{"id":216,"date":"2024-11-19T15:42:48","date_gmt":"2024-11-19T15:42:48","guid":{"rendered":"https:\/\/libraryblogs.is.ed.ac.uk\/estheringlis\/?p=216"},"modified":"2025-02-04T13:39:16","modified_gmt":"2025-02-04T13:39:16","slug":"online-exhibition","status":"publish","type":"post","link":"https:\/\/libraryblogs.is.ed.ac.uk\/estheringlis\/2024\/11\/19\/online-exhibition\/","title":{"rendered":"Online exhibition now live: Rewriting the Script"},"content":{"rendered":"

We are delighted to announce the launch of \u201cRewriting the Script\u201d:<\/a> a new online exhibition and research resource celebrating the life and works of Esther Inglis, curated by Anna-Nadine Pike. This exhibition forms one of the major outputs of the “Esther Inglis 2024” project<\/a> at Edinburgh University Library. It is the result of several years of research and many months of curation, supported by the invaluable assistance of librarians and digital archivists across the globe who have provided new digital imagery of Inglis\u2019 manuscripts to aid in the telling of her remarkable story. The exhibition displays nearly half of Esther Inglis\u2019 known surviving manuscripts, and contains links to all of the currently-available digital imagery<\/a> of her work. Structured by nine different sections, this exhibition celebrates the diversity of Esther Inglis\u2019 identity \u2014 as scribe<\/a>, artist<\/a>, author<\/a>, mother<\/a>, and as a truly exceptional Jacobean woman.<\/p>\n

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The exhibition has been titled “Rewriting the Script: the works and words of Esther Inglis” \u2014 and the different levels to this name are intentional. As a scribe, Esther Inglis\u2019 work was to write and rewrite the many individual scripts which she learned from her mother and from the publications of contemporary writing masters. She worked in more scripts than anyone else from her time, man or woman, professional or pupil. But through her scribal activity, her artistry, the intricacy of her work and her involvement in wider social or literary circles, she also endlessly rewrote the script for an early-modern woman in Scotland or England \u2014 known within the Jacobean court and receiving a level of education unparalleled for a non-aristocratic woman.<\/p>\n

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A further layer of \u201crewriting\u201d, which formed part of the process of curating this exhibition, is the rewriting of how Esther Inglis is known to us today. \u201cRewriting the Script\u201d emphasises that Esther Inglis was not just a calligrapher \u2014 she was a scribe, but she was also an artist with the pen and with the needle, she was an illuminator or limner, she was a portrait miniaturist, a literary author. And, woven into all these facets of her identity, she was a wife, a daughter of refugees, and a mother to eight children.<\/p>\n

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\u201cRewriting the Script\u201d has been designed as an immersive and interactive online exhibition \u2014 alongside the curated images of Inglis\u2019 surviving manuscripts, for example, the exhibition also includes many different audio clips. Listening to the integrated audio, a visitor can hear the \u2018voices\u2019 of Esther Inglis and her husband Bartilmo Kello reading from their own manuscripts \u2014 as well as longer interview-style pieces with modern scholars, and even the actor Gerda Stevenson reading her own poem, Nine Haiku for Esther Inglis<\/em>. Adding to its interactivity, the exhibition also incorporates several videos filmed with the National Library of Scotland. These videos facilitate close-up viewing of Inglis\u2019 books while also allowing viewers to deepen their understanding of particular manuscripts. In the example below, the video compares one of Esther Inglis\u2019 manuscripts from 1607 to a Flemish medieval manuscript produced in the early 1500s which then circulated in Scotland, and it explores the connection between their artistic styles.<\/p>\n

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Another possibility offered by an online exhibition is also the potential for close looking \u2013 guiding a
\nviewer through different parts of a particular image. \u201cRewriting the Script\u201d includes several interactive images which enable close-up encounters with the items displayed \u2014 from Esther Inglis\u2019 own self-portraits to an immersive \u2018early modern writing desk\u2019. Scrolls through each page, the curation of images also moves between close-ups, magnification, and books held within the palm of the hand, and this is designed to immerse a viewer in the intricacy of Esther Inglis\u2019 work, while still capturing the miniature nature of many of her books.<\/p>\n

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The final section of this exhibition considers the afterlives of Esther Inglis\u2019 manuscripts \u2014 what has happened to these books in the 400 years since their first creation, from journeys to different libraries, to readers\u2019 additions to their pages, to the beginnings of academic conversations around Inglis and her work. It is the hope of the \u201cEsther Inglis 2024\u201d project that this new online exhibition will allow these conversations to continue \u2014 while also moving beyond academic spaces, bringing Esther Inglis\u2019 story and her manuscripts to wider audiences. \u201cRewriting the Script\u201d has been designed as an engaging exhibition which is aimed at the general public, but grounded within the latest scholarly and archival research.<\/p>\n

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Visit the exhibition here.<\/a><\/p>\n

We would welcome your feedback on “Rewriting the Script”! Comment your thoughts below, and we would be very glad to hear from you.<\/p>\n

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We are delighted to announce the launch of \u201cRewriting the Script\u201d: a new online exhibition and research resource celebrating the life and works of Esther Inglis, curated by Anna-Nadine Pike. This exhibition forms one of the major outputs of the “Esther Inglis 2024” project at Edinburgh University Library. It is the result of several years…<\/p>\n","protected":false},"author":209,"featured_media":233,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[7],"tags":[],"jetpack_featured_media_url":"https:\/\/libraryblogs.is.ed.ac.uk\/estheringlis\/files\/2024\/11\/Screenshot-2024-11-19-at-15.41.21.png","_links":{"self":[{"href":"https:\/\/libraryblogs.is.ed.ac.uk\/estheringlis\/wp-json\/wp\/v2\/posts\/216"}],"collection":[{"href":"https:\/\/libraryblogs.is.ed.ac.uk\/estheringlis\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/libraryblogs.is.ed.ac.uk\/estheringlis\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/libraryblogs.is.ed.ac.uk\/estheringlis\/wp-json\/wp\/v2\/users\/209"}],"replies":[{"embeddable":true,"href":"https:\/\/libraryblogs.is.ed.ac.uk\/estheringlis\/wp-json\/wp\/v2\/comments?post=216"}],"version-history":[{"count":11,"href":"https:\/\/libraryblogs.is.ed.ac.uk\/estheringlis\/wp-json\/wp\/v2\/posts\/216\/revisions"}],"predecessor-version":[{"id":237,"href":"https:\/\/libraryblogs.is.ed.ac.uk\/estheringlis\/wp-json\/wp\/v2\/posts\/216\/revisions\/237"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/libraryblogs.is.ed.ac.uk\/estheringlis\/wp-json\/wp\/v2\/media\/233"}],"wp:attachment":[{"href":"https:\/\/libraryblogs.is.ed.ac.uk\/estheringlis\/wp-json\/wp\/v2\/media?parent=216"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/libraryblogs.is.ed.ac.uk\/estheringlis\/wp-json\/wp\/v2\/categories?post=216"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/libraryblogs.is.ed.ac.uk\/estheringlis\/wp-json\/wp\/v2\/tags?post=216"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}