As is well-known, there are presently several archives of old Swahili manuscripts: in Dar es Salaam, Halle and Hamburg, London etc. These collections and separate manuscripts are being studied from various points of view by both European and African scholars. Beside the vast collection of old Swahili manuscripts kept in SOAS, there is another collection of Swahili works at the British Library in London, which has been considerably expanded recently by acquisitions from Jan Knappert. There, one of the most interesting manuscripts which I have ever seen is kept. I am talking about the manuscripts (OR 4534) received in 1884 by a well-known expert of the Swahili language and literature: W.E. Taylor, who was a missionary in East Africa. In 1891 they have been acquired by the British Museum. It is a roll that is 200 cm long and 16-17 cm wide. Seven sheets, glued together, of a thick paper of special quality (2-3 sheets put together) which even resembles a kind of skin, it is skillfully written on in stable ink.

Am 7. November wurde im Vortragssaal der SLUB der Textband zur Faksimile-Edition der Dresdner Bilderhandschrift des Sachsenspiegels präsentiert. Grußworte sprachen der Sächsische Staatsminister für Justiz, Geert Mackenroth und der Ministrialdirigent Jörg Geiger vom Sächsischen Staatsministerium für Wirtschaft und Kunst

Vor 800 Jahren, im Jahre 1206, wurde Dresden erstmals urkundlich erwähnt. Vor 450 Jahren, im Jahre 1556, legte Kurfürst August von Sachsen mit seiner "Liberey" im Dresdner Schloss den Grundstock für die heutige Sächsische Landesbibliothek - Staats- und Universitätsbibliothek Dresden, ...

Vom ersten Besitznachweis der mittelalterlichen Dresdner Bilderhandschrift im kurfürstlichen Bibliothekskatalog aus dem Jahre 1574 bis zum Vorliegen dieses Aufsatzbandes im Jahr 2010, dem Abschluss der vierbändigen Neuedition, sind 436 Jahre vergangen. In dieser Zeitspanne ist das Schicksal der Handschrift mit der Geschichte der seit 1556 bestehenden Kurfürstlichen, später Königlichen öffentlichen Bibliothek Dresden, der heutigen Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB), untrennbar verbunden.

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Crosses made in metal, paint, or stone stand at a singular intersection of past, present and future in the early medieval period. The historical cross of Golgotha is the source of such manufactured crosses’ form and power. Most also represent the theology of the Cross through their form and decoration, describing the soteriology of the crucifixion and anticipating its consummation at the end of time. As manufactured crosses recount the past and look forward to the eschaton, they concurrently function in the age of the Church, offering specific, contemporary points of access to all the larger cross-sign represents. In its multivalent identity, the cross’ status as the Church’s central sign reflects the Church’s own temporal position, simultaneously commemorating sacred history, functioning in the present day, and preparing for the Second Coming. Although rarely recognized, the Church-time form of the cross—which I term the “instrumental” cross—is often a discernable component of early medieval cross-objects and images. I argue that we can recognize the instrumental cross among the commemorative and proleptic aspects of the sign because a formal and conceptual language developed to articulate it. In its instrumental form, the cross becomes the sign of the Church in its role as mediator between Christians, Christ and the eschaton, affirming the indispensable place of man-made artwork in that project. The instrumental cross, in turn, signals the instrumentality of the many artworks into which it is incorporated. It plays a particularly important role in manuscripts. In the first half of the dissertation I define a class of visual strategies that communicate the instrumental identity of the cross. I treat works in many media in Chapter 1 and focus on manuscripts in Chapters 2–3. The second half of the dissertation concentrates upon the case studies of four complex, hitherto neglected gospel codices from ninth–tenth century western France. In each, the deep relationship between Church-time cross and gospel book drives a pictorial program that is crafted to define a specific codex as an manufactured instrument, made to integrate its community with the larger project of the Church for which the cross-sign stands. / History of Art and Architecture

This dissertation considers an unfamiliar but fundamental aspect of late-medieval art: the role of documentation. Documents played as critical a part in that society as they do in our own. In late-medieval consciousness, the charter loomed as large as the sacred image, and documentation mattered no less than devotion—while the two also had a profound and inextricable connection. Discussion begins with three principal arguments, explained in detail in the first chapter: 1. The materials of documentation are part of the history of art; and accordingly, art-historical methods render an important contribution to diplomatics. 2. Documents are an important subject of representation; and accordingly, works of art are important sources for the cultural reception of documentary practices. 3. Documents are an important model for representation; and, consequently, an understanding of the paradigmatic role of the document suggests an alternative dimension to the interpretation of late-medieval art. The chapters that follow pursue these arguments through the analysis of individual works of art—charters, seals, archival manuscripts, liturgical manuscripts, architecture, and sculpture. These chapters also include a study of one of the great monuments of English gothic art: the Sherborne Missal, produced c.1400 for the Benedictine abbey of Sherborne. Ideas of documentation constitute critical aspects both of the Missal’s subject matter and its modes of representation, and these “documentary” elements also relate closely to the larger ideological project of the Missal’s creators. As details of the manuscript’s patronage, illumination, liturgy, inscriptions, and codicology all demonstrate, its creators associated documentation with central religious ideas about devotional images and the eucharist—essentially, the nature of valid representation and effective action. In keeping with the regional and institutional context of this principal study, the other objects discussed come primarily from English religious institutions. That context, however, by no means implies that the importance of documentation is limited either to England or to the conventual sphere, although it manifests itself differently from place to place and from one estate to another. The studies in this thesis represent only one example of where its arguments might lead, and what its approach might reveal in other works of art. / History of Art and Architecture

