Animal Skins and the Reading Self in Medieval Latin and French Bestiaries, Kay

Just like we do today, people in medieval times struggled with the concept of human exceptionalism and the significance of other creatures. Nowhere is this more apparent than in the medieval bestiary. Sarah Kay’s exploration of French and Latin bestiaries offers fresh insight into how this prominent genre challenged the boundary between its human readers and other animals. Bestiaries present accounts of animals whose fantastic behaviors should be imitated or avoided, depending on the given trait. In a highly original argument, Kay suggests that the association of beasts with books is here both literal and material, as nearly all surviving bestiaries are copied on parchment made of animal skin, which also resembles human skin. Using a rich array of examples, she shows how the content and materiality of bestiaries are linked due to the continual references in the texts to the skins of other animals, as well as the ways in which the pages themselves repeatedly—and at times, it would seem, deliberately—intervene in the reading process. A vital contribution to animal studies and medieval manuscript studies, this book sheds new light on the European bestiary and its profound power to shape readers’ own identities.

Portrait Miniatures on Vellum: Reading Skin - Dr. Anne-Valérie Dulac (Sorbonne Université/ LARCA/ Maison Française d'Oxford) - Digital Materialities Seminar - LARCA

The Word and the Flesh

Medieval manuscripts blog: Animals

The Modernist Bestiary: Translating Animals and the Arts with Guillaume Apollinaire, Raoul Dufy and Graham Sutherland (Comparative Literature and Culture) (Paperback)

The Skin We Stand On: Landscape-Skinscape in the Tiberius B.v Marvels of the East - Different Visions

The Materiality of Medieval Parchment: A Response to “The Animal Turn”

The Modernist Bestiary centres on Le Bestiaire ou Cortège d’Orphée (1911), a multimedia collaborative work by French-Polish poet Guillaume Apollinaire