T. S. Who
T. S. Who
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T.S.谁
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发表时间：
1976
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通讯作者：
F. Hall
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作者：
F. Hall
.摘要结合酷儿理论和生态批评，本文重新评估了杰弗里·乔叟的最短的诗，通常被称为“亚当Scriveyn”的历史手稿背景，同时也重新考虑文本的各种后世在当代学术，包括其在印刷版和数字媒体的表现。关注诗歌在时间上的物质变化，需要密切关注中世纪文本生产的同性社会网络，伊丽莎白·弗里曼对时间规范性的批判有助于说明诗人乔叟、伦敦的抄写员亚当·平克赫斯特和早期抄写员约翰·雪莉是如何“被包围”成一个奇怪的集体的，他们通过亲密的相互依赖形式联系在一起。酷儿的相关性反过来又构建了当代中世纪学者通过诗歌本身构建的文学和情感网络。手稿学者和文学评论家都在时间上扮演了卡罗琳·丁肖所说的“奇怪的触摸”，居住在一个时间性的地方，这个时间性包含了文本以前的读者和编辑，甚至是动物的身体，它献出了生命来产生原始文本所写的羊皮纸。这项分析检查了Pynkhurst笔迹在中世纪晚期英语抄写员网站上的视觉呈现以及中世纪晚期英格兰图书制作者、所有者和用户合作项目网络的交互式在线界面。以生态理论家斯泰西阿莱莫和简班尼特的“跨身体现实”和“分布式代理”为例，数字媒体不仅（重新）赋予文本对象以生命，而且还展示了文本如何通过人类参与者和超越人类的力量在网络环境中传播。
. Abstract Integrating queer theory and ecocriticism, this essay reassesses the historical manuscript contexts of Geoffrey Chaucer’s shortest poem, commonly known as ‘Adam Scriveyn,’ while also reconsidering the text’s varied afterlives in contemporary scholarship, including its manifestations in printed editions and digital media. Attending to the material transformations of the poem across time invites close scru-tiny of the medieval homosocial networks of textual production, and Elizabeth Free-man’s critique of chrononormativity helps to illustrate how the poet Chaucer, the London scrivener Adam Pynkhurst, and early copyist John Shirley are ‘engrouped’ into a queer collective bound together by intimate forms of co-dependency. Queer rela-tionality in turn structures the literary and affective networks that contemporary medievalists construct by means of the poem itself. Both manuscript scholars and literary critics enact what Carolyn Dinshaw calls a ‘queer touch’ across time, inhab-iting a temporality that incorporates the text’s previous readers and editors and even the animal body that gave its life to produce the parchment upon which the orginary text was written. This analysis examines the visual presentation of Pynkhurst’s handwriting on the website Late Medieval English Scribes and interactive online interface of the collaborative project Networks of Book Makers, Owners and Users in Late Medieval England . Instantiating the ‘trans-corporeality’ and ‘distributed agency’ of ecotheorists Stacy Alaimo and Jane Bennett, digital media not only (re)animates textual objects but also demonstrates how texts circulate through networked environments by means of human participants and more-than-human forces.