Abstract:Medieval studies is an excellent vantage point from which to complicate and elucidate current discussions of futurism, particularly around ways in which artificial intelligence (AI) and technology should inform constructions of future humanisms. Much of the recent work in post-humanist and ecocritical discussions critique and evaluate AI’s success in terms of its humanity, often focusing on how well machines can mirror or imitate human reactions, thus inadvertently privileging human emotions as better and more desirable than those of the planet’s other beings. This scholarship inadvertently creates and reproduces a hierarchy of the human through a politics of emotional exceptionalism. In contrast, my essay explores how reading with the medieval offers surprising resonances with concerns about power in the posthuman and reveals human privilege as constructed through political inequalities instantiated by the violation of emotional norms. Power in the medieval and in the post-Anthropocene is structured around emotional violation, through an erotics of grief that privileges human violence and transgression of the rights of other beings and fantasizes that some human emotions are more valid than those of other beings. Examining the extremes of privilege in medieval culture illuminates the relation between emotions and human privilege in current discourses around AI, technology, and the human. The essay considers how and why grief is eroticized in service of power in the medieval period (in texts such as Tristan et Yseut and Daphne and Apollo) and how emotional exceptionalism naturalizes elite human power in pop culture (as in the privileged human violence enacted over cyborgs in recent films such as Ex Machina and Her). In short, I explore how reading with the medieval questions the hypermodernist assumptions undergirding much of the thinking on cyborgs and power in work by Donna Haraway, Rosi Braidotti, and Judith Halberstam.
{"title":"Medieval Emotions and Posthuman Subjectivities: Cyborgs and Desire","authors":"Megan Moore","doi":"10.1353/dph.2021.0002","DOIUrl":"https://doi.org/10.1353/dph.2021.0002","url":null,"abstract":"Abstract:Medieval studies is an excellent vantage point from which to complicate and elucidate current discussions of futurism, particularly around ways in which artificial intelligence (AI) and technology should inform constructions of future humanisms. Much of the recent work in post-humanist and ecocritical discussions critique and evaluate AI’s success in terms of its humanity, often focusing on how well machines can mirror or imitate human reactions, thus inadvertently privileging human emotions as better and more desirable than those of the planet’s other beings. This scholarship inadvertently creates and reproduces a hierarchy of the human through a politics of emotional exceptionalism. In contrast, my essay explores how reading with the medieval offers surprising resonances with concerns about power in the posthuman and reveals human privilege as constructed through political inequalities instantiated by the violation of emotional norms. Power in the medieval and in the post-Anthropocene is structured around emotional violation, through an erotics of grief that privileges human violence and transgression of the rights of other beings and fantasizes that some human emotions are more valid than those of other beings. Examining the extremes of privilege in medieval culture illuminates the relation between emotions and human privilege in current discourses around AI, technology, and the human. The essay considers how and why grief is eroticized in service of power in the medieval period (in texts such as Tristan et Yseut and Daphne and Apollo) and how emotional exceptionalism naturalizes elite human power in pop culture (as in the privileged human violence enacted over cyborgs in recent films such as Ex Machina and Her). In short, I explore how reading with the medieval questions the hypermodernist assumptions undergirding much of the thinking on cyborgs and power in work by Donna Haraway, Rosi Braidotti, and Judith Halberstam.","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"316 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116771819","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:The troubadours seem to have come back in style in France. The crooner Francis Cabrel’s new album, À l’aube revenant, released on October 16, 2020, includes songs inspired by the troubadours. A new album from the composer and musician Vincent Eckert has earned him the title of “troubadour” (La Dépêche, December 16, 2020). The actor and director Daniel Auteuil has recently described himself as a “troubadour” (Le Figaro, December 15, 2020). Even the journalist and skipper Francis Amedeo has taken up the term, going to far as to call himself a “troubadour cosmique” (Le Figaro, December 3, 2020).
