My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

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Cette thèse veut déterminer la contribution de Julien Macho, membre de l’Ordre des ermites de saint Augustin de Lyon, à la vie culturelle de son époque. Son œuvre n’est pas, à proprement parler, une œuvre originale, mais un ensemble de traductions du latin au français, de corrections et d’éditions de textes religieux ou moraux. Ses livres ont été publiés dans une courte période, entre 1473 et 1480, et plusieurs rééditions, de la fin du 15e s. et du début du 16e s., sont connues. Il est question, à cette époque, à Lyon comme ailleurs en France, d’un grand désordre dans l’organisation religieuse et les critiques se font entendre de part et d’autre du pays. Devant la décadence de l’Église, la piété privée commence à se développer, une piété qui a besoin d’un nouveau support pour rendre accessibles les enseignements moraux à une population bourgeoise de plus en plus lettrée. Or, conscient de ces récents développements, Macho oriente tout son travail dans le but précis de rejoindre, en langue vernaculaire, un vaste auditoire. L’objectif de cette thèse de doctorat est d’analyser une partie de l’œuvre de Macho dans le but de mieux comprendre les intentions de l’auteur. Ce but premier permettra aussi de documenter, par un biais nouveau, une période charnière du développement intellectuel occidental, le passage du Moyen Âge à la Renaissance. Le travail comporte trois parties. Dans la première partie, il a fallu entreprendre une étude approfondie des contextes social, historique et intellectuel de cette période : tout d’abord, l’histoire de l’Ordre des ermites de saint Augustin et de l’enseignement offert à leurs membres, dans le contexte de la spiritualité en France à la fin du 15e siècle; par la suite, il convenait de présenter un survol de la ville de Lyon, de son Église et du développement de l’imprimerie dans cette ville. La deuxième partie porte sur les œuvres attribuées, à tort ou à raison, à Macho, vu la carence de recherches sur Julien Macho lui-même, et sur une enquête systématique pour apporter une preuve de l’existence de ce traducteur. La troisième partie s’attache à une lecture de deux œuvres de l’augustin lyonnais : une de longue tradition littéraire, Ésope, l’adaptation d’un recueil de fables, et une religieuse, rattachée à la pratique religieuse contemporaine, le Mirouer de la redemption de lumain lignage. Ésope est l’œuvre la plus originale de Macho, c’est-à-dire l’ouvrage où il est le plus intervenu comparativement au texte original. La comparaison avec sa source, l’Äsop latin-allemand d’Heinrich Steinhöwel, a montré comment le fabuliste lyonnais s’en est détaché pour ajouter à son texte un grand nombre de proverbes. Le Mirouer de la redemption de lumain lignage, une somme de toutes les observances de la vie religieuse et des lectures qu’un chrétien doit connaître, intègre des parties d’une autre œuvre bien connue, la Légende dorée, une pratique que l’on ne retrouve pas dans les autres traductions françaises du Speculum humanae salvationis. Loin d’être une analyse exhaustive de l’œuvre, la compilation des citations et du contenu même du texte permet de cerner en quoi consistait une certaine pratique de la religion au 15e siècle. Il en résulte un panorama du contexte culturel dans lequel vivait Julien Macho, théologien, prieur et traducteur et des œuvres qui lui sont attribuée. Un personnage dont l’étude montre un intellectuel représentatif de son époque, la fin du 15e siècle. / The purpose of this thesis is to identify the contribution of Julien Macho, a member of the Order of Augustinian Hermits in Lyon, to the cultural life of his period. His work is not, strictly speaking, original, but rather a series of translations from Latin to French, and corrections and editions of religious and moral texts. His books were published over a short period, from 1473 to 1480, and were followed by many more editions in the late 15th century and the early 16th century. During that period, in Lyon as elsewhere in France, there was a great deal of disorder in the religious establishment and criticism was being heard throughout the country. In response to the decadence of the Church, private piety was starting to develop, piety that needed a new medium in order to make moral teachings accessible to a more and more literate bourgeois population. Well aware of these recent developments, Macho directed all his work toward the precise goal of reaching a broad audience using vernacular language. The objective of this doctoral thesis is to analyze part of Macho's work in order to better understand the intentions of the author. This primary goal will also make it possible to document, from a new perspective, a key period in Western intellectual development, the transition from the Middle Ages to the Renaissance. The work is divided into three parts. The first part is a detailed study of the social, historical and intellectual contexts of the period: first the history of the Order of Augustinian Hermits and the instruction given to its members, in the context of spirituality in France at the end of the 15th century. This is followed by an overview of the city of Lyon, its Church and the development of printing in the city. Part two discusses the works attributed to Macho, rightly or wrongly, in view of the lack of research on Julien Macho himself, and presents a systematic survey of the evidence of the existence of this translator. Part three consists of a reading of two works of the Augustine monk of Lyon: one from a long literary tradition, Ésope, an adaptation of a collection of fables, and a religious work related to contemporary religious practice, the Mirouer de la redemption de lumain lignage. Ésope is Macho's most original work, i.e., the book in which he intervened the most with respect to the original text. A comparison with its source, the Latin-German Äsop by Heinrich Steinhöwel, shows how the fable writer from Lyon moved away from his source, adding a large number of proverbs to his text. Mirouer de la redemption de lumain lignage, a summary of all the observances of religious life and readings that a Christian should know, includes parts of another well known work, the Golden Legend, a practice that we find in the other French translations of the Speculum humanae salvationis. Far from being an exhaustive analysis of the work, the compilation of quotations and of the very content of the text makes it possible to identify what a certain practice of religion in the 15th century consisted of. The result is a panorama of the life and work of Julien Macho, theologian, prior and translator. This study reveals an intellectual who is representative of his period, the late 15th century.

