vrijdag 11 september 2015

Soundtrack

Soundtrack[edit]

  • "Offering to the Saviour Gompo", Performed by Buddhist Lamas & Monks of the Four Great Orders, Courtesy of Lyrichord Disks New York
  • "A Buddhist Prayer", Performed by Buddhist Lamas & Monks of the Four Great Orders, Courtesy of Lyrichord Disks New York
  • "Invocations of Gompo", Performed by Buddhist Lamas & Monks of the Four Great Orders, Courtesy of Lyrichord Disks New York
  • "Ranryo Ou", Court music of Japan, Performed by Tokyo Gakuso, Courtesy of Victor Entertainment
  • "Nasori", Court music of Japan, Performed by Tokyo Gakuso, Courtesy of Victor Entertainment
  • "Manzairaku", Court music of Japan, Performed by Tokyo Gakuso, Courtesy of Victor Entertainment
  • "Wedding Song", Performed by A Village Ensemble, Aqcha, Afghanistan, Courtesy of Topic Records Lrd
  • "Blonde", Performed by Guesch Patti & E. Daho, Courtesy of EMI Music Publishing France SA
  • "La Marquise", Performed by Guesch Patti & Dimitri Tikovoi, Courtesy of EMI Music Publishing France SA
  • "La Chinoise", Performed by Guesch Patti & Dimitri Tikovoi, Courtesy of EMI Music Publishing France SA
  • "Taimu-Mashin no nai Jidai", Performed by Cawai Miwako, Courtesy of Fun house Publishers, Inc
  • "Daddy's Gonna Pay For Your Crashed Car", Written by U2, Performed by U2, Courtesy of Polygram International
  • "Sinfonia Concertante in A Fur Violine, Viola, Violoncello und Orchester", Written by Wolfgang Amadeus Mozart, reconstructor Shigeaki Saegusa, Performed by Mozarteum Orchester Salzburg, conductor Hans Guraf, Courtesy of May Music, Japan
  • "Valse", extract from The Frist String Quartet "La Théorie", Written by Walter Hus, Performed by Quadro Quartet, Courtesy of Het Gerucht / Uncle Dan's
  • "Je suis la resurrection", Performed by Autopsia, Courtesy of Hypnobeat Records
  • "Ai no Meguriai", Performed by Judy Ongg, Courtesy of Nichion
  • "Qui Tolis", Extract from "Rome", Written by Patrick Mimran, Performed by James Bowman, Courtesy of Wisteria Publishing, Amsterdam
  • "Teki Wa Ikuman", Performed by Ichjiro Wakahar, Courtesy of King Records
  • "Aiba Shingun-ka", Performed by Hachiro Kasuga, Courtesy of King Records
  • "Chicken Bandit-The-Blistered-Corn", Performed by Lam Man Chun and Eric Tsang, Courtesy of New Melody Publishing/Bird and Child Ltd
  • "Suiren", Performed by Yasuaki Shimizu, Courtesy of Nippon Columbia Berlin
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Writing of books 7 – 13

Writing of books 7 – 13[edit]

Nagiko, now pregnant with Jerome's child, writes Book 7: The Book of The Seducer on a male messenger. The writing on him is almost destroyed and undecipherable when the publisher accidentally leaves the messenger out in the rain. Book 8: The Book of Youth is delivered as a series of photographs. A young Buddhist monk (Kinya Tsuruyama) then arrives bearing Book 9: The Book of Secrets written on all his "secret" spots: in between his fingers and toes, the insides of his thighs, etc.; the book is presented in the form of riddles. When the next messenger (Rick Waney) arrives, he is completely bare: no writing at all. The publisher and staff search for any hint of writing on the messenger's naked body. As the publisher dismisses him as a hoax, the man sticks out his tongue, bearing Book 10: The Book of Silence.
The activists' protests come to an end when their truck hits a young wrestler (Eiichi Tanaka) bearing Book 11: The Book of The Betrayed, right outside the publisher's office. The next messenger (Masaru Matsuda) simply drives by the office, giving little time to copy down Book 12: The Book of False Starts.
Finally, Book 13: The Book of the Dead arrives on the body of a Sumo wrestler (Wataru Murofushi). In the book writing on the body of the messenger, which the publisher carefully reads, Nagiko finally reveals her identity, confronting the publisher with his crimes: blackmailing and disgracing her father, "corrupting" her husband, as well as Jerome, and what he's done to Jerome's corpse. The publisher, greatly shamed and humbled by being confronted with his guilt, hands the pillow book made of Jerome's skin to the messenger, then has the messenger slit his throat.
Upon recovering the book made out of Jerome's skin, Nagiko buries it under a Bonsai tree and life goes on. She has given birth to Jerome's child (Hikari Abe), and is shown in the epilogue writing on her child's face, like her father used to do when she was young, and quoting from her own pillow book. It is now Nagiko's 28th birthday.
Nagiko's bi-cultural heritage plays a key role in this film. As a half-Chinese and half-Japanese woman, Nagiko navigates her dual cultures through physical and psychological exploration. Greenaway portrays this exploration subtly by mixing and switching Asian iconography.
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Writing of books 1 – 6

