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Simon C. Thomson

B’s original in a sixteenth-century hand. The endings to Beowulf and Judith are therefore briefly discussed at the end of this section on the density of his work. Since Kiernan’s argument about the palimpsest folio, suggesting that it represents a late revision of the text of the poem by Scribe

Palimpsest Codex Sinaiticus. 4. Jh. Leipzig, Universitätsbibliothek, Cod. gr. I....

Communal Creativity in the Making of the 'Beowulf' Manuscript

Towards a History of Reception for the Nowell Codex

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Simon C. Thomson

In Communal Creativity in the Making of the ‘Beowulf’ Manuscript, Simon Thomson analyses details of scribal activity to tell a story about the project that preserved Beowulf as one of a collective, if error-strewn, endeavour and arguing for a date in Cnut’s reign. He presents evidence for the use of more than three exemplars and at least two artists as well as two scribes, making this an intentional and creative re-presentation uniting literature religious and heroic, in poetry and in prose.

He goes on to set it in the broader context of manuscript production in late Anglo-Saxon England as one example among many of communities using old literature in new ways, and of scribes working together, making mistakes, and learning.

R. Fuchs

Verblaßte und radierte Schriften ( Palimpsest) können mit der Infrarot-Reflektographie oder der U. wieder optisch sichtbar gemacht werden. Noch heute werden schwer lesbare Archivalien und Urkunden mit der UV-Lampe (Schwarzlichtlampe) betrachtet oder gar mit chemischen Stoffen behandelt. Beides

Hedzer Uulders

lies not only in its richness (with some unique and very ancient fragments, including palimpsests), but also in its historical unity. He proposes a typology of fragments based on material characteristics by distinguishing between fragmentary codices, manuscript fragments in book bindings, detached

Jeroen Jansen

, bleibt ungewiss'. 12 As Leo (op. cit. (n. 6; orig. l912), pp. 49-55, 58ff.) still mistakenly believed. 13 Lindsay (op. cit. (n. 6), pp. 35ff.; cf. pp. 142-3) still thought that the Ambrosian Palimpsest (A) had been directly copied from Plautus's manuscript and that the Palatine recension must be a copy

Thom Mertens, J.P. Gumbert and Albert Gruijs

, punctuation, layout; abbreviations etc.; musical notes etc.; ruling, rubrication, initials; quire marks, running titles etc.; paintings in manuscripts; format, binding; palimpsests. The plan is not remarkable for its novelty; but there are a few interesting points. Ebert insists on the study of watermarks