From the Aldine Press to Aldus @Sfu Showcasing Simon Fraser
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Marginalia and Commentaries in the Papyri of Euripides, Sophocles and Aristophanes
Nikolaos Athanassiou Marginalia and Commentaries in the Papyri of Euripides, Sophocles and Aristophanes PhD thesis / Dept. of Greek and Latin University College London London 1999 C Name of candidate: Nikolaos Athanassiou Title of Thesis: Marginalia and commentaries in the papyri of Euripides, Sophocles and Aristophanes. The purpose of the thesis is to examine a selection of papyri from the large corpus of Euripides, Sophocles and Aristophanes. The study of the texts has been divided into three major chapters where each one of the selected papyri is first reproduced and then discussed. The transcription follows the original publication whereas any possible textual improvement is included in the commentary. The commentary also contains a general description of the papyrus (date, layout and content) as well reference to special characteristics. The structure of the commentary is not identical for marginalia and hy-pomnemata: the former are examined in relation to their position round the main text and are treated both as individual notes and as a group conveying the annotator's aims. The latter are examined lemma by lemma with more emphasis upon their origins and later appearances in scholia and lexica. After the study of the papyri follows an essay which summarizes the results and tries to incorporate them into the wider context of the history of the text of each author and the scholarly attention that this received by the Alexandrian scholars or later grammarians. The main effort is to place each papyrus into one of the various stages that scholarly exegesis passed especially in late antiquity. Special treatment has been given to P.Wurzburg 1, the importance of which made it necessary that it occupies a chapter by itself. -
Type ID and History
History and Identification of Typefaces with your host Ted Ollier Bow and Arrow Press Anatomy of a Typeface: The pieces of letterforms apex cap line serif x line ear bowl x height counter baseline link loop Axgdecender line ascender dot terminal arm stem shoulder crossbar leg decender fkjntail Anatomy of a Typeface: Design decisions Stress: Berkeley vs Century Contrast: Stempel Garamond vs Bauer Bodoni oo dd AAxx Axis: Akzidenz Grotesk, Bembo, Stempel Garmond, Meridien, Stymie Q Q Q Q Q Typeface history: Blackletter Germanic, completely pen-based forms Hamburgerfonts Alte Schwabacher c1990 Monotype Corporation Hamburgerfonts Engraver’s Old English (Textur) 1906 Morris Fuller Benton Hamburgerfonts Fette Fraktur 1850 Johan Christian Bauer Hamburgerfonts San Marco (Rotunda) 1994 Karlgeorg Hoefer, Alexei Chekulayev Typeface history: Humanist Low contrast, left axis, “penned” serifs, slanted “e”, small x-height Hamburgerfonts Berkeley Old Style 1915 Frederic Goudy Hamburgerfonts Centaur 1914 Bruce Rogers after Nicolas Jenson 1469 Hamburgerfonts Stempel Schneidler 1936 F.H.Ernst Schneidler Hamburgerfonts Adobe Jenson 1996 Robert Slimbach after Nicolas Jenson 1470 Typeface history: Old Style Medium contrast, more vertical axis, fewer “pen” flourishes Hamburgerfonts Stempel Garamond 1928 Stempel Type Foundry after Claude Garamond 1592 Hamburgerfonts Caslon 1990 Carol Twombley after William Caslon 1722 Hamburgerfonts Bembo 1929 Stanley Morison after Francesco Griffo 1495 Hamburgerfonts Janson 1955 Hermann Zapf after Miklós Tótfalusi Kis 1680 Typeface -
Renaissance Receptions of Ovid's Tristia Dissertation
RENAISSANCE RECEPTIONS OF OVID’S TRISTIA DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Gabriel Fuchs, M.A. Graduate Program in Greek and Latin The Ohio State University 2013 Dissertation Committee: Frank T. Coulson, Advisor Benjamin Acosta-Hughes Tom Hawkins Copyright by Gabriel Fuchs 2013 ABSTRACT This study examines two facets of the reception of Ovid’s Tristia in the 16th century: its commentary tradition and its adaptation by Latin poets. It lays the groundwork for a more comprehensive study of the Renaissance reception of the Tristia by providing a scholarly platform where there was none before (particularly with regard to the unedited, unpublished commentary tradition), and offers literary case studies of poetic postscripts to Ovid’s Tristia in order to explore the wider impact of Ovid’s exilic imaginary in 16th-century Europe. After a brief introduction, the second chapter introduces the three major commentaries on the Tristia printed in the Renaissance: those of Bartolomaeus Merula (published 1499, Venice), Veit Amerbach (1549, Basel), and Hecules Ciofanus (1581, Antwerp) and analyzes their various contexts, styles, and approaches to the text. The third chapter shows the commentators at work, presenting a more focused look at how these commentators apply their differing methods to the same selection of the Tristia, namely Book 2. These two chapters combine to demonstrate how commentary on the Tristia developed over the course of the 16th century: it begins from an encyclopedic approach, becomes focused on rhetoric, and is later aimed at textual criticism, presenting a trajectory that ii becomes increasingly focused and philological. -
