Pub Date : 2020-12-07DOI: 10.1093/oxfordhb/9780198830801.013.16
A. Bale
This chapter explores reading and writing on the move, through the transnational medium of pilgrims’ books. It considers literary writing about pilgrimage by the likes of William Langland and Geoffrey Chaucer; a printed indulgence sold to pilgrims the shrine of St Cornelius in St Margaret’s Church at Westminster; and the routes taken, books read, and texts produced by particular medieval pilgrims, including Henry Bolingbroke, later Henry IV of England. The chapter examines the ways in which pilgrimage was a stimulus to writing as well as to reading, and was a process that put the material facets of textual production into a variety of dynamic and often surprising relations with communities of readers and writers.
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Pub Date : 2020-12-07DOI: 10.1093/oxfordhb/9780198830801.013.25
Simon Reader
The eighteenth-century German polymath Georg Christoph Lichtenberg developed a utopian style of note-taking that anticipated the fantasy of democratically organized information promulgated by social media in the twenty-first century. In his “waste-books” (a term drawn from accounting) Lichtenberg made a virtue of the unfinished, promoting the use of the notebook as a tool directed to purposes other than publication: first, as an accumulation of informational wealth (“pennyworths); second, as an incubator for future possibilities over which he exercised no control (“seeds”); and, third, as a space where the micro trades places with the macro (“keyholes”). Lichtenberg elected to live in manuscript, relinquishing his witty retorts, aphoristic reflections, or ideas for whole books entirely to posterity. He kept marginal notations as a way of honing an individual style that was simultaneously divorced from social exchange with the living.
18世纪的德国博学多才格奥尔格·克里斯托夫·利希滕贝格(Georg Christoph Lichtenberg)发明了一种乌托邦式的记笔记方式，预言了21世纪社交媒体传播的民主组织信息的幻想。在他的“废书”(一个来自会计学的术语)中，利希滕伯格把未完成的东西当作一种美德，提倡把笔记本作为一种工具，直接用于出版以外的目的:首先，作为信息财富的积累(“pennyworth”);第二，作为他无法控制的未来可能性(“种子”)的孵化器;第三，作为微观交易与宏观交易的空间(“钥匙孔”)。利希滕贝格选择生活在手稿中，把他机智的反驳、警句式的反思或整本书的观点完全留给后代。他保留边缘标记，作为一种磨练个人风格的方式，同时脱离了与生活的社会交流。
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