{"id":10245,"date":"2017-11-14T21:16:22","date_gmt":"2017-11-14T21:16:22","guid":{"rendered":"http:\/\/manuscriptevidence.org\/wpme\/?p=10245"},"modified":"2019-03-15T22:01:32","modified_gmt":"2019-03-15T22:01:32","slug":"2017-m-mla-panel-report","status":"publish","type":"post","link":"https:\/\/manuscriptevidence.org\/wpme\/2017-m-mla-panel-report\/","title":{"rendered":"2017 M-MLA Panel Report"},"content":{"rendered":"
\"Chandelier<\/a>

“Seeing the Light”. Chandelier and Ceiling Murals at the Netherland Plaza Hotel.<\/p><\/div>\n

Artists, Activists, and Manuscript Evidence<\/h2>\n

Research Group on Manuscript Evidence
\nPermanent Panel
\nat the
\nMidwest Modern Language Association (M-MLA)<\/h3>\n

2017 Convention
\nCincinnati, Ohio
\nNovember 9-12, 2017<\/h4>\n

Our 2017 Panel<\/h3>\n

With the accomplishment of the 2017 M-MLA Convention in Cincinnati, we happily report the Permanent Panel which the Research Group on Manuscript Evidence sponsored, in the second year of its participation at the Convention. As this participation continues to build, we create a Page devoted to the Panels at the M-MLA Convention<\/a>, along with our many Activities<\/a> and Events<\/a>.<\/p>\n

Like last year’s pair of sponsored Panels, described in our 2016 M-MLA Report<\/a>, this year’s Panel was expertly organized by our Associate Justin Hastings of Loyola University Chicago<\/a>, institutional host of the Midwest Modern Language Association<\/a>.<\/p>\n

The plan for our 2017 Panel arose in responding to the theme chosen for the 2017 Convention, “Artists and Activists”. Naturally, we selected the themes of “Artists, Activists, and Manuscript Evidence”, which might include, or also include, printed books and other forms of written materials.\u00a0 Our Call for Papers<\/a> invited contributions for multiple subjects and approaches, including textual, art-historical, codicological, and palaeographical, which might center upon facets, or stages, of the material evidence of manuscripts in their travels across time and space.\u00a0 The variety of responses to the Call shaped the Program for the Panel, as announced in the Convention Program Book<\/a> and for our 2017 M-MLA Panel<\/a>.\u00a0 Updates for our Announcement soon provided the Abstracts for the 3 papers, also with some images.<\/p>\n

The time has come for the Report.\u00a0 You are Here.<\/p>\n

<\/p>\n

The Venue<\/h3>\n

Now we describe the experience of the event, which took place in the convention venue, the Netherland Plaza Hotel<\/a> in Cincinnati. Built in French Art Deco style<\/a> at the beginning of the Great Depression, opened in 1931, and now operated as the Hilton Netherland Plaza Hotel, this building is listed as a Historic Monument<\/a>.<\/p>\n

\"Entrance<\/a>

The Hotel Lobby facing the entrance to the Palm Court.<\/p><\/div>\n

*****<\/p>\n

Our 2017 Panel<\/h3>\n

This Report includes some updates for the Abstracts, previously published in our announcement of the Program for the 2017 M-MLA Panel<\/a>.<\/p>\n

Make It and\/or Break It:
\nthe Material Evidence
\nof Creating, Using, Disseminating, and Dispersing Manuscripts<\/h3>\n

Sponsored by: Research Group on Manuscript Evidence<\/p>\n

Organizer and Presider<\/em><\/p>\n

Justin Hastings<\/strong> (Loyola University Chicago)<\/p>\n

\"Laura<\/a>

Laura opens our 2017 Panel.<\/p><\/div>\n

Presenters<\/em><\/p>\n

1. Laura Melin<\/strong> (University of York, United Kingdom)<\/p>\n

“The Coronation Roll of Edward IV and Its Audience”<\/p>\n

Abstract:<\/em><\/p>\n

My paper will focus on the artwork on the Chronicle of the History of the World from Creation to Woden, with a Genealogy of Edward IV<\/em> (Free Library of Philadelphia, Lewis 201), otherwise known as the \u2018Coronation Roll\u2019, to see what its content reveals about possible audiences. The Roll was commissioned circa 1461 by Edward IV<\/a>, who needed to legitimise his usurpation of the English throne from Henry VI<\/a> in order to gain the support of both the English nobility and international noble (and royal) audiences.<\/p>\n

I will argue that the artists of the Coronation Roll appealed to both sets of audiences through the creative use of traditional iconographies of kingship within the genealogical format. After emphasising the common use of genealogies among the nobility, both at home and abroad, I will examine three key artistic clues within the Coronation Roll:<\/p>\n