摘要:行吟诗人似乎又在法国流行起来了。低吟歌手弗朗西斯·卡布雷尔(Francis Cabrel)的新专辑À l 'aube revenant于2020年10月16日发行，其中包括受吟游诗人启发的歌曲。作曲家和音乐家文森特·埃克特的新专辑为他赢得了“吟游诗人”的称号(La Dépêche, 2020年12月16日)。演员兼导演丹尼尔·欧特伊(Daniel Auteuil)最近称自己是“吟游诗人”。就连记者兼船长弗朗西斯·阿梅迪奥(Francis Amedeo)也使用了这个词，甚至称自己为“吟游诗人”(《费加罗报》，2020年12月3日)。
{"title":"Stolen Song: How the Troubadours Became French by Eliza Zingesser (review)","authors":"Michelle Bolduc","doi":"10.1353/dph.2021.0006","DOIUrl":"https://doi.org/10.1353/dph.2021.0006","url":null,"abstract":"Abstract:The troubadours seem to have come back in style in France. The crooner Francis Cabrel’s new album, À l’aube revenant, released on October 16, 2020, includes songs inspired by the troubadours. A new album from the composer and musician Vincent Eckert has earned him the title of “troubadour” (La Dépêche, December 16, 2020). The actor and director Daniel Auteuil has recently described himself as a “troubadour” (Le Figaro, December 15, 2020). Even the journalist and skipper Francis Amedeo has taken up the term, going to far as to call himself a “troubadour cosmique” (Le Figaro, December 3, 2020).","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122979970","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Ostensibly a story about gaining confidence in love, Guillaume de Machaut’s Remede de Fortune has been explored as a summa of contemporary musical styles and a treatise on the memorial arts. It has also been examined as an important example of the use of citation and allusion in the fourteenth century because it incorporates references to Boethius’ Consolation of Philosophy and Guillaume de Lorris and Jean de Meun’s Le roman de la Rose. This essay enhances these studies by focusing on a particular aspect of the narrative: the use of soundscape and material environment to express the protagonist’s emotional growth. After exploring key concepts such as soundscape, authorial self-presentation, and melancholy, it considers how sound is introduced and presented in relation to the narrator’s emotional world and how music is woven through the narrative. An analysis of how sound and touch play a role in the narrator’s interaction with Lady Hope leads to a discussion of the use of soundscape and material environment in the description of the Park of Hesdin and the festivities at the manor house. As this examination of soundscape and environment will show, Machaut chooses to use them as a means to convey the narrator’s burgeoning confidence: he gives a minimal and clichéd description of the wonderful park when the narrator is mired in melancholy yet offers an elaborate, exciting treatment of the manor house after the narrator’s confidence-building interaction with Lady Hope. The essay closes with a consideration of how the presentation of sound and material environment relates to Machaut’s use of Boethius. In the context of the material turn within medieval studies, I argue that we can view sound and objects within medieval literature as media for the communication of ideas about narrative and character development and that this form of analysis sits comfortably with other lenses of interpretation.
{"title":"From Socially Distant to Socially Engaged: Exploring the Soundscape and Material Environment of Guillaume de Machaut’s Remede de Fortune","authors":"Tamsyn Mahoney-Steel","doi":"10.1353/dph.2021.0003","DOIUrl":"https://doi.org/10.1353/dph.2021.0003","url":null,"abstract":"Abstract:Ostensibly a story about gaining confidence in love, Guillaume de Machaut’s Remede de Fortune has been explored as a summa of contemporary musical styles and a treatise on the memorial arts. It has also been examined as an important example of the use of citation and allusion in the fourteenth century because it incorporates references to Boethius’ Consolation of Philosophy and Guillaume de Lorris and Jean de Meun’s Le roman de la Rose. This essay enhances these studies by focusing on a particular aspect of the narrative: the use of soundscape and material environment to express the protagonist’s emotional growth. After exploring key concepts such as soundscape, authorial self-presentation, and melancholy, it considers how sound is introduced and presented in relation to the narrator’s emotional world and how music is woven through the narrative. An analysis of how sound and touch play a role in the narrator’s interaction with Lady Hope leads to a discussion of the use of soundscape and material environment in the description of the Park of Hesdin and the festivities at the manor house. As this examination of soundscape and environment will show, Machaut chooses to use them as a means to convey the narrator’s burgeoning confidence: he gives a minimal and clichéd description of the wonderful park when the narrator is mired in melancholy yet offers an elaborate, exciting treatment of the manor house after the narrator’s confidence-building interaction with Lady Hope. The essay closes with a consideration of how the presentation of sound and material environment relates to Machaut’s use of Boethius. In the context of the material turn within medieval studies, I argue that we can view sound and objects within medieval literature as media for the communication of ideas about narrative and character development and that this form of analysis sits comfortably with other lenses of interpretation.","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129268323","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This essay engages head on with this special issue’s central question—what do medieval things have to tell us about connectivity and object-mediated communication?—by comparing the depiction of nets in medieval sources with our contemporary imaginations of the Internet. The Internet is popularly thought of as immaterial—as wireless and ethereal lines of communication—rather than as pipelines and server villages. While the terms network, Internet, and World Wide Web are modern, nets are among the oldest human technologies. Medieval sources portray them as composed of both material and immaterial elements; as both strings and the gaps between. The elements of a net that are seen as immaterial—the spaces between the strings—are essential to its function. Whether a net is used for carrying, hunting, or decorating, those spaces ensure that prey cannot see it from the outside, that it is stretchable, and that it allows a glimpse into what is within. The material strings are equally essential: they are the elements that capture and hold. Medieval texts and images (for instance, various depictions of Vulcan’s net and Arachne’s net and weft, the German Arthurian romance Daniel of the Blossoming Valley, and the Arabic story collection Kalila and Dimna) emphasize the tension between material and immaterial components by exaggerating the inescapability of the nets from the inside and the invisibility of the nets from the outside. They also stress the nature of nets as traps rather than connectives and use them as metaphors for narratives, much as network analysis uses nets as metaphors for a variety of structures and areas of knowledge. In this essay I suggest returning to a notion of nets, including the Internet, as material, as a corrective to current perceptions. I also argue that the fear of nets as traps might persist in modern imaginations of the Internet.
