<strong>The following interview with Christopher Clarkson was recorded during his visit to ... more <strong>The following interview with Christopher Clarkson was recorded during his visit to Ljubljana in 2008. Most of his time was spent leading a workshop in the National Archive of Slovenia, and he also delivered a public lecture in the Department for Art History at the Faculty of Arts, University of Ljubljana. Miha Zor worked as a journalist in the cultural programme of the National Radio of Slovenia at that point and invited Clarkson to be the guest of the programme <em>Ars Humana</em>, where this interview with him – in Slovene translation – aired on 24th of November 2008. </strong>
Referring to Bernard of Clairvaux’s famous letter in which he denounced the ornamented art of his... more Referring to Bernard of Clairvaux’s famous letter in which he denounced the ornamented art of his time, Lilian M. C. Randall lists three characteristics of motifs typical for later Gothic marginalia: as ornaments they are too extravagant, they have distractive infl uence, and this is all the more problematic since they have “strong appeal [...] even
Razprava s primerjalno metodo najprej ugotavlja podobnosti in razlike-motivno-tematske, slogovno-... more Razprava s primerjalno metodo najprej ugotavlja podobnosti in razlike-motivno-tematske, slogovno-jezikovne, vrstno-zvrstne-med Kova~i~evimi Ljubljanskimi razglednicami in Joyceovimi Ljudmi iz Dublina, nato pa pojasnila za te podobnosti in razlike i{~e na razli~nih nivojih: (avto)biografskem in individualnopsiholo{kem, sociolo{kem, predvsem pa duhovnozgodovinskem; literarnosmernem in literarnotipolo{kem. V sklepu sku{a nakazati, kako so se nastavki iz Ljub-ljanskih razglednic in Ljudi iz Dublina uresni~ili oz. razvili v nadaljnjemknjìevnem delu avtorjev, s tem pa zbirkama utemeljiti posebno mesto v le-tem, pa tudi znotraj razvojnega loka slovenske oz. svetovne (modernisti~ne) literature. kratka zgodba, cikel kratkih zgodb, modernizem The paper uses the comparative method to find thematical, stylistic and generic similarities and differences between Kova~i~'s Ljubljanjske razglednice and Joyce's The Dubliners. These are then explained at different levels: (auto)biographical an...
Miha Zor holds MA degrees in Comparative Literature, Literary Theory and Linguistics. He is curre... more Miha Zor holds MA degrees in Comparative Literature, Literary Theory and Linguistics. He is currently completing his doctoral studies in Art History (University of Ljubljana), focusing on illuminated Arthurian manuscripts of the late 13th and early 14th centuries, their stylistic and iconographical relationships and development, and the dynamics between literary and pictorial narration. As speaker, he attended several international conferences (Helsinki, Bucharest, Leeds, Kalamazoo, Würzburg, York, Durham, Ljubljana), and is a member of the International Arthurian Society (British Branch). In addition to his academic pursuits, he works at the National Radio and Television of Slovenia as pronunciation coach, film critic, audio describer, radio announcer and newsreader. Zor, Miha. 'Interview with Christopher Clarkson'. Journal of Paper Conservation 20, no. 1–4 (2 October 2019): 16–23. https://doi.org/10.1080/18680860.2019.1743544. The following interview with Christopher Clark...
In this article, I will analyse the opening pages of two Arthurian manuscripts, today kept in the... more In this article, I will analyse the opening pages of two Arthurian manuscripts, today kept in the Bibliothèque nationale de France under the shelfmarks MS fr. 105 and MS fr. 9123.1 I choose to compare these two because they were made at the same time and by the same circle of people: both were created in Paris in the second quarter of the fourteenth century by scribes, pen-flourishers and painters associated with the work of the Parisian libraire, Thomas de Maubeuge.2 All of MS fr. 105 was painted by the (Sub-)Fauvel Master,3
Članek obravnava tri miniature z upodobitvijo Križanja iz treh rokopisov romance Estoire del sain... more Članek obravnava tri miniature z upodobitvijo Križanja iz treh rokopisov romance Estoire del saint Graal. Obravnavani rokopisi so: dva iz British Library (signaturi Royal 14.E.III in Additional 10292) ter eden, ki je danes v zasebni lasti, označuje pa ga nekdanja signatura Amsterdam BPH 1 (ex-Phillips 1045/7, 3630). Vsi trije so nastali na območju Saint-Omerja, Thérouanna, Tournaija in Ghenta med letoma 1315 in 1325. Razlike med tremi miniaturami so v podrobnostih in analiza se jih loteva v treh korakih. Najprej so določeni vsi mogoči pomeni posameznih motivov, nato se posvetimo vprašanju, kateri od teh pomenov so dejansko navzoči na obravnavanih miniaturah; zato so preučena razmerja med posameznimi motivi na sliki. Pomeni, pripisani posameznim motivom in sliki kot celoti, so nato preverjeni še z ozirom na ostale miniature v vsakem od rokopisov, da se razkrije, ali obstajajo tematske ali ideološke zveze in ali se razvija slikovna naracija, ki več posameznih miniatur povezuje v eno z...
