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dc.contributor.authorSissis, Philippa
dc.date.accessioned2022-06-02T04:22:38Z
dc.date.available2022-06-02T04:22:38Z
dc.date.issued2020
dc.date.submitted2022-06-01T12:17:07Z
dc.identifierONIX_20220601_9788864539683_423
dc.identifier2704-6230
dc.identifierhttps://library.oapen.org/handle/20.500.12657/56240
dc.identifier.urihttps://directory.doabooks.org/handle/20.500.12854/83034
dc.description.abstractThe fact that the graphic substance of writing oscillates between text and image is a potential which writing carries in itself from the very beginning. Every graphic trace on the manuscript page relates to the conventions of time in a way that is determined by the scribe. This becomes particularly tangible when the conventions are deliberately and systematically broken and replaced by new ones on the basis of a concrete concept. By introducing the humanistic minuscule, a script developed on the basis of the historical model of the Carolingian minuscule, Poggio Bracciolini and his mentors and friends Coluccio Salutati and Niccolò Niccoli, created philologically revised copies of the texts of classical authors in what they called littera antiqua, the new old script. This paper wants to show how the conscious incorporation of elements of historical manuscripts and their transformation into a specifically humanistic product makes use of the graphical potential of script and mise-en-page in order to translate a humanistic discourse into SchriftBild.
dc.languageEnglish
dc.relation.ispartofseriesAtti
dc.rightsopen access
dc.subject.otherLittera antiqua
dc.subject.othericonicity of script
dc.subject.otherartifact
dc.subject.otherrhetoric
dc.subject.othervisual arts
dc.subject.otherlayout
dc.titleChapter Script as Image: Visual Acuity in the Script of Poggio Bracciolini
dc.typechapter
oapen.identifier.doi10.36253/978-88-6453-968-3.10
oapen.relation.isPublishedBy2ec4474d-93b1-4cfa-b313-9c6019b51b1a
oapen.relation.isbn9788864539683
oapen.pages30
oapen.place.publicationFlorence
dc.seriesnumber38


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