The Book of Kells Contributed by Brian P
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K 03-UP-004 Insular Io02(A)
By Bernard Wailes TOP: Seventh century A.D., peoples of Ireland and Britain, with places and areas that are mentioned in the text. BOTTOM: The Ogham stone now in St. Declan’s Cathedral at Ardmore, County Waterford, Ireland. Ogham, or Ogam, was a form of cipher writing based on the Latin alphabet and preserving the earliest-known form of the Irish language. Most Ogham inscriptions are commemorative (e.g., de•fin•ing X son of Y) and occur on stone pillars (as here) or on boulders. They date probably from the fourth to seventh centuries A.D. who arrived in the fifth century, occupied the southeast. The British (p-Celtic speakers; see “Celtic Languages”) formed a (kel´tik) series of kingdoms down the western side of Britain and over- seas in Brittany. The q-Celtic speaking Irish were established not only in Ireland but also in northwest Britain, a fifth- THE CASE OF THE INSULAR CELTS century settlement that eventually expanded to become the kingdom of Scotland. (The term Scot was used interchange- ably with Irish for centuries, but was eventually used to describe only the Irish in northern Britain.) North and east of the Scots, the Picts occupied the rest of northern Britain. We know from written evidence that the Picts interacted extensively with their neighbors, but we know little of their n decades past, archaeologists several are spoken to this day. language, for they left no texts. After their incorporation into in search of clues to the ori- Moreover, since the seventh cen- the kingdom of Scotland in the ninth century, they appear to i gin of ethnic groups like the tury A.D. -
Orthography Development for Creole Languages Decker, Ken
University of Groningen Orthography Development for Creole Languages Decker, Ken IMPORTANT NOTE: You are advised to consult the publisher's version (publisher's PDF) if you wish to cite from it. Please check the document version below. Document Version Publisher's PDF, also known as Version of record Publication date: 2014 Link to publication in University of Groningen/UMCG research database Citation for published version (APA): Decker, K. (2014). Orthography Development for Creole Languages. [S.n.]. Copyright Other than for strictly personal use, it is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), unless the work is under an open content license (like Creative Commons). The publication may also be distributed here under the terms of Article 25fa of the Dutch Copyright Act, indicated by the “Taverne” license. More information can be found on the University of Groningen website: https://www.rug.nl/library/open-access/self-archiving-pure/taverne- amendment. Take-down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Downloaded from the University of Groningen/UMCG research database (Pure): http://www.rug.nl/research/portal. For technical reasons the number of authors shown on this cover page is limited to 10 maximum. Download date: 01-10-2021 ORTHOGRAPHY DEVELOPMENT FOR CREOLE LANGUAGES KENDALL DON DECKER The work in this thesis has been carried out under the auspices of SIL International® in collaboration with the National Kriol Council of Belize. -
Fonts for Latin Paleography
FONTS FOR LATIN PALEOGRAPHY Capitalis elegans, capitalis rustica, uncialis, semiuncialis, antiqua cursiva romana, merovingia, insularis majuscula, insularis minuscula, visigothica, beneventana, carolina minuscula, gothica rotunda, gothica textura prescissa, gothica textura quadrata, gothica cursiva, gothica bastarda, humanistica. User's manual 5th edition 2 January 2017 Juan-José Marcos [email protected] Professor of Classics. Plasencia. (Cáceres). Spain. Designer of fonts for ancient scripts and linguistics ALPHABETUM Unicode font http://guindo.pntic.mec.es/jmag0042/alphabet.html PALEOGRAPHIC fonts http://guindo.pntic.mec.es/jmag0042/palefont.html TABLE OF CONTENTS CHAPTER Page Table of contents 2 Introduction 3 Epigraphy and Paleography 3 The Roman majuscule book-hand 4 Square Capitals ( capitalis elegans ) 5 Rustic Capitals ( capitalis rustica ) 8 Uncial script ( uncialis ) 10 Old Roman cursive ( antiqua cursiva romana ) 13 New Roman cursive ( nova cursiva romana ) 16 Half-uncial or Semi-uncial (semiuncialis ) 19 Post-Roman scripts or national hands 22 Germanic