Medieval Germanists Gathering (GBOFFL 2026)

“meister, phiff uff, lasz vns springen.” – Maria Magdalena, Frankfurter Passionsspiel 8b (ll. 698–743)

Enough rays to make functional the St Edmund Hall sundial; yellow, orange, and burgundy tulips; the four-note blast of that iconic hunting horn: these signs heralded the beginning of the three-day GBOFFL Conference of medieval Germanists one late afternoon in April.

The GBOFFL participants — from universities whose cities make up the abbreviated title, i.e. Geneva, Bern, Oxford, Freiburg (im Breisgau), Freiburg (im Üechtland), and Lausanne — kicked off the conference with a gathering in the cosy, climate-controlled Old Library of Teddy Hall, where they noshed anise cake and perused materials from the Hall’s collection, including a pamphlet on St Edmund and a Monty Python-themed cardboard catapult.

GBOFFL participants engage with the Teddy Hall collections (Photograph: Giovanna Truong)

After the reception, and with the rare books safely stowed, the participants poured tea and coffee and partook in analyzing and performing the Passionsspiel, in particular scenes from the Frankfurt and Alsfeld versions which are being prepared for an edition focussing on the life of Mary Magdalen — more on this during a workshop on medieval German drama on 2 May!

With their dramatic prowess soundly proven, the Germanists poured into the Wadham Room of The King’s Arms for a celebratory pint, each looking forward to the schedule of lectures and workshops in the days to come.

Gebofel in the Schweizerisches Idiotikon

The ninth of April saw a slate of four lectures by graduate scholars Monty Powell, Luke Cooper, Jasmin Eggel, and Felix Stürz. Each prepared a 30–40-minute presentation and fielded questions for the remainder of the given hour. Lively discussions ensued, on the voice of God, on magical poets, on video games, and on many further interesting topics, that are too many to elaborate here (,der zu vil zu schreiben wer’). A surprise lecture was given by Cornelia Herberichs on the etymology of the word GBOFFL, which proved not just to be an acronym, but a Swiss German description of a spirited (if labour-intensive) gathering.

After lunch, doctoral student Giovanna Truong (that’s me) led a workshop on letterpress printing (and early Yiddish typography) in which the GBOFFL participants learned to set their own names in lead type. With the expertise of Richard Lawrence, the Bodleian Bibliographical Press’s master printer, the students and faculty were able to print the list of names on a card alongside a linocut image of a peacock under a GBOFFL banner (designed and produced by yours truly with materials and assistance from Henrike Lähnemann). Some participants also printed t-shirts bearing the unofficial logo.

The card lists the names of workshop participants and bears a description in Yiddish: “דאָס קאַרטל איז געדרוקט געװאָרן אין אָקספֿאָרד אויפֿן גבאָפֿפֿל” — “This card was printed in Oxford at the GBOFFL.”

The day ended with a candlelit vegetarian dinner in the St Edmund Hall Old Dining Hall, where joyous chatter could be heard until twilight. Some of the merry group migrated to the Hall’s Crypt, where gowned Oxford scholars sang Compline in Latin and Middle High German around an Easter candle. The evening ended after sundown with the sung prayers of Havdalah, marking the end of the Jewish Passover holiday.

GBOFFL Schola in the Norman crypt of St-Peter-in-the-East, the library church of St Edmund Hall

The GBOFFLers returned the next day to Teddy’s Doctorow Hall for an enlivening of the senses — an early lecture by Susanne Finkel on visual poetics in Partonopier and Meliur works. The schedule called for a trip to the Weston Library for the weekly Coffee Morning, this week led by Philine Armbruster, Lucian Shepherd, and Henrike Lähnemann on the topic of manuscript fragments (and, as usual, including a few minutes for gazing at the dreaming spires from the roof terrace).

Welcome to the Coffee Morning by Chris Fletcher

Manuscripts and Books shown:

  1. Otto von Passau ‚24 Alte‘: MS. Germ. b. 3, fols 2-3, ed. here https://editions.mml.ox.ac.uk/editions/otto-von-passau/);
  • Douce 212 Die vierundczweinczig Altē. od’ d’ guldin tron, GW M28503 AugsburgAnton Sorg, 10.III.1480. 2° Letter by Wieland Schmidt, Die vierundzwanzig alten Ottos von Passau, Palaestra, 212 (Leipzig, 1938), 231-2 no. 1; See VL VII 229-34. Augsburg: Anton Sorg, 10 Mar. 1480. Folio. Wanting gathering [*] containing the register, sheet [05.6], and gathering [x]
  • Boec des gulden throēs of der xxiiij. ouden 1484[X.25] | herlem [J. Bellaert] | (fol.) Auct. 6 Q 5.23 GW M28517 Provenance: Haarlem, Netherlands, Franciscan Tertiary Nuns, S. Anna; inscription on r9r: Dit boec hoert toe den susteren van sinte Marien conuent binnen Haerlem in sinte Jans straet ende heeft ghege[n]en pieternel dirck der Ende marijtgen maertens der onse susteren tot een testement’. Purchased from Asher & Co. for £2.15.0; see Library Bills (1851-5), 77; Books Purchased (1853), 65. O-036 in Bod-Inc
  • Die vier und zweintzig Alten. Auffs new gebessert. Vet. D1 c.426, Dillingen: Sebald Meier 1568

2. Der Heiligen Leben

Fragments which were previously bound with the Der Heiligen Leben fragments

  • MS. Eng. hist. c. 36: summary catalogue, p. 865: was part of a series of unreferenced fragments &c. arranged as Palæographical Specimens, which was broken up in 1895. Now MS. Eng. hist. c. 36.
    1) a cardinal’s hat sent to Woolsey by the pope 15 Nov 1515, backed by the Bodleian (?) conservations; this presumably refers to the Cardinal’s hat still held at Christ Church https://www.chch.ox.ac.uk/news/cardinal-wolseys-hat-ipswich
    2) etc. mainly early modern letters, some 19th cent
    75, 76) list with specimen announcing and recouncing German-Turkish war

Rebecca Schleuß / Henrike Lähnemann: Regelhandschriften

Fun with Fragments manuscript presentation
The GBOFFL participants enjoyed exclusive views of Oxford.

