By the same authors

The Lady with the Serpent’s Tail: Hybridity and the Dutch Meluzine

Research output: Chapter in Book/Report/Conference proceedingChapter (peer-reviewed)

Standard

The Lady with the Serpent’s Tail : Hybridity and the Dutch Meluzine. / Zeldenrust, Lydia.

Melusine’s Footprint: Tracing the Legacy of a Medieval Myth. Leiden : Brill, 2017. p. 132-145 (Explorations in Medieval Culture; Vol. 4).

Research output: Chapter in Book/Report/Conference proceedingChapter (peer-reviewed)

Harvard

Zeldenrust, L 2017, The Lady with the Serpent’s Tail: Hybridity and the Dutch Meluzine. in Melusine’s Footprint: Tracing the Legacy of a Medieval Myth. Explorations in Medieval Culture, vol. 4, Brill, Leiden, pp. 132-145. https://doi.org/10.1163/9789004355958_009

APA

Zeldenrust, L. (2017). The Lady with the Serpent’s Tail: Hybridity and the Dutch Meluzine. In Melusine’s Footprint: Tracing the Legacy of a Medieval Myth (pp. 132-145). (Explorations in Medieval Culture; Vol. 4). Leiden: Brill. https://doi.org/10.1163/9789004355958_009

Vancouver

Zeldenrust L. The Lady with the Serpent’s Tail: Hybridity and the Dutch Meluzine. In Melusine’s Footprint: Tracing the Legacy of a Medieval Myth. Leiden: Brill. 2017. p. 132-145. (Explorations in Medieval Culture). https://doi.org/10.1163/9789004355958_009

Author

Zeldenrust, Lydia. / The Lady with the Serpent’s Tail : Hybridity and the Dutch Meluzine. Melusine’s Footprint: Tracing the Legacy of a Medieval Myth. Leiden : Brill, 2017. pp. 132-145 (Explorations in Medieval Culture).

Bibtex - Download

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title = "The Lady with the Serpent’s Tail: Hybridity and the Dutch Meluzine",
abstract = "This essay examines what happened to the M{\'e}lusine figure as her legend spread to the Low Countries. The starting point is a small statue on top of a former guild house in Ghent, which—unlike most contemporary fifteenth-century depictions—shows M{\'e}lusine as a hybrid figure rather than a serpent. To shed light on the mystery of this hybrid form, the discussion turns to clues found in the hitherto largely neglected Middle Dutch Meluzine translation, of which there are three surviving witnesses: the incunable printed by Gheraert Leeu in 1491, the edition printed by Henrick Eckert van Homberch in 1510, and Hieronymus Verdussen’s 1602 edition. Close examination reveals that the concept of hybridity is central to the Dutch Meluzine. It is the only version based on different French redactions , the translator greatly emphasizes Meluzine’s hybrid nature, and her half-serpent form is also given a prominent position in the editions’ iconographies.",
author = "Lydia Zeldenrust",
note = "{\circledC}. This is an author-produced version of the published paper. Uploaded in accordance with the publisher’s self-archiving policy. Further copying may not be permitted; contact the publisher for details.",
year = "2017",
month = "11",
doi = "10.1163/9789004355958_009",
language = "English",
isbn = "978-90-04-31508-2",
series = "Explorations in Medieval Culture",
publisher = "Brill",
pages = "132--145",
booktitle = "Melusine’s Footprint",

}

RIS (suitable for import to EndNote) - Download

TY - CHAP

T1 - The Lady with the Serpent’s Tail

T2 - Hybridity and the Dutch Meluzine

AU - Zeldenrust, Lydia

N1 - ©. This is an author-produced version of the published paper. Uploaded in accordance with the publisher’s self-archiving policy. Further copying may not be permitted; contact the publisher for details.

PY - 2017/11

Y1 - 2017/11

N2 - This essay examines what happened to the Mélusine figure as her legend spread to the Low Countries. The starting point is a small statue on top of a former guild house in Ghent, which—unlike most contemporary fifteenth-century depictions—shows Mélusine as a hybrid figure rather than a serpent. To shed light on the mystery of this hybrid form, the discussion turns to clues found in the hitherto largely neglected Middle Dutch Meluzine translation, of which there are three surviving witnesses: the incunable printed by Gheraert Leeu in 1491, the edition printed by Henrick Eckert van Homberch in 1510, and Hieronymus Verdussen’s 1602 edition. Close examination reveals that the concept of hybridity is central to the Dutch Meluzine. It is the only version based on different French redactions , the translator greatly emphasizes Meluzine’s hybrid nature, and her half-serpent form is also given a prominent position in the editions’ iconographies.

AB - This essay examines what happened to the Mélusine figure as her legend spread to the Low Countries. The starting point is a small statue on top of a former guild house in Ghent, which—unlike most contemporary fifteenth-century depictions—shows Mélusine as a hybrid figure rather than a serpent. To shed light on the mystery of this hybrid form, the discussion turns to clues found in the hitherto largely neglected Middle Dutch Meluzine translation, of which there are three surviving witnesses: the incunable printed by Gheraert Leeu in 1491, the edition printed by Henrick Eckert van Homberch in 1510, and Hieronymus Verdussen’s 1602 edition. Close examination reveals that the concept of hybridity is central to the Dutch Meluzine. It is the only version based on different French redactions , the translator greatly emphasizes Meluzine’s hybrid nature, and her half-serpent form is also given a prominent position in the editions’ iconographies.

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DO - 10.1163/9789004355958_009

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BT - Melusine’s Footprint

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