A fresh approach to the works and manuscripts of this influential monk, whose writings synthesised some of the finest minds of the period. A thousand years and more ago, with Vikings ravaging the coastlines and the millennium drawing nigh, a monk named AElfric embarked on studies that would make him the most erudite, prolific, and influential author writing in English before Chaucer. What drove AElfric was no desire to leave his mark on history, however, but the belief that he held a treasure on which the temporal and eternal welfare of his contemporaries depended: knowledge of the rich moral teachings of the early Christian church. What he produced was an astonishing synthesis of some of the finest minds in history, conveyed with remarkable authorial transparency and an elegantly simple style. While there is much we know about AElfric, both from his own self-disclosure and the wealth of surviving manuscripts containing work by him, there is also much that muddies the waters: his feverish pace of simultaneous composition, his habit of reshaping and repurposing his writings, the staggering complexities of textual transmission, and competing scholarly interpretive voices. This volume seeks to take it all into account, setting forth a comprehensive picture of work and the manuscripts in which it may be found. Integrating scholars' best understanding to date and framing new avenues for inquiry, it offers a launching point for new research into this pivotal figure of early England. AARON J KLEIST is Professor of English at Biola University.

The method that's helped thousands in the U.S. and Japan learn Japanese successfully. The Japanese language has two basic writing systems, hiragana, and katakana, in addition to the one that uses Chinese characters or Kanji. This handy book teaches you a new mnemonic-based method to read and write the fundamental 92 hiragana and katakana characters. Along with its sister book: Japanese Kanji for Beginners it provides a complete introduction to written Japanese. Memorable picture mnemonics help you to learn the characters by associating their shapes and sounds with combinations of images and English words already familiar to you. Clear examples and engaging exercises offer opportunities to read, write, use and practice all 92 primary hiragana katakana characters, plus the remaining kana that stand for more complex sounds. Polish your knowledge with word searches, crossword puzzles, fill-in-the-blanks, timed recognition quizzes, and other engaging activities. The online media allows you to print out flashcards (featuring the same mnemonic images taught in the book) to help you review and practice, even while you are on the go. All media content is alternatively accessible on tuttlepublishing.com/downloadable-content.

In 1978, Congolese inventor David Wabeladio Payi (1958-2013) proposed a new writing system, called Mandombe. Since then, Mandombe has grown and now has thousands of learners in not only the Democratic Republic of Congo, but also France, Angola and many other countries. Drawing upon Ramon Sarro's personal friendship with Wabeladio, this book tells the story of Wabeladio, his alphabet and the creativity that both continue to inspire. A member of the Kimbanguist church, which began as an anticolonial movement in 1921, Wabeladio and his script were deeply influenced by spirituality and Kongo culture. Combining biography, art, and religion, Sarro explores a range of ideas, from the role of pilgrimage and landscape in Wabeladio's life, to the intricacies and logic of Mandombe. Sarro situates the creative individual within a rich context of anthropological, historical and philosophical scholarship, offering a new perspective on the relationships between imagination, innovation and revelation.

Five minutes a day is all it takes to begin learning Japanese! With Beginning Japanese Kanji Language Practice Pad, anyone can master the 334 basic kanji along with 1,000 frequently used words in just minutes a day! Ideal for beginning Kanji learners, this informative writing pad-style workbook was designed for students preparing for the JLPT N5 and AP Japanese Exams. Each sheet introduces a new character in bold, easy-to-read type, along with its pronunciation, meanings, stroke order, and related vocabulary. After studying the character and its compound forms, users can tear off the sheet and practice writing these in the writing boxes provided. These sheets make it easy to learn the correct stroke order; in just five minutes a day, users of all ages will be well on their way to writing Japanese like a native! This handy kit includes: A 16 page portable study book that lists all 334 Japanese characters and associated vocabulary Mnemonic visual aids to enhance comprehension 336 page double-sided workbook for writing practice

This book, first published in 2003, presents a detailed survey of all book scripts in use in western and central Europe from c.1100 to c.1530 (with the exception of Humanistic script). This period has been poorly served in almost all other palaeographical handbooks. By adopting a largely new classification of scripts based on objective criteria, which incorporates many of the terms currently in use, this book aims to end the confusion which has hitherto obscured the study of late-medieval handwriting. It is based upon an examination of a very large number of dated specimens, and is thus the first survey to take full advantage of the incomparable palaeographical resource provided by the Catalogues of Dated Manuscripts. The text is illustrated throughout with 600 drawings of letters and symbols. There are 160 actual-size reproductions providing datable specimens of all the scripts discussed, accompanied by partial transcriptions and palaeographical commentary.