script ( scriptura germanica ) 23 Merovingian minuscule ( merovingia , luxoviensis minuscula ) 24 Visigothic minuscule ( visigothica ) 27 Lombardic and Beneventan scripts ( beneventana ) 30 Insular scripts 33 Insular Half-uncial or Insular majuscule ( insularis majuscula ) 33 Insular minuscule or pointed hand ( insularis minuscula ) 38 Caroline minuscule ( carolingia minuscula ) 45 Gothic script ( gothica prescissa , quadrata , rotunda , cursiva , bastarda ) 51 Humanist writing ( humanistica antiqua ) 77 Epilogue 80 Bibliography and resources in the internet 81 Price of the paleographic set of fonts 82 Paleographic fonts for Latin script 2 Juan-José Marcos: [email protected] INTRODUCTION The following pages will give you short descriptions and visual examples of Latin lettering which can be imitated through my package of "Paleographic fonts", closely based on historical models, and specifically designed to reproduce digitally the main Latin handwritings used from the 3 rd to the 15 th century. -
MEDIEVAL SCRIPTS I / Xxxix
GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS I / XXXIX Medieval Scripts 1 Overview 3 2 Gothic Architecture 19 3 Late Medieval Manuscripts 25 4 Blackletter 29 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS II / XXXIX © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 3 / 39 1,000 CE – PRESENT Overview Blackletter—a collection of medieval scripts— has existed in numerous forms for over a thousand years and still remains in use today. © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 4 / 39 Blackletter © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 5 / 39 Blackletter © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 6 / 39 Blackletter © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 7 / 39 Blackletter © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 8 / 39 Blackletter © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 9 / 39 Blackletter © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 10 / 39 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 11 / 39 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 12 / 39 © Kevin Woodland, 2020 GRAPHIC DESIGN HISTORY / MEDIEVAL SCRIPTS / OvervIEW 13 / 39 1990 CE Old English Font • Designed by Monotype Corporation • A mash-up of historic styles • Modern interpretation of blackletter script • Includes anachronistic glyphs: Arabic numerals, -
Iso/Iec Jtc1/Sc2/Wg2 N3027 L2/06-027
ISO/IEC JTC1/SC2/WG2 N3027 L2/06-027 2006-01-30 Universal Multiple-Octet Coded Character Set International Organization for Standardization Organisation internationale de normalisation Международная организация по стандартизации Doc Type: Working Group Document Title: Proposal to add medievalist characters to the UCS Source: Michael Everson (editor), Peter Baker, António Emiliano, Florian Grammel, Odd Einar Haugen, Diana Luft, Susana Pedro, Gerd Schumacher, Andreas Stötzner Status: Expert Contribution Action: For consideration by JTC1/SC2/WG2 and UTC Date: 2006-01-30 Introduction. A set of characters used by specialists in medieval European philology and linguistics is absent from the Universal Character Set. These characters differ in nature; some are original ligatures which acquired letter status due to their phonemic value; some are letterforms distinct from other letterforms innovated to distinguish sounds; some are combining diacritical letters used in abbreviations or suspensions of various kinds; and some are best described as “letters with syllabic content”. Theoretical preliminaries. Contemporary medievalist philologists and linguists want to be able to represent typographically (in printed format and on computer screens) the character sets which were in use for many centuries in several regions of medieval Europe. Those character sets derive from the common Latin script and contained many characters which simply disappeared with the development of contemporary printing conventions. Early printers made abundant use of “special” medieval characters, but eventually these fell out of use, with notable exceptions like $, ¶, &, Ç, ˜, @, and the ¯ used in Ireland. Contemporary philologists and linguists who want to study the graphemic conventions in use in medieval times—thereby drawing solid or grounded conclusions about the nature and structure of the language systems represented in writing—must rely on bona fide transcriptions of the texts. -
