Chapters in this book

1. Frontmatter I
2. Contents V
3. Acknowledgments VIII
4. Introduction 1
5. Part One: Models of Authorship, Authoring of Models
6. Authors, Authorship, and Work: A Brief Theoretical Survey 17
7. “I am large, I contain multitudes”: The Medieval Author in Memetic Terms 30
8. The Talent of the Distributed Author 52
9. Part Two: Medieval Authorship: Theories and Practices
10. The Apophatic First-Person Speaker in Eckhart’s Sermons 79
11. Communis quidam bonae doctrinae thesaurus: Authorship and Inspiration in Late Medieval Commentaries in Central Europe on the Book of Psalms 97
12. Obedient Creativity and Idiosyncratic Copying: Tradition and Individuality in the Works of William of Malmesbury and John of Salisbury 113
13. “... to distil the excellence of their genius”: Conceptions of Authorship in Eleventh- and Twelfth-Century Polemical Literature 133
14. Irony and the Author: The Case of the Dialogues of Lawrence of Durham 151
15. Corrector Ultimus: Aegidius of Paris and Peter Riga’s Aurora 172
16. In a Quest for the Author in the Universe of Orlando Furioso 190
17. Part Three: Modes of Authorship in Old Norse Literature
18. Modes of Authorship and Types of Text in Old Norse Culture 211
19. Poet, Singer of Tales, Storyteller, and Author 227
20. Hǫfundr–Skáld: Author, Compiler, and Scribe in Old Norse Literature 236
21. The Eddic Author: On Distributed Creativity in The Lay of Prymr and Skírnir’s Journey 251
22. Part Four: Scribes, Redactors, Translators, and Compilers as Authors
23. Scribes as Authors, Transmission as Composition: Towards a Science of Copying 267
24. Scriptorial Scruples: The Writing and Rewriting of a Hagiographical Narrative 289
25. Visible Stratification in a Medieval Text: Traces of Multiple Redactors in a Text Extant in a Single Manuscript 309
26. The Resourceful Scribe: Some Aspects of the Development of Reynistaðarbók (AM 764 4to) 325
27. Authors and Anonymity, Texts and Their Contexts: The Case of Eggertsbók 343
28. Part Five: Medieval Authorship: Arts and Material Culture
29. Image-Making Between Conventionality and Innovation: The Medieval Artist and the Conditions of Authorship 367
30. Monumental Messages and the Voice of Individuality and Tradition: The Case of Scandinavian Rune Stones 389
31. Index 414