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Legibility and informative potential of plant illustrations in medieval herbals: a case study of Codex latinus monacensis 28531
No full textDie Kräuterbuchhandschrift Codex latinus monacensis (Clm) 28531 der Bayerischen Staatsbibliothek München ist in der 2. Hälfte des 15. Jahrhunderts in Oberitalien entstanden. Sie enthält rund 600 Kapitel über pflanzliche, tierische und mineralische Heilmittel, die zum größten Teil illustriert sind.
Die Untersuchung von Lesbarkeit und Aussagekraft der Pflanzendarstellungen des Clm 28531 bezieht sich zum einen auf die Identifizierbarkeit der Pflanzenbilder, zum anderen auf eventuell durch das Bild vermittelte Informationen über die betreffende Pflanze.
Illustrierte Kräuterbuchhandschriften sind von der Spätantike bis zum Ende des Mittelalters erhalten. In dieser Zeit war das Pflanzenbild ständigen Wandlungen unterworfen. Das Pflanzenbild der Spätantike ist erhalten in den Illustrationen des Juliana-Anicia-Codex (Cod. vind. med. gr. 1, Österreichische Nationalbibliothek, Wien), einer byzantinischen Handschrift von 512. Die Illustrationen zeichnen sich durch große Realitätsnähe bei gleichzeitiger didaktischer Klarheit aus. In den darauffolgenden Jahrhunderten entfernte sich das Pflanzenbild von der realistischen Darstellungsweise. Ein verändertes Stilempfinden und die Gewohnheit, vorhandene Abbildungen ohne Abgleich mit dem natürlichen Vorbild immer wieder zu kopieren, ließ stark vereinfachte und schematisierte Pflanzenbilder entstehen.
Ab dem Ende des 14. Jahrhunderts kam es, ausgehend von der aus der Medizinschule von Salerno hervorgegangenen Drogenkunde De simplici medicina (Circa instans) zu einer erneuerten Pflanzendarstellung, die das natürliche Vorbild wieder stärker berücksichtigte. Die auf dem Text des Circa instans basierenden illustrierten Handschriften werden unter dem Titel Tractatus de herbis zusammengefasst. Ältestes erhaltenes Exemplar einer Tractatus de herbis-Handschrift ist das im frühen 14. Jahrhundert entstandene Manuskript Egerton 747 (British Library, London). Die Abbildungen dieser Handschrift erfassen botanische Besonderheiten im Gesamtbau und im Detail und erlauben eine Identifizierung der Pflanze. Bilder dieser Art können als Diagramme bezeichnet werden, die eine Pflanzenart aufgrund einer einfachen, schematischen Darstellung kennzeichnen.
Der Clm 28531 lässt sich aufgrund des übereinstimmenden Abbildungsrepertoires einer Gruppe illustrierter Handschriften der Tractatus de herbis-Tradition anschließen, die mittelbar auf das Ms. Eg. 747 zurückzuführen sind. Gegenüber seinen Vorgängern weist der Clm 28531 keinerlei Neuerungen auf.
Die Pflanzenillustrationen des Clm 28531 sind identifizierbar und können wie im Fall des Eg. 747 als Diagramme bezeichnet werden. Detailgenaue Bilder, ein umfangreicher Text und zahlreiche Nachträge weisen den Clm 28531 als Gebrauchshandschrift für einen pflanzenkundigen Benutzer aus.
Angaben des Textes zum Standort einer Heilpflanze wurden in 4 Fällen bildlich umgesetzt. Figürliche Ergänzungen zum Pflanzenbild, die sich auf Heilwirkungen beziehen, konnten ebenfalls in 4 Fällen nachgewiesen werden. Die Darstellung einer Legende um Ernte und Gewinnung eines pflanzlichen Produktes liegt in 2 Kapiteln vor. Elemente einer zauberisch-magischen Heilkunde, die durch Textübernahmen aus dem Herbarius des Pseudo-Apuleius in die ansonsten nüchtern-realistisch gehaltenen Anweisungen des Circa instans eingewandert sind, fanden keine bildliche Entsprechung.
Importierte Pflanzendrogen wie getrocknete Samen, Wurzeln und Rinde wurden zu vollständigen Pflanzenbildern ergänzt. Sie geben Aufschluss darüber, wie man sich die im Westen nicht bekannten Stammpflanzen der importierten Drogen vorstellte. In einigen Fällen lassen sich mit Hilfe der relativ naturnahen Pflanzendarstellungen die Substitution oder Verfälschung von Heilpflanzen dokumentieren.
Eine zum Vergleich mit dem Clm 28531 herangezogene Handschrift ist der Codex 2277 (Österreichische Nationalbibliothek, Wien). Die Handschrift ist im späten 15. Jahrhundert in Norditalien entstanden. Die Pflanzendarstellungen entsprechen zum Teil den Abbildungen im Juliana-Anicia-Codex, eine zweite Gruppe kopiert die gleichen Abbildungen wie der Clm 28531. Eine dritte Gruppe zeigt realitätsgetreue Pflanzenbilder. Kopien aus älteren Werken wurden anhand des natürlichen Vorbilds korrigiert, und die traditionell alphabetische Reihenfolge der Pflanzen wird gestört durch den Versuch einer systematischen Zusammenstellung einander ähnlicher Pflanzen. Damit weist die Handschrift einige Veränderungen auf, die den Beginn eines neuen, wissenschaftlichen Zugangs zur Pflanzenkunde ankündigen. Während der Clm 28531 fest in der Tradition spätmittelalterlicher Herbarien steht, erweist sich der nur wenige Jahre später entstandene Cod. 2277 als ein typisches Produkt der Umbruchzeit zwischen Mittelalter und Renaissance.The Codex latinus monacensis (Clm) 28531 (Bayerische Staatsbibliothek, Munich) is a herbal which was written in Northern Italy in the second half of the 15th century. It consists of about 600 chapters dealing with drugs of plant, animal and mineral origin. Most of these chapters are illustrated.
