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Restoring Medieval Manuscripts in the Eighteenth-Century: Completing or Perfecting?
Get PDFWhile today’s digital era raises new questions for the preservation of medieval manuscripts, the desire to preserve and transmit the literature of the Middle Ages is not new. Manuscript n°14 of Le Mans library (France) represents a telling example of these preservation attempts. The codex contains a peculiar version of La Chanson de Bertrand du Guesclin, an epic biography of the French constable written near the end of the fourteenth century. Although the text is complete, only half of the folios date from the Middle Ages. Additional parts were added to the text by an 18th-century Maurist monk, who decided to copy other medieval manuscripts of the Chanson in order to flesh out the fragments and rebuild an entire text for future readers. This reconstruction was the occasion for him to reshape, comment and annotate on the medieval codex as well as the copied text. As a result, arguably, he gave birth to a new literary object, similar to the original, yet still different. However, how did an eighteenth-century monk perceive what we now call restoration? How medieval is this literary object of the eighteenth century? Focusing on the manuscript’s description, this article seeks to answer these questions by trying to understand what practices can tell us about manuscript perceptions after the Middle Ages.Bien que l’ère digitale ait fait émerger de nombreuses questions concernant la conservation des manuscrits médiévaux, le désir de préserver ces artéfacts et de les transmettre n’est pas nouveau. Le manuscrit 14 de la Bibliothèque municipale du Mans (France) tient une place importante dans l’histoire des tentatives de préservation des codex du Moyen Âge. Ce manuscrit contient une version particulière de la Chanson de Bertrand du Guesclin, une biographie épique du connétable français rédigée à la fin du xive siècle. Alors que la copie présente un texte complet, seulement la moitié des folios de ce codex date du Moyen Âge. Les parties manquantes ont été ajoutées au xviiie siècle par un moine mauriste qui s’est servi de plusieurs autres copies de la chanson pour compléter les fragments médiévaux et pour reconstruire entièrement le texte à destination des futurs lecteurs. Cet acte de reconstruction est l’occasion pour lui de remodeler, de commenter et d’annoter le fragment médiéval tout comme sa propre copie. Le résultat de cette entreprise est un objet littéraire nouveau, similaire à l’original et pourtant en grande partie différent. Comment un moine mauriste du xviiie siècle a perçu ce que nous nommons aujourd’hui « restauration » ? Quelle est la part de médiéval de cet objet du xviiie siècle ? En se concentrant sur la description du manuscrit, cet article cherche à répondre à ces questions tout tâchant de comprendre ce que ces pratiques tardives ont à nous apprendre sur le devenir et la perception des manuscrits médiévaux après le Moyen Âge
Ed2TEI: Python package designed to convert critical editions into structured XML-TEI format following the TEI P5 Guidelines
No full textDelphine Demelas, Sur un air épique, sur un air lyrique : célébrer le bon connétable. Édition critique et commentaires du manuscrit 428 (306) de la bibliothèque municipale d’Aix-en-Provence contenant La Chanson de Bertrand du Guesclin de Cuvelier suivie de pièces lyriques
Get PDFLe manuscrit Aix-en-Provence, bibliothèque municipale, 428 (306) contient deux ensembles de textes. Le premier, La Chanson de Bertrand du Guesclin, est un poème épique rimé retraçant la vie de Bertrand du Guesclin (1320-1380), modeste chevalier breton qui s’illustre lors de la première partie de la Guerre de Cent Ans et devient connétable de France. Cette biographie a été composée par un certain Cuvelier entre 1380 et 1385, peu après la mort du guerrier. Le second est un ensemble de sept pièces lyriques écrites en mémoire de Bertrand, dont certaines sont attribuées à Eustache Deschamps. La première œuvre, à la fois récit historique, épopée, éloge posthume, biographie et poème, tient une place de choix dans la production littéraire de l’époque, puisqu’elle est considérée comme étant la dernière chanson de geste à avoir été rédigée en français. Les poèmes à la gloire du connétable sont pleinement en adéquation avec le renouveau lyrique de la fin du Moyen Age. A travers ce travail, je souhaite faire découvrir ou redécouvrir ces textes mal connus. Dans trois volumes qui composent cette thèse sont fournis, avec la transcription de tous les textes originaux du manuscrit 428(306), la description des autres témoins, une étude littéraire incluant une analyse du contexte ainsi que de nouvelles informations sur l’auteur, une analyse linguistique du texte, des notes critiques, un glossaire, un index des noms propres, la liste des proverbes et une bibliographie sélective.The manuscript Aix-en-Provence, municipal library, 428 (306) contains two different texts. The first, La Chanson de Bertrand