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This thesis is concerned with the supervised manuscripts of the works of Christine de Pizan (ca 1364-ca 1430), the first female author who could make a living from the products of her pen. During her long and prolific career as an author, she composed numerous works for noble and royal patrons of France, which were made into manuscripts by Parisian scribes and illuminators. Scholars have argued that Christine supervised the production of these manuscripts. Moreover, on several occasions the hypothesis has been raised that Christine also copied several of them herself, thus acting as scribe X alongside two other scribes, called P and R. The aim of this thesis is twofold: firstly, to gain a better understanding of the production process of the supervised manuscripts of Christine de Pizan's works and of the role played by the author; secondly, to develop and test a new methodology for distinguishing between scribal hands in medieval manuscripts. An account of Christine de Pizan's life and a survey of all surviving supervised manuscripts of her works clearly show that she had extensive knowledge of how they were made. Monotextual manuscripts of her works were often produced in series, in an attempt to economise and speed up the production process. The manuscripts of Christine's collected works show a production and editing process that resembles modern-day printing-on-demand. This thesis further demonstrates the use and success of the Scribal Fingerprint, a new and objective method of distinguishing between scribal hands that consists of three palaeographical core differentiators and two additional differentiators. A Scribal Fingerprint examination of the handwriting in MS Harley 4431, the most recent of the four surviving manuscripts containing Christine's collected works, generates highly heterogeneous differentiator values for the thirteen folios that were analysed. This analysis is combined with an examination executed by GIWIS, an innovative computer application for handwriting analysis. Both strngly suggest that MS Harley 4431, thought by some scholars to have been transcribed entirely by scribe X, was in fact copied by more than one scribe.

This dissertation is broadly concerned with the role of codices, or bound manuscript books, in the imagination of late medieval English authors. I am interested in exploring how the visual and physical features of medieval books inform the aesthetic vocabulary of reading and inspire a hermeneutic rooted in the sensory experience of reading. Reading a book in the fourteenth and fifteenth centuries—the time of Geoffrey Chaucer and his contemporaries—demands that readers digest an array of information besides the written word: are the words placed in the center, in the margins, in a single column or in double columns? What colors of ink are used? How do illustrations and decoration—initials and borders in particular—guide the organization of the written word and engage readers in analyzing the contents? I use the term “codicology” to refer to such features as layout, page design, ink color, decoration, illustration, and the ordering of texts. Writers such as Geoffrey Chaucer, John Gower, and Thomas Hoccleve each draw attention to the physical and material properties of medieval books as part of their narratives, and all three writers acknowledge the bound codex as an operative concept by utilizing the networks of visual and semantic relationships orchestrated by the manuscript page to deepen the reader’s engagement with their respective works. Therefore, these visual and physical features generate what I call a “codicological aesthetic,” a device that uses the sensory experience of reading medieval books to frame and characterize encounters with literary texts. By situating reading practices within narratives, the codicological aesthetic gives readers greater purchase on texts, and it allows them to reflect on the nature and the consequences of the reading that they perform.

O presente trabalho constitui-se de estudos paleográficos e codicológicos de documentos manuscritos dos séculos XVIII e XIX - datados entre 1707 e 1822 -, referentes à Capitania de São Paulo, inicialmente, e, após, às Capitanias de Mato Grosso, Minas Gerais e Goiás, área mais tarde identificada como da \"cultura caipira\". Esta descrição está precedida de resenha dos aspectos históricos considerados mais relevantes do período colonial brasileiro, com foco na área de referência dos documentos, seguida de edições fac-similar e semidiplomática justalinear e de perspectivas de estudos lingüísticos. / Paleographic and codicological studies are made of manuscript documents of the eighteenth and nineteenth centuries - between 1707 and 1822 -, referring to the Province of São Paulo, initially, and subsequently to the Mato Grosso, Minas Gerais and Goiás provinces, an area identified later as that of the \"caipira culture\". This description is preceded by a review of the historical aspects considered most relevant in the Brazilian colonial period, focusing of the area referred to in the documents, and followed by fac-similar and semidiplomatic justalinear editions and perspectives of linguistic studies.

