This paper examines the specific strategies for recruitment and retention of volunteer transcribers in use in two collaborative transcription projects: Transcribe Bentham (University College, London) and the Estoria de Espanna Digital Project (University of Birmingham). The aim of the paper is to review the strategies used by Transcribe Bentham, a more mature crowdsourced electronic transcription project, with a view to informing the strategies put into place in the Estoria project, which has started transcribing using crowdsourcing more recently. The paper discusses the difficulties faced by crowdsourced electronic transcription projects and how these have been and are being resolved in these two projects. The difficulties discussed include the complexity of the palaeography involved, the necessity of tagging transcriptions using XML, the requirement to moderate and carry out quality-control of volunteer-produced transcriptions, and the creation of an atmosphere of camaraderie amongst staff-members and crowdsourcers, many of whom have never, and will never meet face-to-face. The findings may be useful for other collaborative electronic transcription projects and will inform and shape the way the Estoria project continues to use strategies to raise levels of recruitment and retention of crowdsourced transcribers.
本文研究了在两个合作转录项目中招募和保留志愿转录员的具体策略:scribe Bentham(伦敦大学学院)和Estoria de Espanna数字项目(伯明翰大学)。本文的目的是回顾更成熟的众包电子转录项目“转录边沁”所使用的策略，以期为最近开始使用众包进行转录的“Estoria”项目所采用的策略提供信息。本文讨论了众包电子转录项目所面临的困难，以及这两个项目是如何解决这些困难的。讨论的困难包括所涉及的古文字的复杂性，使用XML标记抄本的必要性，对志愿者制作的抄本进行调节和质量控制的要求，以及在工作人员和众包者之间创造一种友爱的气氛，其中许多人从未，也永远不会面对面。这些发现可能对其他合作电子转录项目有用，并将为Estoria项目继续使用策略提高众包转录员的招聘和保留水平提供信息和指导。
{"title":"Transcribing the \"Estoria de Espanna\" using crowdsourcing: Strategies and aspirations","authors":"Polly Duxfield","doi":"10.7203/MCLM.2.4977","DOIUrl":"https://doi.org/10.7203/MCLM.2.4977","url":null,"abstract":"This paper examines the specific strategies for recruitment and retention of volunteer transcribers in use in two collaborative transcription projects: Transcribe Bentham (University College, London) and the Estoria de Espanna Digital Project (University of Birmingham). The aim of the paper is to review the strategies used by Transcribe Bentham, a more mature crowdsourced electronic transcription project, with a view to informing the strategies put into place in the Estoria project, which has started transcribing using crowdsourcing more recently. The paper discusses the difficulties faced by crowdsourced electronic transcription projects and how these have been and are being resolved in these two projects. The difficulties discussed include the complexity of the palaeography involved, the necessity of tagging transcriptions using XML, the requirement to moderate and carry out quality-control of volunteer-produced transcriptions, and the creation of an atmosphere of camaraderie amongst staff-members and crowdsourcers, many of whom have never, and will never meet face-to-face. The findings may be useful for other collaborative electronic transcription projects and will inform and shape the way the Estoria project continues to use strategies to raise levels of recruitment and retention of crowdsourced transcribers.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7203/MCLM.2.4977","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71304656","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}
The Razos de trobar are revisited in this paper, with a recapitulation of the learned opinions on this text’s subject, and a new evaluation of it as a grammar handbook for troubadours. Characteristics are set down which differentiate this work from others like Uc Faidit’s Donatz proensals and Jofre de Foixa’s Regles de trobar . Attention is also given to the possible reasons for this text’s popularity, and on the way, Ovidian sources are retraced for the famous final lines (37-39) of Arnaut Daniel’s “Ab gai so cundet et leri”: “Ieu sui Arnautz qu’amas l’aura...”
