FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W582553514> ?p ?o ?g. }

• W582553514 endingPage "89" @default.
• W582553514 startingPage "88" @default.
• W582553514 abstract "88ARTHURIANA The book contains a bibliography of 60 pages, indices of papal documents and biblical passages and a general index. There are also eight black and white illustrations with extensive captions (between pp. 140 and 141 and also p. 327 for 'caption' to plate 8) illustrating the general themes of the book. JOHN 0. WARD University of Sydney Keith busby, WordandImage in Arthurian Literature. New York: Garland, 1996. Pp. 392. isbn: 0-8153-2050—7. $75. This collection of articles teflects various approaches to the topic 'Word and Image,' the title of the session in which they were presented at the XVIIth International Congress ofthe Arthurian Society (Bonn, 1993). Most treat the relationship between the text and the visual material which accompanies it; several authors study the text with respect to its cultural context. Four authors focus on the Lancelot-Grail cycle. Susan A. Blackman's ? Pictorial Synopsis ofArthurian Episodes for Jacques d'Armagnac, Duke ofNemours' provides exhaustive supporting information for her argument that Armagnacs collection of Arthurian romances (Paris BN 112, 113-116, and 117-120) constitute 'an exhaustive and largely non-repetitive visual synopsis of Arthurian episodes that emphasizes the completeness of the narrative' (p. 3). Carol R. Dover, in 'Imagines Historiarum: Text and Image in the French Prose Lancelot,' examines how several manuscripts visually present the episode of the split shield. Dover convincingly argues that the visual representation ofthe split shield enables the reader to understand the personal, sentimental importance of the shield for Lancelot as well as the written 'objective' story which the scribes recorded at Arthur's request. As the title suggests, Alison Stones's 'The Illustrations of BN, fr. 95 and Yale 229: Prolegomena to a Comparative Analysis' seems preliminary to an eventual analysis. Her detailed, technical discussion of the two texts reveals a great deal ofexperience with the topic and presents a useful method for approaching such texts. Fourth, Lori Walters's 'Wonders and Illuminations: Pierart douThelt and the Queste delSaint Graal,' focuses on manuscript Paris Arsenal 5218 to show how the illustrations in a text can convey the place and historical moment which produced it. Walters argues that this manuscript's unique combination of a full version ofthe Vulgate Questewith historical annals reflects the theological interests of Pierart dou Tielt and fourteenth-century Tournai. Two articles treat works by Chrétien de Troyes: Carleton W Carroll's 'Text and Image: The Case oí Erec et Enide' and Michèle Vauthier's 'The Roi Pescheor and Iconographie Implications in the Conte del Graal.' Carroll examines the illustrations to two manuscripts oí Erec et Enide (Paris, BN 1376 and 24403) and concludes thar sometimes the illustrations follow the text closely and sometimes they do not, a conclusion that does not seem to make good use of Carroll's expertise with this romance. Vautiers discussion centers on the relationship between the iconography of Chretien's Conte del Graal and the spiritual state of Chretien's patron, Philippe REVIEWS89 d'Alsace. Vauthier's familiarity with the text, the Biblical traditions to which Chrétien likely refers, and medieval iconography make her discussion intriguing, though the quality of her prose often detracts from her ideas. Two other articles treat the Tristan story: Jacqueline Thibault Schaefer's 'The Discourse of the Figurai Narrative in the Illuminated Manuscripts of Tristan (1250— 1475),' and Stephanie Cain Van D'Elden's 'Discursive Illustrations in Three Tristan Manuscripts.' Schaefer's discussion attempts to fill a void she identifies in the study ofTristan manuscripts—insufficient analysis ofhow the illustrations 'narrate the myth (p. 175) and thus indicate reception of the romance. She concludes that at least a few episodes inspire illustrations which are specific to the romance: Tristan's madness, Iseut's attempt to have Brangien killed, the lovers' life in the forest, and the death of the lovers. Van D'Elden limits her examination to three manuscripts of the verse Tristan (Munich BS Cgm 51, London BL Add. 11619, and Cologne SHA W 88) and underscores how the visual messages transmitted through the illustrations do not always match the suggestions ofthe written text. She concludes: 'the viewers ofthese three pictorial cycles could choose an interpretation based on their own understanding ofthe written..." @default.