This is a complete and easy-to-use guide for reading and writing traditional Chinese characters. Reading and Writing Chinese has been the leading text for foreign students and teachers of the Chinese writing system since it was first published. This completely revised edition draws on the lessons learnt from the use of the book in classrooms so as to provide a more convenient and up-to-date introduction to written Chinese. Over 1,100 new combinations of characters have been added, increasing the total vocabulary significantly to about 4,500 items. There are also new notes on usage to give students insight into the contemporary state of the Chinese language. The student's ability to read Chinese and write Chinese are reinforced throughout. For each of the basic 1,062 characters, the pronunciation, definition and derivation are given, with examples of the use of most words and a chart showing how to write each character. Memorization tips and cautionary cross-reference to look-alike characters are also provided, as well as notes to help clarify those overlooked aspects of the Chinese writing system. Key features of this book: The Student's 1,020 List and the Official 2,000 List. Over 2,000 characters and 4,500 vocabulary items. Pronunciations given in standard Hanyu Pinyin Ronamized form Memorization hints and stroke-order diagrams. Hong Kong/Taiwan and China/Singapore forms. Traditional and modern radical systems. The best-selling student's guide

Decades after Michael Ventris deciphered Linear B and showed that its language was Greek, nearly one-sixth of its syllabic signs' sound-values are still unknown. This book offers a new approach to establishing these undeciphered signs' possible values. Analysis of Linear B's structure and usage not only establishes these signs' most likely sound-values - providing the best possible basis for future decipherments - but also sheds light on the writing system as a whole. The undeciphered signs are also used to explore the evidence provided by palaeography for the chronology of the Linear B documents and the activities of the Mycenaean scribes. The conclusions presented in this book therefore deepen our understanding not only of the undeciphered signs but also of the Linear B writing system as a whole, the texts it was used to write, and the insight these documents bring us into the world of the Mycenaean palaces. A colour version of figures 5.1-5.4 of chapter 5 can be found under the 'Resources' tab.

This unique, ambitious and entertaining book presents twenty-nine scripts in detail and offers examples of a hundred more. Written in nontechnical prose and organized into brief but comprehensive sections, it will serve as a handy reference for world travelers, stamp collectors, and calligraphers, along with providing hours of reading enjoyment to those who are fascinated by the written symbol itself. The scripts covered here are from all over the world. A few, like Greek or the Cyrillic script used for Russian, may be familiar to readers of Western languages. But others may seem strange, such as Pakistan's Urdu, which is written in a style so fine that newspapers are not typeset but reproduced from pages laboriously written out by hand. Each of the script sections includes charts of the symbols, reading tips, forms of numerals, and other features that help explain how the language is written. Further enhanced with maps, illustrations, a glossary, and useful appendixes, Writing Systems of the World is a remarkably concise and organized look at what is perhaps mankind's greatest achievement, the written language.

A fresh interpretation of an enigmatic illumination and its contexts. The Ashburnham Pentateuch is an early medieval manuscript of uncertain provenance, which has puzzled and intrigued scholars since the nineteenth century. Its first image, which depicts the Genesis creation narrative, is itself a site of mystery; originally, it presented the Trinity as three men in various vignettes, but in the early ninth century, by which time the manuscript had come to the monastery at Tours, most of the figures were obscured by paint, leaving behind a single creator. In this sense, the manuscript serves as a kind of hinge between the late antique and early medieval periods. Why was the Ashburnham Pentateuch's anthropomorphic image of the Trinity acceptable in the sixth century, but not in the ninth? This study examines the theological, political, and iconographic contexts of the production and later modification of the Ashburnham Pentateuch's creation image. The discussion focuses on materiality, the oft-contested relationship between image and word, and iconoclastic acts as "embodied responses". Ultimately, this book argues that the Carolingian-era reception and modification of the creation image is consistent with contemporaneous iconography, a concern for maintaining the absolute unity of the Trinity, as well as Carolingian image theory following the Byzantine iconoclastic controversy. Tracing the changes in Trinitarian theology and theories of the image offers us a better understanding of the mutual influences between art, theology, and politics during Late Antiquity and the early Middle Ages.

