Littérature scientifique sur le sujet « French Calligraphy »
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Articles de revues sur le sujet "French Calligraphy"
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Dervišević, Haris. « Julien Breton : Maestro of Light Calligraphy ». Društvene i humanističke studije (Online) 7, no 1(18) (4 mars 2022) : 267–80. http://dx.doi.org/10.51558/2490-3647.2022.7.1.267.
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This paper presents the artistic work of the French artist Julien Breton, known by the nicknameKaalam. In the beginning, he was influenced by graffiti art and Islamic calligraphy. Breton did not follow classical calligraphic styles but sought to find his own calligraphic expression that mirrored diwani, thuluth, and kufi script. The biggest leap in his aesthetics happened when he replaced pen and paper with light calligraphy, and a change of medium made him one of the protagonists of this art. In addition to exploring the possibilities of light calligraphy, Bretoncollaborates with other artists where the most interesting projects are with dance groups.
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Daniels, Peter T. « Calligraphy and Islamic Culture. Annemarie SchimmelThe Arabic Book. Johannes Pedersen , Geoffrey French ». Journal of Near Eastern Studies 46, no 3 (juillet 1987) : 237–39. http://dx.doi.org/10.1086/373250.
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Amiri, Lida. « Atiq Rahimi’s Exophonic Entanglements : Multilingual and Multimodal Poetics ». Journal of Literary Multilingualism 1, no 2 (3 novembre 2023) : 200–224. http://dx.doi.org/10.1163/2667324x-20230205.
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Abstract In 2008, first-generation Afghan migrant novelist-artist Atiq Rahimi published his first translingual work in French, Syngué Sabour: Pierre de patience. This article interrogates his multilingual and multimodal aesthetics across his translingual oeuvre. In his exophonic novel Les Porteurs d’eau (2019), Rahimi valorizes a polyvocal and culturally diverse Central Asian history. The Prix Goncourt–awarded author introduces Afghanistan’s past and present beyond its intracultural challenges. The epitome of the Rahimi-esque aesthetic is the author’s publication L’Invité du miroir (2020), which acts as a revolt, a transnational dialectic crossroads where multilingual fiction meets classical Persian calligraphy and nonfiction to explore the human spirit.
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Čapaitė, Rūta. « Boguslavo Radvilos autografas XVII a. lotyniškojo kursyvo kontekste ». Lietuvos istorijos metraštis 2020/2 (2 décembre 2020) : 5–40. http://dx.doi.org/10.33918/25386549-202002001.
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THE AUTOGRAPH OF BOGUSLAVAS RADVILA IN THE CONTEXT OF THE 17TH-CENTURY ROMAN CURSIVE The article dwells on the autograph of Boguslavas Radvila (Bogusław Radziwiłł) (1620–1669). The earliest autograph of the duke in the analysed material is detected in two letters in the Polish language dating back to 1622, and one letter in the same language dating back to 1623, written in his name by an adult to Kristupas II Radvila (Krzysztof Radziwiłł). The assumption is that the validation ręką swą in the letters of 1622 and the subscription, signature and validation in the letter of 1623 were made by the young duke while his hand was being held by an adult. The slightly different ductus of Boguslavas’ ‘autograph’, as observed in the letters, suggests that this might have been two different adults. It still remains unclear whether Boguslavas, who grew up in his mother’s German household and only spoke German, was taught to write in the German Gothic Cursive. While in the custody of his uncle Kristupas II Radvila, from 1629 to 1633, Boguslavas Radvila was taught to write, and used four different version of Italian Humanist Bastard. Based on the chronology, these versions are conditionally referred to as the first, the second, the third and the fourth. Letters in Polish to his uncle dating from 1629 and 1630 were written in the first and second versions. Letters to his uncle in Latin dating from 1630–1633 were written or signed (if they were written by somebody else) in the third and fourth versions. For a child’s hand, most letters are written calligraphically. The abundance of decorative elements suggests that Boguslavas was increasingly in control of the quill, and that he had talent. In addition, it points to the fact that when teaching a nobleman to write, the focus was on calligraphy. It still remains unclear why the letters in Latin were written in different versions of Humanist Bastard to those in Polish. The cautious assumption can be made that this was due to the preference of the duke’s teachers for those particular versions of testeggiata cursive. Consistent changes in Radvila’s autograph from a child’s to an adult’s hand could not be traced. Undoubtedly, the autograph was influenced by his studies between 1637 and 1648, and his visits to countries (Germany, the Netherlands, France and England) where the national script was Gothic Cursive, though Italian Humanist Bastard and