Scribes and Their Remains begins with an introductory essay by Stanley Porter which addresses the principal theme of the book: the text as artifact. The rest of the volume is then split into two major sections. In the first, five studies appear on the theme of 'Scribes, Letters, and Literacy.' In the first of these Craig A. Evans offers a lengthy piece that argues that the archaeological, artifactual, and historical evidence suggests that New Testament autographs and first copies may well have remained in circulation for one century or more, having the effect of stabilizing the text. Other pieces in the section address literacy, orality and paleography of early Christian papyri. In the second section there are five pieces on 'Writing, Reading, and Abbreviating Christian Scripture.' These range across numerous topics, including an examination of the stauros (cross) as a nomen sacrum.

Scribes and Their Remains begins with an introductory essay by Stanley Porter which addresses the principal theme of the book: the text as artifact. The rest of the volume is then split into two major sections. In the first, five studies appear on the theme of 'Scribes, Letters, and Literacy.' In the first of these Craig A. Evans offers a lengthy piece that argues that the archaeological, artifactual, and historical evidence suggests that New Testament autographs and first copies may well have remained in circulation for one century or more, having the effect of stabilizing the text. Other pieces in the section address literacy, orality and paleography of early Christian papyri. In the second section there are five pieces on 'Writing, Reading, and Abbreviating Christian Scripture.' These range across numerous topics, including an examination of the stauros (cross) as a nomen sacrum.

Professor Beach's book on female scribes in twelfth-century Bavaria - a full-length study of the role of women copyists in the Middle Ages - is underpinned by the notion that the scriptorium was central to the intellectual revival of the Middle Ages and that women played a role in this renaissance. The author examines the exceptional quantity of evidence of female scribal activity in three different religious communities, pointing out the various ways in which the women worked - alone, with other women, and even alongside men - to produce books for monastic libraries, and discussing why their work should have been made visible, whereas that of other female scribes remains invisible. Beach's focus on manuscript production, and the religious, intellectual, social and economic factors which shaped that production, enables her to draw wide-ranging conclusions of interest not only to palaeographers but also to those interested in reading, literacy, religion and gender history.

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A new kind of songbook emerged in the later fifteenth century: personalized, portable, and lavishly decorated. Five closely related chansonniers, copied in the Loire Valley region of central France c. 1465-c. 1475, are the earliest surviving examples of this new genre. The Loire Valley Chansonniers preserve the music of such renowned composers as Guillaume Du Fay, Johannes Ockeghem, and Antoine Busnoys. But their importance as musical sources has overshadowed the significance of these manuscripts as artifacts in their own right. This book places the physical objects at center, investigating the means by which they were produced and the broader culture in which they circulated. Jane Alden performs a codicological autopsy upon the manuscripts and reveals the hitherto unrecognized role of scribes in shaping the transmission and reception of the chanson repertory. Alden also challenges the long-held belief that the Loire Valley Chansonniers were intended for royal or noble patrons. Instead, she argues that a rising class of bureaucrats--notaries, secretaries, and other court officials--commissioned these exquisite objects. Active as writers and participants in poetry competitions, these individuals may even have written some of the chansons' texts. The unique integration of image, text, and music found in chansonniers extends their appeal to a broad readership. But for the nineteenth-century scholars who rediscovered these manuscripts, the larger literary and visual resonances were not of primary interest. Alden documents the tangle of motivations--national identity, populist politics, and the rise of the musical masterwork--that informed the earliest writings on these books. Only now is their multifaceted structure the inspiration for a new generation of readers.

This book aims to place Emar's scribal school institution within its social and historical context.