The final section of the Montpellier Codex analysed in full for the first time, with major implications for late-medieval music. The Montpellier Codex (Bibliotheque interuniversitaire, Section Medecine, H.196) occupies a central place in scholarship on medieval music. This small book, packed with gorgeous gold leaf illuminations, historiated initials, and exquisite music calligraphy, is one of the most famous of all surviving music manuscripts, fundamental to understandings of the development of thirteenth- and fourteenth-century polyphonic composition. At some point in its historyan eighth section (fascicle) of 48 folios was appended to the codex: when and why this happened has long perplexed scholars. The forty-three works contained in the manuscript's final section represent a collection of musical compositions, assembled at a complex moment of historical change, straddling the historiographical juncture between the thirteenth and fourteenth centuries. This book provides the first in-depth exploration of the contents and contexts of the Montpellier Codex's final fascicle. It explores the manuscript's production, dating, function, and notation, offering close-readings of individual works, which illuminate compositionally progressive features of therepertoire as well as its interactions with existing musical and poetic traditions, from a variety of perspectives: thirteenth- and fourteenth-century music, art history, and manuscript culture. CATHERINE A. BRADLEY isan Associate Professor at the University of Oslo; KAREN DESMOND is Assistant Professor of Music at Brandeis University. Contributors: Rebecca A. Baltzer, Edward Breen, Sean Curran, Rachel Davies, Margaret Dobby, Mark Everist, Solomon Guhl-Miller, Anna Kathryn Grau, Oliver Huck, Anne Ibos-Auge, Eva M. Maschke, David Maw, Dolores Pesce, Alison Stones, Mary Wolinski

A smorgasbord of surprising, obscure, and exotic words

In this delightful encore to the national bestseller A Word A Day, Anu Garg, the founder of the wildly popular A Word A Day Web site (wordsmith.org), presents an all-new collection of unusual, intriguing words and real-life anecdotes that will thrill writers, scholars, and word buffs everywhere. Another Word A Day celebrates the English language in all its quirkiness, grandeur, and fun, and features new chapters ranging from ""Words Formed Erroneously"" and ""Red-Herring Words"" to ""Kangaroo Words,"" ""Discover the Theme,"" and ""What Does That Company Name Mean?"" In them, you'll find a treasure trove of curious and compelling words, including agelast, dragoman, mittimus, nyctalopia, quacksalver, scission, tattersall, and zugzwang. Each entry includes a concise definition, etymology, and usage example, interspersed with illuminating quotations.

Praise for a word a day

""Anu Garg's many readers await their A Word A Day rations hungrily. Now at last here's a feast for them and other verbivores. Eat up ""
--Barbara Wallraff, Senior Editor at "The Atlantic Monthly" and author of "Word Court"

""AWADies will be familiar with Anu Garg's refreshing approach to words: words are fun and they have fascinating histories.""
--John Simpson, Chief Editor, "Oxford English Dictionary"

This study explores the evidence for Chinese writing in the late Neolithic (3500-2000 BCE) and early Bronze Age (2000-1250 BCE) periods. Chinese writing is often said to have begun with little incubation during the late Shang period (c. 1300-1045 BCE) in the middle-lower Yellow River Valley area as a sudden independent invention. This explanation runs counter to evidence from Mesopotamia, Egypt, and Mesoamerica that shows that independent developments of writing generally undergo a protracted evolution. It also ignores archaeological data from the Chinese Neolithic and early Bronze Age that reveals the existence of signs comparable to Shang characters. Paola Dematte takes this data into account to address the issue of what writing is, and when, why, and how it develops, by employing a theory of writing that does not privilege language as a prime mover. It focuses instead on visual systems of communication as well as ideological and socio-economic developments as key elements that promote the eventual development of writing. To understand the processes that led to primary developments of writing, The Origins of Chinese Writing draws from the latest research on the early writing systems of Mesopotamia, Egypt, and Mesoamerica, and other forms of protowriting. The result is a novel and inclusive theoretical approach to the archaeological evidence, grammatological data, and textual sources, an approach that demonstrates that Chinese writing emerged out of a long process that began in the Late Neolithic and continued during the Early Bronze Age.