The Living Tradition of Medieval Scripts in JRR
Journal of Tolkien Research Volume 10 Issue 2 Article 8 2020 ‘Written in a Fair Hand’: The Living Tradition of Medieval Scripts in J.R.R. Tolkien’s Calligraphy Eduardo B. Kumamoto Independent scholar, [email protected] Follow this and additional works at: https://scholar.valpo.edu/journaloftolkienresearch Part of the Illustration Commons, Literature in English, British Isles Commons, and the Medieval History Commons Recommended Citation Kumamoto, Eduardo B. (2020) "‘Written in a Fair Hand’: The Living Tradition of Medieval Scripts in J.R.R. Tolkien’s Calligraphy," Journal of Tolkien Research: Vol. 10 : Iss. 2 , Article 8. Available at: https://scholar.valpo.edu/journaloftolkienresearch/vol10/iss2/8 This Article is brought to you for free and open access by the Christopher Center Library at ValpoScholar. It has been accepted for inclusion in Journal of Tolkien Research by an authorized administrator of ValpoScholar. For more information, please contact a ValpoScholar staff member at [email protected]. ‘Written in a Fair Hand’: The Living Tradition of Medieval Scripts in J.R.R. Tolkien’s Calligraphy Cover Page Footnote Figures 1–7, 9–17, 19, and 21–29 are reproduced by kind permission of the Tolkien Estate. This article is available in Journal of Tolkien Research: https://scholar.valpo.edu/journaloftolkienresearch/vol10/iss2/ 8 Kumamoto: The Living Tradition of Medieval Scripts in J.R.R. Tolkien’s Calligraphy INTRODUCTION In his Liner notes, W.H. Auden (2015: 1) confessed that among Tolkien’s ‘many gifts, the three which astound me most are his gift for inventing Proper Names, his gift for describing landscape, and (how I envy him this) his gift for calligraphy.’ It is not hard to see why Auden envied Tolkien’s calligraphic skills: despite the haste and illegibility of many drafts, Tolkien could and did produce several impressively accomplished manuscripts. -
4Th Century Roman Square Capitals This Type Is the Basis of the Modern
Illuminated Manuscripts & Calligraphy From the Latin word “manu” meaning hand and “script” meaning writing, throughout the Middle Ages all documents were handwritten. This form of writing was used by the upper middle class and the church. Power and wealth were displayed in the type of manuscripts produced along with the decorative type of calligraphy used by a scribe. 1. 1st – 4th century 8th - 12th c. Roman Square Capitals Carolingian This type is the basis of the modern In a desire to re-unify the Roman alphabet. Developed as carved lettering for Empire, this was created as a single use in Roman monuments, from a distance unified lettering style for all of they are easy to read. To use these letters in Europe. Later, carolingian perfectly fit a document symbolized power and authority the needs of Spanish manuscripts with within the Roman Empire. Moorish geometric motifs. 1st – 14th c. 12th - 15th c. Old Roman Cursive Black Letter This calligraphy style is considered to be Evolved from carolingian, the letters document hand writing and was widely used were compressed, elongated and angularized. The result is similar of in written business and legal documents. the dramatic gothic architecture 3rd – 7th c. 12th - 15th c. New Roman Cursive An evolved version of Old Roman Cursive Rotunda Developed parallel with black letter, calligraphy, it was developed when the need rotunda was southern European while for informally written business documents black letter was mostly northern. had increased. This version showed a Rotunda letters were more variety of the individual letters. compressed than carolingian while 4th - 5th c. -
Archiv Für Diplomatik Schriftgeschichte Siegel- Und Wappenkunde