Typographic Design: Form and Communication
Typographic Design: Form and Communication Fifth Edition Saint Barbara. Polychromed walnut sculpture, fifteenth- century German or French. The Virginia Museum of Fine Arts. Typographic Design: Form and Communication Fifth Edition Rob Carter Ben Day Philip Meggs JOHN WILEY & SONS, INC. This book is printed on acid-free paper. Copyright © 2012 by John Wiley & Sons, Inc. All rights reserved. Published by John Wiley & Sons, Inc., Hoboken, New Jersey Published simultaneously in Canada No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750- 8400, fax (978) 646-8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748-6011, fax (201) 748-6008, or on-line at www.wiley.com/go/permissions. Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. -
The Routledge Handbook of Neoplatonism the Alexandrian
This article was downloaded by: 10.3.98.104 On: 25 Sep 2021 Access details: subscription number Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: 5 Howick Place, London SW1P 1WG, UK The Routledge Handbook of Neoplatonism Pauliina Remes, Svetla Slaveva-Griffin The Alexandrian classrooms excavated and sixth-century philosophy teaching Publication details https://www.routledgehandbooks.com/doi/10.4324/9781315744186.ch3 Richard Sorabji Published online on: 30 Apr 2014 How to cite :- Richard Sorabji. 30 Apr 2014, The Alexandrian classrooms excavated and sixth-century philosophy teaching from: The Routledge Handbook of Neoplatonism Routledge Accessed on: 25 Sep 2021 https://www.routledgehandbooks.com/doi/10.4324/9781315744186.ch3 PLEASE SCROLL DOWN FOR DOCUMENT Full terms and conditions of use: https://www.routledgehandbooks.com/legal-notices/terms This Document PDF may be used for research, teaching and private study purposes. Any substantial or systematic reproductions, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The publisher shall not be liable for an loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. 3 The Alexandrian classrooms excavated and sixth-century philosophy teaching Richard Sorabji It was announced in 2004 that the Polish archaeological team under Grzegorz Majcherek had identifi ed the surprisingly well-preserved lecture rooms of the sixth-century Alexandrian school.1 Th is was a major archaeological discovery.2 Although the fi rst few rooms had been excavated twenty-fi ve years earlier, identifi cation has only now become possible. -
Tv38bigelow.Pdf
Histoire de l’Ecriture´ Typographique — le XXi`eme si`ecle (The History of Typographic Writing—The 20th century). Jacques Andr´e, editorial direction. Atelier Perrousseaux, Gap, France, 2016. http://www.adverbum.fr/atelier-perrousseaux Review and summaries by Charles Bigelow (TUGboat vol.38, 2017). https://tug.org/books/#andre vol.1 TUGboat38:1,pp.18–22 vol.2, ch.1–5 TUGboat 38:2, pp.274–279 vol.2, ch.6–8+ TUGboat 38:3, pp.306–311 The original publication, as reviewed, was in two volumes: Tome I/II, de 1900 `a1950. ISBN 978-2-36765-005-0, tinyurl.com/ja-xxieme. 264 pp. Tome II/II, de 1950 `a2000. ISBN 978-2-36765-006-7, tinyurl.com/ja-xxieme-ii. 364 pp. These are the last two volumes in the series The History of Typographical Writing, comprised of seven volumes in all, from the beginning of printing with Gutenberg through the 20th century. All are in French. The individual volumes and the series as a whole are available in various electronic and print formats; please see the publisher’s web site for current offerings. ❧ ❧ ❧ 18 TUGboat, Volume 38 (2017), No. 1 Review and summaries: The History of phy had begun to supplant print itself, because text Typographic Writing — The 20th century display and reading increasingly shifted from paper Volume 1, from 1900 to 1950 to computer screen, a phenomenon now noticed by nearly all readers and publishers. Charles Bigelow In the 20th century, typography was also trans- Histoire de l’Ecriture´ Typographique — le XXi`eme formed by cultural innovations that were strikingly si`ecle; tome I/II, de 1900 `a1950. -
Italian Books
Italian Books I Philobiblon Rome London New York In collaboration with Govi Rare Books, New York Italian Books I Spring 2019 Preface We are very pleased to present Philobiblon’s new publishing initiative Italian Books, a series of numbered catalogues devoted to the important place of Italian culture on the world stage. The catalogues will feature manuscripts, documents, printed books, engravings, drawings, and artist’s books produced in Italy, as well as Italian books printed outside the country, translations attesting to the impact of Italian culture abroad, including volumes finely bound by sought-after Italian binders, and those once owned by great protagonists of Italian book collecting. Together these selections will illuminate a journey into the