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This volume explores and calls into question certain commonly held assumptions about the nature of writing and technological advancement in the Islamic tradition. In particular, it challenges the idea that mechanical print naturally and inevitably displaces handwritten texts as well as the notion that the so-called transition from manuscript to print is unidirectional.

Some manuscripts have been produced for the personal use of their scribe only whereas a number of them are valued as autographs, most have been ephemeral and were discarded. This volume introduces a number of such manuscripts in a comparative perspective, from Japan to Europe through the Middle East. The main concern is the possibility of identifying the typical features of such manuscripts in terms of materials, visual organisation and content.

Crossing disciplinary and regional boundaries, this book takes a comparative perspective on standardisation tendencies in Arabic-based writing systems across three continents. 12 distinct manuscript traditions are presented in situations where different cultures, languages and scripts interact, yielding a wide range of case studies. A wealth of new data gives insight into the factors underlying uniformity and variation in manuscript cultures.

Throughout history, manuscripts have been made and used for religious, artistic, and scientific performances, and this practice continues in most cultures today. By focusing on the role manuscripts have in different kinds of performances, this volume contributes to the evolving field of investigating written artefacts and their functions. The collected essays regard manuscripts as points of intersection where textual, material, and performative aspects converge. The contributors analyse manuscripts in their forms and functions as well as their positioning in the performances for which they were made. These aspects unfold across the volume's three sections, examining how manuscripts are (1) used backstage, for preparing and giving instructions for performances; (2) taken onstage, contributing to the enactment of performances; and (3) performers in their own right, producing an effect on the audience. The diversified, interdisciplinary, and innovative methodologies of the included papers carry great potential to expand the traditional approaches of manuscript studies and find application outside the contributors' respective fields. ; Throughout history, manuscripts have been made and used for religious, artistic, and scientific performances, and this practice continues in most cultures today. By focusing on the role manuscripts have in different kinds of performances, this volume contributes to the evolving field of investigating written artefacts and their functions. The collected essays regard manuscripts as points of intersection where textual, material, and performative aspects converge. The contributors analyse manuscripts in their forms and functions as well as their positioning in the performances for which they were made. These aspects unfold across the volume's three sections, examining how manuscripts are (1) used backstage, for preparing and giving instructions for performances; (2) taken onstage, contributing to the enactment of performances; and (3) performers in their own right, producing an effect on the audience. The diversified, interdisciplinary, and innovative methodologies of the included papers carry great potential to expand the traditional approaches of manuscript studies and find application outside the contributors' respective fields.

The present volume focuses on the colophons found in several pothi manuscripts from Central, South and South East Asia. Its contributions discuss the colophons' defining features, thus exposing their 'syntax', focusing particularly on the tracing of recurring patterns. The information extrapolated from colophons is further analysed to obtain a better understanding of these distinct manuscript cultures.

Medieval manuscripts combining multiple languages, whether in fusion or in collision, provide tangible evidence for linguistic and cultural interactions. Such encounters are documented in this volume through case studies from across Europe and Asia, all the way from Ireland to Japan, exploring the creativity of medieval language use as a function of cross-cultural contact and fluidity in this key period of nation-formation (9th-14th centuries CE).

