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Systems of Fabric

In

Rome: the Book of F

oundations

, Michel Serres

makes a call

sack

–

–

of thinking opposed to

the rigid lines by which

–

(236)

.

A valuable conceptual resource for

theorising

objects,

agency,

and temporality,

b

oth Serres and Bruno Latour

make frequent recourse

to textile

figures and metapho

rs.

Taking the work of

both

as a cue

,

this paper will

examine

some of the

threads linking

textiles, vernacular popular romance, and the late medieval ma

nuscripts in which

they survive

.

The metaphor of the fabric fold or gathering for the composition of romance evokes the shared

Latin etymology of text

and textile

so

fam

iliar to medieval write

rs

;

expansive in its potential for

generic overlap and self

–

reflexivity, the composition of romance is a process open to conjunction

and addition, just as potentially limitless possibilities are enfolded within fabric.

In turn, a

number

of

these works

such as

Emaré

,

Sir Degaré

, and

Sir Degrevant

are

replete with textile objects

that

form an important

part of their fabric of reality.

Since

medieval

manuscripts are also sewn objects,

dependent on

various

types

of stitching and fabric

in their production

and maintena

nce,

the textile

objects

of romance

serve to

meta

–

poetically invoke

their own

physical

existence.

I

propose to

argue, therefore, for the importance of understanding

medieval

romance textuality as fabricated

or

woven in a numbe

r of senses.

In this context,

m

edieval manuscripts

and the romances they contain

a number of

both material and figurative senses

.

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