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            "title": "Scripts and Literature in the Manuscripts of England and France, 1370-1425",
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                    "firstName": "Seamus",
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            "abstractNote": "In the fifty or so years between 1370 and 1425, medieval scribes developed and used three distinct scripts—anglicana, secretary, and textualis—in dynamic and visually striking ways right as Middle English was becoming a more attested literary language alongside French and Latin. A high level of care in the maintenance of visual distinctions between the three scripts defines this period in book history. The literary manuscripts produced roughly within these dates are thus the products of a moment when scripts in their separated multiplicity interact with texts in ways that particularly lend themselves to literary meaning.\nI argue in this dissertation that scripts are media that serve literary interpretation. Traditional paleographical understandings of scripts see them as sources for the date and geographical origin of individual manuscripts, the identities of scribes, and other bibliographical information. Departing from this, I argue that scripts’ visual qualities and terminologies can be read into the texts they preserve. I contend that hermeneutic power of late medieval scripts are informed by their status as plural commodities with multiple grades that were assigned distinct values based on subtle elements of craft, such as the amount of labor one script required, or the prestige of another’s place of origin. “Scripts and Literature” finds literary power in these elements which produces readings of medieval literature informed by the graphic artisanry of letterforms.\nMy four chapters track late medieval scripts thematically, exploring how cultural expectations and scribal design inform readings by interacting with various genres, forms, and languages in distinct contexts. The first two chapters consider script through the lens of production. Chapter 1 how how scribes’ professional identities access medieval cultural views of scripts. Using a wide variety of archival material, including rarely surviving but uniquely informative writing models, Chapter 1 finds that scribes heavily relied on artful, creative, and often rhetorically powerful language to communicate about scripts to the broader world. In other words, literary language was used to bring the graphic shapes of scripts out of abstraction and into human communication. This conclusion shows that scripts are not mere containers of literary writing and transmission but were fundamentally indivisible from literary writing and transmission.\nBuilding off Chapter 1’s findings, Chapter 2 focuses on one example of the figurative language scribes use to label and think about script: the term “bastard.” Exploring the use of “bastard” to describe different medieval commodities that were adapted for more versatile use, I find that “bastard scripts” are those which exhibit the careful combination of “high” calligraphic features with “low” cursive ones that can be read for particular literary effects. Analyzing the variously rendered “bastard scripts” of the early manuscripts of John Gower’s Confessio Amantis, Chapter 2 ultimately finds that the different ways scribes “bastardized” scripts uncover a medieval “bastard poetics,” aided by the poem’s own “bastard” combination of “high” Latin verse with “low” English couplets. “Bastard” processes of crafting scripts help enhance reading “bastard” principles of poetic composition.\nMoving from production, the second two chapters more closely consider scripts’ literary receptions. Chapter 3 investigates how scripts can portray the affective stances their literary texts assume, more specifically intimacy. Focusing on secretary, a script imported to England from French-speaking territories of Europe, I examine its uses in three case studies: a manuscript of Guillaume de Machaut’s multi-form poem Le livre dou Voir Dit, John Gower’s ballade sequence the Traitié, and several early manuscripts of Christine de Pizan. Chapter 3 finds that secretary, in both French and Anglo-French contexts, when it triangulates with language (French) and form (epistolary lyrics or prose), facilitates what I call “secretarial reading,” wherein the reader is encouraged by the apparent simplicity of secretary’s cursive aspects to recognize and engage with intimacy in the texts at the level of content, genre, or the author’s literary persona, as each case study explores.\nChapter 4 argues for the possibilities of script as a facilitator for reading in a continuous process. It focuses on a single case study, an early fifteenth-century manuscript of Piers Plowman, copied by an apparently \"amateur\" scribe, Thomas Tilot. Tilot’s script starts out as a highly formal textualis, but slowly decreases in calligraphic effort until it fully becomes a rapid cursive. This calligraphic diminuendo epitomizes scribal \"amateurishness\" through its disinterest in absolute uniformity and consistency, which I argue offers a visual reading of the many moments of upheaval, destabilization, and narrative unraveling in Piers Plowman itself. Chapter 4 ultimately offers a method of close reading medieval texts that takes script more fully into account alongside lexis, diction, and meter, concretizing this dissertation’s arguments about the interpretive power scripts hold for literature.",
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            "title": "Machaut’s Notations and Ars nova Theory",
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                    "firstName": "Emily",