Archiv für Diplomatik Schriftgeschichte Siegel- und Wappenkunde Begründet durch EDMUND E. STENGEL Herausgegeben von WALTER KOCH und THEO KOLZER 50. Band ,2004 BOHLAU VERLAG KOLN . WEIMAR. WIEN The Study of Caroline Minuscule 1953-2004 by DAVID GANZ The achievements of the Carolingian renaissance were rooted in a tremen- clws expansion of the production and dissemination of books during the Course of the ninth century. CLA and its supplements and addenda havc 1953 entries for manuscripts dating bcfore 800, Bernhard Bischoff's Kata- log at least 7200'. (There is, of Course, overlap, and the first volurnc of the Iiatalog includes CLA items, and at least 20 manuscripts which could have been included in CLA.) For every book that has survivcd from thc eighth ientury we know of at least ten ninth century books. So it is possible to anal'-se the growth of Caroline minuscule scripts in far morc detail than an!- earlier scripts. The origin developrnent and dissemination of Caroline rninuscule is one of the true problems palaeographers have to resolve, and ,-an measure our usefulness. Since 1930 all attempts to describe and evaluate those Carolis~gian rnanuscripts which have survived have been dependent on the unsurpassed learning and generosity of Bernhard Bischoff. Bischoff's authority depen- ded on an unrivalled first-hand knowledge of survivin, western manu- iiripts copied before the end of the first millenium, and an unrivalled x~isualmemory of the scripts of these manuscripts. The sophistication of bis monograph on the writing centres of South-eastern Germany ('Die iüdostdeutschen Schreibschulen und Bibliotheken in der Karolingerzeit') 52s not been acknowledged: it was the first attempt to lnap the develop- ment of the range scripts in a region, rather than in a single scriptorium. -
History of the Germanic Script the Runic Alphabet
History of the Germanic Script Germanic tribes used three alphabets for their written records: the Runic Alphabet the Gothic Alphabet the Latin Alphabet The Runic alphabet The oldest of these alphabets (for the Germanic tribes) is the runic alphabet. It was created in the II - III centuries AD and was applied till the Late Middle Ages. The runic alphabet is a common Germanic script, it was used by all Germanic tribes, East Germanic, North Germanic, as well as West Germanic tribes. The runic alphabet is a specifically Germanic alphabet, not to be found in languages of other groups. Runic alphabet was used by various Germanic languages before the adoption of the Latin alphabet and for specialized purposes thereafter. It was generally replaced by the Latin alphabet as the cultures that had used runes underwent Christianization by around AD 700 in central Europe and by around AD 1100 in Northern Europe. However, the use of runes persisted for specialized purposes in Northern Europe. Until the early 20th century runes were used in rural Sweden for decoration purposes. The three best-known runic alphabets are the Elder Runes (around 150 to 800 AD), also called Futhark; the Younger Runes (800–1100), which was further subdivided into Danish and Swedish-Norwegian; and the Anglo-Saxon Runes (400 to 1100 AD). The name of the alphabet futhark or fuÞark originated from the first six letters of the alphabet: F, U, Þ, A, R, K. Runology is the study of the runic alphabets, runic inscriptions, runestones, and their history. Runology forms a specialized branch of Germanic linguistics. -
Latin Paleography (Fonts for Latin Script)
FFFONTS FOR LATIN PPPALEOGRAPHY Capitalis elegans, capitalis rustica, uncialis, semiuncialis, antiqua cursiva romana, merovingia, insularis majuscula, insularis minuscula, visigothica, beneventana, carolina minuscula, gothica rotunda, gothica textura prescissa, gothica textura quadrata, gothica cursiva, gothica bastarda, humanistica. User's manual 4th edition June 2014 Juan-José Marcos [email protected] Professor of Classics. Plasencia. (Cáceres). Spain. Designer of fonts for ancient scripts and linguistics ALPHABETUM Unicode font http://guindo.pntic.mec.es/jmag0042/alphabet.html PALEOGRAPHIC fonts http://guindo.pntic.mec.es/jmag0042/palefont.html TABLE OF CONTENTS CHAPTER Page Table of contents 2 Introduction 3 Epigraphy and Paleography 3 The Roman majuscule book-hand 4 Square Capitals (capitalis elegans) 5 Rustic Capitals (capitalis rustica) 8 Uncial script (uncialis) 10 Old Roman cursive (antiqua cursiva romana) 13 New Roman cursive (nova cursiva romana) 16 Half-uncial or Semi-uncial (semiuncialis) 19 Post-Roman scripts or national hands 22 Germanic script (scriptura germanica) 23 Merovingian minuscule (merovingia, luxoviensis minuscula) 24 Visigothic minuscule (visigothica) 27 Lombardic and Beneventan scripts (beneventana) 30 Insular scripts 33 Insular Half-uncial or Insular majuscule (insularis majuscula) 33 Insular minuscule or pointed hand (insularis minuscula) 38 Caroline minuscule (carolingia minuscula) 45 Gothic script (gothica prescissa, quadrata, rotunda, cursiva, bastarda) 51 Humanist writing (humanistica antiqua) 77 Epilogue 80 Bibliography and resources in the internet 81 Price of the paleographic set of fonts 82 Paleographic fonts for Latin script 2 Juan-José Marcos. [email protected] INTRODUCTION The following pages will give you short descriptions and visual examples of Latin lettering which can be imitated through my package of "Paleographic fonts", closely based on historical models, and specifically designed to reproduce digitally the main Latin handwritings used from the 3rd to the 15th century. -
