Fuller Library Bulletin - October, 1953 - September, 1954, No. 20 - 23

Originally published in print for the library of Fuller Theological Seminary from 1949 through 1958.https://digitalcommons.fuller.edu/fts-lib-bulletin/1013/thumbnail.jp

Marked Objects from Apliki Karamallos

The study of Cypriot Late Bronze Age (LBA) writing had reached one of its apogees in the summer of 1939, when Joan du Plat Taylor undertook excavations at Apliki Karamallos. Publication of the Swedish Cyprus Expedition\u27s reports and new discoveries by Schaeffer at Enkomi and the Americans at Kourion Bamboula had shrugged off the mantle of dormancy imposed by the first World War; by the mid \u2730\u27s, scholarship on the origins and uses of writing on LBA Cyprus was in full swing. Evans (1935), Persson (1932 and 1937), and Schaeffer (1936) published important studies, and Casson (1937 and 1939) and Daniel (1941) produced major treatises. Actual inscriptions known at the time were few—a handful of marble-sized clay balls, perhaps ten cylinder seals, a gold ring, a silver bowl, a bronze plaque, and perhaps two dozen vases or fragments of vases, all with very brief texts (2-8 signs)

IV Chaucer

This chapter has five sections: 1. General; 2. The Canterbury Tales; 3. Troilus and Criseyde; 4. Other Works; 5. Reception and Reputation. Sections 1, 3, and 5 are by Ben Parsons; sections 3 and 4 are by Natalie Jones

Marks on Pots: Patterns of Use in the Archaeological Record at Enkomi

Marks scratched or painted on the Late Bronze Age (LBA) pottery of the eastern Mediterranean are often highly visible elements of the ceramic assemblage because of their bold rendering and prominent placement (fig. 1). Nevertheless, often they have been overlooked. In those instances where they have been noted, interest in them has been primarily epigraphical. Certainly some of the potmarks are connected somehow with contemporary writing systems. But all of them, signs of script or not, have some reason(s) for being painted or incised on certain vases. This paper begins the process of looking systematically for those reasons

An apocalypse for the Church and for the world : a literary-narrative and tradition-historical reading of the Book of Revelation

EThOS - Electronic Theses Online ServiceGBUnited Kingdo

William's Window, ou, De la transparence dans le théâtre de Shakespeare

William' s Window se traduirait probablement par "veduta sur William [Shakespeare]". Car il s'agit bien d'une ouverture pratiquée, sinon sur un tableau, du moins dans un livre: le Premier Folio de 1623. Contenant à lui seul trente-six des trente-huit (ou trente-neuf) pièces attribuées à Shakespeare, ce livre demeure l'édition princeps des études Shakespeariennes. Notre étude consiste essentiellement en une analyse graphique -ou un catalogue raisonné -du métathéâtre de Shakespeare. Métathéâtre dont l'un des principaux effets esthétiques serait cette mise-en-abyme du processus dramatique lui-même (où la représentation se met elle-même en représentation). Comme notre sous-titre l'indique, nous tâchons d'établir combien le théâtre de Shakespeare était métathéâtral par le biais notamment de ce que nous appelons sa transparence ou son auto-réflexivité représentative (pour les théoriciens de l'art, son opacité). Les pages qui suivent rendent compte (en anglais, hélas) de trois lectures du Folio, chacune d'entre-elles ayant pour but d'extraire autant d'exemples que possible d'un certain type de transparence. La première lecture (chapitre 1) porte sur les engins métathéâtraux en tant que tels (pièces-dans-la-pièce et déguisements) et résulte en un catalogue visuel de leur récurrence à l'intérieur de la structure même des pièces. La seconde lecture (chapitre 2) répertorie tous les termes faisant référence au théâtre, et la troisième (chapitre 3) tous ceux portant sur la représentation mimétique. Le catalogue du premier chapitre, et les deux répertoires des chapitres suivants préservent l'ordre des pièces ainsi que les catégories du Folio. Leurs données, cependant, sont rassemblées et reproduites à nouveau, chronologiquement cette fois, dans le dépliant en annexe. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Shakespeare, Premier Folio (First Folio), Métathéâtre, Analyse graphique (coupe formelle)

The pecia system and its use in the cultural milieu of Paris c1250 to 1330

This thesis is an examination of the pecia system in operation at the University of Paris from c1250 to 1330, and its use in the cultural milieu of the city during this period. An appendix (1) lists the manuscripts with user notes on which the thesis is primarily based. As the university community rose as a leading force in theology and philosophy, so too did the book trade that supported this network. The pecia system of book production mass-produced texts efficiently and at a low cost to its users, mainly university masters, students, preachers, and visitors to the Paris cultural community. Users interacted with pecia manuscripts by leaving a wide range of marginalia in works. Marginalia are classified according to a devised user typology scheme and include ownership marks, passage summaries, and comments on the main text. We have two further surviving sources for the Paris system: bookseller lists of pecia-produced works from 1275 and 1304. Chapters 1 to 10 examine separate genres of texts available on the pecia lists, theological and philosophical works as well as preaching aids. That Paris pecia manuscripts were used in action as preaching aids is one of the conclusions the user notes help to establish. Another is that Paris pecia manuscripts were important in English intellectual life (Chapter 11). The codicological and textual examinations of individual manuscripts and user notes present within reveal the function and intended audience of each genre as a whole, providing unique insight into the workings of the medieval cultural community at Paris in the thirteenth and fourteenth centuries