From text to texture: Approaching early-modern continuities of medieval textual tradition through the manuscripts of Esther Inglis (1571-1624).

从文本到纹理：通过埃丝特·英格利斯（Esther Inglis，1571-1624）的手稿探讨中世纪文本传统的早期现代连续性。

• 批准号: 2615883
• 金额: --
• 依托单位: University of Kent
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2021
• 资助国家: 英国
• 起止时间: 2021 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2615883
• 关键词: text; texture; Approaching; early; modern

In the history of the relationship between word and image, the Reformation of early-modern Britain offers a particularly important moment in its separation of text from icon. Reformation polemic emphasises a belief in the Word, the unadorned Biblical text, as the fundamental vehicle to religious understanding. Over the course of the sixteenth century, reformers warn of the idolatry of venerating the "graven image" prohibited in the Second Commandment; images are destroyed, church walls are whitewashed, and narrative stained glass replaced, in subservience to a new emphasis on the unembellished text. These attitudes, however, exist in stark contrast to the complex interaction of word and image which we find in late-medieval manuscript culture. The increase of print production in the fifteenth century begins the process of destabilising this manuscript culture, concurrent with the spread of early Protestant doctrine across Europe. It seems intriguingly fitting that a mechanics of print which isolates a text into moveable type, and physically separates this text from any engraved or woodcut illustration which might accompany it, should become the vehicle for a religious outlook which increasingly emphasises the unadorned text over the decorative image. This project will consider how a Reformed focus on word over image converses with early-modern textual production, and how this implicates the future of a manuscript culture which has roots in the image-based devotion of late-medieval Catholicism.The endurance of a scribal tradition beyond the rise of print has been the focus of important studies by David McKitterick, Julia Boffey, Peter Beal and, most recently, Aditi Nafde, among others. Rarely, if at all, however, do such studies acknowledge the complexities of tradition and medieval scribal heritage at play in the manuscripts of Esther Inglis (1571-1624), whose work will form the epicentre of my doctoral study. The daughter of French émigrés, Inglis was a celebrated Scottish Huguenot calligrapher, and one of very few professional female scribes within her lifetime. At least fifty-eight of Inglis' manuscripts survive today, many of which were presented as gift-books to Protestant recipients in hope of patronage. In an age where the printed text is fast becoming the norm, these gift-books bring together an astonishing range of calligraphic scripts, combined with emblematic drawings, imitation of the printed word, and painted illumination, all the product of Inglis' own hand. Inglis was highly praised during her own lifetime; James VI and I, with whose court Inglis and her husband were both associated, deemed her "the most exquisite writer in the realme, her skills uniquely unparalleled. The academic attention which Inglis has received in recent years from Georgiana Ziegler, Susan Frye and Helen Smith has likewise presented Inglis as an early-modern female artist with whom few other comparisons can be drawn. Showcasing Inglis in this way, however, overlooks the multiple textual and artistic networks in which her manuscripts are situated. Inglis' work is exceptional, but exceptional rather for her combination and, most importantly, her subversion, of the individual traditions of script, print, drawing, illumination and textile craft. My doctoral project will use Inglis' work as a material lens through which to approach the continuity of these late-medieval manuscript and artistic conventions.

在文字与图像的关系史上，近代早期的英国宗教改革是文本与图标分离的一个特别重要的时刻。宗教改革的辩论强调对上帝的信仰，即不加修饰的圣经文本，是宗教理解的基本载体。在16世纪的过程中，改革者警告崇拜第二诫所禁止的“雕刻的形象”的偶像崇拜；图像被摧毁，教堂墙壁被粉刷，叙事彩色玻璃被取代，服从于对未经修饰的文本的新强调。然而，这些态度与我们在中世纪晚期手稿文化中发现的文字和图像的复杂相互作用形成鲜明对比。15世纪印刷产量的增加开始了破坏这种手稿文化的过程，与此同时，早期新教教义在欧洲的传播。有趣的是，印刷技术将文本分离成可移动的字体，并将文本与任何可能伴随的雕刻或木刻插图物理分离，应该成为一种宗教观点的载体，这种观点越来越强调未经修饰的文本而不是装饰图像。本项目将考虑改革宗对文字而非图像的关注如何与早期现代文本生产相对应，以及这如何影响手稿文化的未来，手稿文化植根于中世纪晚期天主教基于图像的奉献。在印刷术兴起之后，抄写传统的延续一直是大卫·麦基特里克（David McKitterick）、朱莉娅·博菲（Julia Boffey）、彼得·比尔（Peter Beal）以及最近的阿迪蒂·纳夫德（Aditi Nafde）等人重要研究的焦点。然而，这些研究很少承认传统的复杂性，以及在埃斯特·英格利斯（Esther Inglis, 1571-1624）手稿中发挥作用的中世纪抄写遗产，她的作品将成为我博士研究的中心。作为法国人的女儿，英格利斯是一位著名的苏格兰胡格诺派书法家，也是她一生中为数不多的职业女性书法家之一。至少有58份英语手稿保存至今，其中许多被作为礼物赠送给新教接受者，希望得到他们的赞助。在一个印刷文字迅速成为常态的时代，这些礼品册汇集了惊人的书法文字，结合象征性的绘画，模仿印刷文字和彩绘照明，所有这些都是英国人自己的作品。英格利斯生前受到高度赞扬；英格丽斯和她的丈夫都与詹姆斯六世和我的宫廷有关，他们认为她是“现实中最精致的作家，她的技巧无与伦比。”近年来，英格利斯受到乔治亚娜·齐格勒、苏珊·弗莱和海伦·史密斯等人的学术关注，同样把英格利斯描绘成一位很少有人能与之相提并论的早期现代女性艺术家。然而，以这种方式展示英语，忽略了她的手稿所处的多重文本和艺术网络。英格利斯的作品很特别，但特别之处在于她的结合，最重要的是，她对文字、印刷、绘画、照明和纺织工艺等个人传统的颠覆。我的博士项目将使用英格利斯的作品作为材料透镜，通过它来接近这些中世纪晚期手稿和艺术惯例的连续性。