Esta dissertação tem como primeiro objetivo preparar as edições facsimilar e semidiplomática de atas da Câmara Municipal de Botucatu, datadas de 1858 e 1859. Por ser o trabalho filológico uma atividade multidisciplinar, propomo-nos, também, a levantar alguns aspectos codicológicos e paleográfios do livro no qual estas atas se encontram. Durante a leitura destes documentos, notamos que os diferentes alógrafos dos grafemas s e z, especialmente em posição intervocálica, podem, muitas vezes, proporcionar dificuldades de leitura a pesquisadores preocupados com questões de linguística histórica. Além da variação entre alógrafos, há também a variação no emprego dos grafemas s e z quanto à representação de diferentes fonemas. Baseados na constatação de que s e z apresentam variação quanto à forma e ao fonema que representam, nosso segundo objetivo é examinar, no corpus estudado, ocorrências de alografia de s e z que suscitam maior dificuldade do ponto de vista paleográfico e verificar a variação de uso dos grafemas s e z apenas em posição intervocálica. / The first objective of this dissertation is to prepare both the fac-similar and the semi diplomatic editions of minutes of the municipal council of Botucatu, São Paulo State, which date back to 1858 and 1859. As the philological labor is a multidisciplinary activity, we also propose to raise some codicological and paleographic aspects of the book in which these minutes lie. While reading these documents, we noticed that the different writings of the graphemes s and z, especially in intervocalic position, might, at times, cause difficulties in reading to researchers preoccupied with historic linguistics issues, because the variation, both in writing and use of these letters, is wide. Besides this, there is also variation in the use of the graphemes s and z in representing different phonemes. Based on the finding that s and z present variation both in shape and the phoneme they represent, our second objective is to examine, in our corpus, occurrences of s and z allographs that raise greater paleography difficulties and verify the variation in the use of the graphemes s and z only in intervocalic position.

O presente trabalho consiste na edição semidiplomática justalinear, acompanhada de glossário parcial e índices de expressões latinas, antropônimos, topônimos e cargos, dignidades e funções, da obra intitulada Memória Histórica da Capitania de São Paulo e todos os seus memoráveis sucessos desde o anno de 1531 thé o prezente de 1796, códice E11571 do Arquivo do Estado de São Paulo. O trabalho está dividido em seis partes: na introdução, apresentam-se o trabalho, sua importância e seus objetivos; na primeira parte, expõe-se um breve contexto histórico do século XVIII, época na qual se situa Memória Histórica; na segunda parte, apresentam-se informações sobre o autor, suas obras, inclusive a obra em questão, e a discussão sobre sua autoria; na terceira parte, faz-se uma descrição do códice E11571, incluindo estudos codicológicos, paleográficos e lingüísticos; na quarta parte, justifica-se a opção pela realização da edição semidiplomática em formato justalinear, descrevem-se as normas de transcrição utilizadas e apresenta-se a edição da referida obra; na quinta parte, listam-se os critérios adotados na elaboração do glossário parcial, assim como dos índices de expressões latinas, antropônimos, topônimos e cargos, dignidades e funções, a que se seguem os referidos glossário e índices; finalmente, expõem-se as considerações finais e as referências. / This work consists in a justalinear semidiplomatic edition, followed by partial glossary and index of Latin expressions, anthroponymous, toponymous and posts, dignitaries and functions. It is based upon the work named Memória Histórica da Capitania de São Paulo e todos os seus memoráveis sucessos desde o anno de 1531 thé o prezente de 1796, codex E11571 from the Arquivo do Estado de São Paulo. This work is divided in six parts: in the introduction, the work is presented, along with its importance and its objectives; in the first part, a brief historical context of the 18th century is exhibited, time in which the Memória Histórica takes placed; in the second part, information about the author, his works, including this work itself, and the discussion about its authorship are presented; the third part contains a description of the codex E11571, including codicological, paleographical and linguistical studies; the fourth part comprises a justification for the justalinear edition, the rules adopted on the transcription and the edition itself; in the fifth part, the criteria adopted on the partial glossary, in the Latin expressions index, in anthroponymous, in toponymous and in posts, dignitaries and functions are listed; finally, the conclusion and the references are exposed.

Editar, respeitando as normas vigentes, o manuscrito Reminiscências de Santos, escrito por João Luis Promessa, e pertencente à Igreja Santo Antonio do Valongo, em Santos. Precede a edição, breve histórico do documento, da Igreja e do autor, João Luis Promessa, bem como a análise codicológica e paleográfica do manuscrito. Após a edição, faz-se a análise das ocorrências dos pronomes demonstrativos do texto editado, comparando-as aos dados coletados com o levantamento das ocorrências do pronome demonstrativo dos textos da dissertação de Mestrado Edição de Textos Relativos à Defesa, Segurança e Fiscalização Portuária da Baixada Santista no Período Final do Século XVIII e Início do Século XIX e do livro Por Minha Letra e Sinal. Faz parte, ainda, desta tese, um levantamento histórico da trajetória dos pronomes demonstrativos, do latim às orientações das atuais gramáticas prescritivas. / Edit, respecting the standards, the manuscript \"Reminiscent of Santos\", written by João Luis Promise and belonging to the Church of Santo Antonio Valongo in Santos. Preceding edition, brief history of the document, the Church and the author, John Luis Promise and the codicology and palaeography analysis of the manuscript. After editing, it is the analysis of occurrences of demonstrative pronouns from the text edited, comparing them to data collected with the survey of occurrences of the demonstrative pronoun of the texts of the dissertation of Masters \"Edition of Texts Concerning the Protection, Security and Surveillance of Baixada Santista Port in the end period of the eighteenth century and beginning of the nineteenth century\" and the book \"The Sign and My Letter\". Part, even in this thesis, a survey of the historical trajectory of pronouns demonstrative, the Latin to the gidelines of current prescriptive grammars.