French Humanist Bastard were also used. By 1641, the duke’s hand had already changed. The autograph was half-cursive, and included Gothic forms of d and z which had not been used in childhood. By 1645, Boguslavas Radvila’s hand had been fully trained, and the autograph had fully formed in the shape of cursive ductus. The choice of cursive was subject to the language of the text. Accuracy when writing was also an important factor. Based on the nature of the cursive used, four versions of the nobleman’s autograph can be distinguished: a Humanistic, a Mixed one, and two Gothic, one German Gothic and the other French Gothic. Texts in Polish and Latin (insertions in the text) were written either in Humanistic or in Mixed Cursive. Italian Humanistic Bastard served as the basis for the Humanistic autograph. However, quite a few of its characteristic features had paled, had been modified, or substituted with elements of French Humanistic Bastard, Gothic or Gothicised characters. The more accurate the duke was, the more elements of Italian Humanistic Bastard could be detected in his autograph. Occasionally, some features of French Humanistic Bastard can be identified (a letter or two). When writing in a fast and casual manner, the number of Gothic and Gothicised elements increased, which made the cursive Mixed. Texts in French were written in Gothic French Cursive. When the duke was not accurate enough, the number of Humanistic elements in his French Gothic autograph increased. This was Mixed Cursive with elements of French Gothic Cursive. Texts in German were written in German Gothic Cursive, under the influence of Humanistic Cursive. This is obvious in the ductus and occasional Humanistic form of the letters. Boguslavas Radvila’s autograph was subject to change: it either became neater or more casual. The calligraphic, or close to calligraphy, and casual, at times almost illegible, version of his cursive can be distinguished. Differences in the autograph can be explained by the duke’s attitude when writing, and by his physical well-being. Boguslavas Radvila’s autograph is evidence of the two types of Roman Cursive that were used at that time. At the same time, the duke joins the ranks of those who mastered two different cursives.
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Kukuryk, Agnieszka. « Écrire l’image dans l’espace – transgression des formes poétiques au début du XXème siècle ». Quêtes littéraires, no 5 (30 décembre 2015) : 99–108. http://dx.doi.org/10.31743/ql.242.
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The aim of this article is to present the connections between literature and art, as well as a graphic and artistic sing. The main subject of the study is the problem of typography, pictography, calligraphy and the visualisation as a sign created from the merging of a verbal code and a drawing representation. The dialogue of two sisters, due to which poetry has become a verbal painting /pictura loquens/, exhibits the variety of artistic creations based on the selected French literature of the early 20th century. The new tendencies which provoked the writers and painters, they could define the plasticity of words and pictures, as well as discover similarities of these two layers. The study attempts to discuss the co-existence and co-implication of the verbal codes and pictorial codes.
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Zakhama, Yousra. « Artistic communication through light painting technique : Julien Breton model ». International Uni-Scientific Research Journal 5 (2024) : 57–61. http://dx.doi.org/10.59271/s45298.024.0245.8.
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With technological and technical advancements, the field of visual arts has become a vast space for both artistic and technical interaction. New creative expressions have emerged, and artistic practices have opened up to each other, breaking down barriers. The exhibition space is no longer just a collector of arts; rather, other arts showcase their creativity using the latest technological mechanisms, which create images capable of raising various intellectual questions. Through this simplified definition, we shed light on the presentations of the French artist Julien Breton, who has imposed a distinctive dynamic between choreography and illuminated calligraphy, or what can be termed as linear marks drawn with light painting technique, a form of current technical imaging that has become an artistic phenomenon dominating spaces of various sizes and types. In light of this, we pose a series of questions: To what extent has technological progress contributed to delivering a comprehensive visual scene? Can harnessing light painting technology contribute to presenting the Arab heritage in the best possible way? To what extent has technological advancement become a necessity in our current era? Its impact in the field of education and learning
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Cankurt, Fatih. « Early Qur’anic Manuscripts Studies : Foreign Resources ». Journal Of The Near East Unıversıty Islamıc Research Center 8, no 1 (28 juin 2022) : 75–90. http://dx.doi.org/10.32955/neu.istem.2022.8.1.05.