This thesis is a study of the fifteenth- and sixteenth-century manuscript and print contexts of Older Scots romance. Building on recent developments in Middle English romance scholarship and Older Scots book history, it seeks to contextualise the surviving corpus of Older Scots romances in light of their unique material witnesses and contemporary cultural milieu. Chapters 1 to 8 focus respectively on the following Older Scots romances: the Octosyllabic Alexander, the Buik of King Alexander the Conquerour, Florimond, Lancelot of the Laik, King Orphius and Sir Colling, Golagros and Gawane and Rauf Coilyear, the Scottish Troy Book, and Clariodus. The conclusion assesses and evaluates the most significant and recurring features of these chapters and reveals how they cumulatively deepen our understanding of the book-producing and book-owning culture of fifteenth- and sixteenth-century Scotland. The conclusion also looks forward to new witness- conscious editions of Older Scots romance that endeavour to represent as far as possible a text’s unique and idiosyncratic manuscript and print contexts. In each chapter I examine the set romance’s primary contexts of composition, including authorship, date, and first audience, as well as its secondary publication contexts. A full palaeographical, codicological and bibliographical description of each manuscript and print is provided, with details of when, where and by whom each witness was produced. Information about when and where that witness was read is also given, with details of the owners and readers where known. Significant attention is paid to the use of titles, rubrication and mise-en-page to reveal the trends and bibliographical codes in copying and presentation. Where appropriate, the compilation choices made by scribes and readers are also analysed. Careful assessments of these are shown to aid modern thematic and comparative literary interpretation. Most notably, each chapter of this thesis also provides much-needed new information about fifteenth- and sixteenth-century Scottish literary communities. Several significant and often-overlapping circles of scribes, readers and owners are revealed. The familial, professional and geographical associations between these groups of producers and consumers are traced and consequently new book- publishing and book-owning networks are documented. In further original work, a number of hitherto unknown texts, scribes and readers are also successfully identified.

Clarice Lispector foi uma das maiores escritoras brasileiras e, por essa razão, uma das mais estudadas. Muitas relações se fizeram entre sua escrita e a de alguns dos principais ícones da literatura mundial. Entretanto, o mesmo não aconteceu com seus textos produzidos aproximadamente a partir da década de 1970, a ficção derradeira da autora. As obras produzidas principalmente durante essa década, com algumas consagradas exceções, foram um tanto negligenciadas pela crítica. As pesquisadoras Marta Peixoto e Sônia Roncador procuraram provar que a pouca atenção às obras da ficção tardia da autora se deve ao fato de que as mesmas apresentam tendências que vão contra as características do que Clarice produziu anteriormente, como se a escritora tivesse desejado criar um repertório de formas que contradiziam sua produção de antes de 1970. Para demonstrar tal intenção de Lispector, este trabalho procura analisar as características do manuscrito Objeto gritante nunca publicado , o qual, após uma série de alterações significativas, acabou por se transformar na obra Água viva. Caso o projeto do manuscrito não tivesse sofrido redirecionamentos substanciais, teria sido a primeira ocorrência, em livro, das novas formas da escrita clariciana que começavam a se manifestar naquela época, mas que vieram a se consolidar nas suas obras posteriores / Clarice Lispector was one of the greatest Brazilian writers and has been one of the most studied. Many comparisons were made between her writing and some of the major literary icons worldwide. However, this did not happen to her later fiction produced in the 70s. These pieces, with a few exceptions, were somewhat neglected by critics. Some researchers such as Marta Peixoto and Sonia Roncador sought to prove that the lack of attention to Clarice's later fiction is due to the fact that it shows trends that go against the characteristics of what this author previously produced, as if the writer had wished to create a repertoire of ways that contradicted her production before1970. To demonstrate this intention, this paper analyzes the characteristics of the Objeto gritante manuscript - never published - which, after a series of changes, turned out to become the book Água viva. If the manuscript had not suffered substantial redirections, it would have been the first formal occurrence of Clarice's new writing style, but that consolidation only occurred in her later work

The graduation thesis The first Wave of Reception of Rukopis Královédvorský and Rukopis Zelenohorský in the period 1817 - 1852 documents the first wave of reception of Rukopis Královédvorský and Rukopis Zelenohorský. Mostly we drew from materials from periodical references and also from contemporary literature. In the first part of this thesis we introduce RKZ closer, we bring chronological survey of RKZ?s publications and we interpret them. In separate chapter we present reaction to Germen professors J. H. Dambeck and J. G. Meinert to discovery RKZ. Also we acquaint with foreign language translations of RKZ. The conclusion summarizes we represent work of art, that are affected by the existence of manuscripts RKZ.