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Unreadability and Erasure in Medieval English Texts and Incunabula, c. 1350-1500

机译：中世纪英语文本和Incunabula中的无法阅读和擦除c。 1350-1500

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This dissertation asks how unreadability and erasure work as imaginative strategies in late medieval and early modern English texts. I use the term unreadable to encompass any writing that has been rendered illegible through changes made to the physical manuscript (through scribal erasure, deliberate or accidental textual effacing, damage to the manuscript, or revision), as well as any writings that cannot or must not be read as a result of fictive strategies in Middle English writing -- that is, where access to those writings is compromised by the strength of one's faith, the presentation of one's remorse, or the invitation to deliberately destroy or adapt that text or texts. The indecipherability of the text is not purely the result of the ravages of time or of human carelessness, but of a variety of changes that a text is subject to because of human agency. Further, these moments of unreadability may induce a response or a shift in response for scribes, authors, and their audiences as paradoxically both a risk in the process of meaning-making, and as a literary strategy. I add that the beginnings and endings of these texts in particular harbor these accounts of unreadability. It is in the prologues, epilogues, proems, and colophons that the matter-of-fact narration of a book's genesis begins to harmonize with the imaginative and literary techniques of the text. In the The Book of Margery Kempe, unreadability occurs in the transfer of an oral account to a written one. In Chaucer's Retraction, the opposite is true. In this statement, its author attempts to control readability by recanting certain literary texts that are already written, already circulating. And in William Caxton's edition of The Dictes and Sayings of the Philosophers readability becomes an issue of revision, from one medium to another, namely from manuscript to print. Rather than meaning being reduced by these practices and strategies, these texts offer more, not fewer, readings: unreadability is productive of meaning. Reading within this framework proves that in these late medieval and early sixteenth-century texts unreadability and erasure shape and are shaped by attitudes toward spirituality, retraction, and completeness.

机译：本文提出了在中世纪晚期和现代英语早期文本中，不可读性和擦除是如何发挥想象力的策略。我使用“不可读”一词来涵盖通过对物理手稿进行更改（通过抄写擦除，故意或偶然的文字修饰，手稿损坏或修订）而变得难以辨认的任何作品，以及任何不能或必须做到的作品不会因为中古英语写作中的虚构策略而被阅读-也就是说，由于信仰的坚强，表达re悔或故意破坏或改写该文本而使访问这些写作受到损害。文本的不可理解性并非纯粹是时间或人类粗心大意的结果，而是文本由于人类代理而遭受的各种变化。此外，这些不可理解的时刻可能会引起抄写员，作者及其听众的反应或反应转变，这既自相矛盾的是在意义形成过程中的风险，又是一种文学策略。我补充说，这些文本的开头和结尾特别包含了这些无法阅读的描述。正是在序言，结语，箴言和口语中，一本书的起源的事实叙述开始与文本的想象力和文学技巧相协调。在《玛格丽·肯佩之书》中，口头账目转移到书面账目时出现了无法阅读的情况。在乔uc的缩回中，情况恰恰相反。在此声明中，其作者试图通过撤回已写成，已经在发行中的某些文学作品来控制可读性。在威廉·卡克斯顿（William Caxton）出版的《哲学家的信与说》中，可读性成为一个修订的问题，从一种媒介到另一种媒介，即从手稿到印刷品。这些文本并没有因为这些实践和策略而减少了含义，而是提供了更多而非更少的阅读内容：不可阅读性产生了意义。在这种框架下的阅读证明，在中世纪晚期和16世纪初，文本的可读性和擦除形状受到人们对灵性，回缩和完整性的态度的影响。

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作者
Ott, Ashley Rose.;
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Saint Louis University.;

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授予单位 Saint Louis University.;
学科 Medieval literature.;Medieval history.;Art criticism.
学位 Ph.D.
年度 2017
页码 201 p.
总页数 201
原文格式 PDF
正文语种 eng
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Unreadability and Erasure in Medieval English Texts and Incunabula, c. 1350-1500

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