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Ancient mushafs are important works that carry the writing experience of the first centuries of Islam to the present day. Early mushaf manuscripts, the way the words are written, the beginning of the chapter information, the number of verses, the signs of verse/stop/prostration, letter points, movements, illumination etc. From many points, it is a source of information for sciences such as calligraphy, history of mushaf, recitation, resm-i mushaf. At the same time, they are works that prove that the Qur'an has not been harmed, and that it has survived to the present day without any distortion, in written form. Despite these spiritual, scientific and historical importance, the early period mushafs were not sufficiently sought after by the researchers of our country. Although it is seen that there are studies of some mushafs in terms of calligraphy, it should be expressed with regret that there are very few studies based on mushaf history and recitation science in our country. Many factors affecting this situation can be mentioned, but the most effective reason is that it is considered unnecessary to do research on the written form of the divine word, the mushafs. On the other hand, orientalists have focused on the early mushafs for nearly two centuries and they still maintain this interest. It does not seem possible to express clearly whether there is an innocent scientific research intention behind this interest, or whether there is an effect of prejudices containing doubts that the Qur'an is a divine book. However, the fact that the West especially showed great interest in the early period mushafs and allocated serious budgets for research can be considered as a sign that the field should not be seen as unnecessary. This article deals with the researches completed abroad, especially in the West, on the early mushafs. The aim is to provide general information about the abundance of foreign studies and how they are, and to contribute to researchers who are interested in the field. For this purpose, a catalog was prepared by determining the names of foreign studies prepared in different languages about the early period mushafs by researchers in various countries. First of all, the printed version of the works whose names are included in the catalog, and if it is not possible, the digital file is tried to be reached. All of the studies, the text of which can be accessed, were examined and introductory summary information was recorded. Along with this summary information about them, the tags, language and subject of foreign studies have been classified and included in our article. As a result of the research, it has been seen that besides the codicological, paleographic and orthographic studies related to the ancient mushafs, there are also studies dealing with one or more early period mushafs in terms of their ornaments. It has been determined that a total of 97 works, including catalogs of museums/collections in which many early period mushafs are located, were prepared in German, Arabic and Persian languages, especially in English and French. Considering that there are many more studies that are not included in this article due to the inaccessibility of the text, it turns out that our country is far behind in the field of ancient mushafs. It is our aim at the end of this study that, as people with Muslim identity, our faith should be a means of giving importance to the field, studying and encouraging work so that we can become a dominant party in the early stages of our life.
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Suparba, Radian. « Dilema Droit De Suite Untuk Karya Seni Rupa ». JIPRO : Journal of Intellectual Property 2, no 2 (12 mai 2019) : 38–44. http://dx.doi.org/10.20885/jipro.vol2.iss2.art4.
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Droit de suite is a French term that introduces a law in the sense of the artist's resale right, namely the right granted to artists and their heirs to the resale of their copyrighted works. Then the creator of artworks and his heirs get a part of the return of their works when artworks change ownership through selling. This will bring a balance for copyright in Indonesia, that gave more attention in music and literature. Because music and literature can bring a passive income for all economic activities through royalty. in otherwise artworks couldn't get passive income, because artists just sell it whatever the price goes to others or buyer. In these days the price of artworks will go high in years after first purchase, it means there is the first buyer that buy artworks in small price, but the first buyer can sell it to the second buyer, the second buyer can sell it to the third buyer and so on with higher price than first purchase. That will trigger some artists or the heir, why can't get anything when the artworks price has gone up, while music and literature have a royalty system. Droit de suite system can be a solution for artists get passive income, but first must through the lawmaker to recognize droit de suite. Droit de suite system, in short, is a passive income system for artworks such as paintings, drawings, carvings, calligraphy, sculpture, sculpture, or collages. This system work when artworks got to sell at a price higher than first selling. as long as artworks still exist the price is going up after years and the ownership of artworks changes. When ownership change by through seller or dealer of artworks, the system will claim the right of artists for resale an artwork to another buyer. That will force a market to give exclusive attention to artworks in Indonesia better than sell it on the street to tourist as souvenir. The basic knowledge of droit de suite is important before lawmakers make a decision to recognize it. So that the lawmakers can make what kind droit de suite that can balance the law f copyright, because each country has diffrent systems but basic still same. There Berne Convention gave the basic system and limitation for droit de suite, so not all artworks gate the right.