The article deals with pictorial metamorphosis in the opening pages of two early 14th-century man... more The article deals with pictorial metamorphosis in the opening pages of two early 14th-century manuscripts of the Estoire del saint Graal. Firstly, the episodes depicted are analysed iconographically and formally. Secondly, it explores how pictorial narrative is established in the multi-compartmentalised miniature, that is how the images are linked internally in order to convey a narrative that has its beginning and its ending. Thirdly, it is shown how the images in the opening miniature communicate with other miniatures in the manuscript and how the course of interpretation, signaled by the opening miniature, is succeeded and confirmed by the selection of episodes which are subsequently depicted, as well as by the way in which the episodes depicted are pictorially interpreted.
The paper analyses the stylistic and compositional characteristics of borders in a manuscript con... more The paper analyses the stylistic and compositional characteristics of borders in a manuscript consisting of the first two romances of the Lancelot-Graal Cycle (Estoire del saint Graal, Merlin with Suite Vulgate) and two non-Arthurian texts (Le Roman de sept sages, Pénitence Adam). Two different types of borders are present, and in the article they are named type A and type B. They were employed with regard to the position of the miniature in the page: where the miniature appears in the left column, type A was used, and where it appears in the right column, type B was employed. The borders of type A embrace the text from three sides: the vertical border runs along the left column, and both horizontal ones spread over the space of both textual columns. In the case of type B, the vertical border runs along the right side of the right column, that is between the two columns, but closer to the right one; on the top and bottom, horizontal borders spring from the centre to both sides (over both columns). Certain compositions make it possible to assume that the main illuminator or the planner of the overall appearance of the manuscript was actively present also as far as the borders are concerned. Other details – e.g. gold background when two figures form contact with their bodies, and the lack of such a background, when they do not touch or touch only with their weapons – may testify to a personal intervention of the practising artist, and this may be characterized as a stylistic trait revealing his mente propria.
In my presentation, I analysed, firstly, stylistic and compositional characteristics of borders (... more In my presentation, I analysed, firstly, stylistic and compositional characteristics of borders (lines that »embrace« the text) in the Arthurian manuscript BNF, fr. 95, consisting of the first two romances of the Lancelot-Graal Cycle (Estoire del saint Graal, Merlin with Suite Vulgate) and two non-Arthurian texts (Le Roman de sept sages, Pénitence Adam). It was shown that two different types of borders are present and that they were employed with regard to the position of the miniature on the page (i.e. the border-type depends on whether the miniature appears in the left or in the right column). Secondly, types of figural compositions, used to connect vertical and horizontal borders, and the manner of their treatment, as well as patterns of their placement with regard to the miniatures, were presented.
The paper will concentrate on eleven manuscripts of the first romance of the Lancelot-Graal cycle... more The paper will concentrate on eleven manuscripts of the first romance of the Lancelot-Graal cycle of Arthurian romances, produced between ca. 1275-ca. 1330.
With regard to the workshops in which they were made, they can be divided into four groups. Firstly, the episodes depicted will be compared inside these groups and, secondly, the comparison will cross the group-borders and thus note the distinctive characteristics of each workshop's iconographical programme and execution, in as much as it is distinct or similar to others.
Each picture will be analysed on three levels: textual, e.g. regarding the structure and composition of pictorial signs in which it is related (also in comparison to the literary text, e.g. verbal signs); the level of fabula, e.g. regarding the elements of content which are used in (or left out of) a depiction; and the level of story, e.g. regarding the different ways in which the elements of content (that is, fabula) are presented to the viewer. The main stress of the paper will be on the last two levels, since they are iconographically fundamental (the textual level has more to do with stilistic questions): iconographical changes in motifs may occur either on the level of the fabula (different elements of an episode are chosen to be depicted) or on the level of the story (the elements of the fabula are manipulated in different ways and the outcoming meaning this differs).
