Texts Transmissions Receptions

The papers collected in this volume study the function and meaning of narrative texts from a variety of perspectives. The word “text” is used here in the broadest sense of the term: it denotes literary books, but also oral tales, speeches, newspaper articles and comics. One of the purposes of this volume is to discover what these different texts have in common. The texts are approached from four main perspectives: New Philology, Linguistics, Iconography and Reception studies. Contributors come from diverse disciplines, such as Classical Studies, Medieval Studies, English literature, Philosophy, Religious Studies, Cultural Studies, Art History, Linguistics, and Communication and Information Studies, all united in a common purpose to understand the workings of narrative texts.

The textual foundations of works of great cultural significance are often less stable than one would wish them to be. No work of Homer, Dante or Shakespeare survives in utterly reliable witnesses, be they papyri, manuscripts or printed editions. Notions of textual authority have varied considerably across the ages under the influence of different (and differently motivated) agents, such as scribes, annotators, editors, correctors, grammarians, printers and publishers, over and above the authors themselves. The need for preserving the written legacy of peoples and nations as faithfully as possible has always been counterbalanced by a duty to ensure its accessibility to successive generations at different times and in different cultural contexts. The ten chapters collected in this volume offer critical approaches to such authors and texts as Homer, the Bible, The Thousand and One Nights, Dante, Montaigne, Shakespeare, Eliot, but also Leonardo da Vinci's manuscripts uniquely combining word and image, as well as Beethoven's 'Tempest' sonata (Op. 31, No. 2) as seen from the angle of music as text. Together the contributors argue that an awareness of what the 'life of texts' entails is essential for a critical understanding of the transmission of culture.

Brennan W. Breed claims that biblical interpretation should focus on the shifting capacities of the text, viewing it as a dynamic process rather than a static product. Rather than seeking to determine the original text and its meaning, Breed proposes that scholars approach the production, transmission, and interpretation of the biblical text as interwoven elements of its overarching reception history. Grounded in the insights of contemporary literary theory, this approach alters the framing questions of interpretation from "What does this text mean?" to "What can this text do?"

The textual foundations of works of great cultural significance are often less stable than one would wish them to be. No work of Homer, Dante or Shakespeare survives in utterly reliable witnesses, be they papyri, manuscripts or printed editions. Notions of textual authority have varied considerably across the ages under the influence of different (and differently motivated) agents, such as scribes, annotators, editors, correctors, grammarians, printers and publishers, over and above the authors themselves. The need for preserving the written legacy of peoples and nations as faithfully as possible has always been counterbalanced by a duty to ensure its accessibility to successive generations at different times and in different cultural contexts. The ten chapters collected in this volume offer critical approaches to such authors and texts as Homer, the Bible, The Thousand and One Nights, Dante, Montaigne, Shakespeare, Eliot, but also Leonardo da Vinci's manuscripts uniquely combining word and image, as well as Beethoven's 'Tempest' sonata (Op. 31, No. 2) as seen from the angle of music as text. Together the contributors argue that an awareness of what the 'life of texts' entails is essential for a critical understanding of the transmission of culture.

A workshop was held in February 2012 in Madrid to stimulate a debate on textual criticism centred on the analysis of Byzantine texts and their modes of publication, rewriting and diffusion. The main aim was to provide future editors or scholars of the history of texts with a rich typology of concepts to guide their task, such as interpolation, paraphrasis, metaphrasis, quotation, collection, amplification or falsification, among others, but always taking into account that the principles upon which the discipline of textual criticism was founded needed to be reconsidered when dealing with the transmission of Byzantine texts. The present book brings together the different case studies produced by the participants of the workshop into a coherent whole and distributes them into five different sections according to their methodological approaches: 1. Language and style; 2. Virtual libraries and crossed readings; 3. Philosophical treatises and collections; 3.The sources of history; 5. Law texts and their reception. The results of the different approaches put forward by the contributors offer a broad palette of methodological strategies that are, to a great extent, complementary, and will, so we hope, illuminate the task of the future editors with new reflections.

Vegetius' late Roman text became a well-known and highly respected 'classic' in the Middle Ages, transformed by its readers into the authority on the waging of war. Christopher Allmand analyses the medieval afterlife of the De Re Militari, tracing the growing interest in the text from the Carolingian world to the late Middle Ages, suggesting how the written word may have influenced the development of military practice in that period. While emphasising that success depended on a commander's ability to outwit the enemy with a carefully selected, well-trained and disciplined army, the De Re Militari inspired other unexpected developments, such as that of the 'national' army, and helped create a context in which the role of the soldier assumed greater social and political importance. Allmand explores the significance of the text and the changes it brought for those who accepted the implications of its central messages.

Studies on the Intersection of Text, Paratext, and Reception brings together the latest research on how the fields of textual criticism, manuscript studies, and reception history can and should inform one another.

The articles brought together in this volume deal with Muslim perceptions and uses of the Bible in its wider sense, including the Hebrew Bible or Old Testament as well as the New Testament, albeit with an emphasis on the former scripture. While Muslims consider the earlier revelations to the People of the Book to have been altered to some extent by the Jews and the Christians and abrogated by the Qurʾān, God's final dispensation to humankind, the Bible is at the same time venerated in view of its divine origin, and questioning this divine origin is tantamount to unbelief. Muslim scholars approached and used the Bible for a variety of purposes and in different ways. Thus Muslim historians regularly relied on biblical materials as their primary source for the pre-Islamic period when discussing the creation as well as the history of the Israelites and the prophets preceding Muḥammad. Authors seeking to polemicize against Jews and Christians were primarily interested in the presumed biblical annunciations of Muḥammad and his religion and / or in perceived contradictions and cases of internal abrogation in the Bible. These various concerns resulted from and had an impact on the ways in which Muslim authors accessed the scriptures.

The compelling world of the Vikings and their descendants, preserved in the sagas, poetry, and mythology of medieval Iceland, has been an important source of inspiration to artists and writers across Europe, as well as to scholars devoted to editing and interpreting the manuscript texts. A variety of creative ventures have been born of the processes of imagining this distant 'hyperborean' world. The essays in this volume, by scholars from Italy, Sweden, Denmark, Norway, Germany, and the UK, examine the scholarly and artistic reception of a variety of Old Norse texts from the beginnings of the manuscript tradition in twelfth-century Iceland to contemporary poetry, crime fiction, and graphic novels produced in Britain, Ireland, Italy, and Iceland. The influence of Old Norse literature is further explored in the context of Shakespeare's plays, eighteenth-century Italian opera, the Romantic movement in Sweden and Denmark, and the so-called 'nordic renaissance' of the late nineteenth century (including the works of August Strindberg and William Morris), as well as in some of the political movements of twentieth-century northern Europe. Interest in Old Norse literature is charted as it spread beyond intellectual centres in Europe and out to a wider reading and viewing public. The influence of the 'hyperborean muse' is evident throughout this book, as the idea of early Nordic culture has been refashioned to reflect contemporary notions and ideals.