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Zhulynskiy, Mykola. « NATIONAL EDUCATION IS THE MAIN GUARANTEE OF ESTABLISHING NATIONAL ELITE ». Scientific bulletin of KRHPA, no 11 (2019) : 89–94. http://dx.doi.org/10.37835/2410-2075-2019-11-9.
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In the article, the scientist focuses on the goal of education – the formation of a leading strata of the Ukrainian people – intellectuals, the national elite. The article states that the national character is formed only by the national school. The purpose of education is defined - formation of the leading layer of the Ukrainian people - intellectuals, national elites. It is noted that a conscious volyn political elite was formed. In a systematic analysis of archival sources, the author notes that in the State Archives of Ternopil region (fund 351) you can learn about the teachers of the gymnasium: the director and teacher of Latin Sergey Ulianovich Milyashkevich, professor of general history, geography and Latin Andrei Kutsa, professor of Ukrainian language and literature Victor Gnazhevsky , teachers of religion (Yuriy Ivanitsky), natural sciences and arithmetic (Luka Skibinetsky), manual labor, calligraphy and drawing (Vasyl Doroshenko), French and German; (Katerina Milyashkevich), teacher of mathematics. Physics and Chemistry (Vasyl Kavun). Describing the preconditions for the emergence of Ukrainian gymnasiums in Volyn, the author notes that at that time in the late 1920's Volyn voivodship operated 1144 schools, of which 390 were late saturdays, 750 Polish and only 4 schools with Ukrainian language education. The state program of assimilation of national minorities (the Ukrainian minority in the Second Common Polish Commonwealth was the second largest national group after the Poles, accounting for about 15% of the total population) in Volhynia was through compulsory school education in the spirit of the Propolis ideology. At the same time, Ukrainians sought to uphold the right to open schools with their native language of instruction even in those areas where they were quantitatively prevailing. This was guaranteed to the Ukrainians by the Polish Constitution of 1921. (Articles 110-111), but in reality it was extremely difficult to achieve this. Even the opening of a Ukrainian private school required a lot of effort - only with the permission of the minister of religion and public education. Kremenets Gymnasium, as well as Lutsk, as well as Rivne (arose thanks to the "Enlightenment" of 1923), nourished the native language, professed Orthodox traditions, revered outstanding national figures, leaders of the nation. It is from this angle that the role of the Ukrainian Gymnasium in Kremenets is shown, along with similar gymnasia in Lutsk and Vinnitsa in the formation of the secular and spiritual national consciousness of the Ukrainian intelligentsia, who later worked on asserting the statehood, including in the UPA ranks, for the development of the Ukrainian national culture.
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Kostova-Panayotova, Magdalena. « “T H E L A N G U A G E S” O F T H E L I T E R A R Y W O R K ». Ezikov Svyat volume 18 issue 2, ezs.swu.v18i2 (30 juin 2020) : 79–84. http://dx.doi.org/10.37708/ezs.swu.bg.v18i2.10.
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The work of François Cheng – a writer, poet, calligrapher, essayist, academician of Chinese origin and laureate of the French Francophone Academy is undoubtedly part of the cross-cultural literature of the end of the 20th and the beginning of the 21st century, when writers and poets from different, in this case Eastern background, like Yoko Tawada, Anna Moi, Amy Tan, Salman Rushdie, Haruki Murakami and others, have adopted the cross-cultural perspective of the migrant, the person who finds oneself in a context in which one begins to make sense of the living world by reading the foreign signs, comparing cultures and traditions, and translating the foreign culture in a particular way. The term “cross-cultural” literature will be used here in its sense that the writer and researcher G. Chkhartishvili associates with the new cultural phenomenon he calls “androgynous”, “East-Western literature” (Chkhartishvili, 1996). What, I would argue, is common to these artists is the rejection of the dual East - West model of culture, or, in Sánchez’ words, “the challenging of the bipolar models” (Sánchez, 2014, p. 55), the rejection of barriers and boundaries, because the cultures placed on both sides of such barriers are perceived either in terms of their own essential characteristics, or in ways that go beyond the proposed divisions.
Livres sur le sujet "French Calligraphy"
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Masʻūd, Ḥasan. Calligraphie de terre. Paris : Alternatives, 1997.