multifarious Italian book world in the broadest and richest sense. After all, the history of the book itself is a fascinating narrative, an uninterrupted medley of fruitful cultural transfers and the migration of ideas. In this regard, Italy has always represented a unique crossroad among cultures, the custodian of ancient past, as well as the gateway between Western and Eastern worlds, whose academies, art collections, libraries, printing houses, and bookshops have provided, over the centuries, fertile meeting grounds for generations of scholars, bibliophiles, and connoisseurs. In the first decades of the twentieth century, two international exhibitions paid homage to the Italian book. The Mostra Storica dell’Arte della Stampa in Italia opened in Leipzig in 1914 and presented the magnificence of Italian book production from the fifteenth to the eighteenth century. The splendid Exposition du Livre Italien followed in Paris in 1926, mounted at the Bibliothèque Nationale and the Musée des Arts Décoratifs. -
The Hypnerotomachia Poliphili: Image and Text in a Renaissance Romance
The Hypnerotomachia Poliphili: Image and Text in a Renaissance Romance April Oettinger Winston-Salem, North Carolina B.A., Colgate University, 1994 M.A., University of Virginia, 1996 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy McIntire Department of Art University of Virginia May2000 To my parents, ever supportive guides in my ongoing discovery of the forestand the trees; To Carrie, my companionon those early journeys through the Dark Forest; and To Max, my Poliphilo. 11 © Copyright by April Oettinger AllRights Reserved May2000 ill Acknowledgments I am indebted to numerous friendsand colleagues who have guided and enriched my journey at every turn. My advisors Paul Barolskyand David Summers first encouraged me to pursue my studies of the Polifilo; their unflagging support sustained me throughout, and their example continues to inspire me to follow in Poliphilo's path. My other readers, Francesca Fiorani and David Van Der Muelen provided valuable suggestions andadvice on patronage, dedications, and incunabula. I also wish to expressmy gratitude to Anne Schutte, Alistair Fowler, Deborah Parker, Martin Colker, and Terry Bellanger for stimulating conversations and generous advice, and Martin Colker and Thomas Govero for their assistance with the translations of Leonardo Grassi's dedication of the Polifiloand Ludovico Odassio's dedication of the Comucopiae. I am also grateful to Linda Carroll, Wendy Steadman Sheard, Patricia Fortini Brown, Wolfgang Wolters, Louisa Matthews, Anne Barriault,Norman Land, Ralph Lieberman, DeborahHoward, Jurgen Schultz, Ann Markam Schultz, and Mark SamuelsLasner forthought-provoking conversations at home and abroad. A Dupont Fellowship fromthe University of Virginia in 1998-1999 and a Fulbright Fellowship in 1999-2000 enabled me to continue my research in Italy, where I was fortunate to explore the holdings of several marvelous libraries. -
Angela Nuovo Aldus Manutius and the World of Venetian Publishing
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by AIR Universita degli studi di Milano Angela Nuovo Aldus Manutius and the world of Venetian publishing Whenever we undertake the study of Aldus Manutius (ca. 1450 – 1515) the feeling that we are dwarves standing on the shoulders of giants is unavoidable. This is not said for form’s sake, as centuries of scholarship on the subject have produced wonderful studies which are invariably stimulating, regardless of the times one rereads them.1 Yet, some questions regarding the factors responsible for Aldus` success amid the highly competitive world of Renaissance printing, remain only partially resolved. In this context, it is useful to reconsider the history of his activities from three different points of view: first, the Aldine firm as a centre of innovation, second, the reactions of his competitors to these innovations, and third, the extraordinary capacity of Aldus, the man and humanist, to construct a diversity of networks. Although Aldus has always been regarded as the prototype of the scholar-publisher, that is, the independent innovator who creates his own mission and goals and follows them enthusiastically, it is clear that much of his success resulted from his ability to form networks of agents stemming from a variety of social and economic strata, but all endowed with various types of expertise and skills and linked in a cooperative process of innovation. This process is what David Lane, the theorist of innovation, has called a series of generative relationships represented by groups, whose actions produce something which one of their members could not have produced alone: an unforeseeable outcome resulting from the interaction between two or more individuals.2 The roots of innovation 1 The standard point of departure is Antoine-Augustin Renouard, Annales de l'Imprimerie des Alde, ou Histoire des trois Manuce et de leurs éditions, 3e édition (Paris: Renouard, 1834) pp. -