This study analyzes whether the plant illustrations of the Clm 28531 enable the reader of the manuscript to identify the relevant plant. Furthermore it had to be examined whether the illustrations imply any additional information about the plant.
Illustrated herbals had been passed on to our days from late antiquity to the end of the Middle Ages. During these centuries the image of the plant changed in several ways.
The earliest surviving illustrated herbal is the Juliana-Anicia-Codex (Österreichische Nationalbibliothek, Vienna, Cod. med. gr. 1). It was produced in Constantinople at about AD 512. Many of the plant illustrations show a naturalistic representation and clarity of structure.
During the following centuries, a changing sense of style and the habit of copying representations from earlier manuscripts instead of looking at the plants themselves, lead to unnaturalistic and simplified plant images.
At the end of the 14th century, a new illustrative tradition emerged, namely the Tractatus de herbis. It was based on a medical compendium called the Circa instans (Liber de simplici medicina) which was produced in Salerno at the end of the 11th century.
The earliest surviving manuscript of this treatise is Egerton Ms. 747 (British Library, London, c. 1300). The plant illustrations of Eg. 747 show an increasing awareness of nature. Although the plant illustrations were not based on studies exclusively drawn from life, mostly they did resemble the living plant. Illustrations of this kind can be called diagrams, because they are able to identify a plant on the basis of a simple, schematic representation.
The pictures of the Clm 28531 resemble those of a group of manuscripts from Northern Italy belonging to the Tractatus de herbis-treatise which base on the illustrations of Eg. 747. Clm 28531 does not show any alteration according to the illustrations of its predecessors.
The plant images can be identified. As in the case of Eg. 747 they can be called diagrams. Illustrations with many distinguishing details, extensive descriptions and marginal glosses and supplements make it evident that the Clm 28531 was used by a physician or apothecary as a handbook for distinguishing herbs.
Informations given by the text concerning the place of growth were included into the representation of the plant 4 times. In 4 cases hints to pharmacological effects were given by the plant illustration. Anecdotal images illustrate the legends about place of growth and harvesting of the drugs Balsamus and Xiloaloes. Any informations about magical or superstitious treatments given in the text can be traced back to the Herbarius of Pseudo-Apuleius. This aspect has no influence on the plant illustrations.
The shape of medical plants from the Indies and the Middle East was unknown in Western Europe in most cases. To represent the image of imported drugs like dried seeds, roots and bark they were combined with well-known plants to form fictitious plants without any resemblence on nature. In some plant pictures, evidence for falsifications, substitutions and erroneous identifications can be detected.
The herbal Codex 2277 (Österreichische Nationalbibliothek, Vienna) was manufactured in the late 15th century in Northern Italy. In this manuscript the illustrations of plants have been copied from at least three sources. The majority of the illustrations was based on the illustrative tradition of the Juliana-Anicia-Codex. A second group resembles the illustrations of the Clm 28531 and its predecessors. A third group was drawn directly from nature.
The illustrations taken from previous models were altered in some cases and corrected by observing the real plant in its natural state. The traditional alphabetical order of the chapters was disrupted by assorting the plants to various organizing principles such as appearance, pharmacological effects or place of growth.
In this and some other regards, the Vienna Cod. 2277 differs from the preceeding herbals. Whereas Clm 28531 retains the illustrative tradition of its predecessors without alteration, Cod. 2277 clearly marks the changing period between Middle Ages and Renaissance, with the beginning of a renewed approach to natural sciences
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Author-wise bibliometric analysis based on entropy.
No full textAuthor-wise bibliometric analysis based on entropy.</p
Author Under Sail The Imagination of Jack London, 1893-1902
No full textIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Intro -- Title Page -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- 1. Spirit Truth -- 2. From Absorption to Theatricality and Back Again -- 3. "I Will Build a New Present" -- 4. Sons as Authors -- 5. Fathers as Publishers -- 6. The Daughter as Author -- 7. Lovers as Authors -- 8. At Sea with the Family -- 9. Yellow News, Yellow Stories -- 10. The Return Home -- Notes -- Bibliography -- Index -- About Jay WilliamsIn Author Under Sail, Jay Williams offers the first complete literary biography of Jack London as a professional writer engaged in the labor of writing. It examines the authorial imagination in London's work, the use of imagination in both his fiction and nonfiction, and the ways he defined imagination in the creative process in his business dealings with his publishers, editors, and agents. In this first volume of a two-volume biography, Williams traverses the years 1893 to 1902, from London's "Story of a Typhoon" to The People of the Abyss. The Jack London who emerges in the pages of Author Under Sail is a writer whose partnership with publishers, most notably his productive alliance with George Brett of Macmillan, was one of the most formative in American literary history. London pioneered many author models during the heyday of realism and naturalism, blurring the boundaries of these popular genres by focusing on absorption and theatricality and the representation of the seen and unseen. London created an impassioned, sincere, and extremely personal realism unlike that of other American writers of the time. Author Under Sail is a literary tour de force that reveals the full range of London as writer, creative citizen, and entrepreneur at the same time it sheds light on the maverick side of machine-age literature.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries
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