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Vagueness, Ambiguity, and All the Rest
This book aims to address a gap in the existing literature on the relationship between vagueness and ambiguity, as well as on their differences and similarities, both in synchrony and diachrony, and taking into consideration their relation to language use. The book is divided into two parts, which address specific and broader research questions from different perspectives. The former part examines the differences between ambiguity and vagueness from a bird-eye perspective, with a particular focus on their respective functions and roles in language change. It also presents innovative linguistic resources and tools for the study of these phenomena. The second part contains case studies on vagueness and ambiguity in language change and use. It considers different strategies and languages, including English, French, German, Italian, Medieval Latin, and Old Italian. The readership for this volume is broad, encompassing scholars in a range of disciplines, including pragmatics, spoken discourse, conversation analysis, discourse genres (political, commercial, notarial discourse), corpus studies, language change, pragmaticalization, and language typology.
Scriptoria in Medieval Saxony
This book examines for the first time the scriptorium of the Augustinian Monastery of St. Pancras in Hamersleben. In the last quarter of the 12th century six wellknown manuscripts were produced there. Of the fourteen scribeartists involved, one in particular stands out as responsible for the correct text and illustrations. The bold innovations of this master scribeartist are expressed especially in the decoration programmes of a Psalter and two Gospel books. The manuscripts produced in the Hamersleben Scriptorium, as well as its notable library, were dispersed throughout the world or thought to be lost. In this book six known manuscripts are brought home, to Hamersleben. Each manuscript is minutely analysed for its codicology, palaeography, text and illuminations. The style of script as well as the style and iconography of the illustrations are discussed in relation to those from other monasteries in Saxony, in order to examine the evolvement of the regional style.