Apart from the comparison of the Estoire manuscripts between themselves, some depictions will also be compared to similar images in other texts (e.g. Biblical) in order to explain how the meaning of a (generic) depiction may have changed because of changed (literaty) context (e.g. images of vision, Holy Mass, debate between a man of faith and an unbeliever, etc.)
The paper uses a narratological approach to analyze the relationship between word and image in fo... more The paper uses a narratological approach to analyze the relationship between word and image in four manuscripts of the Estoire del saint Graal: BNF fr. 95 (Thérouanne c. 1290), Amsterdam BPH 1 (ex-Phillipps 1045/7 in 3630)/Oxford Bodl. Douce 215/Manchester Ryl. fr. 1 (Saint-Omer, Tournai or Ghent c. 1310-20), BNF fr. 105 and fr. 9123 (Paris c. 1320-30). The narratological methodological approach means that I deal with structure of three layers, which are described by terms text – story – fabula (and, of course, there are also further tripartite terminological clusters which belong to such division, e. g. speaker – character – actor etc.). All these terms are aplicable to any kind of narrative texts, either linguistic, pictorial, film, or mixed, and the main interest is focused on the levels of text and story, since the differences in the ways how the fabula ((chrono)logical sequence of events) is presented or organized are discernible first, on the level of the text (the sequence of signs, typical for a certain medium), and second, on the level of the story (the way in which elements of the fabula are organized in order to have particular effects). The comparsion of words and image therefore means, on one hand, comparing linguistic and pictorial signs, which are used to »tell«/»show« the (same) story, and, on the other, comparing the way in which fabulistic elements are organized in order to evoke specific functioning of words or pictures as narrative texts. The question, then, on which the paper will propose some possible answers is both how the same story is told and shown by using different types and kinds of signs, as well as what kind of effects are produced on the level of pictorial organization of fabulistic elements in comparison to their organization on the linguistic level, and, when different, what meaning could that have for reading the text, »accompanied« by pictures.
The paper will analyze firstly the structure of time in the romances of the cycle Lancelot-Graa... more The paper will analyze firstly the structure of time in the romances of the cycle Lancelot-Graal, with particular observation of specific narrative structure of these romances. It will be analyzed how future narrative events are predicted and how past events are brought back into reader's memory, if they have special relevance for the contemporary evolving of the story. That means, that, secondly, the narrator's methods for activation of reader's memory will be described, as well as the understanding of time, as shown in relation between subsequent events. The second part of the paper will deal with the role of illustrations in illuminated manuscripts of the cycle; the role of these for reader's reception of the story will be put in question, especially when more different events from temporally different parts of the romance have been depicted in similar way (e.g. depictions of births of different characters - is there narrative reason for similar depictions, does an earlier birth bear consequences for a later one etc.?). Miniatures will be classified according to their role in the process of reception: as memory images, that bind together parts, that are far apart from each other in the story.
<strong>The following interview with Christopher Clarkson was recorded during his visit to ... more <strong>The following interview with Christopher Clarkson was recorded during his visit to Ljubljana in 2008. Most of his time was spent leading a workshop in the National Archive of Slovenia, and he also delivered a public lecture in the Department for Art History at the Faculty of Arts, University of Ljubljana. Miha Zor worked as a journalist in the cultural programme of the National Radio of Slovenia at that point and invited Clarkson to be the guest of the programme <em>Ars Humana</em>, where this interview with him – in Slovene translation – aired on 24th of November 2008. </strong>
Referring to Bernard of Clairvaux’s famous letter in which he denounced the ornamented art of his... more Referring to Bernard of Clairvaux’s famous letter in which he denounced the ornamented art of his time, Lilian M. C. Randall lists three characteristics of motifs typical for later Gothic marginalia: as ornaments they are too extravagant, they have distractive infl uence, and this is all the more problematic since they have “strong appeal [...] even
Razprava s primerjalno metodo najprej ugotavlja podobnosti in razlike-motivno-tematske, slogovno-... more Razprava s primerjalno metodo najprej ugotavlja podobnosti in razlike-motivno-tematske, slogovno-jezikovne, vrstno-zvrstne-med Kova~i~evimi Ljubljanskimi razglednicami in Joyceovimi Ljudmi iz Dublina, nato pa pojasnila za te podobnosti in razlike i{~e na razli~nih nivojih: (avto)biografskem in individualnopsiholo{kem, sociolo{kem, predvsem pa duhovnozgodovinskem; literarnosmernem in literarnotipolo{kem. V sklepu sku{a nakazati, kako so se nastavki iz Ljub-ljanskih razglednic in Ljudi iz Dublina uresni~ili oz. razvili v nadaljnjemknjìevnem delu avtorjev, s tem pa zbirkama utemeljiti posebno mesto v le-tem, pa tudi znotraj razvojnega loka slovenske oz. svetovne (modernisti~ne) literature. kratka zgodba, cikel kratkih zgodb, modernizem The paper uses the comparative method to find thematical, stylistic and generic similarities and differences between Kova~i~'s Ljubljanjske razglednice and Joyce's The Dubliners. These are then explained at different levels: (auto)biographical an...