{"title":"Putting the Net Back into the Internet: The Materiality of Networks from a Premodern Perspective","authors":"Bettina Bildhauer","doi":"10.1353/dph.2021.0004","DOIUrl":"https://doi.org/10.1353/dph.2021.0004","url":null,"abstract":"Abstract:This essay engages head on with this special issue’s central question—what do medieval things have to tell us about connectivity and object-mediated communication?—by comparing the depiction of nets in medieval sources with our contemporary imaginations of the Internet. The Internet is popularly thought of as immaterial—as wireless and ethereal lines of communication—rather than as pipelines and server villages. While the terms network, Internet, and World Wide Web are modern, nets are among the oldest human technologies. Medieval sources portray them as composed of both material and immaterial elements; as both strings and the gaps between. The elements of a net that are seen as immaterial—the spaces between the strings—are essential to its function. Whether a net is used for carrying, hunting, or decorating, those spaces ensure that prey cannot see it from the outside, that it is stretchable, and that it allows a glimpse into what is within. The material strings are equally essential: they are the elements that capture and hold. Medieval texts and images (for instance, various depictions of Vulcan’s net and Arachne’s net and weft, the German Arthurian romance Daniel of the Blossoming Valley, and the Arabic story collection Kalila and Dimna) emphasize the tension between material and immaterial components by exaggerating the inescapability of the nets from the inside and the invisibility of the nets from the outside. They also stress the nature of nets as traps rather than connectives and use them as metaphors for narratives, much as network analysis uses nets as metaphors for a variety of structures and areas of knowledge. In this essay I suggest returning to a notion of nets, including the Internet, as material, as a corrective to current perceptions. I also argue that the fear of nets as traps might persist in modern imaginations of the Internet.","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129010963","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"King Alfonso VIII of Castile: Government, Family, and War ed. by Miguel Gómez, Kyle C. Lincoln and Damian Smith (review)","authors":"Aengus Ward","doi":"10.1353/dph.2021.0010","DOIUrl":"https://doi.org/10.1353/dph.2021.0010","url":null,"abstract":"","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132540977","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Piers Plowman and the Reinvention of Church Law in the Late Middle Ages by Arvind Thomas (review)","authors":"S. Wood","doi":"10.1353/dph.2021.0012","DOIUrl":"https://doi.org/10.1353/dph.2021.0012","url":null,"abstract":"","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128167749","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines the affordances of late medieval knots. Although knots are mentioned, both literally and figuratively, in a wide range of medieval writings in a western Christian context, they are rarely discussed, described, or explained in detail. As a result, while they are an enduring aesthetic and practical feature of medieval life and thought, they remain mysterious. This essay considers knots both as material and symbolic densities and as ligatures, looking at their role in religious thought and practice and in relation to cognitive processes. Drawing on recent theories of materiality and metaphor and focusing primarily on Middle English sources, it examines how knots offered medieval writers and practitioners distinct yet interrelated ways of being and communicating. Both divine and mundane, enabling and resistant, knots are powerfully associated with memory, writing, and relationships. Medieval knots shaped spiritual, mental, and religious habits; devotional objects; and certain letters of the alphabet. They articulated the confluence of mind and body that resulted in disposition and composition and became ornamental, formal, and stylistic features of texts. This conjunction of discursive and material properties makes them an example of what Sophia Roosth calls figuring. Binding fleshly as well as verbal “matere,” knots’ versatility made them useful even as their complexity often posed a challenge. Knots situated the human subject in particular and revealing ways, meeting minds in unpredictable encounters.