在这篇论文中，我们重新审视了这篇文章，重述了关于这篇文章主题的学术观点，并对它作为行吟诗人语法手册的新评价。该作品与Uc Faidit的Donatz proensals和Jofre de Foixa的Regles de trobar等作品的特点有所不同。本文还关注了这篇文章受欢迎的可能原因，在此过程中，奥维德语的来源被追溯为阿诺特·丹尼尔的“Ab gai so cundet et leri”的著名最后几行(37-39):“Ieu sui Arnautz qu 'amas l 'aura…”
{"title":"Les \"Razos de trobar\" de Ramon Vidal: una gramàtica per al cant","authors":"A. Espadaler","doi":"10.7203/MCLM.2.6405","DOIUrl":"https://doi.org/10.7203/MCLM.2.6405","url":null,"abstract":"The Razos de trobar are revisited in this paper, with a recapitulation of the learned opinions on this text’s subject, and a new evaluation of it as a grammar handbook for troubadours. Characteristics are set down which differentiate this work from others like Uc Faidit’s Donatz proensals and Jofre de Foixa’s Regles de trobar . Attention is also given to the possible reasons for this text’s popularity, and on the way, Ovidian sources are retraced for the famous final lines (37-39) of Arnaut Daniel’s “Ab gai so cundet et leri”: “Ieu sui Arnautz qu’amas l’aura...”","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7203/MCLM.2.6405","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71304668","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}
This article presents and analyses chapter XLVI from the Tractat de les penes particulars d’infern by Catalan franciscan friar Joan Pasqual, written soon after 1436. This chapter, “Del cercle de l’alquimia”, includes an exemplum which is doubly significant: on the one hand, it documents the alchemic legend in the Plantagenets’ court during the 14th and 15th centuries; on the other hand, and most importantly, it is a new testimony of two narrative motifs of Eastern origin: the fake alchemist and the king (Thompson, K.111.4; Tubach, 89), and the account-book of mistakes or fools (Thompson,J.1371). After introducing the medieval witnesses of these motifs, the alchemic legend of Ramon Llull and king Edward of England, and Joan Pasqual in his historical context, the essay offers an edition of the Catalan text and a thorough comparative analysis with the more evident witnesses within the tradition: for the whole story, the Kit?b al-mukht?rf? kashf al-asr?r (IX, 9) by Al-Jawbar?, the exemplum XX in the Libro del conde Lucanor by don Juan Manuel and the anonymous Libro del caballero Zifar ; also Felix or Llibre de meravelles (VI, 36[4].47-68) by Ramon Llull for the motif of the alchemist and the king, and the novella LXXIV in the Novellino Borghini for the motif of the account-book of mistakes of fools. The conclusions of this analysis allow to trace the outline of a very useful stemma narrationum to discuss the position of Geoffrey Chaucer’s The canon’s yeoman’s tale within this tradition.
本文介绍并分析了加泰罗尼亚方济会修士琼·帕斯夸尔在1436年后不久所著的《论理》中的第十六章。这一章，“Del circle de l ' alquimia”，包含了一个具有双重意义的例子:一方面，它记录了金雀花王朝在14和15世纪的炼金术传说;另一方面，也是最重要的，它是两个东方起源的叙事母题的新见证:假炼金术士和国王(Thompson, K.111.4;Tubach, 89)，以及错误或傻瓜的账簿(Thompson,J.1371)。在介绍了这些主题的中世纪目击者，拉蒙·尤尔和英格兰国王爱德华的炼金术传说，以及琼·帕斯夸尔在他的历史背景下，文章提供了加泰罗尼亚文本的一个版本，并与传统中更明显的目击者进行了彻底的比较分析:对于整个故事，基特?b al-mukht射频?喀什夫al-asr吗?r (IX, 9) by Al-Jawbar?唐·胡安·曼努埃尔和匿名的齐法尔的《卢坎诺伯爵的书》中的第XX例;还有《费利克斯》(Felix or Llibre de meravelles) (6, 36 bbb .47-68)，由拉蒙·ull创作的炼金术士和国王的主题，以及《博基尼小说》(Novellino Borghini)中的中篇小说《LXXIV》，用于傻瓜的错误账簿的主题。这一分析的结论使我们能够追溯一个非常有用的系统叙事的轮廓，来讨论杰弗里·乔叟的经典自耕农的故事在这一传统中的地位。
{"title":"El frau de l’alquimista en l’infern dantesc de Joan Pasqual i en la tradició medieval","authors":"Francesc J. Gómez","doi":"10.7203/MCLM.2.6446","DOIUrl":"https://doi.org/10.7203/MCLM.2.6446","url":null,"abstract":"This article presents and analyses chapter XLVI from the Tractat de les penes particulars d’infern by Catalan franciscan friar Joan Pasqual, written soon after 1436. This chapter, “Del cercle de l’alquimia”, includes an exemplum which is doubly significant: on the one hand, it documents the alchemic legend in the Plantagenets’ court during the 14th and 15th centuries; on the other hand, and most importantly, it is a new testimony of two narrative motifs of Eastern origin: the fake alchemist and the king (Thompson, K.111.4; Tubach, 89), and the account-book of mistakes or fools (Thompson,J.1371). After introducing the medieval witnesses of these motifs, the alchemic legend of Ramon Llull and king Edward of England, and Joan Pasqual in his historical context, the essay offers an edition of the Catalan text and a thorough comparative analysis with the more evident witnesses within the tradition: for the whole story, the Kit?b al-mukht?rf? kashf al-asr?r (IX, 9) by Al-Jawbar?, the exemplum XX in the Libro del conde Lucanor by don Juan Manuel and the anonymous Libro del caballero Zifar ; also Felix or Llibre de meravelles (VI, 36[4].47-68) by Ramon Llull for the motif of the alchemist and the king, and the novella LXXIV in the Novellino Borghini for the motif of the account-book of mistakes of fools. The conclusions of this analysis allow to trace the outline of a very useful stemma narrationum to discuss the position of Geoffrey Chaucer’s The canon’s yeoman’s tale within this tradition.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2015-11-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7203/MCLM.2.6446","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71304713","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}
