|Date/Time||Thursday 7 July 2022: 14.15-15.45|
|Organiser||IMC Programming Committee|
|Moderator/Chair||Catherine J. Batt, School of English, University of Leeds|
|Paper 1719-a||Flaying and Identity, c. 1500: Skin as Text, Surface, and Clothing
Soyoung Joo, Courtauld Institute of Art, University of London
Index Terms: Art History - Decorative Arts; Art History - General; Art History - Painting; Political Thought
|Paper 1719-b||Formal Borderlands in Charles d'Orléans' Fortunes Stabilnes
Holly Barbaccia, Department of English, Georgetown College, Kentucky
Index Terms: Language and Literature - Middle English; Manuscripts and Palaeography
|Paper 1719-c||A Manuscript-Wide Debate: Compilation, Illumination, Rubrication, and Textual Interventions in Wien, Österreichische Nationalbibliothek, Cod. 2609
Johannes Junge Ruhland, Department of French & Italian, Stanford University
Index Terms: Language and Literature - French or Occitan; Manuscripts and Palaeography
This paper examines how the images of transformation of the flayed body and skin reveal social and personal identities and boundaries. To mobilise this process, I will examine various metaphors surrounding flaying and skin, including the acts of removing, writing, clothing, and camouflaging from hagiography and literature around c. 1500. Then I will analyse the scenes of flaying with Didier Anzieu's Skin Ego to examine Gerard David's Judgment of Cambyses (1498) and the flaying of St Bartholomew to support the idea that skin becomes a site to 'write on' and create a new identity.
Recent studies of Charles Orléans's English poem have merged formalist approaches with manuscript studies. The structures of the whole poem and of major sections have received perceptive analysis. This paper examines the segments in Charles's poem that present interstices between major sections, considering how he uses spaces and borders in the poem and manuscript to advance his emotional and psychological story. The short lyric sequence that follows the first dream vision defies formal categories; so does the material after the chanson 'jubilee'. In the lyric narrative, these borderlands show the speaker's heart's changes. Charles's transitional moments deserve as much study as the more formally fixed ones as we deepen our collective reading of the poet's English masterwork.
That the production of multi-text manuscripts in French peaked between 1250 and 1350 is well known by scholars. They have discussed how multi-text manuscripts were assembled by genre or narrative subject and have described instances of interpolation and compilation that created macro-narratives in manuscript form. This paper adds to existing scholarship by describing an instance of multi-text compilation in a manuscript from ca. 1300 that not only creates such a macro-text, but that also turns the texts it compiles into interventions in a debate between a cleric and his lady, thus affecting the genre of the texts of the codex. Through a discussion of compilation, illumination, rubrication, and textual interventions in Vienna, ÖNB, Cod. 2609, this paper shows how textual boundaries between Bernier de Chartres' Vraie medecine d'amour, Richard de Fournival's Bestiaire d'amour, and three Responses that follow are renegotiated to create a macro-text that spans the codex. It proposes that all these texts function as one debate, and therefore suggests that multi-text compilation can alter the genre traditionally ascribed to individual works.