Writing of books 1 – 6[edit]

Nagiko tells Jerome the truth and the whole story with the publisher. Jerome comes up with an idea: Nagiko will write her book on Jerome's body and Jerome will take it to the publisher. Nagiko loves the idea, and writes Book 1: The Book of The Agenda, in intricate characters of black, red, and gold, on Jerome, keeping her identity anonymous. The plan is a success: Jerome sees the publisher and exhibits the book on his nude body, and the impressed publisher has his scriveners copy down the text.
After telling Nagiko of the plan's success, Jerome tells Nagiko that he'll return to her as soon as the publisher, who was extremely aroused by the experience, lets him go. However, during his time with the publisher, Jerome appears to lose track of time and doesn't return to Nagiko. Nagiko, jealous, impatient, and angry, searches for Jerome, eventually finding him making love with the publisher. Nagiko takes this as rejection and betrayal of the worst kind, and immediately plots revenge.
On two Swedish tourists (Wichert Dromkert and Martin Tukker), Nagiko writes Book 2: The Book of The Innocent and Book 3: The Book of the Idiot. Shortly afterwards, an old man (Wu Wei) is running naked through the streets from the publisher's shop, bearing Book 4: The Book of Impotence/Old Age. Book 5: The Book of the Exhibitionistis delivered by a boorish, fat, hyperactive American (Tom Kane; who was actually more interested in Hoki than Nagiko).
Nagiko's revenge is a success. Jerome is furiously jealous, and comes to Nagiko's home to confront her. Nagiko refuses to meet him, however, and won't let Jerome in. Jerome's outrage soon turns to desperation as he begs her to talk to him, but she won't.
Jerome sinks into deep depression and meets with Hoki at the Cafe Typo, desperate to find a way to get Nagiko to forgive him. Hoki suggests that he "scare" Nagiko by faking suicide, similar to the fake death scene in Romeo and Juliet and gives Jerome some pills.
Arriving at Nagiko's home while she is away, Jerome takes some of the pills, then writes a page, as if writing a book. Each time he takes some pills, he writes another page, keeping track of how many pills he takes on each page. As the pills take effect, Jerome can write no more and lies on the bed, naked, holding a copy of Sei Shōnagon's the book of observations.
The plan is a success: when Nagiko returns home and finds Jerome, she rushes to him, eager to renew their relationship and continue their plans. However, the plan has worked too well: Jerome has overdosed on the pills and is dead. Nagiko is devastated, and realises how much she loved him. On his dead body, Nagiko writes Book 6: The Book of the Lovers.
At Jerome's funeral, his mother (Barbara Lott), a snobbish, upper-class woman, tells Nagiko that Jerome always loved things that were "fashionable". When she suggests that was probably why Jerome loved Nagiko, Nagiko strikes her.
After the funeral, the publisher secretly exhumes Jerome's body from the tomb and has Jerome's skin, still bearing the writing, flayed and made into a grotesque pillow book of his own. Nagiko, now back in Japan, learns of the publisher's actions and becomes distraught and outraged. She sends a letter to the publisher, still keeping her identity a secret, demanding that particular book from the publisher's hands in exchange for the remaining books. The publisher, now obsessed with his mysterious writer and her work, agrees.
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Penmanship

Penmanship

From Wikipedia, the free encyclopedia
For other uses, see Penmanship (disambiguation).
Example of classic American business cursive handwriting known asSpencerian script from 1884.
Penmanship is the technique of writing with the hand using a writing instrument. The various generic and formal historical styles of writing are called "hands" whilst an individual's style of penmanship is referred to as "handwriting".