This paper presents a technical protocol for taking photographs of primary sources of philological use for documentary purposes. The protocol is designed for obtaining an image as close to the original object as possible. The first section provides a detailed description of the materials necessary for photographing handwritten or printed texts. The next section describes a method adapted to the new circumstances of digital photography, in two steps: capturing RAW images, then editing them. This study gives a systematic description of the first part, describing, step by step, the technical decisions related to photographic shot settings in different lighting situations, with the aims of maximizing the quality of the result and preventing any loss of relevant data.
{"title":"Protocolo técnico para la fotografía de fuentes filológicas primarias","authors":"Ricardo Guixà, Alberto Montaner","doi":"10.7203/MCLM.1.3369","DOIUrl":"https://doi.org/10.7203/MCLM.1.3369","url":null,"abstract":"This paper presents a technical protocol for taking photographs of primary sources of philological use for documentary purposes. The protocol is designed for obtaining an image as close to the original object as possible. The first section provides a detailed description of the materials necessary for photographing handwritten or printed texts. The next section describes a method adapted to the new circumstances of digital photography, in two steps: capturing RAW images, then editing them. This study gives a systematic description of the first part, describing, step by step, the technical decisions related to photographic shot settings in different lighting situations, with the aims of maximizing the quality of the result and preventing any loss of relevant data.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2014-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7203/MCLM.1.3369","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71304840","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}
This article invites us to consider the usefulness of iconography as a method to describe the subjects represented in medieval works of art. In this study, a greater emphasis has been put on investigating the epistemological implications resulting from the use of that method, and the biases that may appear in the process of transforming images into words. The aim is to address what has been called the “semantic gap”, i.e., a kind of barrier that prevents the verbal representation of a non-lexical medium, such as the visual one, in a satisfactory and undiminished way. After a brief panorama of image theory throughout the classical era, with especial reference to the rhetorical genre of ekphrasis, this study suggests that, beneath the apparent balance between the verbal and the visual media, a rivalry persists. Later on, in medieval times, a mutation occurs in the way we perceive the visual arts and the images start being considered as texts that can be read. Thanks to the prejudice implied by the statement that we can only attain knowledge through words, the image is relegated to a decorative role or, at the most, an instrument of evangelisation of the illiterate. In the discipline of medieval art history, defective uses of iconography have led to question its validity as a tool for analysis, even after the systematizing task endeavoured by Erwin Panofsky. Iconography, however, has gained new momentum thanks largely to the creation of digital collections that require iconographic principles to facilitate the recovery of visual documents. The new technologies, however, have accentuated the semantic gap between image and word, and nuanced the value of iconography, combined with indexing techniques based on controlled vocabularies and thesauri. In addition, a critical survey has been made of the most interesting projects which have undertaken the task of indexing the medieval art. Finally, it is argued that migration of iconography into the Web can be the hard core that allows medieval art history to step forward and fully enter into the domain of digital humanities.
