From text to texture: Approaching early-modern continuities of medieval textual tradition through the manuscripts of Esther Inglis (1571-1624).

从文本到纹理：通过埃丝特·英格利斯（Esther Inglis，1571-1624）的手稿探讨中世纪文本传统的早期现代连续性。

• 批准号: 2615883
• 金额: --
• 依托单位: University of Kent
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2615883
• 关键词: text; texture; Approaching; early; modern

In the history of the relationship between word and image, the Reformation of early-modern Britain offers a particularly important moment in its separation of text from icon. Reformation polemic emphasises a belief in the Word, the unadorned Biblical text, as the fundamental vehicle to religious understanding. Over the course of the sixteenth century, reformers warn of the idolatry of venerating the "graven image" prohibited in the Second Commandment; images are destroyed, church walls are whitewashed, and narrative stained glass replaced, in subservience to a new emphasis on the unembellished text. These attitudes, however, exist in stark contrast to the complex interaction of word and image which we find in late-medieval manuscript culture. The increase of print production in the fifteenth century begins the process of destabilising this manuscript culture, concurrent with the spread of early Protestant doctrine across Europe. It seems intriguingly fitting that a mechanics of print which isolates a text into moveable type, and physically separates this text from any engraved or woodcut illustration which might accompany it, should become the vehicle for a religious outlook which increasingly emphasises the unadorned text over the decorative image. This project will consider how a Reformed focus on word over image converses with early-modern textual production, and how this implicates the future of a manuscript culture which has roots in the image-based devotion of late-medieval Catholicism.The endurance of a scribal tradition beyond the rise of print has been the focus of important studies by David McKitterick, Julia Boffey, Peter Beal and, most recently, Aditi Nafde, among others. Rarely, if at all, however, do such studies acknowledge the complexities of tradition and medieval scribal heritage at play in the manuscripts of Esther Inglis (1571-1624), whose work will form the epicentre of my doctoral study. The daughter of French émigrés, Inglis was a celebrated Scottish Huguenot calligrapher, and one of very few professional female scribes within her lifetime. At least fifty-eight of Inglis' manuscripts survive today, many of which were presented as gift-books to Protestant recipients in hope of patronage. In an age where the printed text is fast becoming the norm, these gift-books bring together an astonishing range of calligraphic scripts, combined with emblematic drawings, imitation of the printed word, and painted illumination, all the product of Inglis' own hand. Inglis was highly praised during her own lifetime; James VI and I, with whose court Inglis and her husband were both associated, deemed her "the most exquisite writer in the realme, her skills uniquely unparalleled. The academic attention which Inglis has received in recent years from Georgiana Ziegler, Susan Frye and Helen Smith has likewise presented Inglis as an early-modern female artist with whom few other comparisons can be drawn. Showcasing Inglis in this way, however, overlooks the multiple textual and artistic networks in which her manuscripts are situated. Inglis' work is exceptional, but exceptional rather for her combination and, most importantly, her subversion, of the individual traditions of script, print, drawing, illumination and textile craft. My doctoral project will use Inglis' work as a material lens through which to approach the continuity of these late-medieval manuscript and artistic conventions.

在单词和形象之间的关系中，宗教信仰的文本强调了对这个词的信念，即纯正的宗教理解。和叙事的玻璃替换为对这些态度的新强调，但手稿文化的增加似乎很有趣的是，一种可以隔离的印刷品，可以将文本与英语分开，这越来越多地是宗教的观点。戴维（McKitterick）的重要研究是一种扎根于晚期天主教的手稿文化的未来。最近，阿迪蒂·纳夫（Aditi Nafde）等人很少进行此类研究，即1624年的复杂性，他们的工作将是我的博士学位的震中。苏格兰的Huguenot Cbrohapher，以及她一生中的一位专业女抄写员。带来了一系列的书法脚本，绘制印刷单词的模仿，并绘制了Inglis自己的一生的所有产品。在Thelm E中，最精致的作家，她的技能无与伦比的，Inglis最近在最近获得的重视。但是，通过这种方式忽略了她的手稿的多个文本和艺术网络博士项目将以Inglis的作品作为材料镜头，通过它来接近这些晚期手稿和艺术召集的连续性。