Manuscript Diversity, Meaning, and Variance in Juan Manuel’s by Laurence N de Looze

By Laurence N de Looze

Juan Manuel's El Conde Lucanor was once arguably one of many nice masterworks of early smooth Spain. even supposing the paintings seems in 5 very diverse manuscript models from the fourteenth to the 16th centuries, most recent variants of El Conde Lucanor have ignored to account for the truth that it used to be a part of a manuscript culture, and that its that means is considerably affected whilst its unique kinds aren't taken in to account.

With Manuscript variety, that means, and Variance in Juan Manuel's El Conde Lucanor, Laurence de Looze demonstrates how the that means of Juan Manuel's paintings adjustments looking on how the paintings is 'performed' particularly manuscripts. This learn proceeds from the belief that, in a pre-printing press global, every one new replica or 'performance' of a piece creates new which means. by means of adopting this strategy and by means of concentrating on elements II-V of the texts, de Looze argues that El Conde Lucanor increases questions about the interretation, intelligibility, and the construction of information. De Looze's advanced and nuanced analyzing sheds new gentle on an enormous paintings and makes an important contribution to medieval stories, Spanish reviews, and the background of the book.

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2 Characterizing the Early Texts So far in my brief overview of the five medieval manuscript versions of the CL as well as the 1575 Argote de Molina printed edition, I have implied that these versions are quite different in their approaches to the CL. It is now time to attempt to characterize these various approaches. Without getting unnecessarily mired in minutiae, we can surely make some preliminary observations regarding how each extant version seems to have received - and therefore viewed - the CL.

The dimensions of the manuscript, its splendour (assuming that a series of miniatures was planned), and its imposing nature all convey a view of Juan Manuel's stature as both an author and an authority in fourteenth-century Spain. Manuscript G Manuscript G is the only other manuscript that contains the five-book version of the CL. Despite this fact, it is, of all the manuscripts, the one that is in many ways the most profoundly different from S in terms of the mentality it conveys. Only the Argote de Molina edition differs from S more, but the Molina edition is a printed book, not a manuscript.

In the case of Manuscript S, the failure to have carried out the program of illuminations is strangely unsettling, as though the Middle Ages came to an end before people realized it might, after which time no one had the inclination to go back and do the miniatures. The carefully set-out blank spaces give one the impression that the scribes who produced the text and the coloured initials lived with the assurance that each of them was merely one cog in a larger system of manuscript production, one that would, almost necessarily, terminate in a luxurious, illuminated codex.

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