The GBOFFL participants were allowed to stay for an extra hour-long manuscript workshop session with the aforementioned presenters plus Rebecca Schleuss, who showed off manuscripts of nuns’ regulations.

Rebecca Schleuß presenting manuscripts with monastic rules

After a lunch out on the town, the digestively sated but intellectually ravenous scholars rounded out the programme with two lectures, by Julie Dietsche and Hannah Free, which drew connections between printed works and manuscripts, and truth, fiction, and fanfiction, respectively. Their energetic presentations were the exclamation point at the end of a packed couple of days.

The group parted under sunny skies, promising to carry the warm, convivial, erudite spirit of the conference to next year’s gathering in Freiburg, Switzerland. Until then — zayt gezunt (be well)!

Keynote Lecture with Kate Rudy (University of St Andrews, UK): Feature it, or hide it?

When: Thursday, 6 April 2023, 2-3.45 pm 
Where: Weston Library, Lecture Theatre 
Speaker: Prof Kate Rudy (University of St Andrews, UK)
Admission: free, but registration is required 

We are delighted to have Kate Rudy as a keynote speaker. The lecture is part of the workshop ‘Cultures of Use and Reuse. Towards a Terminological and Methodological Framework of Reframing and Recycling‘. 

About the Keynote Lecture 

As Hannah Ryley and others have eloquently discussed in recent articles, medieval book materials—especially parchment—were costly but also durable. These two features of parchment encouraged its reuse.  In this talk I survey objects that undergo a shift in media in the process of being repurposed. Folios become objects, prints become miniatures, texts become images, folios become bindings. I will look in particular at the processes of transformation, considering cases in which the old, fragmented object is put on display, and cases in which the frame between the old and the new is smoothed over and minimalized. The status of the old material determines the length to which a craftsperson will go to either underscore, or minimalize, the disjunction between the repurposed material and its new housing. 

About the Speaker  

Kathryn Rudy (Kate) earned her Ph.D. from Columbia University in Art History, and a Licentiate in Mediaeval Studies from the University of Toronto. Before coming to St. Andrews, she held research, teaching, and curatorial positions in the US, the UK, Canada, The Netherlands, and Belgium. Her research concentrates on the reception and original function of manuscripts, especially those manufactured in the Low Countries, and she has pioneered the use of the densitometer to measure the grime that original readers deposited in their books. She is currently developing ways to track and measure user response of late medieval manuscripts.

How to Register for the Event 
If you wish to attend the keynote lecture, please register via this link

Contact Details 

For any enquires regarding the event, please contact: JProf. Dr Julia von Ditfurth (julia.von.ditfurth@kunstgeschichte.uni-freiburg.de), Dr Hannah Ryley (hannah.ryley@ell.ox.ac.uk) or Carolin Gluchowski (carolin.gluchowski@new.ox.ac.uk). 

This event this generously supported by the Oxford Berlin Research Partnership, New College, Balliol College, the Centre for the Study of the Book, the Ashmolean Museum, and the Bodleian Library. We are delighted to collaborate with Henrike Lähnemann, Alexandra Franklin, Andrew Dunning, and Jim Harris.

A Puzzle of Fragments from Late Medieval Catalonia

Our understanding of medieval culture vastly relies on fragmentary sources. Musicologists are especially well-acquainted with this —most historians working on pre-1500 music rely to a significant extent on ‘waste’ parchment as a source of information about lost musical cultures. Working with fragments is challenging; however, it can also yield extremely rewarding results when we are able to reconstruct a wider picture.

In a recent publication, I re-examined a group of musical fragments preserved in Catalan archives. They transmit a highly sophisticated repertory inspired by the musical practices of late fourteenth-century cardinals and popes in Avignon, alongside northern French aristocratic and royal households. My essay traces the provenance of these fragments, recalibrating the way we think about the connection between the original manuscripts, local ecclesiastic and courtly institutions, and individual clerics. To make a long story short, most of the manuscripts converge with the itineraries of King John I of Aragon (b. 1350, r. 1387-1396) —who was an enthusiastic lover of music— and his court. The rather concrete picture emerging from my study confirms the long-held hypothesis that the royal court of Aragon was a major force behind the dissemination of this refined musical repertory throughout late medieval Catalonia.

In order to make the results of my research accessible to non-specialists, I have put together this ten-minute video. I couldn’t resist including footage of some of my favourite medieval towns and buildings. I Hope you’ll enjoy watching it.


David Catalunya is a post-doctoral research fellow at the University of Oxford, and a member of the ERC-funded project ‘Music and Late Medieval European Court Cultures’. Earlier he has worked at the University of Würzburg, where he served as an editor of Corpus Monodicum. He has been an Associate Director of DIAMM, and a member of the research board of the Universidad Complutense de Madrid. His scholarly research embraces a wide range of topics in music, history and culture from the early Middle Ages to the Early Modern period. He is currently completing his book project Music, Space and Ceremony at the Royal Abbey of Las Huelgas in Burgos, 1200-1350.