The Boke of Comforte Agaynste All Trybulacyons an Introductory Study1
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Two Missals Printed for Wynkyn De Worde
TWO MISSALS PRINTED FOR WYNKYN DE WORDE GEORGE D. PAINTER, DENNIS E. RHODES, AND HOWARD M. NIXON The British Library has recently acquired two important and exceedingly rare editions of the Sarum Missal. These mere produced in Paris m I4gj and i^ii for Wynkyn de Worde and others., and are fully described in the second and third sections of this article. The first section gives a brief general account of the printing of the Sarum Missal for the English market during the fifteenth and sixteenth centuries. I THE English printers of the fifteenth century seemed curiously reluctant to print the major service-books of their own national liturgy, the rite of Sarum. This apparent disinclination cannot be explained by any lack of a market for such works. The Sarum Missal, above all, was certainly in greater demand than any other single book in pre- Reformation England, for every mass-saying priest and every church or chapel in the land was obliged to own or share a copy for daily use. Yet it is a striking fact that of the twelve known editions of the Sarum Missal during the incunable period all but two were printed abroad, in Paris, Basle, Venice, or Rouen, and imported to England. The cause of this paradoxical abstention was no doubt the inability of English printers to rise to the required magnificence of type-founts and woodcut decoration, and to meet the exceptional technical demands of high-quality red-printing, music printing, and beauty of setting, which were necessary for the chief service-book of the Roman Church in England. -
Latin Books Published in Paris, 1501-1540
Latin Books Published in Paris, 1501-1540 Sophie Mullins This thesis is submitted in partial fulfilment for the degree of PhD at the University of St Andrews 6 September 2013 1. Candidate’s declarations: I, Sophie Anne Mullins hereby certify that this thesis, which is approximately 76,400 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2007 and as a candidate for the degree of PhD in September 2007; the higher study for which this is a record was carried out in the University of St Andrews between [2007] and 2013. (If you received assistance in writing from anyone other than your supervisor/s): I, …..., received assistance in the writing of this thesis in respect of [language, grammar, spelling or syntax], which was provided by …… Date 2/5/14 signature of candidate ……… 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date 2/5/14 signature of supervisor ……… 3. Permission for electronic publication: (to be signed by both candidate and supervisor) In submitting this thesis to the University of St Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. -
Translation, Early Printing, and Gender in England, 1484-1535
05fl_23.1_hosington.qxd 2008/11/19 16:00 PM Page 41 Translation, Early Printing, and Gender in England, 1484-1535 Brenda M. Hosington Translation cannot be divorced from the context in which it flourishes, that is, from the linguistic, literary, social, and cultural developments taking place at a given time and in a given setting. Nor can it be fully comprehended without a consideration of certain ideological impulses. One of the socio-cultural developments affecting translation in the years 1484-1535 is the introduction of printing to England. One of the ideological con- cerns in the period also affecting translation is that of gender. Both intersect in the pro- duction of translations concerning women and women’s issues, of which there is a sig- nificant number. These, I think, should be considered against the backdrop of early printing in England, for printers and patrons often had specific agendas in mind, moti- vated by ideological concerns — be they religious, moral, or commercial — which dic- tated not only the choice of texts to be published but also the editorial changes to be made within those texts. As Lotte Hellinga has pointed out, the history of printing reflects two dynamics that are in varying balance — the obvious one that is commercial and borne of the printer’s need to cover expenses and make a profit, and the more complex one that is non-commercial and relates to the power of the printed text to disseminate knowledge, implant new ideas, and so on.1 The first, the commercial aspect, has been an ongoing consideration in the history of print. -
A Short History of English Printing : 1476-1900