• W582553514 created "2016-06-24" @default.
• W582553514 creator A5014313603 @default.
• W582553514 date "1998-01-01" @default.
• W582553514 modified "2023-10-17" @default.
• W582553514 title "Word and Image in Arthurian Literature by Keith Busby" @default.
• W582553514 doi "https://doi.org/10.1353/art.1998.0034" @default.
• W582553514 hasPublicationYear "1998" @default.
• W582553514 type Work @default.
• W582553514 sameAs 582553514 @default.
• W582553514 citedByCount "0" @default.
• W582553514 crossrefType "journal-article" @default.
• W582553514 hasAuthorship W582553514A5014313603 @default.
• W582553514 hasConcept C124952713 @default.
• W582553514 hasConcept C142362112 @default.
• W582553514 hasConcept C166957645 @default.
• W582553514 hasConcept C17744445 @default.
• W582553514 hasConcept C185592680 @default.
• W582553514 hasConcept C199033989 @default.
• W582553514 hasConcept C199539241 @default.
• W582553514 hasConcept C2776359362 @default.
• W582553514 hasConcept C2779343474 @default.
• W582553514 hasConcept C49848784 @default.
• W582553514 hasConcept C52119013 @default.
• W582553514 hasConcept C55493867 @default.
• W582553514 hasConcept C74916050 @default.
• W582553514 hasConcept C94625758 @default.
• W582553514 hasConcept C95457728 @default.
• W582553514 hasConcept C98184364 @default.
• W582553514 hasConceptScore W582553514C124952713 @default.
• W582553514 hasConceptScore W582553514C142362112 @default.
• W582553514 hasConceptScore W582553514C166957645 @default.
• W582553514 hasConceptScore W582553514C17744445 @default.
• W582553514 hasConceptScore W582553514C185592680 @default.
• W582553514 hasConceptScore W582553514C199033989 @default.
• W582553514 hasConceptScore W582553514C199539241 @default.
• W582553514 hasConceptScore W582553514C2776359362 @default.
• W582553514 hasConceptScore W582553514C2779343474 @default.
• W582553514 hasConceptScore W582553514C49848784 @default.
• W582553514 hasConceptScore W582553514C52119013 @default.
• W582553514 hasConceptScore W582553514C55493867 @default.
• W582553514 hasConceptScore W582553514C74916050 @default.
• W582553514 hasConceptScore W582553514C94625758 @default.
• W582553514 hasConceptScore W582553514C95457728 @default.
• W582553514 hasConceptScore W582553514C98184364 @default.
• W582553514 hasIssue "3" @default.
• W582553514 hasLocation W5825535141 @default.
• W582553514 hasOpenAccess W582553514 @default.
• W582553514 hasPrimaryLocation W5825535141 @default.
• W582553514 hasRelatedWork W136924775 @default.
• W582553514 hasRelatedWork W2076528457 @default.
• W582553514 hasRelatedWork W2129745622 @default.
• W582553514 hasRelatedWork W2392456815 @default.
• W582553514 hasRelatedWork W2748952813 @default.
• W582553514 hasRelatedWork W2933608806 @default.
• W582553514 hasRelatedWork W3201994816 @default.
• W582553514 hasRelatedWork W3203795623 @default.
• W582553514 hasRelatedWork W4285183483 @default.
• W582553514 hasRelatedWork W4310549021 @default.
• W582553514 hasVolume "8" @default.
• W582553514 isParatext "false" @default.
• W582553514 isRetracted "false" @default.
• W582553514 magId "582553514" @default.
• W582553514 workType "article" @default.