History[edit]

Origins[edit]

For more details on this topic, see History of writing.
The earliest example of systematic writing is the Sumerian pictographic system found on clay tablets, which eventually developed around 3200 BC into a modified version called cuneiform.[1] Cuneiform is from the Latin meaning “wedge-shaped” and was impressed on wet clay with a sharpened reed.[2] This form of writing eventually evolved into an ideographic system (where a sign represents an idea) and then to a syllabic system (where a sign represents a syllable).[3] Developing around the same time, the Egyptian system of hieroglyphics also began as a pictographic script and evolved into a system of syllabic writing. Two cursive scripts were eventually created,hieratic, shortly after hieroglyphs were invented, and demotic (Egyptian) in the seventh century BC.[4] Scribes wrote these scripts usually on papyrus, with ink on a reed pen.
The first known alphabetical system came from the Phoenicians, who developed a vowel-less system of 22 letters around the eleventh century BC.[5] The Greeks eventually adapted the Phoenician alphabet around the eighth century BC. Adding vowels to the alphabet, dropping some consonants and altering the order, the Ancient Greeks developed a script which included only what we know of as capital Greek letters.[6] The lowercase letters of Classical Greek were a later invention of the Middle Ages. The Phoenician alphabet also influenced the Hebrew and Aramaic scripts, which follow a vowel-less system. One Hebrew script was only used for religious literature and by a small community of Samaritans up until the sixth century BC. Aramaic was the official script of the Babylonian, Assyrian and Persian empires and ‘Square Hebrew’ (the script now used in Israel) developed from Aramaic around the third century AD.[7]

Handwriting based on Latin script[edit]

For more details on this topic, see Palaeography.
The Romans in Southern Italy eventually adopted the Greek alphabet as modified by the Etruscans to develop Latin writing.[8] Like the Greeks, the Romans employed stone, metal, clay, and papyrus as writing surfaces. Handwriting styles which were used to produce manuscripts included square capitals, rustic capitals, uncials, and half-uncials.[9]Square capitals were employed for more-formal texts based on stone inscriptional letters, while rustic capitals freer, compressed, and efficient.[8] Uncials were rounded capitals (majuscules) that originally were developed by the Greeks in the third century BC, but became popular in Latin manuscripts by the fourth century AD. Roman cursive or informal handwriting started out as a derivative of the capital letters, though the tendency to write quickly and efficiently made the letters less precise.[10] Half-uncials (minuscules) were lowercase letters, which eventually became the national hand of Ireland.[9] Other combinations of half-uncial and cursive handwriting developed throughout Europe, including Visigothic, and Merovingian.[11]
At the end of the eighth century, Charlemagne decreed that all writings in his empire were to be written in a standard handwriting, which came to be known as Carolingian minuscule.[12] Alcuin of York was commissioned by Charlemagne to create this new handwriting, which he did in collaboration with other scribes and based on the tradition of other Roman handwriting.[13] Carolingian minuscule was used to produce many of the manuscripts from monasteries until the eleventh century and most lower-case letters of today's European scripts derive from it.[14]
Gothic or black-letter script, evolved from Carolingian, became the dominant handwriting from the twelfth century until the Italian Renaissance (1400–1600 AD). This script was not as clear as the Carolingian, but instead was narrower, darker, and denser. Because of this, the dot above the i was added in order to differentiate it from the similar pen strokes of the n, m, and u. Also, the letter u was created as separate from the v, which had previously been used for both sounds.[15] Part of the reason for such compact handwriting was to save space, since parchment was expensive.[16] Gothic script, being the writing style of scribes in Germany when Gutenberg invented movable type, became the model for the first type face. Another variation of Carolingian minuscule was created by the Italian humanists in the fifteenth century, called by them littera antiqua and now called humanist minuscule.[17] This was a combination of Roman capitals and the rounded version of Carolingian minuscule. A cursive form eventually developed, and it became increasingly slanted due to the quickness with which it could be written. This manuscript handwriting, called cursive humanistic, became known as the typeface Italic used throughout Europe.[18]
Copperplate engraving influenced handwriting as it allowed penmanship copybooks to be more widely printed. Copybooks first appeared in Italy around the sixteenth century; the earliest writing manuals were published by Sigismondo Fanti and Ludovico degli Arrighi.[19] Other manuals were produced by Dutch and French writing masters later in the century, including Pierre Hamon.[19] However, copybooks only became commonplace in England with the invention of copperplate engraving. Engraving could better produce the flourishes in handwritten script, which helped penmanship masters to produce beautiful examples for students.[15] Some of these early penmanship manuals included those of Edward Cocker, John Seddon, and John Ayer. By the eighteenth century, schools were established to teach penmanship techniques from master penmen, especially in England and the United States.[16] Penmanship became part of the curriculum in American schools by the early 1900s, rather than just reserved for specialty schools teaching adults penmanship as a professional skill. Several different penmanship methods have been developed and published, including Spencerian, Getty-Dubay, Barchowsky Fluent Handwriting, Icelandic (Italic), Zaner-Bloser, and D’Nealian methods among others used in American education.[16]
Example of semi-cursive style Chinese calligraphy

