was written on paper, hide, or cloth as talismans and read aloud, as well as through means such as the wetting and drinking of scraps containing religious formulas (115). Moreover, the author challenges the commonly-held view that hidden Qur’anic folios and inscriptions (in this case those dating from the fourteenth century found in Pedro IV’s hall) represent an act of protest or manuscript hiding, proposing instead that the concealed texts were used as a means to protect the carpenters working there as well as the hall itself. This contention is supported by the fact that the fourteenth century was one without widespread persecution of the Mudejars as well as one without the Inquisition (114). The fifth and final chapter focuses directly on the Moriscos, examining Mohanmad de Vera’s creation of fragments in his florilegium and linking this in the latter part of the chapter to a consideration of Morisco manuscripts as a personalized book culture through comparison with manuscripts containing magic texts. The afterword, ‘Material and Digital Tangibility’, discusses how the fragment and the UNESCO categories of tangible and intangible heritage underscore the intangible character of physical manuscripts with the aim of demonstrating that intangibility and tangibility exist on a continuum and are likewise a process, in the way of manuscript culture itself. This is an impressively erudite yet surprisingly accessible book for scholars who may not have previously examined manuscript culture in depth. The author’s ability to cast new light on non-material aspects of the fragments studied while at the same time offering significant and skillfully interconnected insights into their role in material culture is a noteworthy achievement.

中文翻译：

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阿方索十世，博学的，Cantigas de Santa María：选集

被写在纸、皮或布上作为护身符并大声朗读，以及通过诸如浸湿和饮用含有宗教公式的碎片等手段（115）。此外，作者挑战了普遍持有的观点，即隐藏的古兰经对开本和铭文（在这种情况下是在佩德罗四世大厅发现的 14 世纪的那些）代表抗议或手稿隐藏的行为，而是提议隐藏的文本是用作保护在那里工作的木匠以及大厅本身的一种手段。这一论点得到以下事实的支持：十四世纪既没有对穆德哈尔家族的广泛迫害，也没有宗教裁判所 (114)。第五章也是最后一章直接关注摩里斯科人，检查 Mohanmad de Vera 在他的花丛中创作的片段，并在本章的后半部分通过与包含魔法文本的手稿进行比较，将其与将 Morisco 手稿视为一种个性化的书籍文化的考虑联系起来。后记“物质和数字有形性”讨论了残片和联合国教科文组织的物质和非物质遗产类别如何强调实物手稿的无形特征，目的是证明无形性和有形性存在于一个连续统一体中，同样是一个过程，手稿文化本身的方式。对于以前可能没有深入研究手稿文化的学者来说，这是一本令人印象深刻的博学而又令人惊讶的易懂的书。