Egypt in the early Byzantine period was a bilingual country where Greek and Egyptian (Coptic) were used alongside each other. Historical studies along with linguistic studies of the phonology and lexicon of early Byzantine Greek in Egypt testify to this situation. In order to describe the linguistic traces that the language-contact situation left behind in individuals' linguistic output, Coptic Interference in the Syntax of Greek Letters from Egypt analyses the syntax of early Byzantine Greek texts from Egypt. The primary object of interest is bilingual interference in the syntax of verbs, adverbial phrases, clause linkage as well as in semi-formulaic expressions and formulaic frames. The study is based on a corpus of Greek and Coptic private letters on papyrus, which date from the fourth to mid-seventh centuries, originate from Egypt and belong to bilingual, Greek-Coptic, papyrus archives.

Academic and practitioner journals in fields from electronics to business to language studies, as well as the popular press, have for over a decade been proclaiming the arrival of the "computer revolution" and making far-reaching claims about the impact of computers on modern western culture. Implicit in many arguments about the revolutionary power of computers is the assumption that communication, language, and words are intimately tied to culture -- that the computer's transformation of communication means a transformation, a revolutionizing, of culture.
Moving from a vague sense that writing is profoundly different with different material and technological tools to an understanding of how such tools can and will change writing, writers, written forms, and writing's functions is not a simple matter. Further, the question of whether -- and how -- changes in individual writers' experiences with new technologies translate into large-scale, cultural "revolutions" remains unresolved.
This book is about the relationship of writing to its technologies. It uses history, theory and empirical research to argue that the effects of computer technologies on literacy are complex, always incomplete, and far from unitary -- despite a great deal of popular and even scholarly discourse about the inevitability of the computer revolution. The author argues that just as computers impact on discourse, discourse itself impacts technology and explains how technology is used in educational settings and beyond.
The opening chapters argue that the relationship between writing and the material world is both inextricable and profound. Through writing, the physical, time-and-space world of tools and artifacts is joined to the symbolic world of language. The materiality of writing is both the central fact of literacy and its central puzzle -- a puzzle the author calls "The Technology Question" -- that asks: What does it mean for language to become material? and What is the effect of writing and other material literacy technologies on human thinking and human culture? The author also argues for an interdisciplinary approach to the technology question and lays out some of the tenets and goals of technology studies and its approach to literacy.
The central chapters examine the relationship between writing and technology systematically, and take up the challenge of accounting for how writing -- defined as both a cognitive process and a cultural practice -- is tied to the material technologies that support and constrain it. Haas uses a wealth of methodologies including interviews, examination of writers' physical interactions with texts, think-aloud protocols, rhetorical analysis of discourse about technology, quasi-experimental studies of reading and writing, participant-observer studies of technology development, feature analysis of computer systems, and discourse analysis of written artifacts. Taken as a whole, the results of these studies paint a rich picture of material technologies shaping the activity of writing and discourse, in turn, shaping the development and use of technology.
The book concludes with a detailed look at the history of literacy technologies and a theoretical exploration of the relationship between material tools and mental activity. The author argues that seeing writing as an "embodied practice" -- a practice based in culture, in mind, "and" in body -- can help to answer the "technology question." Indeed, the notion of embodiment can provide a necessary corrective to accounts of writing that emphasize the cultural at the expense of the cognitive, or that focus on writing as only an act of mind. Questions of technology, always and inescapably return to the material, embodied reality of literate practice. Further, because technologies are at once tools for individual use and culturally-constructed systems, the study of technology can provide a fertile site in which to examine the larger issue of the relationship of culture and cognition.

First published in 1979, this work, by the greatest living authority on medieval palaeography, offers the most comprehensive and up-to-date account in any language of the history of Latin script. It contains a detailed account of the role of the book in cultural history from antiquity to the Renaissance and outlines the history of book illumination. By setting the development of Latin script in its cultural context, it provides an unrivalled introduction to the nature of medieval Latin culture.