{"title":"La iconografía en la era digital: hacia una heurística para el estudio del contenido de las imágenes medievales","authors":"Begonya Cayuela","doi":"10.7203/MCLM.1.3796","DOIUrl":"https://doi.org/10.7203/MCLM.1.3796","url":null,"abstract":"This article invites us to consider the usefulness of iconography as a method to describe the subjects represented in medieval works of art. In this study, a greater emphasis has been put on investigating the epistemological implications resulting from the use of that method, and the biases that may appear in the process of transforming images into words. The aim is to address what has been called the “semantic gap”, i.e., a kind of barrier that prevents the verbal representation of a non-lexical medium, such as the visual one, in a satisfactory and undiminished way. After a brief panorama of image theory throughout the classical era, with especial reference to the rhetorical genre of ekphrasis, this study suggests that, beneath the apparent balance between the verbal and the visual media, a rivalry persists. Later on, in medieval times, a mutation occurs in the way we perceive the visual arts and the images start being considered as texts that can be read. Thanks to the prejudice implied by the statement that we can only attain knowledge through words, the image is relegated to a decorative role or, at the most, an instrument of evangelisation of the illiterate. In the discipline of medieval art history, defective uses of iconography have led to question its validity as a tool for analysis, even after the systematizing task endeavoured by Erwin Panofsky. Iconography, however, has gained new momentum thanks largely to the creation of digital collections that require iconographic principles to facilitate the recovery of visual documents. The new technologies, however, have accentuated the semantic gap between image and word, and nuanced the value of iconography, combined with indexing techniques based on controlled vocabularies and thesauri. In addition, a critical survey has been made of the most interesting projects which have undertaken the task of indexing the medieval art. Finally, it is argued that migration of iconography into the Web can be the hard core that allows medieval art history to step forward and fully enter into the domain of digital humanities.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2014-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7203/MCLM.1.3796","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71305027","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}
This article offers a full updating of the biographical records of the writer Joan Rois de Corella (1435-1497) and his family: his great-grandparents, grandparents, parents, siblings and children. All data are presented in a systematic way, generation by generation, and a new vision of the writer himself is offered. In its documentary section, 432 documents are transcribed or summarised, dating from 1373 to 1516. A broad range of new archival data is presented; other previously known data are corrected or improved. Some examples: Joan Rois de Corella had four children: Magdalena (born 1459), Maria, Joan and Estefania, the latter two by Isabel Martinez de Vera. Joan Rois de Corella was widely known and respected amongst the citizens of Valencia; he was frequently sought out for positions of trust, such as being the executor of wills. New documents testify to the long period over which Corella preached, and details are given of this, particularly his preaching activities in his last years. Further data are given on his relationship with the Borja family. Magdalena Rois de Corella, his daughter, was married to another writer, son of the notary Pero Perez: Miquel Perez ?who, therefore, turns out to be Corella?s son-in-law. Miquel Perez?s library had more than 75 books, among which several new Italian titles stand out. New documentation is given of business transactions by Isabel Martinez de Vera regarding copies of Joan Rois de Corella?s translation of the Vita Christi by Ludolph of Saxony. The date on which jurats of the city of Valencia licensed Joan Rois de Corella, the writer?s son, to print a ?Passis? is also modified. Finally, an exact localization is given for the respective houses in which Joan Rois de Corella, Dalfina Rois de Corella and Isabel Martinez de Vera and her children lived. In a significant part of this documentation, new information is provided which affects our knowledge of other important characters in fifteenth-century Valencia, such as Bernat Fenollar, Joan Escriva, Berenguer Mercader, Jaume Roig, Lluis de Castellvi, Guillem Ramon de Vila-rasa and Elionor Flors de Vallterra.
