The Anonymous Text

One of the most intriguing features of The Assembly of Ladies, an anonymous fifteenth-century Middle English poem, is that it has remained in print in anthologies for over 500 years. Why would a poem about courtly love remain so popular for so long? This book analyses the literary and historical publishing evidence about The Assembly of Ladies, to show that the poem has remained in print not for its literary merit, but because its anonymity has allowed it to be appropriated by editors for their own particular social and political causes. The book draws together textual, contextual, and intertextual evidence about all twenty editions of The Assembly of Ladies. By examining closely how and why a single text is or has been included in canonical traditions over time, this study not only reveals the material presence of the text in various traditions but also brings to the foreground the categories scholars continue to use while defining or imagining those traditions.

The intertextuality research of antique texts and their reception in Medieval and modern times is the subject of this volume: (1) What is a text and what is an intertext? This concerns the various different forms of text and how they present themselves in architecture, iconography, lexicography, the study of lists, etc. (2) Forms of intertextuality – on the relationship between writtenness and oralness, how oral texts are objectified during textualisation and become fixed acts of speech (K. Ehlich), how especially antique texts were shaped by the continual interconnectedness of oral and written traditions. (3) What is understood in ancient Oriental and antique literature by "tradition" and "transmission"? To this end, the research includes languages, historical reality and antique thought structures, making clear that the transferral of tradition occurs not only within a close cultural circle, but in the exchange with neighbouring cultures over large distances and geographic boundaries. (4) On the relationship between intertextuality and canon. A number of contributions study this aspect of ongoing historical debate as it often found for culturally definitive and canonised texts – a necessary part of the their rejuvination process. Contributions by M. Bauks, A. Lange / Z. Plese, Ph. Alexandre, S. Aufrère, M. Oeming, K. Davidowicz, A. Wagner, G. Selz, M.F. Meyer, L. Roig Lanzillotta, M. Dimitrova, F. Waldman, W. Horowitz, M. Risch, J. van Ruiten, L. Bormann, A. Miltenova, J. Taschner, G. Brooke, G. Dorival, A. Harder and S. Alkier.

The Routledge Handbook of English Language and Digital Humanities serves as a reference point for key developments related to the ways in which the digital turn has shaped the study of the English language and of how the resulting methodological approaches have permeated other disciplines. It draws on modern linguistics and discourse analysis for its analytical methods and applies these approaches to the exploration and theorisation of issues within the humanities. Divided into three sections, this handbook covers: sources and corpora; analytical approaches; English language at the interface with other areas of research in the digital humanities. In covering these areas, more traditional approaches and methodologies in the humanities are recast and research challenges are re-framed through the lens of the digital. The essays in this volume highlight the opportunities for new questions to be asked and long-standing questions to be reconsidered when drawing on the digital in humanities research. This is a ground-breaking collection of essays offering incisive and essential reading for anyone with an interest in the English language and digital humanities.

Every three years, worldwide forensics experts gather at the Interpol Forensic Science Symposium to exchange ideas and discuss scientific advances in the field of forensic science and criminal justice. Drawn from contributions made at the latest gathering in Lyon, France, Interpol's Forensic Science Review is a one-source reference providing a comp

No, Anti-Book is not a book about books. Not exactly. And yet it is a must for anyone interested in the future of the book. Presenting what he terms “a communism of textual matter,” Nicholas Thoburn explores the encounter between political thought and experimental writing and publishing, shifting the politics of text from an exclusive concern with content and meaning to the media forms and social relations by which text is produced and consumed. Taking a “post-digital” approach in considering a wide array of textual media forms, Thoburn invites us to challenge the commodity form of books—to stop imagining books as transcendent intellectual, moral, and aesthetic goods unsullied by commerce. His critique is, instead, one immersed in the many materialities of text. Anti-Book engages with an array of writing and publishing projects, including Antonin Artaud’s paper gris-gris, Valerie Solanas’s SCUM Manifesto, Guy Debord’s sandpaper-bound Mémoires, the collective novelist Wu Ming, and the digital/print hybrid of Mute magazine. Empirically grounded, it is also a major achievement in expressing a political philosophy of writing and publishing, where the materiality of text is interlaced with conceptual production. Each chapter investigates a different form of textual media in concert with a particular concept: the small-press pamphlet as “communist object,” the magazine as “diagrammatic publishing,” political books in the modes of “root” and “rhizome,” the “multiple single” of anonymous authorship, and myth as “unidentified narrative object.” An absorbingly written contribution to contemporary media theory in all its manifestations, Anti-Book will enrich current debates about radical publishing, artists’ books and other new genre and media forms in alternative media, art publishing, media studies, cultural studies, critical theory, and social and political theory.

This book focuses on a simple dynamic: the taking in hand of a heritage, the variety of changes induced within it, and the handing on of that legacy to new generations. Our contributors suggest, from different standpoints, that this dynamic represented the essence of 'late antiquity'. As Roman society, and the societies by which it was immediately bounded, continued to develop, through to the late sixth and early seventh centuries, the interplay between what needed to be treasured and what needed to be explored became increasingly self-conscious, versatile, and enriched. By the time formerly alien peoples had established their 'post-classical' polities, and Islam began to stir in the East, the novelties were more clearly seen, if not always welcomed; and one witnesses a stronger will to maintain the momentum of change, of a forward reach. At the same time, those in a position to play now the role of heirs were well able to appreciate how suited to their needs the 'Roman' past might be, but how, by taking it up in their turn, they were more securely defined and yet more creatively advantaged. 'Transformation' is a notion apposite to essays in honour of Peter Brown. 'The transformation of the classical heritage' is a theme to which he has devoted, and continues to devote, much energy. All the essays here in some way explore this notion of transformation; the late antique ability to turn the past to new uses, and to set its wealth of principle and insight to work in new settings. To begin, there is the very notion of what it meant to be 'Roman', and how that notion changed. Subsequent chapters suggest ways in which fundamental characteristics of Roman society were given new form, not least under the impact of a Christian polity. Augustine, naturally, finds his place; and here the emphasis is on the unfettered stance that he took in the face of more broadly held convictions - on miracles, for example, and the errors of the pagan past. The discussion then moves on to