Notre thèse se présente en deux volumes ; le premier traite de l’étude iconographique ainsi que l’analyse des rapports texte/image dans les manuscrits hippiatriques arabes Khalīl Āghā 8 et Fatīh 3608/3609. Le premier intitulé kitāb al-baïtara de Ahmad ibn al-Hasan ibn al-Ahnaf est conservé à Dār al-kutub au Caire et date de 1209. Le second portant le même titre que le premier n’est ni signé, ni daté. Il est conservé à la Bibliothèque de la Süleymanīye, à Istanbul. Nous avons tenté d’étudier ces deux manuscrits si richement décorés afin de découvrir quels sont les caractéristiques qui les rapprochent et quels sont les aspects qui les éloignent mais aussi si ils sont l’œuvre du même auteur. Dans le second volume de cette thèse, nous avons retranscrit la copie du Caire sur support informatique afin de la rendre plus lisible et nous l’avons ensuite traduit en français pour la rendre plus accessible aux chercheurs non arabisants. / Our thesis consists in two volumes ; the first one deals with the iconographic study and the analysis of text/image relationships in the arabic hippiatric manuscripts Khalīl Āghā 8 and Fatīh 3608/3609. The first one entitled kitāb al-baïtara of Ahmad ibn al-Hasan ibn al-Ahnaf is stored at Dār al-kutub in Cairo and is dated of 1209. The second one of the same title as the first one is neither signed nor dated. It is kept in the Libary of the Süleymaniye in Istanbul. We have attempted to study these two manuscripts, so richly decorated, to discover what are the characteristics that link them together and what aspects separate them and also whether they are from the same author or not. In the second volume of this thesis, we transcribed the copy of the Cairo manuscript on computer to make it more readable and we have then translated it to French in order to make it accessible to non-Arabic researchers.

Si les reliures arabes et islamiques ont connu une immense variété de décors au travers du Moyen-Age, la période allant du XIIIᵉ au XVᵉ siècle représente sans conteste un âge d’or quant à la richesse et la beauté des œuvres réalisées. Si pendant longtemps ce sont les formes géométriques et circulaires qui ont dominé, les conquêtes mongoles dès le XIIIᵉ ont contribuées à la diffusion du décor central en forme de mandorle de la Perse vers l’empire Mamelouk puis vers l’empire Ottoman. Celle-ci était largement utilisée par les relieurs persans dont l’art a certainement connu une influence artistique venant de Chine. Ce sont les artistes persans qui ont porté le décor en forme de mandorle à son plus haut degré de raffinement esthétique. La mandorle n’est apparue dans le répertoire des relieurs mamelouks qu’à partir de la fin du XIVᵉ siècle et a couramment été utilisée à partir de la deuxième moitié du XVᵉ siècle. C’est également à partir de cette période qu’elle apparaît sur les reliures ottomanes avec des mandorles polylobées ornées de belles arabesques et de décors floraux fins et raffinés réalisés de plus en plus souvent sur des fonds dorés. La fin du XVᵉ siècle est marquée par l’apparition des décors réalisés à l’aide de plaque qui va rapidement se répandre et remplacer les mandorles réalisées à l’aide de petits. L’influence esthétique des décors en forme de mandorle fut telle qu’elle se répandit jusque dans les répertoires des décors des reliures de la Renaissance italienne. Cette étude présente l'évolution et la diffusion du décor en forme de mandorle réalisé à l'aide de petits fers du XIIIᵉ au XVᵉ siècle sur la base d'un échantillon composé de quatre-vingt-douze reliures. / Arab and Islamic bindings offer a very large variety of patterns throughout the Middle Ages. The period from 13th to the 15th century is undoubtedly a golden age regarding the beauty of their ornement and decoration.If during a long time circular and geometric profiles dominated the bindings decoration, the Mongol conquests from the 13th century have contributed to the diffusion of almoond profile from Persia to the Mamluk and Ottoman's bindings. It was widely used by Persian bookbinders whose art has certainly experienced an artistic influence from China. Persian artists have worn the almond shape at its highest degree of aesthetic refinement. The almond profile only appeared into the Mamluk binder's repertoire until the end of the 15th century and commonly used from the second half of 15th century. It is also from this period that it appears on the Ottoman bindings with lobed profiles usually filled with beautiful arabesques and floral ornamentoften on gilded background. In the late 15th century appears the technique of pressure moulding, that involved the pressing of the leather with large stamps. This technique quickly spread and replace almond shape using small stamps. The aesthetic influence of the almond profile was such that it were introduced into the Italian bookbinder's repertoire by the middle of the 15th century. This study presents the developments and dissemination of the almond profile made with small stamps from the 13th to the 15th century on the basis of a sample of ninety two bindings.