Iso/Iec Jtc1/Sc2/Wg2 N2957 L2/05-183
ISO/IEC JTC1/SC2/WG2 N2957 L2/05-183 2005-08-02 Universal Multiple-Octet Coded Character Set International Organization for Standardization Organisation internationale de normalisation Международная организация по стандартизации Doc Type: Working Group Document Title: Preliminary proposal to add medievalist characters to the UCS Source: Michael Everson, Odd Einar Haugen, António Emiliano, Susana Pedro, Florian Grammel, Peter Baker, Andreas Stötzner, Marcus Dohnicht, Diana Luft Status: Expert Contribution Action: For consideration by JTC1/SC2/WG2 and UTC Date: 2005-08-02 Introduction. A set of characters used by specialists in medieval European philology and linguistics is absent from the Universal Character Set. These characters differ in nature; some are original ligatures which acquired letter status due to their phonemic value; some are letterforms distinct from other letterforms innovated to distinguish sounds; some are combining diacritical letters used in abbreviations or suspensions of various kinds; and some are best described as “letters with syllabic content”. This is not a complete proposal, but a work in progress; all of the example Figures referred to will be added in the next version of this document. Note that the glyphs used in the code charts here may not be optimal. Theoretical preliminaries. Contemporary medievalist philologists and linguists want to be able to represent typographically (in printed format and on computer screens) the character sets which were in use for many centuries in several regions of medieval Europe. Those character sets derive from the common Latin script and contained many characters which simply disappeared with the development of contemporary printing conventions. Early printers made abundant use of “special” medieval characters, but eventually these fell out of use, with notable exceptions like $, ¶, &, Ç, ˜, @, and the ¯ used in Ireland. -
Liste Des Travaux Et Publications Peter A
LISTE DES TRAVAUX ET PUBLICATIONS PETER A. STOKES Monographies 1. English Vernacular Minuscule from Æthelred to Cnut, circa 990 – circa 1035, Publications of the Manchester Centre for Anglo-Saxon Studies 14 (Cambridge, 2014). 309 pp., incl. indexes, glossary, 10 figs., 20 plates. • Prix bisannuel de l’International Society of Anglo-Saxonists (ISAS) pour le meilleur outil de recherches, 2013–5. • Compte-rendu par P.W. Conner, Review of English Studies 66 (2015): 766–67. doi:10.1093/res/hgv014 Ressources Electroniques 2. Co-porteur de projet, Exon: The Domesday Survey of South-Western England, ed. by P.A, Stokes, Studies in Domesday, gen. ed. J. Crick (London: King’s College, 2018). http://www.exondomesday.ac.uk/ [Contribution environ. 500 heures] 3. Co-porteur de projet, Models of Authority: Scottish Charters: Scottish Government and the Emergence of Authority, 1100–1250 (London, King’s College, 2015–17). http://modelsofauthority.ac.uk/ [Contribution totale au projet: environ 700 heures] 4. Porteur de projet, DigiPal: Digital Resource and Database for Palaeography, Manuscripts and Diplomatic (London: King’s College, 2010–14). http://digipal.eu/ [Contribution quatre années à 80% de plein temps] • Winner, Inaugural Digital Humanities Prize of the Medieval Academy of America, 2017. 5. Porteur de projet, Sole Analyst and Developer: HandAnalyser and ImageViewer (2009). http://sourceforge.net/projects/handanalyser/ [Contribution: deux années à plein temps] Articles de Revues avec Comité de Lecture 6. ‘Scribal Attribution across Multiple Scripts: A Digitally-Aided Approach’, Speculum: A Journal of Medieval Studies 92 (2017): S65–85. doi:10.1086/693968 7. ‘Digital Approaches to Palaeography and Book History: Some Challenges, Present and Future’, Frontiers in Digital Humanities 2:5 (2015).