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Nuwas, Abu. Dīwān Abī Nuwās al-Ḥasan ibn Hāniʾ al-Ḥakamī. Barlīn : Yuṭlabu min Dār al-Nashr Klāws Shvārts, 2003.
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Nuwas, Abu. Dīwān Abī Nuʼās. Bayrūt : Dār wa-Maktabat al-Hilāl, 1986.
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Nuwas, Abu. Bacchus à Sodome. Paris : Paris Méditerranée, 2004.
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Nuwas, Abu. Shire yayin ṿe-ahavah. [Tel Aviv] : ha-Ḳibuts ha-meʾuḥad, 1999.
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Gaouette, Denise. Pirouette : Cahier de calligraphie cursive. Saint-Laurent, Québec : Éditions du Renouveau pédagogique, 2006.
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Marc, Mongeau, Bizier Patrick et Allard-Cameus Mélanie, dir. Pirouette : Cahier de calligraphie cursive. Montréal : Pearson, 2012.
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Wieck, Roger S. The hours of Henry VIII : A Renaissance masterpiece by Jean Poyet. New York : George Braziller in association with the Pierpont Morgan Library, 2000.
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1950-, Kren Thomas, Evans Mark L et Bourdichon Jean 1457?-1521?, dir. A masterpiece reconstructed : The Hours of Louis XII. Los Angeles : The J. Paul Getty Museum, 2005.
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(Japan), Kokuritsu Kokkai Toshokan. Kokuritsu Kokkai Toshokan shozō Meijiki kankō tosho maikuro-ban shūsei : Hōritsu : Chihō reikishū, BBD. Tōkyō : Maruzen, 1991.
Trouver le texte intégralChapitres de livres sur le sujet "French Calligraphy"
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Hiley, David. « Some characteristic neumes in North French, Sicilian and Italian chant manuscripts ». Dans The Calligraphy of Medieval Music, 153–62. Turnhout : Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.muma-eb.1.100927.
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Haines, John. « Manuscript sources and calligraphy ». Dans The Cambridge Companion to French Music, 293–312. Cambridge University Press, 2015. http://dx.doi.org/10.1017/cco9780511843242.019.
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« Excerpts from Abdelkébir Khatibi, La Blessure du nom propre (Paris : Editions Denoël, 1974) ». Dans Abdelkébir Khatibi, traduit par Matt Reeck, 329–46. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622331.003.0015.
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Both experimental intersemiotics and double critique define the scope of Abdelkébir Khatibi’s La Blessure du nom propre (‘The wound of the proper name’). Published in 1974, this work presents the distinctive way that Khatibi intervenes simultaneously in North African cultural studies and in French semiotics. The two excerpts here include the book’s introduction “The Text’s Crystal” and an excerpt from the chapter on calligraphy, “The Calligraphic Trace.” Translated into English for the first time, these excerpts exemplify Khatibi’s pioneering effort to reimagine Moroccan and Arab/Arabic cultural formations outside of both the colonial anthropological frame and the retrenched theocratic forms of national culture ascendant in the postcolonial world after decolonization. Also, in “The Calligraphic Trace,” Khatibi sets out to formulate an Arab/Arabic theory of the sign that, implicitly, can compete or contrast with European models of the same.
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Shilton, Siobhán. « Identity and ‘Difference’ in French Art : El Seed’s Calligraffiti from Street to Web ». Dans Post-Migratory Cultures in Postcolonial France, 239–56. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781786941138.003.0014.
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The attempts to ban the burkini on numerous beaches in the summer of 2016 highlight the extent of fears of visual signifiers of Arabo-Muslim ‘difference’ in public spaces in France. Given these anxieties, the positive reception of El Seed’s ‘calligraffiti’ – combining graffiti and Arabic calligraphy – in Paris might seem surprising. Focusing on El Seed’s work, this chapter asks how art can encourage dialogue and tolerance between cultures and communities in local – particularly Parisian – contexts and in a globalised frame. How does El Seed bring Arabic writing, a visual signifier of ‘difference’, into the public spaces of the French capital? How does he use public sites within and beyond France? How does the digital online presence of his multi-sited ephemeral work signal new means of evoking cultural identity and of interpolating diversely located spectators?
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Warner, Tobias. « The Fetish of Textuality : David Boilat’s Notebooks and the Making of a Literary Past ». Dans The Tongue-Tied Imagination, 33–50. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284634.003.0002.