Handwriting based on Chinese script[edit]

Writing systems developed in East Asia include Chinese and Japanese writing systems. Chinese characters represent whole morphemes rather than individual sounds, and consequently are visually far more complex than European scripts; in some cases their pictographic origins are still visible. The earliest form of Chinese was written on bones and shells (called Jiaguwen) in the fourteenth century BC. Other writing surfaces used during this time included bronze, stone, jade, pottery, and clay, which became more popular after the twelfth century BC.[20] Greater Seal script (Dazhuan) flourished during 1100 BC and 700 BC and appeared mainly in bronze vessels.[21] Lesser Seal script (Xiaozhuan) is the precursor of modern complex Chinese script, which is more stylized than the Greater Seal.[21]
Chinese handwriting is considered an art, more so than illuminated manuscripts in Western culture. Calligraphy is widely practiced in China, which employs scripts such as Kaishu (standard), Xingshu (semi-cursive), and Caoshu (cursive).[22] Chinese calligraphy is meant to represent the artistic personality in a way western calligraphy cannot, and therefore penmanship is valued higher than in any other nation.[23] Standard Script (Kaishu) is main traditional script used today.
Japanese writing evolved from Chinese script and Chinese characters, called kanji, or ideograms, were adopted to represent Japanese words and grammar.[24] Kanji were simplified to create two other scripts, called hiragana and katakana. Hiragana is the more widely used script in Japan today, while katakana, meant for formal documents originally, is used similarly to italics in alphabetic scripts.[25]

Teaching methods and history[edit]

Books used in North America[edit]

'The quick brown fox jumps over the lazy dog', written by two different hands
Platt Rogers Spencer is known as the "Father of American Penmanship". His writing system was first published in 1848, in his bookSpencer and Rice's System of Business and Ladies' Penmanship. The most popular Spencerian manual was The Spencerian Key to Practical Penmanship, published by his sons in 1866. This "Spencerian Method" Ornamental Style was taught in American schools until the mid-1920s, and has seen a resurgence in recent years through charter schools and home schooling using revised Spencerian books and methods produced by former IAMPETH president Michael Sull (* 1946).
George A. Gaskell (1845–1886), a student of Spencer, authored two popular books on penmanship, Gaskell's Complete Compendium of Elegant Writing and The Penman's Hand-Book (1883). Louis Henry Hausam published the "New Education in Penmanship" in 1908, called "the greatest work of the kind ever published."[26]
Many copybooks were produced in North America at the start of the 20th century, mostly for Business Style penmanship (a simplified form of Ornamental Style). These included those produced by A. N. Palmer, a student of Gaskell, who developed the Palmer Method, as reflected in his Palmer's Guide to Business Writing, published in 1894. Also popular was Zaner-Bloser Script, introduced by Charles Paxton Zaner (15 February 1864 – 1 December 1918) and Elmer Ward Bloser (6 November 1865 – 1929) of the Zanerian Business College. The A. N. Palmer Company folded in the early 1980s.
Modern Styles include more than 200 published textbook curricula including: D'Nealian Script (a derivative of the Palmer Method which uses a slanted, serifed manuscript form followed by an entirely joined and looped cursive), Modern Zaner-Bloser which accounts for the majority of handwriting textbook sales in the USA, A Beka, Schaffer, Peterson, Loops and Groups, McDougal, Steck Vaughn, and many others.
Italic Styles include Getty-Dubay (slightly slanted), Eager, Portland, Barchowsky, Queensland, etc.
Other copybook styles that are unique and do not fall in to any previous categories are Smithhand, Handwriting without Tears, Ausgangsschrift, Bob Jones, etc. these may differ greatly from each other in a variety of ways. The first made video for correcting messy handwriting especially for people with ADHD and or dysgraphia was " Anyone Can Improve Their Own Handwriting" by learning specialist Jason Mark Alster MS.c.

