September 28, 2015, 7:40 p.m.,
Ng, M.,
Allgemein.
Taking the case of a late Renaissance treatise on Huguenot architecture, this essay explores the potentials of collage as an expression of confessional contestation in the wake of the French Wars of Religion. The book's hybrid imagery bears a formal language of cutting, removal, and addition, which evokes the confessional violence that precipitated in this period at the scale of the built environment. Illustrated plates depict open-plan temples with their ceilings and floors cut away, as if to reenact pictorially the dismantling of rood screens and liturgical furnishings in Catholic churches during episodes of iconoclastic purification. The same pages feature Calvinist Psalms and pious sayings that were once chanted and sung by French Protestants, as well as inscribed and layered in abundance on the walls of their churches and homes. In this mixed verbal-visual form, the medium of early modern collage was operative in a plurality of sensory registers and at disparate physical scales.
Quelle: http://jmems.dukejournals.org/cgi/content/short/45/3/573?rss=1
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September 28, 2015, 7:40 p.m.,
Trettien, W.,
Allgemein.
As early efforts to include women in the canon of Renaissance literature give way to gender-oriented research in material culture and book history, it is increasingly the scholar's task to marry the language of ideological negotiation to a more wide-ranging investigation into the many ways that women of all social ranks contributed to the making, weaving, writing, printing, etching, annotating, composing, and publishing of English literary culture. This essay takes a fresh look at the authorship of Isabella Whitney, the earliest identified woman to publish secular English verse in print. Specifically, Whitney restructures humanist notions of reading-as-gathering around "huswifely" textile work by drawing on the rich semantic context of the word slip. Situating Whitney's A Sweet Nosgay in the material culture from which she drew her metaphors illuminates its relationship to a range of Elizabethan verse miscellanies and demonstrates her innovation within the genre as a woman.
Quelle: http://jmems.dukejournals.org/cgi/content/short/45/3/505?rss=1
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September 28, 2015, 7:40 p.m.,
Fleming, J.,
Allgemein.
The essays gathered in this special issue of JMEMS describe processes of cutting, dismantling, and reassembling printed books in the early modern period. This focus on "collage" techniques in bookmaking should displace the commonsense understanding of the book as an undisturbed whole, as these essays posit alternative, dispersive, and layered models for the book. By showing that cutting and pasting can rightly be recognized as acts of reading and writing, as specific intellectual gestures, these essays upset much of what has hitherto been known or assumed about literacy, composition, and the archive. They challenge cataloguing and descriptive conventions by demonstrating that the division between manuscript and print was not as clear during the print revolution as scholars have assumed, that texts are, at least to some degree, always in state of process and production. This special issue draws attention to the range of media in which early modern texts were "written."
Quelle: http://jmems.dukejournals.org/cgi/content/short/45/3/443?rss=1
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September 28, 2015, 7:40 p.m.,
Considine, J.,
Allgemein.
Cutting up paper slips with pieces of information written on them, sorting them into alphabetical order or some other precise order, and pasting them into books was an important information management strategy in early modern Europe. It does not seem to have been used in the fifteenth century, but by 1548 it was apparently known to a number of people, and thereafter it continued to be used into the eighteenth century and, for a few purposes, beyond. The story of the use of cut and pasted slips is presented here from the primary evidence of surviving texts made up from pasted slips, and from the secondary evidence of references to such texts.
Quelle: http://jmems.dukejournals.org/cgi/content/short/45/3/487?rss=1
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September 28, 2015, 7:40 p.m.,
Smyth, A.,
Allgemein.
This article explores the production of Gospel harmonies at Little Gidding in the 1630s. By drawing on rarely examined archival letters, documents, and drafts contained in the Ferrar Papers at Magdalene College, Cambridge, the article examines the production processes behind the biblical harmonies, and in particular the cutting up of text and images and the remnant tatters and drafts left behind as the finished Gospel harmonies that have previously preoccupied critics. Little Gidding emerges as a more vibrant, dynamic, and wordly place than previous accounts have suggested: a kind of noisy textual factory.
Quelle: http://jmems.dukejournals.org/cgi/content/short/45/3/595?rss=1
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September 28, 2015, 7:40 p.m.,
Sherman, W., Wolfe, H.,
Allgemein.
It is now a commonplace that texts were malleable in early modern England regardless of their manuscript or print origins; but the publications of Thomas Milles strain these categories—and the vocabularies used to describe them—to the breaking point. Between 1599 and 1617, Milles published more than a dozen books outlining his schemes for fiscal reform, becoming one of Renaissance England's most prolific writers on economics. But virtually every surviving copy of every published text was customized after it left the press: Milles used manuscript marginalia and a bewildering array of printed slips (cut from larger sheets, pasted into place, and often modified by hand) to direct his works to specific readers and continue developing his arguments after they had been published. Milles provides our most elaborate example to date of an early modern author whose books are best described as multimedia hybrids.
Quelle: http://jmems.dukejournals.org/cgi/content/short/45/3/457?rss=1
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September 28, 2015, 7:40 p.m.,
Journal of Medieval and Early Modern Studies current issue,
Allgemein.
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September 28, 2015, 7:40 p.m.,
Usher, P. M.,
Allgemein.
This essay explores the early modern reemergence of the sortes Virgilianae, a practice that involves opening a bound copy of Virgil (often with a pin) and finding prophecy in the verse upon which the seeker lands. Examining the accounts of the sortes in antiquity and in the Renaissance, as well as Renaissance writings that explicitly propose the sortes as a mode of reading, this essay argues that the practice, while oracular and prophetic, is linked to a mode of Renaissance pragmatic reading, which is concerned with (figurative) cutting, excerpting, and reaffixing textual fragments in new contexts. The practice presents a tension between assigning the prophetic book agency over the fate of the reader and the reader actively mining (and interpreting) the text for knowledge to be extracted and applied to life. The sortes Virgilianae thus involves both phronetic reading and a prophetic book that directs its own cutting.
Quelle: http://jmems.dukejournals.org/cgi/content/short/45/3/557?rss=1
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September 28, 2015, 7:00 p.m.,
Pierre Charbonnier,
Allgemein.
Ce numéro de Tracés est le deuxième de la série Traduire et introduire, initiée en 2014, qui se donne pour objectif de faire connaître des travaux et des champs de réflexion qui nous semblent avoir fait l’objet d’une réception partielle ou insuffisante dans l’espace scientifique français. Comme le volume précédent, ce numéro est construit autour de la traduction de textes de chercheurs étrangers, sélectionnés par la revue pour leur caractère emblématique de ces réceptions manquées. Chacun des deux dossiers qui suivent accompagne ces traductions d’un ensemble d’articles originaux qui les contextualisent et en explicitent les enjeux. C’est ainsi l’occasion non seulement de porter un éclairage sur les questions soulevées par ces textes et les traditions intellectuelles dans lesquelles ils s’inscrivent, mais aussi de mener une démarche réflexive sur les passerelles entre ces traditions. En ce sens, il s’agit de contribuer à la mise en relation de travaux et de chercheurs, en offrant tou...
Quelle: http://traces.revues.org/6249
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September 28, 2015, 8:14 a.m.,
A.E.B. Coldiron,
Allgemein.
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