Taken together, they offer an alternative to the Lachmannian quest for an unattainable original text.1 While this older model of manuscript study privileged the stability and control that a conjectured original might wield, Zumthor's mouvance and its inheritors instead revealed to manuscript studies the sense of freedom and possibility to be found in a textual tradition's instabilities. Whether editorial practice "exalts palaeography as the sole editor," or the textual critic takes the helm and asserts his own version of authority between author and reader, the nature of the text's means of transmission is inevitably complicated.7 Averting one's eyes from the alluring light cast by a purported original makes it easier to see the many circumstances that intervene between us and the possibility of that original.
Choreographing Mouvance: The C
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