Miha Zor holds MA degrees in Comparative Literature, Literary Theory and Linguistics. He is curre... more Miha Zor holds MA degrees in Comparative Literature, Literary Theory and Linguistics. He is currently completing his doctoral studies in Art History (University of Ljubljana), focusing on illuminated Arthurian manuscripts of the late 13th and early 14th centuries, their stylistic and iconographical relationships and development, and the dynamics between literary and pictorial narration. As speaker, he attended several international conferences (Helsinki, Bucharest, Leeds, Kalamazoo, Würzburg, York, Durham, Ljubljana), and is a member of the International Arthurian Society (British Branch). In addition to his academic pursuits, he works at the National Radio and Television of Slovenia as pronunciation coach, film critic, audio describer, radio announcer and newsreader. Zor, Miha. 'Interview with Christopher Clarkson'. Journal of Paper Conservation 20, no. 1–4 (2 October 2019): 16–23. https://doi.org/10.1080/18680860.2019.1743544. The following interview with Christopher Clark...
In this article, I will analyse the opening pages of two Arthurian manuscripts, today kept in the... more In this article, I will analyse the opening pages of two Arthurian manuscripts, today kept in the Bibliothèque nationale de France under the shelfmarks MS fr. 105 and MS fr. 9123.1 I choose to compare these two because they were made at the same time and by the same circle of people: both were created in Paris in the second quarter of the fourteenth century by scribes, pen-flourishers and painters associated with the work of the Parisian libraire, Thomas de Maubeuge.2 All of MS fr. 105 was painted by the (Sub-)Fauvel Master,3
Članek obravnava tri miniature z upodobitvijo Križanja iz treh rokopisov romance Estoire del sain... more Članek obravnava tri miniature z upodobitvijo Križanja iz treh rokopisov romance Estoire del saint Graal. Obravnavani rokopisi so: dva iz British Library (signaturi Royal 14.E.III in Additional 10292) ter eden, ki je danes v zasebni lasti, označuje pa ga nekdanja signatura Amsterdam BPH 1 (ex-Phillips 1045/7, 3630). Vsi trije so nastali na območju Saint-Omerja, Thérouanna, Tournaija in Ghenta med letoma 1315 in 1325. Razlike med tremi miniaturami so v podrobnostih in analiza se jih loteva v treh korakih. Najprej so določeni vsi mogoči pomeni posameznih motivov, nato se posvetimo vprašanju, kateri od teh pomenov so dejansko navzoči na obravnavanih miniaturah; zato so preučena razmerja med posameznimi motivi na sliki. Pomeni, pripisani posameznim motivom in sliki kot celoti, so nato preverjeni še z ozirom na ostale miniature v vsakem od rokopisov, da se razkrije, ali obstajajo tematske ali ideološke zveze in ali se razvija slikovna naracija, ki več posameznih miniatur povezuje v eno z...
The article deals with pictorial metamorphosis in the opening pages of two early 14th-century man... more The article deals with pictorial metamorphosis in the opening pages of two early 14th-century manuscripts of the Estoire del saint Graal. Firstly, the episodes depicted are analysed iconographically and formally. Secondly, it explores how pictorial narrative is established in the multi-compartmentalised miniature, that is how the images are linked internally in order to convey a narrative that has its beginning and its ending. Thirdly, it is shown how the images in the opening miniature communicate with other miniatures in the manuscript and how the course of interpretation, signaled by the opening miniature, is succeeded and confirmed by the selection of episodes which are subsequently depicted, as well as by the way in which the episodes depicted are pictorially interpreted.
