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Coptic is the latest stage of the indigenous Egyptian language written in the Greek alphabet with some additional characters taken from the Demotic script. Due to climatic conditions many manuscripts have survived from Egypt. The bulk of Coptic manuscripts of the 1st millenium A. D. is preserved in fragmentary condition and the remains are scattered – often as single leaves or small groups of leaves – over collections on three continents. So a major aim of scholarly work is the virtual reconstruction of codices. Assigning a fragment to a specific manuscript is often not easy. It’s not only necessary to compare the script for similarities but also to take into account the contents in order to identify the manuscript of origin and the position of the leave therein. In the case of known texts which have been recorded in a manuscript as full texts a mathematical approach can be used to estimate the position of a fragment. Special problems arise with manuscripts of uncertain arrangement, e.g. liturgical codices that do not have one continuous text. They combine texts from the scriptures, hymns, prayers, or lifes of saints. In these cases reliable estimates can only be given by comparing the identified text / texts on a single leave with a representative amount of data: this means collecting and indexing as much known material as possible and arranging it according to liturgical usage. The lecture presents ways of assigning fragments by use of palaeography to known codices. An important tool is the “palaeography data base” developed in the Institut für Neutestamentliche Textforschung at Münster (INTF) as a base instrument for virtual reconstructions in the Virtual Manuscript Room (VMR) of the INTF. Furthermore, electronic tools will be shown that are a by-product of the lecturer’s PhD for identifying texts, the order of manuscripts as well as for further research.

The subject of this study falls into two parts. Firstly an examination of the methodology of the analysis of archaeological fish remains. It considers the problems of recovering and quantifying material and then the aims and difficulties of analysis. Several lines of evidence can be used to study how the fish were caught and utilised but much of it is ambiguous and natural agencies can produce similar patterns. One major use-for fish remains lies in the study of seasonality; behavioural evidence is not as reliable as is often claimed but growth rings and sometimes fish size are clear indicators. Integrated with this is a case study of a large and well-recovered assemblage of fish remains from a series of five fourth millennium bc. shell middens on the small island of Oronsay(Inner Hebrides). The fauna is dominated by the young age stages of one species, the saithe(Pollachius virens) but at least fifteen other fishes are represented; they are mostly found along rocky shores or in inshore waters. The size of the assemblage and the lack of selectivity, both in species and sizes, suggests a technique of mass capture such as a weir or nets; however, a combination of methods including line fishing from boats seems likely. The behaviour of the species and evidence from the traditional fisheries demonstrates that it could be caught for most of the year, except the 'winter' quarter. Fish size and growth ring data reveal a consistent pattern of a single principal fishing season at each site and differences between them. Collectively, the period of fishing spans much of the year and, as the sites are broadly contemporary, there is a strong possibility that they functioned as part of a single economic system.

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This submission comprises the original novel, All that Remains is True together with a critical supplement, Between Writing and Performance, which provides a critical context for the development of the novel from my earlier theatre work, and in particular the theatre text Beulah Land. The novel is a first person narrative. It describes a journey, both real and imaginary, made by two girls Vera and Eva Hopkins, in 1914 and 1915, from India to Cambridgeshire, and the events they encounter in the Black House. The critical supplement considers the relationship between writing for theatre and fiction, in terms of my own work and in relation to the work of other writers. Chapter 1 argues for creative research as a critical method and proposes an autographic method as a principle of creative research. Chapter 2 situates my own writing autography within the context of performance theatre and suggests that this field, often seen as extra literary or anti text has, been a significant and overlooked site of textual experiment. Chapter 3 explores the relationships of authorship, subjectivity space and location in theatre and fiction. Chapter 4 Discusses my later post-performance theatre writing as a response to the issues of authorship and textuality generated within the context of performance theatre. I then tum to a discussion of borderland and slipstream fiction as places where similar concerns are enacted. I conclude on the threshold of the novel All that Remains is True, which opens up from this writerly enquiry.

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