The cognitive intuition of the importance of the margin in the process of studying texts, empirically demonstrated by psychologists and pedagogues cited in the attached article, explains the reasons why the margin of books is a coveted space.
In this position paper, rather than highlighting new corpuses of study or discussing my own particular research, I want to make a more global argument about the position of interdisciplinary fields within today’s academy and open up a discussion about what Mediterranean studies, Iberian Studies, and early modern Hispanism might look like as a set of truly collaborative, intersecting fields.
Borja Franco y Francisco J.
Pedro de Portugal’s Sátira de Infelice e felice Vida has also another title –Argos.
My research project begins with a question: is it possible to visually represent religious conversion?
“To say of what is that it is not, or of what is not that it is, is false, while to say of what is that it is, and of what is not that it is not, is true.” (Aristotle, Metaphysics 1011b25)
Medieval Women’s Writers
Since 1950 there has been an effort on the part of critics to revalorize marginal writers of the Middle Ages, predominantly women authors.
We will be looking at this manuscript from the Hi-res version digitized at the National Library of France, as you see in the link.
From the home page of the website:
ABOUT THIS PROJECT: In 2009 I read the work of Ramon Pujades “Les cartes portolanes: la representació medieval d’una mar solcada,”((In Catalan, with English text ‘Portolan charts: the medieval representation of a ploughed sea’, Barcelona: Institut Cartogràfic de Catalunya; Institut d’Estudis Catalans; Institut Europeu de la Mediterrània; Lunwerg, 2007. [With a DVD featuring the charts and selections of the atlases cited.] ISBN: 10: 8497854144.
My current research project bears upon the Qur’an in the Iberian Peninsula in the Late Middle Ages until the Early Modern Period.
The French version of this book was first published in 2004 by Éditions Panama in Paris, and in 2013 by Philippe Rey / Jimsaan in Paris and Dakar.