du Guesclin, is an epic poem telling the life of Bertrand du Guesclin (1320-1380), a Britain knight from a modest background who took part of the One Hundred Years War, and would become the constable of France. This biography has been written by a certain Cuvelier between 1380 and 1385, right after Bertrand’s death. The second is a set of seven lyric poems written in memory of Bertrand, three of which were written by Eustache Deschamps. The first text, historical, epic, biographical, and poetic at the same time, has a considerable importance in the literary production of the day as the last chanson de geste to be written in French. The poems celebrating the constable are fully in line with the lyric revival of the end of the 14th century. The three volumes of this edition provide the original text of the manuscript, descriptions of the other manuscripts, a literary review including a study of the context and new information about the author, a linguistic study, critical notes, a glossary, an index, a list of proverbs, and a bibliography
Tenores Novelli or Treatise of Tenures by Sir Thomas Littleton - TEI edition: TEI tagging
No full textLe(s) départ(s) d’Espagne - Élans, tensions et impasses de la chanson de geste (XIIe-XVe siècles)
No full textPrester les oreilles au chant de la sirène - polyphonies, deterritorialization and translingualism in Medieval Francophonie
No full textThis article examines medieval francopolyphonies – the intricate interrelationship of languages, voices and perspectives underpinning medieval Francophonia. Dimensions of linguistic fluidity and hybridity in the medieval period are explored through two case studies: analysis of vegetable-lamb variants in continental and insular copies of John Mandeville’s Le Livre des merveilles du monde, and the glossing of mermaid in multilingual glossaries from the British Isles. Examination of Mandeville manuscripts reveals porous boundaries between continental and Anglo-Norman French, challenging modern conceptions of medieval language taxonomy. The rendering of the Anglo-Norman term cahourdes prompts glossing and adaptation by continental scribes, illuminating limits of intercomprehension c.1400. Exploration of deterritorialization and reterritorialization illuminates the linguistic transformations unfolding through medieval translation practices. Meanwhile analysis of mermaid glossing practices demonstrates the conceptual fluidity between medieval French and English. Interchangeable use of gallice/anglice to gloss vernaculars underscores the equivocal status of languages in insular manuscripts. This parity is reinforced through visual analysis, as interlinear glosses occupy symmetrical placement on the folio, embodying hybridity. Overall, this article problematizes applying modern linguistic categories to appreciate medieval heteroglossia. It advocates adopting enriched theoretical paradigms like translingualism to capture medieval textual fluidity. The analysis prompts reassessment of modern ideological frameworks underpinning language classification schemes. Ultimately it encourages interdisciplinary dialogue regarding the contingency and multiplicity of multilingual representations across time and space, while linking medieval and modern Francophonia
Pestilence de genz et morine de bestes: remarks on the Anglo-Norman vocabulary of plague and epidemics
No full textn Europe’s collective unconscious at the beginning of the twenty-first century, mass epidemics were rather linked to bygone times, particularly the episodes of the Black Death that marked the end of the Middle Ages and caused millions of deaths. And yet here we are, all of us in spite of ourselves having become specialists in epidemiological vocabulary for more than a year now. Pandemic, epizootic, incidence rates, droplets… previously reserved for groups of researchers in infectious diseases, all these terms have now entered our daily vocabulary in order to put into words our new reality, witnesses of how the vocabulary evolves according to external circumstances. Given the scale of medieval epidemics caused by the disease commonly known as the plague, we may wonder whether these events have left any trace in Anglo-Norman vocabulary
Anglo-Norman tournaments and the thirteenth century
No full textIf there is one word that is emblematic of medieval Europe, it is certainly the verb turneier: ‘to joust, to participate in a tournament’. When we think of medieval jousting, we immediately think of the magnificent illuminations in the livre des tournois by René d’Anjou. However, in searching for occurrences of the verb throughout the 13th century (as part of the revision of T-, which the AND editors are working on at the moment), I found myself at a loss: almost no text from this period used turneier. At first, I thought I had made mistake: perhaps I had overlooked any attestations during my research? So, I went back to carefully look through the texts of the corpus dating from this period
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