyword(s):  
Manuscript Page

Revision and Self-Citation

2018 ◽  
Author(s):  
Jane Stabler
Keyword(s):  
Public Domain ◽  
Genetic Criticism ◽  
Romantic Period ◽  
Manuscript Page ◽  
Vexed Question ◽  
Reading Texts

Despite recent claims that serious poetic revision only started during the modernist period, most Romantic-period manuscripts yield evidence of sustained and sometimes obsessive revision, which could take place over a matter of hours, days, or years. This chapter surveys different editorial approaches to authorial revision and the vexed question of whether we should base our reading texts on the ‘first finished’ version or the author’s last ever set of revisions—the question which has haunted William Wordsworth’s editors for decades. After a brief discussion of the advantages of combining genetic criticism of the manuscript page with an awareness of biographical, social, and literary contexts, the chapter turns to public-domain manuscripts to analyse three examples of manuscript revision of poetry by Wordsworth, Keats, and Shelley.

Übergänge – Ornamente und Diagramme zwischen Text, Buchstabe und Bild in Handschriften des Frühmittelalters

2017 ◽  
Vol 22 (2) ◽  
pp. 408-430 ◽  
Author(s):  
Patrizia Carmassi
Keyword(s):  
Middle Ages ◽  
Late Antiquity ◽  
Early Middle Ages ◽  
Martianus Capella ◽  
Definition Of ◽  
Manuscript Page ◽  
Graphic Elements

AbstractStarting from the concept and definition of littera in the Grammar treatises of the Late Antiquity and the Early Middle Ages, the contribution analyzes common graphic elements which were used by the scribes to create initials, ornamental patterns and the layout of the manuscript page. These elements and their functions were partly described in encyclopaedic works, e. g. of Isidor of Sevilla and Martianus Capella in the chapters about Geometry. Not only were these features well known through the study of the Artes, they also represented useful tools for the invention and production of medieval diagrams.

scholarly journals Интерсемиотическое пространство: Адриянополь в Петербурге "Преступления и наказания Ф. М. Достоевского " [The intersemiotic space: Adrianopol in F. Dostoevsky's "Crime and punishment" St. Petersburg]

2000 ◽  
Vol 28 ◽  
pp. 116-133
Author(s):  
Peeter Torop
Keyword(s):  
Compositional Analysis ◽  
Crime And Punishment ◽  
Its Analysis ◽  
Sign Systems ◽  
Text Production ◽  
History Of ◽  
Manuscript Page ◽  
The Individual ◽  
Level Analysis

The intersemiotic space: Adrianopol in F. Dostoevsky's "Crime and punishment" St. Petersburg. The article focuses on the peculiarities of the intertextual space of culture and the means of its analysis. Level analysis, compositional analysis and chronotopical analysis are juxtaposed in the paper. Textual and intertextual chronotopical analyses are considered separately. Two aspects of textual processuality are juxtaposed: the history of text production and the role of the manuscript page structure as a reflection of the writer's style and mode of thinking (especially in the interserniotic relationship between picture, drawing andword); the history of text reception, its intersemiotic translation into different sign systems and its existence in culture in a scattered state. In this connection the notions of the individual and mental text are juxtaposed. As an example a page of F.Dostoevsky's notebook is taken, where an intricate combination of picture, calligraphy and text offers an interesting infonnation on the methods of formation of text conception.