{"title":"Figuring with Knots","authors":"A. Bernau","doi":"10.1353/dph.2021.0000","DOIUrl":"https://doi.org/10.1353/dph.2021.0000","url":null,"abstract":"Abstract:This article examines the affordances of late medieval knots. Although knots are mentioned, both literally and figuratively, in a wide range of medieval writings in a western Christian context, they are rarely discussed, described, or explained in detail. As a result, while they are an enduring aesthetic and practical feature of medieval life and thought, they remain mysterious. This essay considers knots both as material and symbolic densities and as ligatures, looking at their role in religious thought and practice and in relation to cognitive processes. Drawing on recent theories of materiality and metaphor and focusing primarily on Middle English sources, it examines how knots offered medieval writers and practitioners distinct yet interrelated ways of being and communicating. Both divine and mundane, enabling and resistant, knots are powerfully associated with memory, writing, and relationships. Medieval knots shaped spiritual, mental, and religious habits; devotional objects; and certain letters of the alphabet. They articulated the confluence of mind and body that resulted in disposition and composition and became ornamental, formal, and stylistic features of texts. This conjunction of discursive and material properties makes them an example of what Sophia Roosth calls figuring. Binding fleshly as well as verbal “matere,” knots’ versatility made them useful even as their complexity often posed a challenge. Knots situated the human subject in particular and revealing ways, meeting minds in unpredictable encounters.","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"352 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115978303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:John Speed’s engraved portrait of Chaucer, made for the 1598 edition of the Workes, relies rhetorically upon a manuscript tradition of Chaucerian portraiture to establish its authenticity. During the seventeenth century and onward, Speed’s printed plate exhibited a high degree of mobility, being removed from the editions and reappearing in other Chaucerian books and in later manuscript replicas. This essay tracks the movement of the portrait across the permeable boundaries of print and manuscript, arguing for the role of print culture in its dissemination and as the cause of its eventual reappropriation into hand-drawn and painted forms.
{"title":"The Progeny of Print: Manuscript Adaptations of John Speed’s Chaucer Engraving","authors":"D. Singh","doi":"10.1353/dph.2020.0010","DOIUrl":"https://doi.org/10.1353/dph.2020.0010","url":null,"abstract":"Abstract:John Speed’s engraved portrait of Chaucer, made for the 1598 edition of the Workes, relies rhetorically upon a manuscript tradition of Chaucerian portraiture to establish its authenticity. During the seventeenth century and onward, Speed’s printed plate exhibited a high degree of mobility, being removed from the editions and reappearing in other Chaucerian books and in later manuscript replicas. This essay tracks the movement of the portrait across the permeable boundaries of print and manuscript, arguing for the role of print culture in its dissemination and as the cause of its eventual reappropriation into hand-drawn and painted forms.","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"549 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123069831","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:In 1860, the Spanish scholar Pascual de Gayangos published an anthology containing a new edition of the Conde Lucanor, the celebrated medieval frametale collection by Castilian author Juan Manuel. In preparation, Gayangos commissioned a transcription of the 1642 print edition of the Conde Lucanor, itself a reprint of the 1575 edition prepared by the Spanish humanist Gonzalo Argote de Molina. This transcription, Biblioteca Nacional de España, MS 17788, has received little critical attention due to its modernity and intermediary status. However, its textual and material histories illuminate the asynchrony of Gayangos’s editing practices, which combine cutting-edge philological methods with an amateur attempt to re-create the medieval past.
摘要:1860年，西班牙学者帕斯夸尔·德·加扬戈斯出版了一本选集，收录了卡斯蒂利亚作家胡安·曼努埃尔著名的中世纪画框集《康德·卢卡诺》的新版本。在准备过程中，加扬戈斯委托对1642年出版的《康德·卢卡诺》进行了抄写，这是西班牙人文主义者贡萨洛·阿尔戈特·德·莫利纳1575年出版的《康德·卢卡诺》的再版。这个抄本，Biblioteca Nacional de España, MS 17788，由于其现代性和中介地位，很少受到批评。然而，它的文本和材料历史阐明了加扬戈斯编辑实践的不同步性，他将尖端的语言学方法与业余的重建中世纪历史的尝试结合起来。
{"title":"Material Afterlives of the Conde Lucanor: Asynchrony in BNE, MS 17788","authors":"A. Savo","doi":"10.1353/dph.2020.0011","DOIUrl":"https://doi.org/10.1353/dph.2020.0011","url":null,"abstract":"Abstract:In 1860, the Spanish scholar Pascual de Gayangos published an anthology containing a new edition of the Conde Lucanor, the celebrated medieval frametale collection by Castilian author Juan Manuel. In preparation, Gayangos commissioned a transcription of the 1642 print edition of the Conde Lucanor, itself a reprint of the 1575 edition prepared by the Spanish humanist Gonzalo Argote de Molina. This transcription, Biblioteca Nacional de España, MS 17788, has received little critical attention due to its modernity and intermediary status. However, its textual and material histories illuminate the asynchrony of Gayangos’s editing practices, which combine cutting-edge philological methods with an amateur attempt to re-create the medieval past.","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129062109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: The Manuscript Copy and the Printed Original in the Digital Present","authors":"Sonja Drimmer","doi":"10.1353/dph.2020.0007","DOIUrl":"https://doi.org/10.1353/dph.2020.0007","url":null,"abstract":"","PeriodicalId":387346,"journal":{"name":"Digital Philology: A Journal of Medieval Cultures","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123112764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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