Thesis (doctoral) - Universität, Tübingen, 2000.

Das Kreuzherrenkloster Hohenbusch bei Erkelenz (Niederrhein) wurde 1802 während der Säkularisation linksrheinischer Gebiete aufgehoben. Etwa 130 Handschriften und frühe Drucke aus seiner Bibliothek befinden sich heute vorwiegend in der Diözesanbibliothek Köln sowie in München, Brüssel, New York u.a. Ein 1801 im Auftrag der französischen Verwaltung erstelltes Inventar von 265 konfiszierten Büchern bildet das einzige Verzeichnis der ehemaligen Klosterbibliothek. Auf der Grundlage dieses Inventars und der erhaltenen Bestände unternimmt die Studie eine Teilrekonstruktion der Bibliothek. Schreibhände, Buchschmuck, Einbände, Besitzeinträge und Marginalien werden erfasst und beschrieben. Die inhaltliche Analyse des Bestandes belegt, dass sich Geschichte, Spiritualität und intellektuelle Ausrichtung des Klosters auch im Restbestand der Bibliothek spiegeln. Um sich in kulturhistorischer, interdisziplinärer Herangehensweise der sozialen und kulturellen Lebenswelt der Kreuzherren zu nähern, wird die Metapher des ‚Wissensraums‘ verwendet. Von dreidimensionaler Beschränkung befreit, umschreibt sie die Bibliothek als dynamischen Wissenskatalysator, der zu verschiedenen Zeiten die Generierung neuen Wissens auf der Grundlage vorhandener Informationen ermöglicht. Zwei Bestandsschnitte bei den Jahren 1520 und 1700 belegen so den Wandel des Klosters: Verstand es sich anfangs als geistlich-seelsorglich ausgerichtetes Haus, das später für die ordensinterne Ausbildung bedeutend wurde, ließen zuletzt Grundbesitz und zunehmender Wohlstand juristisch-administrative Fragen in den Vordergrund treten. / The Crosier monastery of Hohenbusch, situated between Cologne and Aix-la-Chapelle, was dissolved in 1802, on the occasion of the secularization of church property. About 130 manuscripts and early prints from the canonry’s library survived in the diocesan library of Cologne, as well as in libraries in Munich, Brussels, New York etc. An inventory of 265 confiscated books, drawn up on behalf of the French administration in 1801, represents the only description of the former monastery library. The study attempts a reconstruction of the library based on this inventory, and on the material properties of the extant books. Script, book illumination, binding, ownership records and marginal notes in the books are therefore described. An analysis of the contents of the known books shows that they still reflect the history, spirituality, and intellectual bias of the canonry. The German metaphor ‘Wissensraum’ (knowledge space) shall help to approach the social and cultural life of the Crosiers. Perceived as a cultural concept beyond all restrictions of space, the metaphor aims to describe the library as a dynamic instrument which allows generating new knowledge based on existing information. A look on two segments of the library, the first up to the year 1520, the second up to 1700, shows how the monastery changed: Starting in a spiritual and pastoral orientation, it became an important house for the spiritual formation of novices, while at the end, due to its increasing land ownership, and prosperity, legal and administrative questions predominated.