TY - BOOK AU - Madero,Marta AU - Chartier,Roger AU - Inciarte,Monique Dascha AU - Valayre,Roland David TI - Tabula Picta: Painting and Writing in Medieval Law T2 - Material Texts SN - 9780812241860 AV - KJA2438.I58 ǂb M3313 2010eb U1 - 346.04820902 PY - 2011///] CY - Philadelphia : PB - University of Pennsylvania Press, KW - Copyright (Roman law) KW - Law and art KW - Europe KW - History KW - To 1500 KW - Law, Medieval KW - Medieval and Renaissance Studies KW - HISTORY / Medieval KW - bisacsh N1 - Frontmatter --; Contents --; Foreword. The Things and the Words --; Introduction --; Chapter 1. Dominium and Object Extinction --; Chapter 2. Accessio --; Chapter 3. Specificatio --; Chapter 4. Form, Being, and Name --; Chapter 5. Ferruminatio, Adplumbatio --; Chapter 6. Factae and Infectae --; Chapter 7. Praevalentia --; Chapter 8. Pretium and Pretiositas --; Chapter 9. The Part and the Whole --; Chapter 10. Ornandi Causa --; Chapter 11. Qualitas and Substantia --; Conclusion --; Appendixes --; Notes --; Bibliography --; Index --; Acknowledgments; restricted access; Issued also in print N2 - To whom does a painted tablet-a tabula picta-belong? To the owner of the physical piece of wood on which an image is painted? Or to the person who made the painting on that piece of wood? By extension, one might ask, who is the owner of a text? Is it the person who has written the words, or the individual who possesses the piece of parchment or slab of stone on which those words are inscribed?In Tabula Picta Marta Madero turns to the extensive glosses and commentaries that medieval jurists dedicated to the above questions when articulating a notion of intellectual and artistic property radically different from our own. The most important goal for these legal thinkers, Madero argues, was to situate things-whatever they might be-within a logical framework that would allow for their description, categorization, and placement within a proper hierarchical order. Only juridical reasoning, they claimed, was capable of sorting out the individual elements that nature or human art had brought together in a single unit; by establishing sets of distinctions and taxonomies worthy of Borges, legal discourse sought to demonstrate that behind the deceptive immediacy of things, lie the concepts and arguments of what one might call the artifices of the concrete UR - https://doi.org/10.9783/9780812205879 UR - https://www.degruyter.com/isbn/9780812205879 UR - https://www.degruyter.com/document/cover/isbn/9780812205879/original ER -