The paper analyses the stylistic and compositional characteristics of borders in a manuscript con... more The paper analyses the stylistic and compositional characteristics of borders in a manuscript consisting of the first two romances of the Lancelot-Graal Cycle (Estoire del saint Graal, Merlin with Suite Vulgate) and two non-Arthurian texts (Le Roman de sept sages, Pénitence Adam). Two different types of borders are present, and in the article they are named type A and type B. They were employed with regard to the position of the miniature in the page: where the miniature appears in the left column, type A was used, and where it appears in the right column, type B was employed. The borders of type A embrace the text from three sides: the vertical border runs along the left column, and both horizontal ones spread over the space of both textual columns. In the case of type B, the vertical border runs along the right side of the right column, that is between the two columns, but closer to the right one; on the top and bottom, horizontal borders spring from the centre to both sides (over both columns). Certain compositions make it possible to assume that the main illuminator or the planner of the overall appearance of the manuscript was actively present also as far as the borders are concerned. Other details – e.g. gold background when two figures form contact with their bodies, and the lack of such a background, when they do not touch or touch only with their weapons – may testify to a personal intervention of the practising artist, and this may be characterized as a stylistic trait revealing his mente propria.
In my presentation, I analysed, firstly, stylistic and compositional characteristics of borders (... more In my presentation, I analysed, firstly, stylistic and compositional characteristics of borders (lines that »embrace« the text) in the Arthurian manuscript BNF, fr. 95, consisting of the first two romances of the Lancelot-Graal Cycle (Estoire del saint Graal, Merlin with Suite Vulgate) and two non-Arthurian texts (Le Roman de sept sages, Pénitence Adam). It was shown that two different types of borders are present and that they were employed with regard to the position of the miniature on the page (i.e. the border-type depends on whether the miniature appears in the left or in the right column). Secondly, types of figural compositions, used to connect vertical and horizontal borders, and the manner of their treatment, as well as patterns of their placement with regard to the miniatures, were presented.
The paper will concentrate on eleven manuscripts of the first romance of the Lancelot-Graal cycle... more The paper will concentrate on eleven manuscripts of the first romance of the Lancelot-Graal cycle of Arthurian romances, produced between ca. 1275-ca. 1330.
With regard to the workshops in which they were made, they can be divided into four groups. Firstly, the episodes depicted will be compared inside these groups and, secondly, the comparison will cross the group-borders and thus note the distinctive characteristics of each workshop's iconographical programme and execution, in as much as it is distinct or similar to others.
Each picture will be analysed on three levels: textual, e.g. regarding the structure and composition of pictorial signs in which it is related (also in comparison to the literary text, e.g. verbal signs); the level of fabula, e.g. regarding the elements of content which are used in (or left out of) a depiction; and the level of story, e.g. regarding the different ways in which the elements of content (that is, fabula) are presented to the viewer. The main stress of the paper will be on the last two levels, since they are iconographically fundamental (the textual level has more to do with stilistic questions): iconographical changes in motifs may occur either on the level of the fabula (different elements of an episode are chosen to be depicted) or on the level of the story (the elements of the fabula are manipulated in different ways and the outcoming meaning this differs).
Apart from the comparison of the Estoire manuscripts between themselves, some depictions will also be compared to similar images in other texts (e.g. Biblical) in order to explain how the meaning of a (generic) depiction may have changed because of changed (literaty) context (e.g. images of vision, Holy Mass, debate between a man of faith and an unbeliever, etc.)