Manuscript albums are oftentimes contradictory objects: ephemeral yet monumental, coherent yet inviting change. Collecting items made by others, owners form their albums as representations of their selves, their worlds, and their traditions. The volume's contributors – who come from musicology, European history, English literary studies, and Islamic art history – explore a set of these challenging manuscripts while addressing questions of manuscript studies through their respective disciplinary lenses. The albums under investigation range from Early Modern Stammbücher, or alba amicorum, to albums assembled jointly by nineteenth-century cultural elites, and from muraqqaʿs of the Persianate world to English and North American friendship albums, including some kept by women. This book is the first contribution to the comparative study of manuscript albums, focusing on their materiality and analysing the practices of all those involved in making and using them. Moreover, the collection introduces this hard-to-grasp type of written artefact to the field of cross-disciplinary manuscript studies and suggests albums as a touchstone for manuscriptological theories and terminologies.; Manuscript albums are oftentimes contradictory objects: ephemeral yet monumental, coherent yet inviting change. Collecting items made by others, owners form their albums as representations of their selves, their worlds, and their traditions. The volume's contributors – who come from musicology, European history, English literary studies, and Islamic art history – explore a set of these challenging manuscripts while addressing questions of manuscript studies through their respective disciplinary lenses. The albums under investigation range from Early Modern Stammbücher, or alba amicorum, to albums assembled jointly by nineteenth-century cultural elites, and from muraqqaʿs of the Persianate world to English and North American friendship albums, including some kept by women. This book is the first contribution to the comparative study of manuscript albums, focusing on their materiality and analysing the practices of all those involved in making and using them. Moreover, the collection introduces this hard-to-grasp type of written artefact to the field of cross-disciplinary manuscript studies and suggests albums as a touchstone for manuscriptological theories and terminologies.

Andronikos Kallistos, a leading personality among the Greeks who participated in Italian Humanism, was a scholar, teacher and copyist of manuscripts. This book investigates Kallistos' scholarly and scribal activity by adopting a synergistic approach to historical, philological, codicological and paleographic data, in order to shed light on his role at the time of the transfer of Greek cultural heritage to Italy and, hence, throughout Europe.

The ancient Tamil poetic corpus of the Cankam is at the same time a national treasure and a common battle ground for linguists and historians alike. Going back to oral predecessors from about the early first millennium, it became part of a canon, slowly fell into near oblivion and was finally rediscovered and printed in the 19th century. The present study follows up the complex historical process of its transmission through 2000 years.

International audience ; This talk examines the case of the public shaming of Assistant Director to the Astronomical Bureau Han Yi 韓翊 upon the debate stage at the Cao-Wei court in 226 CE. In short, Han Yi makes it through rounds of testing, deliberation, and recommandation with his solution to the limits of the late Liu Hong's 劉洪 (fl. 167–206) Supernal Icon li ( Qianxiang li 乾象曆), but, on the day of the debate, one of Liu Hong's disciples shows him up with better eclipse predictions from a different version of his master's astronomical system. To place the event in context, I offer an overview of what we understand about the transmission of technical knowledge in this manuscript culture, of the suspicion harboured towards the written word by contemporary experts, of the transmission history of the Supernal Icon li across the war-torn political divides of the Three Kingdoms (220–280), and of the reception of these events in the later histories of Shen Yue 沈約 (441–513) and Li Chunfeng 李淳風 (602–670).

International audience ; This talk examines the case of the public shaming of Assistant Director to the Astronomical Bureau Han Yi 韓翊 upon the debate stage at the Cao-Wei court in 226 CE. In short, Han Yi makes it through rounds of testing, deliberation, and recommandation with his solution to the limits of the late Liu Hong's 劉洪 (fl. 167–206) Supernal Icon li ( Qianxiang li 乾象曆), but, on the day of the debate, one of Liu Hong's disciples shows him up with better eclipse predictions from a different version of his master's astronomical system. To place the event in context, I offer an overview of what we understand about the transmission of technical knowledge in this manuscript culture, of the suspicion harboured towards the written word by contemporary experts, of the transmission history of the Supernal Icon li across the war-torn political divides of the Three Kingdoms (220–280), and of the reception of these events in the later histories of Shen Yue 沈約 (441–513) and Li Chunfeng 李淳風 (602–670).

Since early times Christians devised solutions for harmonizing and navigating the Four Gospels, coping with four only partly matching narratives of the Life of Christ. The most sophisticated device were the 'Canon Tables' attributed to Eusebius. Prefaced to the Gospels, the Tables appear since the earliest examples within finely decorated architectural frames, which became a most typical subject of late antique and medieval book art.