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This chapter sketches the beginnings of literary modernity in Senegal through an analysis of a remarkable nineteenth-century collection of textual artifacts.This collection includes a multilingual corpus of poetry, calligraphy, folktales, and songs, as well as the textual components of several leather-bound protective amulets that for centuries Europeans called “fetishes.” The collection was assembled by David Boilat, a mixed-race priest, who pasted his findings into the pages of a notebook before sending them to anthropologists in Paris. Boilat’s notebook reframes the residues of many different textual practices and performance genres as texts that can be quotable, transportable, and readable in new ways. This subsumes collected artifacts into a new textual order, founded on the principle of readability. Nearly a century later, a young Léopold Senghor would incorporate some of Boilat’s collections into an early anthology of African writing in French, thereby consecrating them as literature.
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Elhariry, Yasser. « Wine Song ». Dans Pacifist Invasions. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940407.003.0005.
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Chapter 3 takes as its focal text a beautiful colour art book by Stétié, Le vin mystique précédé de Al-Khamriya d’Omar Ibn al-Farîdh (1998). Realized in collaboration with the Iraqi calligrapher Ghani Alani, Stétié’s bilingual edition and translation of Ibn al-Fāriḍ’s most celebrated mystical wine poem presents an original reading of a sacred ode to wine and god, which itself forms part of an idiosyncratic genealogy of wine in classical Arabic verse. I analyze the comparative, translational poetics and politics of Stétié’s French translation, which he appends with a long essay composed in French on the fraught relationship between alcohol and Islam, and between Islamic and Western views and representations of wine. Through his polyvalent idiomatic French translations of the key Sufi term for the ritual of rememberance, dhikr (defined by ʿĀʾishah al-Bāʿūniyyah in The Principles of Sufism), Stétié opens the translingual Franco-Arabic text to the poetics of the breath through the practice of rememoration. I show how his texts offer remarkable sites of the transference of one language and tradition into another, to the point where the translations permanently transform and transfigure the French of subsequent readings of such canonical authors as Baudelaire. I follow with a reading of Baudelaire that reveals a preoccupation with the poetics of the human breath, and an identical mystical Sufi idiom in all of his wine poetry and writings on wine and hashish. Stétié thus enacts and realizes the very ‘pacifist invasion’ that he announces elsewhere in his critical œuvre (Le français, l’autre langue, 2001). With Stétié, we hear whispers of the translational genesis-in-progress of a new Francophone lyric. I close this chapter with one illustrative example of the new Francophone lyric, through a consideration of how Franco-Arabic poetic modulations of the breath assume a performative aspect for Stétié in the context of the live ritual of his poetry readings.
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Tudorica, Ciliana. « The Dual Composition of a Shodō Calligraphic Work ». Dans Fresh Looks on Japan. Proceedings of the Japan Foundation Budapest Office’s Workshops for Doctoral Students of Japanese Studies in Central and Eastern Europe 2020 and 2022, 83–97. ELTE Institute of East Asian Studies, 2023. http://dx.doi.org/10.21862/bmeas.11.6.
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Mcginn, Colin. « Ayer : Old Scores ». Dans Minds and Bodies, 54–62. Oxford University PressNew York, NY, 1997. http://dx.doi.org/10.1093/oso/9780195113556.003.0009.
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Abstract When I was a quivering graduate student at Oxford in 1973, fresh from the northern provinces, I sat for the John Locke Prize, a voluntary two-day examination for Oxford postgraduates in philosophy. As I had hitherto been a psychology student at Manchester, I thought this would be good practice for my upcoming B. Phil. philosophy exams. It was quite an ordeal (I nearly gave up at one point), and afterward I felt I had a long way to go philosophically. A few days later Professor Ayer, who was one of the examiners, informed me that he had been obliged to require that my papers be typed, on account of their extreme illegibility: I would have to dictate them to a typist in the presence of an invigilator, both of whom I would have to pay. I apologized to him for my calligraphic delinquency and expressed some mumbled misgivings about going to all that trouble and expense, in view of my poor performance. To my surprise, he said he thought I was “worth it,” on what basis I am not sure. I therefore did as I was told, spending a couple of wincing days reading out my script to be converted into cold type. I really must improve my handwriting, I thought. Two or three weeks later Professor Ayer told me that I had been awarded the prize. He seemed almost as pleased as I was, clapping me warmly on the back and congratulating himself on his former perspicacity.