J \ Books about Books Edited by A. W. Pollard A Short History of English Printing BOOKS ABOUT BOOKS Edited bv A. W. POLLARD POPULAR RE-ISSUE BOOKS IN MANUSCRIPT. By Falconer Madan, Bodley's Librarian, Oxford. THE BINDING OF BOOKS. By H. P. HORNE. A SHORT HISTORY OF ENGLISH PRINTING. By II. K. Plomer. EARLY ILLUSTRATED BOOKS. By A. W. POLI.ARD. Other volumes in pi-eparatioit. A Short History of English Printing 1476-1900 By Henry R. Plomer London Kegan Paul, Trench, Triibncr & Co., Ltd. Broadway House, 68-74 Carter Lane, E.C, MDCCCCXV I-'irst Edition, 1900 Second (Popular) Edition, 1915 The rights of translation and of reproduction are reserved Editor's Preface When Mr. Plomer consented at my request to write a short history of EngHsh printing which should stop neither at the end of the fifteenth century, nor at the end of the sixteenth century, nor at 1640, but should come down, as best it could, to our ovm day, we were not without appre- hensions that the task might prove one of some difficulty. How difficult it would be we had certainly no idea, or the book would never have been begun, and now that it is Imished I would bespeak the reader's sympathies, on Mr. Plomer 's behalf, that its inevitable shortcomings may be the more generously forgiven. If we look at what has already been written on the subject the diffi- culties will be more easily appreciated. In England, as in other countries, the period in the history of the press which is best known to us is, by the perversity of antiquaries, that which is furthest removed from our own time. -
Making the Caxton Brand: an Examination of the Role of the Brand Name in Early Modern Publishing
MAKING THE CAXTON BRAND: AN EXAMINATION OF THE ROLE OF THE BRAND NAME IN EARLY MODERN PUBLISHING JONATHAN MARTIN MPHIL THE UNIVERSITY OF YORK DEPARTMENT OF ENGLISH AND RELATED LITERATURE OCTOBER 2010 ABSTRACT This dissertation explores the utility of applying the concept of the “brand” to literary and biographical studies via an exploration of the career of England’s first printer of vernacular texts - William Caxton (active c.1473-1492). Presently, the brand is generally conceived as an interface between commerce and culture. Recent work by Naomi Klein and Celia Lury has suggested that the goal of the brand is to engender a lifestyle – or, rather, to become a culture unto itself. Generally, perhaps rightly, this view arouses considerable suspicion about the role of branding in everyday life. As tension between Art and Commerce (articulated by Pierre Bourdieu in The Rules of Art) is present in many aspects of literary criticism (particularly biography), it is common to find that figures like William Caxton often have their non-commercial activities marginalized on account of their business practices. My work seeks to address this problem by rejecting the either/or tension between Art and Commerce in favor of a new, more inclusive model centered on the brand. The brand, in contrast to the current, dominant paradigm, is a multi-faceted entity that operates in aesthetic and commercial spheres simultaneously. By using the brand as a model for biographical and historiographical studies, we are able to ascribe both of these aspects to an individual without negating the whole. As Michael Saenger has observed: “The idea of an artless publisher may be as much of a myth as the idea of a noncommercial artist.” Accordingly, I recognize the necessary interconnectedness of artistic and commercial production, and propose that we approach Caxton (and his legacy) as we would explore the evolution of any other brand. -
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ARTHURIANLITERATURE T~ROMthé beginnings of Arthurian romance there has apparently 1 been no subsidence of interest in the stories, both principal and secondary, which are connected with the name and exploits of the main character and the satellites swinging around him as a center. The production has not always been constant, nor do we find in each century reproductions of the tales and versions of the pre- ceding century. This may be indicative of the real situation, or it may be due to the fact that all the copies of a certain version have been lost, or, if extant, still lie undiscoveredin some hidden recess. The whole corpus of the literature belonging to the Arthurian cycle, and to the still more extensive one, the Celtic or Breton, must have been enormous. What relation the entire number of versions we now possess bears to the whole production will never be known. We have knowledge of certain versions which have been lost, and, in some cases, also of the names of the authors. It is the purpose of this article to determine, as well as can be done with the material available, the condition and progress of the litera- ture and its geographical distribution, to show its chronological development, and to present thé names and titles belonging to each century. Only literature, as such, will be considered, and no ac- count will be taken here of the progress of critical literature: studies, editions, and similar productions. Theories regarding origins of the tales, or the hypothetical existence of unknown writers or versions will not be regarded, nor will any works inspired by the Arthurian stories, as, for instance, ~MM~M, Le Petit ~M~ etc., be considered. -
Catalogue 77
