The Legal, Rhetorical, and Iconographic Aspects of the Concept of the accessoire in Christine de Pizan

L’article explore l’usage que fait Christine de Pizan du mot accessoire et souligne comment son vocabulaire fait littéralement écho à sa situation linguistique, au carrefour de la langue vernaculaire et du latin en usage dans les cercles curiaux parisiens qu’elle fréquentait. Les deux premières parties, plus nettement philologiques, offrent une contextualisation des emplois que Christine fait du mot accessoire, alors que la troisième partie examine le concept d’accessoire dans le cadre de la pratique iconographiqueThe article explores how Christine de Pizan’s use of the term accessoire(s), a special case of “detail” in medieval culture affords a useful example of how her vocabulary literally echoes her linguistic situation at the interface of vernacular and Latin in the Parisian courtly circles which she frequented. The first two philologically oriented sections offer a clear contextualization of Christine’s two uses of this term, while the third, more speculative, section is based her use of the concept of an accessoire in the context of iconographic practic

glossa Aurelianensis est quae destruit textum

Christine de Pizan, writing in her last letter from the Quarrel on the Rose, addressed to Pierre Col, concludes by commenting laconically on Jean de Meung’s specific misrepresentation of Nature. She associates Jean’s rhetorical practice in Nature’s speech with what she calls the proverb that «the glosses of Orléans destroy the text» (otherwise best known in Latin as glossa Aureliensis est quae destruit textum, a statement originally made by the jurist Franciscus Accursii): si as tres bien pro..

The Different Styles of Christine de Pizan: An Initial Stylometric Analysis

This article attempts to identify the different styles employed by Christine de Pizan in all of her works using empirically based stylometric analysis. The results, at once heuristic but also statistically significant, suggest as well that besides Christine de Pizan, other medieval French authors such as Jean de Meun, Froissart and Gerson, have at least two, if not more, stylometric footprints. The methods employed and the ramifications of the results are discussed briefly as well

Finishing the euchromatic sequence of the human genome

The sequence of the human genome encodes the genetic instructions for human physiology, as well as rich information about human evolution. In 2001, the International Human Genome Sequencing Consortium reported a draft sequence of the euchromatic portion of the human genome. Since then, the international collaboration has worked to convert this draft into a genome sequence with high accuracy and nearly complete coverage. Here, we report the result of this finishing process. The current genome sequence (Build 35) contains 2.85 billion nucleotides interrupted by only 341 gaps. It covers ∼99% of the euchromatic genome and is accurate to an error rate of ∼1 event per 100,000 bases. Many of the remaining euchromatic gaps are associated with segmental duplications and will require focused work with new methods. The near-complete sequence, the first for a vertebrate, greatly improves the precision of biological analyses of the human genome including studies of gene number, birth and death. Notably, the human enome seems to encode only 20,000-25,000 protein-coding genes. The genome sequence reported here should serve as a firm foundation for biomedical research in the decades ahead

The Legal, Rhetorical, and Iconographic Aspects of the Concept of the accessoire in Christine de Pizan

L’article explore l’usage que fait Christine de Pizan du mot accessoire et souligne comment son vocabulaire fait littéralement écho à sa situation linguistique, au carrefour de la langue vernaculaire et du latin en usage dans les cercles curiaux parisiens qu’elle fréquentait. Les deux premières parties, plus nettement philologiques, offrent une contextualisation des emplois que Christine fait du mot accessoire, alors que la troisième partie examine le concept d’accessoire dans le cadre de la pratique iconographiqueThe article explores how Christine de Pizan’s use of the term accessoire(s), a special case of “detail” in medieval culture affords a useful example of how her vocabulary literally echoes her linguistic situation at the interface of vernacular and Latin in the Parisian courtly circles which she frequented. The first two philologically oriented sections offer a clear contextualization of Christine’s two uses of this term, while the third, more speculative, section is based her use of the concept of an accessoire in the context of iconographic practic

Dante's Commedia and its vernacular context.

Originally presented: as author's dissertation (Ph.D), Princeton University, 197