Schools in East Asia[edit]

A typical Kanji practice notebook of a 3rd grader
By the nineteenth century, attention was increasingly given to developing quality penmanship in Eastern schools. Countries which had a writing system based on logographs and syllabaries placed particular emphasis on form and quality when learning.[27] These countries, such as China and Japan, have pictophonetic characters which are difficult to learn. Chinese children start by learning the most fundamental characters first and building to the more esoteric ones. Often, children trace the different strokes in the air along with the teacher and eventually start to write them on paper.[27]
In the twentieth and twenty-first centuries, there have been more efforts to simplify these systems and standardize handwriting. For example, in China in 1955, in order to respond to illiteracy among people, the government introduced a Romanized version of Chinese script, called Pinyin.[28] However, by the 1960s, people rebelled against the infringement upon traditional Chinese by foreign influences.[28]This writing reform did not help illiteracy among peasants. (However, it does help speakers of phonetic languages learn Chinese.) Japanese also has simplified the Chinese characters it uses into scripts called kana. However kanji are still used in preference over kana in many contexts, and a large part of children's schooling is learning kanji.[29] Moreover, Japan has tried to hold on to handwriting as an art form while not compromising the more modern emphasis on speed and efficiency. In the early 1940s, handwriting was taught twice, once as calligraphy in the art section of school curricula, and then again as a functional skill in the language section.[30] The practical function of penmanship in Japan did not start to be questioned until the end of the twentieth century; while typewriters proved more efficient than penmanship in the modern West, these technologies had a hard time transferring to Japan, since the thousands of characters involved in the language made typing unfeasible.[30]

Motor control[edit]

Handwriting requires the motor coordination of multiple joints in the hand, wrist, elbow, and shoulder to form letters and to arrange them on the page. Holding the pen and guiding it across paper depends mostly upon sensory information from skin, joints and muscles of the hand and this adjusts movement to changes in the friction between pen and paper.[31] With practice and familiarity, handwriting becomes highly automated using motor programs stored in motor memory.[32] Compared to other complex motor skills handwriting is far less dependent on a moment-to-moment visual guidance.[33][34]
Research in individuals with complete peripheral deafferentation with and without vision of their writing hand finds increase of number of pen touches, increase in number of inversions in velocity, decrease of mean stroke frequency and longer writing movement duration. The changes show that cutaneous and proprioceptive feedback play a critical role in updating the motor memories and internal models that underlie handwriting. In contrast, sight provides only a secondary role in adjusting motor commands.[34]

See also[edit]

  • Typography — the appearance, arrangement, and style of printed text
Types of writing
  • Handwriting, a person's particular style of writing by pen or a pencil
  • Hand (handwriting), in palaeography, refers to a distinct generic style of penmanship
  • Block letters — also called printing, is the use of the simple letters children are taught to write when first learning
  • Calligraphy — the art of writing itself, generally more concerned with aesthetics for decorative effect than normal handwriting.
  • Cursive — any style of handwriting written in a flowing (cursive) manner, which connects many or all of the letters in a word, or the strokes in a CJK character or othergrapheme.
Studies of writing and penmanship
  • Diplomatics — forensic palaeography (seeks the provenance of written documents).
  • Graphology — the study and analysis of handwriting especially in relation to human psychology.
  • Graphonomics — is the interdisciplinary scientific study of the handwriting process and the handwritten product
  • Palaeography — the study of script.
Penmanship-related professions
Other penmanship-related topics

References[edit]

