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John Lydgate’s ‘Soteltes for the coronation banquet of Henry VI’
Heather Blatt

’, which ‘involves cognitive perception as two kinds of literacy: reading text and interpreting visual signs’.3 In counterpoint, Michael Camille asserts that attending to the manuscript involves more than confronting medieval reliance upon both word and image; it also requires assessing the sensory experiences manifested through the tactility of parchment.4 Yet, as critics studying the materiality of digital media have shown, details like these that represent the ‘forensic materiality’ of works are only one among a number of ways that materiality constitutes meaning

in Participatory reading in late-medieval England