The Mise-En-Page In Western Manuscripts

2020 ◽  
pp. 618-632
Author(s):  
Marie-Hélène Tesnière
Keyword(s):  
Blank Space ◽  
Manuscript Page ◽  
Relationship Of ◽  
The Relationship ◽  
Selection Of

This chapter discusses the mise-en-page, that is, the arrangement and layout of different elements on the pages of Western manuscripts. The author addresses various aspects of the topic, including the dimensions of the page and the ratio of height to width, the amount of space alotted to text versus margin, the proportion of of written space to blank space, columns, the more complicated arrangements of texts with commentaries and glosses, and the relationship of text to image. Examples of manuscript page layouts from different periods highlight the variety of possibilities and the importance of the decisions that go into the selection of a layout.

scholarly journals The Visual Text: Bibliographic Codes as Pragmatic Markers on a Manuscript Page

2016 ◽  
Vol 51 (3) ◽  
pp. 37-44 ◽  
Author(s):  
Justyna Rogos-Hebda
Keyword(s):  
British Library ◽  
Medieval Manuscript ◽  
Historical Texts ◽  
Visual Elements ◽  
Pragmatic Markers ◽  
Visual Text ◽  
Linguistic Analyses ◽  
Manuscript Page ◽  
Troy Book ◽  
Visual Interface

Abstract1 This paper explores the dynamics of the textual-visual interface of a medieval manuscript page within the frameworks of historical pragmatics and pragmaphilological approaches to the study of historical texts. Whilst the former focuses on the contexts in which historical utterances, manifested as texts, occur (Jacobs & Jucker 1995: 11), the latter involves a context-based perspective in the study of individual historical texts (Jucker 2000: 91). Combining the two approaches allows for a more comprehensive study of the “visual text” (cf. Machan 2011) than has been possible for paleographic, codicological, or linguistic analyses of medieval manuscripts. The present paper adopts the “pragmatics-on-the-page” approach (cf. Carroll et al. 2013, Peikola et al. 2014) in its analysis of bibliographic codes in British Library Royal MS 18 D II, which contains the texts of Lydgate’s Troy Book and Siege of Thebes. Such visual elements of the manuscript page as mise en page, ink colour, as well as type and size of script will be examined as pragmatic markers, functioning on three levels of meaning: textual, interactional, and metalinguistic (cf. Erman 2001, Carroll et al. 2013), and providing (visual) contexts for interpreting the linguistic message of the text.

scholarly journals Script as Image: Visual Acuity in the Script of Poggio Bracciolini

2020 ◽  
pp. 119-148
Author(s):  
Philippa Sissis
Keyword(s):  
Visual Acuity ◽  
Text And Image ◽  
Historical Manuscripts ◽  
Manuscript Page ◽  
Historical Model ◽  
Concrete Concept

The fact that the graphic substance of writing oscillates between text and image is a potential which writing carries in itself from the very beginning. Every graphic trace on the manuscript page relates to the conventions of time in a way that is determined by the scribe. This becomes particularly tangible when the conventions are deliberately and systematically broken and replaced by new ones on the basis of a concrete concept. By introducing the humanistic minuscule, a script developed on the basis of the historical model of the Carolingian minuscule, Poggio Bracciolini and his mentors and friends Coluccio Salutati and Niccolò Niccoli, created philologically revised copies of the texts of classical authors in what they called littera antiqua, the new old script. This paper wants to show how the conscious incorporation of elements of historical manuscripts and their transformation into a specifically humanistic product makes use of the graphical potential of script and mise-en-page in order to translate a humanistic discourse into SchriftBild.

scholarly journals Re-Weaving the Word-Web: Graph Theory and Rhymes

1979 ◽  
Vol 5 ◽  
pp. 129
Author(s):  
James Joyce
Keyword(s):  
Nineteenth Century ◽  
Graph Theory ◽  
Ongoing Effort ◽  
Semantic Associations ◽  
Actual Speech ◽  
Web Graph ◽  
Manuscript Page

My title, "Re-Weaving the Word-Web," refers to the ongoing effort to reconstruct earlier states of language. The word-web in question is that of sound and semantic associations in either prose or poetry. Today we have a much better idea how Chaucer may have pronounced his words than Dryden did, for example. However, we do not have recordings of the actual speech - such as those made by Tennyson, Browning, and others in the nineteenth century - with which to guide our re-weaving of marks on the manuscript page that are the suggestions of sounds into knowledge of how to produce those sounds.

Sign in / Sign up

Export Citation Format

Share Document