本文全面更新了作家琼·罗伊斯·德·科雷拉(1435-1497)及其家庭的传记记录:他的曾祖父母、祖父母、父母、兄弟姐妹和子女。所有的数据都以一种系统的方式呈现，一代又一代，并提供了作者自己的新视野。在它的文献部分，432份文件被转录或总结，时间从1373年到1516年。介绍了范围广泛的新档案数据;其他先前已知的数据被更正或改进。一些例子:Joan Rois de Corella有四个孩子:Magdalena(生于1459年)，Maria, Joan和Estefania，后两个孩子是Isabel Martinez de Vera生的。Joan Rois de Corella在瓦伦西亚市民中广为人知，备受尊敬;他经常被委以重任，比如遗嘱执行人。新的文件证明科雷拉布道的时间很长，并给出了细节，特别是他最后几年的布道活动。还提供了关于他与Borja家族关系的进一步资料。他的女儿玛格达莱娜·罗斯·德·科雷拉嫁给了另一位作家，即公证人佩罗·佩雷斯的儿子米克尔·佩雷斯，因此，米克尔·佩雷斯就是科雷拉。年代的女婿。纳法勒斯?意大利的图书馆有75本以上的书，其中几本新的意大利书非常引人注目。伊莎贝尔·马丁内斯·德·维拉关于琼·罗斯·德·科雷拉的副本的商业交易的新文件?萨克森的鲁道夫翻译的《基督生活》。瓦伦西亚市的陪审团哪天给作家琼·罗斯·德·科雷拉颁发了执照?他的儿子，印一个?也是修改过的。最后，作者给出了Joan Rois de Corella、Dalfina Rois de Corella和Isabel Martinez de Vera及其孩子居住的各自住宅的精确定位。在这个文档的重要部分，提供了新的信息，这些信息影响了我们对15世纪瓦伦西亚其他重要人物的认识，如Bernat Fenollar, Joan Escriva, Berenguer Mercader, Jaume Roig, Lluis de Castellvi, Guillem Ramon de Vila-rasa和Elionor Flors de Vallterra。
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A mythologist’s study of the Graal cultural tradition. Using Francesco Zambon’s recent Metamorfosi del Graal as his starting point, the author undertakes an analysis on the importance of the Graal in Western mystical, philosophical and literary traditions throughout time, from the impact of the medieval Graal stories on the matiere de Bretagne and beyond (Troyes, Boron), to the appeal of this myth in modern times, including its occurrence on Richard Wagner, Martin Heidegger, Simone Weil, Italo Calvino and Umberto Eco.
神话学家对格拉尔文化传统的研究。以弗朗西斯科·赞邦最近的《格拉尔变形记》为出发点，作者分析了格拉尔在西方神秘主义、哲学和文学传统中的重要性，从中世纪格拉尔故事对布列塔尼matiere de Bretagne及其他地区(特鲁瓦、伯伦)的影响，到现代这个神话的吸引力，包括它在理查德·瓦格纳、马丁·海德格尔、西蒙娜·薇依、伊塔洛·卡尔维诺和翁贝托·艾柯身上的出现。
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Hagiographic texts establish a narrative template for shame, avoidance of shame, what looks like death wish in courtly literature. Scenes of shame and its avoidance through death are adapted and folded into romance and other genres and affect how characters behave and are described and gendered. This article treats saints’ lives as literary texts and identifies the language used for female saints in the Old French and Old Occitan versions of the Legenda aurea and uses that codified language to compare the hagiographic text with a vernacular Jewish narrative: the Occitan Romans de la reina Ester , written in octosyllabic rhyming couplets by Crescas Caslari in 1327. This codification gives insight into how widespread such language and description became by the fourteenth century across language and culture barriers. Both the hagiographic texts and the romance are read as narrative, regardless of their intent for the original audiences. Acknowledging the deep-seated literary tradition of shame in a woman’s bodied existence and attempts to avoid that shame through dying, it is argued that both narratives have such substance and language in common that there may be crossover between the readers or writers of Jewish and Christian contemporary texts. This article first establishes the critical approaches to the lives of the saints and the death wish more generally. Secondly, it shows one pattern of the death wish in the French and Occitan Golden legend, that of a desire for death to avoid shame. Thirdly, it presents the language of the death wish for a female character folded into a Jewish text and how the similarities between Christian and Jewish description of such a character could imply an even more widespread sharing of saints’ lives than just among a Christian community.