Phillip J. Pirages PHILLIP J. PIRAGES Catalogue 77 Catalogue 77 Items Pictured on the Back Cover Items Pictured on the Front Cover Phillip J. Pirages 54 97 137 108 130 100 52 1 107 104 103 9 79 53 55 106 77 28 106 98 PHILLIP J. PIRAGES Catalogue 77 Catalogue 77 82 107 146 114 147 122 104 99 Navigation Tips We invite you to scroll down page by page and view every item in Catalogue 77, just as you might if you were turning the pages of one of our printed catalogues. To make for easy browsing and reading, you can use the “+” and “-“ signs in the toolbar above the text to zoom in and out. To help you jump around the catalogue, we have created bookmarks that you can activate on the left-hand side of your screen (see the visual instructions below for how to activate the bookmarks). Once the bookmarks are activated, simply click on the bookmark to go to the section or item that is indicated. Additional Instructions: • Click on an image of any image on the main cover or section cover and you will be taken to that item in the catalogue • Click on hyperlinks (blue underlined text in the key, indexes, and cross-references) to go to the indicated item in the catalogue • In the text, click on an item image or the large red item number to open that item in your web browser to find additional images and a link to purchase. You can access these bookmarks in one of two ways. -
Lexicography, Printing Technology, and the Spread of Renaissance Culture1 Patrick Hanks Institute of Formal and Applied Linguistics, Charles University in Prague
Lexicography, Printing Technology, and the Spread of Renaissance Culture1 Patrick Hanks Institute of Formal and Applied Linguistics, Charles University in Prague Historians of lexicography in the English-speaking world have implied that Robert Cawdrey's Table Alphabeticall (1604) is the first English dictionary. Landau (1984, 2001) makes this claim, adding that it is ‘the least inspiring of all seminal works’. In this paper, I agree that the Table Alphabeticall is uninspiring, but I deny that it is a seminal work. Landau overlooks the rich 16th-century tradition of Renaissance and Humanist lexicography in Europe, in particular the Dictionarum, seu Thesaurus Linguae Latinae of Robert Estienne (1531) and the Thesaurus Linguae Graecae of his son Henri Estienne (1572). These seminal works are astonishing achievements—breathtaking innovations—in terms of both scholarship and technology. They set standards for subsequent European lexicography. Two technological innovations made these great dictionaries possible: the invention of printing by Gutenberg in Strasbourg in about 1440 and the typography of Nicolas Jenson in Venice in 1462. These technological developments and the lexicographical achievements that were made possible by them contributed, in the first place, to the Renaissance programme of preserving the classical heritage of ancient Greece and Rome and, in the second place, to the role of dictionaries in spreading Renaissance culture and Humanism across Europe. The paper goes on to briefly outline the emergence of bilingual lexicography, replacing the polyglot lexicography that was standard in the 16th century. A comparison is made between the influence of printing technology on 16th century lexicography and the potential influence of computer technology on 21st century lexicography. -
Vernacular Books and Reading Experiences in the Early Age of Print
International conference Vernacular Books and Reading Experiences in the Early Age of Print Leiden University, The Netherlands / online 25-27 August 2021 Convenors: Dr Anna Dlabačová (Leiden University, [email protected]), Andrea van Leerdam MA (Utrecht University, [email protected]) In the first 150 years of European printed book production, between c. 1450 and 1600, the new medium of print evolved from its indebtedness to manuscript culture into a full-grown means of communication and articulation. The development of print culture added new impulses to the dynamic relations between Latin and the vernaculars. While initially the majority of titles were printed in Latin, the vernaculars gained ground as languages of arts and sciences, commerce, religion, and literary expression. This conference explores how reading experiences were shaped both by producers and users of vernacular books. We approach reading as an embodied, material practice that is affected both by texts and their presentation, with a particular interest in the interplay between language, form and content, and between intended and actual readers. By adopting an international and interdisciplinary perspective (combining book history, literary history, art history, religious studies, and history of knowledge) during the conference and within the foreseen volume, we aim to contribute to the next step towards a comparative study of printing strategies and users’ practices in the first 150 years of printing vernacular books in Europe. Placing studies of (reader’s responses to) books in various languages and with a variety of texts (scientific, literary, religious) next to each other, we hope to reach a transregional view and an interdisciplinary interpretive framework of the early printed vernacular book. -
De Worde Specimen