Book Design, Typography, Authorship, Redaction and Publishing of Texts
In aedibus Aldi – Aldus & Co. by Andy Hadel 22 December 2008 Abstract “In aedibus Aldi” Aldus & Co. was the name of the press that brought substantial innovations to the nascent industry of printing at the end of the fifteenth century. Within two decades, the notion of how a publishing house and a publisher functioned became crystallized, if not in name, in practice, leading to new standards of book design, typography, authorship, redaction and publishing of texts. This study seeks to understand the actual technical, industrial and artistic transformations that were affected by Aldus and his cohorts. Further, the study seeks to frame the progress made in light of the great changes influenced by Humanism. Through his scholarship and personal rapport with collaborators such as Erasmus, the printed books of Aldus Manutius (the Latinized name of Teobaldo Mannucci) found new markets in cinquecento Italy and abroad that went beyond the traditionally closed manuscript culture from which they sprang. Indeed his books represent the revival of interest in the thought, writing and art of the ancient world. The printed books emanating from the Aldine Press in many ways are a catalogue of the accomplishments of the Renaissance as we know it. Outline of Text 1. Introduction 2. Book Design 3. Typography 4. Editing, Authorship and Publishing 5. Conclusion 6. References 7. Notes Introduction In 1469 the Venetian Senate granted a privilege to Johannes of Spires for a period of 5 years. He was wise to guard his monopoly because publishing wasn’t an easy business to start. First, texts were needed and the manuscript culture from which this early modern technology springs essentially resisted the idea of book printing. -
Quiz 1 Review 1
Quiz 1 Review 1. Printing was invented in: !A. France !B. China !C. Germany !D. Japan 1. Printing was invented in: !A. France !B. China !C. Germany !D. Japan Printing was invented by the Chinese. The earliest wood block print fragments are dated around 220 A.D. Chops, pictured here, were made by carving calligraphic characters into a flat surface of jade, silver, ivory etc. Around 500 A.D. Chops were made by carving the negative space around the characters so the character would be printed in ink surrounded by the white of the paper. Printing was invented by the Chinese. The earliest wood block print fragments are dated around 220 A.D. Chops, pictured here, were made by carving calligraphic characters into a flat surface of jade, silver, ivory etc. Around 500 A.D. Chops were made by carving the negative space around the characters so the character would be printed in ink surrounded by the white of the paper. 2. The use of movable type in printing was invented by: !A. Bì Sh"ng !B. Johannes Gutenberg !C. John Baskerville !D. Marcus Aurelius 2. The use of movable type in printing was invented by: !A. Bì Sh"ng !B. Johannes Gutenberg !C. John Baskerville !D. Marcus Aurelius The use of movable type in printing was invented in 1041 AD by Bi Sheng in China. Sheng used clay type and adhered it to a board with wax. The use of movable type in printing was invented in 1041 AD by Bi Sheng in China. Sheng used clay type and adhered it to a board with wax. -
The First Printed Edition of the Greek Text of Aristophanes' Nine Comedies
The first printed edition of the Greek text of Aristophanes’ nine comedies, published by Aldus Manutius. Aristophanes. Comoediae Novem. Venice: Aldus Manutius, 1498. Folio, 13 inches x 9 1/16 inches (330 x 230 mm), 696 pages. The earliest printed texts of the ancient classics were almost exclusively Latin. Only toward the end of the fifteenth century was a programmatic effort made to bring the Greek classics into print. The campaign was led by Aldus Manutius (ca. 1450–1515), a sometime classical tutor, with the assistance of several Greek exiles, chief among them the Cretan scholar Marcus Musurus (ca. 1470–1517). Aldus was not the first to print books in Greek—editions of Homer, Theocritus, and Hesiod had already been produced elsewhere —but he did publish the first editions of some 30 classical authors. These editiones principes included the Greek texts of Aristotle (1495), Aristophanes (1498), Herodotus (1502), Sophocles (1502), Euripides (1503), Demosthenes (1504), Plato (1513), Pindar (1513), Pausanias (1516), and Aeschylus (1518). This editio princeps of Aristophanes includes a preface recommending the plays not as masterworks of literature but as a guide to conversation: a reader steeped in Aristophanes (the editors claimed) could not help but have learned to speak a pure and fluent Attic Greek. This stance was in perfect keeping with Aldus’s attitude to typography. His fonts imitated the swift cursive Greek in contemporary commercial use, with its many ligatures and abbreviations, rather than the formal uncial types of earlier printers. It was not always possible to gather together an author’s entire surviving work: this edition contains only nine of the plays.