圣徒传记文本建立了羞耻的叙事模板，避免羞耻，在宫廷文学中，这看起来像是死亡的愿望。羞耻的场景和通过死亡来避免羞耻的场景被改编并融入到浪漫和其他类型中，并影响角色的行为、描述和性别。这篇文章将圣徒的生活作为文学文本，并确定了古法语和古欧西坦版本的《传说》中女性圣徒使用的语言，并使用这种编纂的语言将圣徒传记文本与犹太方言叙事进行比较:1327年由Crescas Caslari用八音节押韵的对联写的《欧西坦罗马人de la reina Ester》。这种编纂让我们了解到，到14世纪，这种语言和描述是如何跨越语言和文化障碍而广泛传播的。无论是圣徒的文本还是浪漫的故事，都被视为叙事，而不管它们对原始观众的意图如何。承认女性身体存在的羞耻以及试图通过死亡来避免这种羞耻的根深蒂固的文学传统，有人认为，这两种叙事都有这样的实质和语言共同点，以至于在犹太和基督教当代文本的读者或作家之间可能存在交叉。这篇文章首先建立了对圣徒的生活和更普遍的死亡愿望的批判方法。其次，它显示了法国和欧西坦金色传说中死亡愿望的一种模式，即希望死亡以避免羞耻。第三，它展示了一个女性角色的死亡愿望的语言被折叠到一个犹太文本中，以及基督教和犹太教对这样一个角色的描述之间的相似性如何暗示了圣徒生活的更广泛的分享，而不仅仅是在基督教社区中。
{"title":"Vashti and the Golden legend: A pagan queen turns saint?","authors":"Lisa Shugert Bevevino","doi":"10.7203/MCLM.1.3178","DOIUrl":"https://doi.org/10.7203/MCLM.1.3178","url":null,"abstract":"Hagiographic texts establish a narrative template for shame, avoidance of shame, what looks like death wish in courtly literature. Scenes of shame and its avoidance through death are adapted and folded into romance and other genres and affect how characters behave and are described and gendered. This article treats saints’ lives as literary texts and identifies the language used for female saints in the Old French and Old Occitan versions of the Legenda aurea and uses that codified language to compare the hagiographic text with a vernacular Jewish narrative: the Occitan Romans de la reina Ester , written in octosyllabic rhyming couplets by Crescas Caslari in 1327. This codification gives insight into how widespread such language and description became by the fourteenth century across language and culture barriers. Both the hagiographic texts and the romance are read as narrative, regardless of their intent for the original audiences. Acknowledging the deep-seated literary tradition of shame in a woman’s bodied existence and attempts to avoid that shame through dying, it is argued that both narratives have such substance and language in common that there may be crossover between the readers or writers of Jewish and Christian contemporary texts. This article first establishes the critical approaches to the lives of the saints and the death wish more generally. Secondly, it shows one pattern of the death wish in the French and Occitan Golden legend, that of a desire for death to avoid shame. Thirdly, it presents the language of the death wish for a female character folded into a Jewish text and how the similarities between Christian and Jewish description of such a character could imply an even more widespread sharing of saints’ lives than just among a Christian community.","PeriodicalId":40390,"journal":{"name":"Magnificat Cultura i Literatura Medievals","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2014-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7203/MCLM.1.3178","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71304823","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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