The paper uses a narratological approach to analyze the relationship between word and image in fo... more The paper uses a narratological approach to analyze the relationship between word and image in four manuscripts of the Estoire del saint Graal: BNF fr. 95 (Thérouanne c. 1290), Amsterdam BPH 1 (ex-Phillipps 1045/7 in 3630)/Oxford Bodl. Douce 215/Manchester Ryl. fr. 1 (Saint-Omer, Tournai or Ghent c. 1310-20), BNF fr. 105 and fr. 9123 (Paris c. 1320-30). The narratological methodological approach means that I deal with structure of three layers, which are described by terms text – story – fabula (and, of course, there are also further tripartite terminological clusters which belong to such division, e. g. speaker – character – actor etc.). All these terms are aplicable to any kind of narrative texts, either linguistic, pictorial, film, or mixed, and the main interest is focused on the levels of text and story, since the differences in the ways how the fabula ((chrono)logical sequence of events) is presented or organized are discernible first, on the level of the text (the sequence of signs, typical for a certain medium), and second, on the level of the story (the way in which elements of the fabula are organized in order to have particular effects). The comparsion of words and image therefore means, on one hand, comparing linguistic and pictorial signs, which are used to »tell«/»show« the (same) story, and, on the other, comparing the way in which fabulistic elements are organized in order to evoke specific functioning of words or pictures as narrative texts. The question, then, on which the paper will propose some possible answers is both how the same story is told and shown by using different types and kinds of signs, as well as what kind of effects are produced on the level of pictorial organization of fabulistic elements in comparison to their organization on the linguistic level, and, when different, what meaning could that have for reading the text, »accompanied« by pictures.
The paper will analyze firstly the structure of time in the romances of the cycle Lancelot-Graa... more The paper will analyze firstly the structure of time in the romances of the cycle Lancelot-Graal, with particular observation of specific narrative structure of these romances. It will be analyzed how future narrative events are predicted and how past events are brought back into reader's memory, if they have special relevance for the contemporary evolving of the story. That means, that, secondly, the narrator's methods for activation of reader's memory will be described, as well as the understanding of time, as shown in relation between subsequent events. The second part of the paper will deal with the role of illustrations in illuminated manuscripts of the cycle; the role of these for reader's reception of the story will be put in question, especially when more different events from temporally different parts of the romance have been depicted in similar way (e.g. depictions of births of different characters - is there narrative reason for similar depictions, does an earlier birth bear consequences for a later one etc.?). Miniatures will be classified according to their role in the process of reception: as memory images, that bind together parts, that are far apart from each other in the story.
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With regard to the workshops in which they were made, they can be divided into four groups. Firstly, the episodes depicted will be compared inside these groups and, secondly, the comparison will cross the group-borders and thus note the distinctive characteristics of each workshop's iconographical programme and execution, in as much as it is distinct or similar to others.
Each picture will be analysed on three levels: textual, e.g. regarding the structure and composition of pictorial signs in which it is related (also in comparison to the literary text, e.g. verbal signs); the level of fabula, e.g. regarding the elements of content which are used in (or left out of) a depiction; and the level of story, e.g. regarding the different ways in which the elements of content (that is, fabula) are presented to the viewer. The main stress of the paper will be on the last two levels, since they are iconographically fundamental (the textual level has more to do with stilistic questions): iconographical changes in motifs may occur either on the level of the fabula (different elements of an episode are chosen to be depicted) or on the level of the story (the elements of the fabula are manipulated in different ways and the outcoming meaning this differs).
Apart from the comparison of the Estoire manuscripts between themselves, some depictions will also be compared to similar images in other texts (e.g. Biblical) in order to explain how the meaning of a (generic) depiction may have changed because of changed (literaty) context (e.g. images of vision, Holy Mass, debate between a man of faith and an unbeliever, etc.)
With regard to the workshops in which they were made, they can be divided into four groups. Firstly, the episodes depicted will be compared inside these groups and, secondly, the comparison will cross the group-borders and thus note the distinctive characteristics of each workshop's iconographical programme and execution, in as much as it is distinct or similar to others.
Each picture will be analysed on three levels: textual, e.g. regarding the structure and composition of pictorial signs in which it is related (also in comparison to the literary text, e.g. verbal signs); the level of fabula, e.g. regarding the elements of content which are used in (or left out of) a depiction; and the level of story, e.g. regarding the different ways in which the elements of content (that is, fabula) are presented to the viewer. The main stress of the paper will be on the last two levels, since they are iconographically fundamental (the textual level has more to do with stilistic questions): iconographical changes in motifs may occur either on the level of the fabula (different elements of an episode are chosen to be depicted) or on the level of the story (the elements of the fabula are manipulated in different ways and the outcoming meaning this differs).
Apart from the comparison of the Estoire manuscripts between themselves, some depictions will also be compared to similar images in other texts (e.g. Biblical) in order to explain how the meaning of a (generic) depiction may have changed because of changed (literaty) context (e.g. images of vision, Holy Mass, debate between a man of faith and an unbeliever, etc.)