  1. Jump up^ Nickell, Joe. (2003) Pen, Ink & Evidence: A Study of Writing and Writing Materials for the Penman, Collector, and Document Detective. New Castle: Oak Knoll Press. p. 115.
  2. Jump up^ Tschichold, Jan. (1948) An Illustrated History of Writing and Lettering. New York: Columbia University Press. p. 7.
  3. Jump up^ Fairbank, Alfred J. (1977). A Book of Scripts. London: Faber. p. 9.
  4. Jump up^ Nickell, Joe (2003). Pen, Ink & Evidence: A Study of Writing and Writing Materials for the Penman, Collector, and Document Detective. New Castle: Oak Knoll Press. p. 117.
  5. Jump up^ Robinson, Andrew (2007). The Story of Writing. London: Thames & Hudson Ltd. p. 165.
  6. Jump up^ Ullman, B. L. (1977). Ancient Writing and Its Influence. Buffalo: University of Toronto Press. p. 31.
  7. Jump up^ Robinson, Andrew (2007). The Story of Writing. London: Thames & Hudson Ltd. p. 171.
  8. ^ Jump up to:a b Fairbank, Alfred J. (1977). A Book of Scripts. London: Faber. p. 10.
  9. ^ Jump up to:a b Nickell, Joe (2003). Pen, Ink & Evidence: A Study of Writing and Writing Materials for the Penman, Collector, and Document Detective. New Castle: Oak Knoll Press. p. 118.
  10. Jump up^ Fairbank, 1977, p. 11.
  11. Jump up^ Fairbank, 1977, p. 12.
  12. Jump up^ "History of Handwriting". Historyworld.net. 2010..
  13. Jump up^ Nickell, 2003, p. 119.
  14. Jump up^ Fairbank, 1977, p. 13.
  15. ^ Jump up to:a b http://www.vletter.com/handwriting.htm.
  16. ^ Jump up to:a b c Mary B. Woods, Michael Woods (2011). Ancient Machine Technology: From Wheels to Forges. p. 78.
  17. Jump up^ Nickell, 2003, p. 123.
  18. Jump up^ Ullman, B. L. (1977). Ancient Writing and Its Influence. Buffalo: University of Toronto Press. p. 143.
  19. ^ Jump up to:a b Nickell, 2003, p. 131.
  20. Jump up^ Tsien, Tsuen-Hsuin. (1969). Written on Bamboo and Silk. Chicago: University of Chicago Press. p. 180.
  21. ^ Jump up to:a b http://www.ancientscripts.com/chinese.html.
  22. Jump up^ Robinson, Andrew. (2007) The Story of Writing. London: Thames & Hudson Ltd. p. 194.
  23. Jump up^ Tschichold, Jan. (1948) An Illustrated History of Writing and Lettering. New York: Columbia University Press. p. 13.
  24. Jump up^ Robinson, Andrew. (2007) The Story of Writing. London: Thames & Hudson Ltd. p. 199.
  25. Jump up^ Robinson, Andrew. (2007) The Story of Writing. London: Thames & Hudson Ltd. p. 201.
  26. Jump up^ Blackmar, Frank W. (1912). Kansas: a cyclopedia of state history, embracing events, institutions, industries, counties, cities, towns, prominent persons, etc. Volume III (Part 2). Chicago: Standard Pub. Co. Retrieved March 10, 2013. L. H. Hausam, president of the Hausam School of Penmanship, Hutchinson, Kan., was born in St. Charles, Mo., June 14, 1870.
  27. ^ Jump up to:a b Gray, William S. (1961) “The Teaching of Reading and Writing”. Chicago: Scott, Foresman, and Company. p. 189.
  28. ^ Jump up to:a b Robinson, Andrew. (2007) The Story of Writing. London: Thames & Hudson Ltd. p. 196.
  29. Jump up^ Robinson, Andrew. (2007) The Story of Writing. London: Thames & Hudson Ltd. p. 208.
  30. ^ Jump up to:a b Adal, Raja. (2009). "Japan's Bifurcated Modernity: Writing and Calligraphy in Japanese Public Schools 1872-1943." Theory Culture Society. 26:233-248. p. 244.
  31. Jump up^ Lacquaniti F. (1989). Central representations of human limb movement as revealed by studies of drawing and handwriting. Trends Neurosci. 12(8):287-91. doi:10.1016/0166-2236(89)90008-8 PMID 2475946.
  32. Jump up^ van der Plaats RE, van Galen GP. (1990).Effects of spatial and motor demands in handwriting. J Mot Behav. 22(3):361-85. PMID 15117665.
  33. Jump up^ Marquardt C, Gentz W, Mai N. (1999). Visual control of automated handwriting movements. Exp Brain Res. 128(1-2):224-8. PMID 10473764.
  34. ^ Jump up to:a b Hepp-Reymond MC, Chakarov V, Schulte-Mönting J, Huethe F, Kristeva R. (2009). Role of proprioception and vision in handwriting. Brain Res Bull. 79(6):365-70. PMID 19463909 doi:10.1016/j.brainresbull.2009.05.013.

External links[edit]

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