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            "abstractNote": "Fourteenth-century French poet-composer Guillaume de Machaut is usually situated as an inheritor of an established notation system, called today the ars nova. However, recent scholarship on the chronology of notational developments in the fourteenth century, initiated by Karen Desmond and A. Zayaruznaya, and new hypotheses surrounding the dating and creation of Machaut’s mid-century manuscript (MS C) have laid the foundations to reconsider Machaut’s notation. This dissertation returns to the notation of Machaut’s music in order to 1) reevaluate the composer’s position in the history of music theory, in light of our changing understanding of fourteenth-century notational developments; and 2) resituate the scribes of Machaut’s music, who are often obscured behind the image of the composer, as active contributors and creators of ars nova notation.\nFramework for this dissertation is guided by the New Philology, heralded in the field of medieval studies in a 1990 issue of Speculum, which dispelled the myth of the Urtext, making room for textual variance to be taken seriously. This dissertation also draws on previous studies of musical inscription that apply Actor Network Theory to entertain the various actors and relationships at play in musical notation. Scribes of polyphonic music were highly specialized—to effectively copy music with multiple parts, they had to understand how mensural notation worked.\nChapter 1 considers the properties and affordances of rests, as defined by mensural theorists and as reflected in Machaut’s manuscripts. The second half of this chapter focuses on initial and sectional rests, used to notate anacruses in Machaut’s virelais. While previous editions and studies of the virelais have found these anacruses to be undernotated, this dissertation argues that initial rests and final figures consistently work together to clarify mensural ambiguities. Chapter 2 examines a subtype of ars nova imperfection referred to by scholars today as “mutatio qualitatis.” This chapter argues that Machaut did not take a consistent approach to this practice and draws a connection between ars nova imperfections and an ars vetus figure, the plica.\nThe second section of the dissertation centers on songs in the Remede de Fortune. Chapter 3 examines the recently discovered fragment de Hamel 777, a bifolio that contains portions of the fourth and fifth Remede songs. Although the layout and text of de Hamel 777 have strong connections with one group of manuscripts, its musical readings have more in common with another. This chapter contributes to scholarship on Machaut reception and circulation in the second half of the fourteenth century in the context of the Valois courts, and from Northern France and Flanders into Italy. Finally, Chapter 4 places notational variants in the Remede de Fortune in dialogue with mid-century ars nova theory, with an eye to extensions of ars vetus notation and the presence of ars nova techniques. This chapter contributes to our understanding of MS C, finding that the earliest Machaut source utilizes notation differently than later sources.\nThis dissertation argues that Machaut did not just refine an established notational system; he and his scribes also contributed to its development. From the vantage point of the \"early ars nova\" hypothesis, we would not expect Machaut's notation to break new ground. But from the \"late ars nova\" hypothesis, Machaut's notation assumes a new aspect, and interrogation of Machaut's musical notation evidences ties between the old ars and the new.",
            "thesisType": "Ph.D.",
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            "extra": "ISBN: 9798286443741",
            "tags": [
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                    "tag": "Actor Network Theory",
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            "title": "Monstrous Death: Mourning, Melancholy, and Misogyny in Der Ackermann aus Böhmen, Pearl, and Machaut’s Remede de Fortune and Le Jugement dou roy de Behaingne",
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            "abstractNote": "This chapter explores how these tensions within the male ego reach a point of total breakdown in the German prose debate “The Plowman of Bohemia” in which a widowed plowman berates Death for taking away his beloved wife. Conventionally read as a scholastic dispute between Man and Death, I argue that it actually reflects the split within the male self between the courtly lover and his misogynistic alter ego. The second half of the chapter compares this German text with the Middle English elegy “Pearl” where this split within the male psyche is resolved through the figure of the pearl-maiden who functions as a reassuring maternal superego.",
            "bookTitle": "Wounded Knights: Violence, Masculinity, and Medieval Courtly Love",
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                    "firstName": "Signe",
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                    "firstName": "Ariane",
                    "lastName": "Jeßulat"
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                    "firstName": "Oliver",
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                    "firstName": "Christian",
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            "abstractNote": "Analytische Untersuchungen vollziehen sich häufig in einem historiografischen Rahmen, der mehr oder weniger explizit sein kann. Der Beitrag verdeutlicht anhand eines prägnanten Beispiels, wie analytische Untersuchungen und musikhistorische Rahmenerzählungen zusammenhängen. Die Forschungsgeschichte der »isorhythmischen Motette«, die akademische Sozialisation des Autors und die Editionsgeschichte von Machauts Kompositionen stellen wesentliche Hintergründe für das Verständnis von Hans Heinrich Eggebrechts analytischen Befunden in der Motette Nr. 9 (»O livoris feritas« / »Fons tocius superbie« / »Fera pessima«) von Guillaume de Machaut dar.",
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