This volume, with origins in a panel at the 2018 Celtic Conference in Classics, presents creative new approaches to epigraphic material, in an attempt to 'shake up' how we deal with inscriptions. Broad themes include the embodied experience of epigraphy, the unique capacities of epigraphic language as a genre, the visuality of inscriptions and the interplay of inscriptions with literary texts. Although each chapter focuses on specific objects and epigraphic landscapes, ranging from Republican Rome to early modern Scotland, the emphasis here is on using these case studies not as an end in themselves, but as a means of exploring broader methodological and theoretical issues to do with how we use inscriptions as evidence, both for the Greco-Roman world and for other time periods. Drawing on conversations from fields such as archaeology and anthropology, philology, art history, linguistics and history, contributors also seek to push the boundaries of epigraphy as a discipline and to demonstrate the analytical fruits of interdisciplinary approaches to inscribed material. Methodologies such as phenomenology, translingualism, intertextuality and critical fabulation are deployed to offer new perspectives on the social functions of inscriptions as texts and objects and to open up new horizons for the use of inscriptions as evidence for past societies.

An important aspect of the analysis of written language is to explain its relationship to spoken language. The volume focuses on how morphology influences forms of spelling. It brings together 8 papers, including a review of the historical development of German and Dutch orthography, a paper about the possibilities for marking morphological structure that exist in German spelling, and about the effects of such marking on the process of reading.

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. Why do we sign our names? How can a squiggle both enslave and liberate? Signatures often require a witness—as if the scrawl itself is not enough. What other kinds of beliefs and longings justify our signing practices? Signature addresses these questions as it roams from a roundtable on the Greek island of Syros, to a scene of handwriting analysis conducted in an English pub, from a wedding in Moscow, where guests sign the bride’s body, to a San Franciscan tattoo parlor interested in arcane forms. The signature’s history encompasses ancient handprints on cave walls, autograph hunters, the branding of slaves, metaphysical poetry, medical malpractice, hip-hop lyrics, legal challenges to electronic signatures, ice cores harvested from Greenland, and tales of forgery and autopens. Part cultural chronicle, part travelogue, Signature pursues the identifying marks made by people, animals, and planetary forces, revealing the stories and fantasies hidden in their signatures. Object Lessons is published in partnership with an essay series in The Atlantic.

This is a history of the formation of Arabic letters from the earliest styles to modern computer fonts. This book, abundantly illustrated with examples of Arabic handwriting, calligraphy, and typography, clearly presents the development of Arabic writing styles, from the beginning with reed pens to twenty-first century computerized typesetting. The author explains the importance of writing instruments and the surfaces onto which letters are inscribed, including the particular challenges introduced with the innovation of the printing press, and later the computer. "Arabic Writing" will interest not only those interested in the extraordinary history of writing, but also graphic designers, calligraphers, and visual artists, enabling an understanding of the development of existing styles, and providing a foundation from which new logotypes and character fonts can be designed.

Accessibly written, "Writing Systems: A Linguistic Approach" provides detailed coverage of all major writing systems of historical or structural significance with thorough discussion of structure, history, and social context as well as important theoretical issues. The book examines systems as diverse as Chinese, Greek, and Maya and each writing system is presented in the light of four major aspects of writing: history and development; internal structure; the relationship of writing and language; and sociolinguistic factors.

The volume is extensively illustrated and the glossary of technical terms, exercises, and further reading suggestions that accompany each chapter make "Writing Systems "a valuable resource for students in linguistics and anthropology.