WDe Worde In the beginning was De Worde® Introducing De Worde a new typeface in seven weights from Jeremy Tankard to celebrate the 60th anniversary of The Wynkyn de Worde Society Wynkyn de Worde THE FATHER OF FLEET STREET The Wynkyn de Worde Society is about to celebrate its 60th birthday. In Popularized in England as ‘black letter’, this style would strike a modern 1957 a group of designers, typographers and publishers decided that their reader as difficult to take in, but in the sixteenth century it was considered new society should be named after de Worde, a pioneer of printing and much easier than the less familiar roman, also known as ‘white letter’ publishing in late medieval England. ¶ In 1476 William Caxton, who had owing to the less dense appearance of the text on the page. Roman types learnt the craft of printing in Germany, brought his skill back to London, followed the lowercase book hand of the Renaissance humanists inspired setting up his presses in the almonry of Westminster Abbey. De Worde, by the earlier scripts used at the court of Charlemagne. De Worde first used who came from the Duchy of Lorraine, became first his assistant, and at a roman type in a book in 1520, but was not the first printer in England to Caxton’s death the inheritor of his business. Deciding that the future for do so. However, eight years later he was the first to introduce an italic type sales of books in English lay with the City rather than the Royal Court, de style to English publishing, in his printing of Lucian’s Complures dialogi Worde had moved the business to the Sign of the Sun in Fleet Street by the (1528). -
A Guide to the Exhibition in the King's Library Illustrating the History Of
THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES British Museum A GUIDE TO THE EXHIBITION IN THE KING'S LIBRARY ILLUSTRATING THE HISTORY OF PRINTING, MUSIC-PRINTING AND BOOKBINDING PRINTED BY ORDER OF THE TRUSTEES 1913 Price Sixpence. A GUIDE TO THE EXHIBITION IN THE KING'S LIBRARY British Museum A GUIDE TO THE EXHIBITION IN THE KING'S LIBRARY ILLUSTRATING THE HISTORY OF PRINTING, MUSIC-PRINTING AND BOOKBINDING PRINTED BY ORDER OF THE TRUSTEES 1913 Art Library INTRODUCTION THE Library of Printed Books consists of over three million volumes, acquired partly under the provisions of the Copyright Act, which give the Trustees of the British Museum a right to a copy of every book published in the United Kingdom, partly by purchase, and partly by donation or bequest. Among the most important collections which have been presented or be- queathed are : the printed books of Sir Hans Sloane, forming part of his private museum, the offer of which to the nation, at about one-fourth of its value, brought about the Act of Parliament of the British Museum the 1753, constituting ; printed books in the Old Royal Library presented by George u. in 1757, containing books collected by English Sovereigns from the time of Henry vii. the Thomason Civil Tracts ; War purchased in. and in the rare by George presented 1762 ; books, including many fine specimens of binding, bequeathed by the Rev. C. M. Cracherode in 1799; the library of Sir Joseph Banks, consisting principally of works on natural history, received 5 827827 6 INTRODUCTION in 1820; the magnificent library formed by King George in., and presented to the Museum by his successor, in accordance with an arrangement with the Treasury, in 1823; and the choice collection bequeathed by the Right Hon. -
Tabulae, Resubmission
"That ye mowe redely fynde...what ye desyre”: printed tables of contents and indices 1476-1550 Malcolm Parkes observed some decades ago that ‘the late medieval book differs more from its early medieval predecessors than it does from the printed books of our own day. The scholarly apparatus which we take for granted - analytical table of contents, text disposed into books, chapters, and paragraphs, and accompanied by footnotes and index - originated in...the thirteenth, fourteenth, and fifteenth centuries.’1 Yet the way in which such apparatus made their way from the scholarly manuscripts of the late medieval period into more general printing has been only cursorily examined by scholars.2 This article explores how the use of two elements of this apparatus, the table of contents and the index, developed in English printing before 1550. It focuses on the language that English printers used when presenting tables of contents and indices and uses this to demonstrate the value 1 Malcolm Beckwith Parkes, Scribes, Scripts and Readers: Studies in the Communica6on, Presenta6on and Dissemina6on of Medieval Texts (London and Rio Grande, 1991), 66. 2 For useful overviews of printing in this period see: Peter Blayney, The Stationers' Company and the Printers of London 1501-1546 (Cambridge, 2013); The Cambridge History of the Book in Britain, vol. 3, 1400-1557, ed. Lotte Hellinga and J B Trapp, (Cambridge, 1999); Henry Bennett, English Books & Readers 1475 to 1557: Being a Study in the History of the Book Trade from Caxton to the Incorporation of the Stationers' Company (Cambridge, 1969). Focused studies on tables of contents and indices in English printing have been limited.