The birth of the Greek alphabet marked a new horizon in the history of writing, as the vowelless Phoenician alphabet was borrowed and adapted to write vowels as well as consonants. Rather than creating a single unchanging new tradition, however, its earliest attestations show a very great degree of diversity, as areas of the Greek-speaking world established their own regional variants. This volume asks how, when, where, by whom and for what purposes Greek alphabetic writing developed. Anne Jeffery's Local Scripts of Archaic Greece (1961), re-issued with a valuable supplement in 1990, was an epoch-making contribution to the study of these issues. But much important new evidence has emerged even since 1987, and debate has continued energetically about all the central issues raised by Jeffery's book: the date at which the Phoenician script was taken over and adapted to write vowels with separate signs; the priority of Phrygia or Greece in that process; the question whether the adaptation happened once, and the resulting alphabet then spread outwards, or whether similar adaptations occurred independently in several paces; if the adaptation was a single event, the region where it occurred, and the explanation for the many divergences in local script; what the scripts tell us about the regional divisions of archaic Greece. There has also been a flourishing debate about the development and functions of literacy in archaic Greece. The contributors to this volume bring a range of perspectives to bear in revisiting Jeffery's legacy, including chapters which extend the scope beyond Jeffery, by considering the fortunes of the Greek alphabet in Etruria, in southern Italy, and on coins.

The scholarship and teaching of manuscript studies has been transformed by digitisation, rendering previously rarefied documents accessible for study on a vast scale. The Cambridge Companion to Medieval British Manuscripts orientates students in the complex, multidisciplinary study of medieval book production and contemporary display of manuscripts from c.600–1500. Accessible explanations draw on key case studies to illustrate the major methodologies and explain why skills in understanding early book production are so critical for reading, editing, and accessing a rich cultural heritage. Chapters by leading specialists in manuscript studies range from explaining how manuscripts were stored, to revealing the complex networks of readers and writers which can be understood through manuscripts, to an in depth discussion on the Wycliffite Bible.

Cultural history on a grand scale, this immensely readable book--the summation of decades of study by one of the world's great scholars of the book--is the story of writing from its very beginnings to its recent transformations through technology.
Traversing four millennia, Martin offers a chronicle of writing as a cultural system, a means of communication, and a history of technologies. He shows how the written word originated, how it spread, and how it figured in the evolution of civilization. Using as his center the role of printing in making the written way of thinking dominant, Martin examines the interactions of individuals and cultures to produce new forms of "writing" in the many senses of authorship, language rendition, and script.
Martin looks at how much the development of writing owed to practical necessity, and how much to religious and social systems of symbols. He describes the precursors to writing and reveals their place in early civilization as mnemonic devices in service of the spoken word. The tenacity of the oral tradition plays a surprisingly important part in this story, Martin notes, and even as late as the eighteenth century educated individuals were trained in classical rhetoric and preferred to rely on the arts of memory. Finally, Martin discusses the changes to writing wrought by the electronic revolution, offering invaluable insights into the influence these new technologies have had on children born into the computer age.

The first critical study of writing without language In recent years, asemic writing-writing without language-has exploded in popularity, with anthologies, a large-scale art exhibition, and flourishing interest on sites like tumblr, YouTube, Pinterest, and Instagram. Yet this burgeoning, fascinating field has never received a dedicated critical study. Asemic fills that gap, proposing new ways of rethinking the nature of writing. Pioneered in the work of creators such as Henri Michaux, Roland Barthes, and Cy Twombly, asemic writing consolidated as a movement in the 1990s. Author Peter Schwenger first covers these "asemic ancestors" before moving to current practitioners such as Michael Jacobson, Rosaire Appel, and Christopher Skinner, exploring how asemic writing has evolved and gained importance in the contemporary era. Asemic includes intriguing revelations about the relation of asemic writing to Chinese characters, the possibility of asemic writing in nature, and explanations of how we can read without language. Written in a lively style, this book will engage scholars of contemporary art and literary theory, as well as anyone interested in what writing was and what it is now in the process of becoming.

What has fifteenth-century England to do with the Renaissance? By challenging accepted notions of 'medieval' and 'early modern' David Rundle proposes a new understanding of English engagement with the Renaissance. He does so by focussing on one central element of the humanist agenda - the reform of the script and of the book more generally - to demonstrate a tradition of engagement from the 1430s into the early sixteenth century. Introducing a cast-list of scribes and collectors who are not only English and Italian but also Scottish, Dutch and German, this study sheds light on the cosmopolitanism central to the success of the humanist agenda. Questioning accepted narratives of the slow spread of the Renaissance from Italy to other parts of Europe, Rundle suggests new possibilities for the fields of manuscript studies and the study of Renaissance humanism.