DOCSLIB.ORG

[Bibliography] Analytical/Descriptive Bibliography 1. Bowers, Principles

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

[Bibliography] Analytical/Descriptive Bibliography 1. Bowers, Principles of Bibliographic Description (Introduction, Foreword, and Chapter 1) 2. Gaskell, A New Introduction to Bibliography 3. Blayney, The Texts of King Lear and their Origins: Volume 1, Nicholas Okes and the First Quarto, (Ch. 1-4: “Intro,” “The printing house and its owners,” “Printing-house methods,” “Okes at Work,” “The Printing of King Lear”) 4. McKenzie, Cambridge University Press, 1696-1712: A Bibliographical Study (Ch. 1-5: “Establishing the press,” “Sites and buildings,” “Equipment and materials,” “Servants of the press,” “Organization and production”) 5. Blayney, The First Folio of Shakespeare 6. Bland, A Guide to Early Printed Books and Manuscripts 7. Davison, The Book Encompassed: Studies in Twentieth-Century Bibliography 8. D.F. McKenzie, “Printers of the Mind” 9. Sayce, Compositorial Practices and the localization of printed books, 1979 10. Moxon, Mechanick exercises, or, The doctrine of handy-works: applied to the art of printing Foxon, “The Varieties of Early Proof” 11. Tanselle, “The Identification of Typefaces in Bibliographical Description” 12. Stevenson, “Observations on paper as evidence” 13. A.W. Lewis, Basic Bookbinding Printing and Publishing History 14. Febvre, The Coming of the Book 15. Genette, Paratexts: Thresholds of Interpretation 16. Blayney, “The Publication of Playbooks” Lesser and Farmer’s reply, “The Popularity of Playbooks Revisited” 17. McKitterick, Print, Manuscript and the Search for Order, 1450-1830 18. Cambridge Companion to the History of the Book (Ch.s: 1, 6, 8, 12, 15. Howsman, “1: The Study of BH”; Ezell, “6: Handwriting and the Book”; Clegg, “8: The authority and subversiveness of print in EM Europe”; Suarez, “12: BH from Des Bibliographies”; “15: BH in the classroom”) 19. Adrian Johns, The Nature of the Book 20. McKenzie, Bibliography and the Sociology of Texts 21. Darnton, “What is the History of Books?” and “What is the History of Books revisited” 22. Tanselle, “The History of Books as a Field of Study” 23. Eisenstein, The Printing Press as an Agent of Change 24. Pollard, “The English Market for Printed Books” 25. Loewenstein, Ben Jonson and Possessive Authorship 26. Barnes, Free Trade in Books 27. Vander Meulen, “The History and Future of Bowers’ Principles” 28. Suarez, “Historiographical Problems and Possibilities in Book History” 29. Vander Meulen, “How to Read Book History” Textual Criticism and Scholarly Editing 30. Leah Marcus, Unediting the Renaissance 31. Greg, “A Rationale of Copy-Text” Housman, “The Application of Thought to Textual Criticism” 32. Tanselle, A Rationale of Textual Criticism 33. Tanselle, Textual Criticism since Greg 34. McGann, A Critique of Modern Textual Criticism 35. Greetham, Textual Scholarship: An Introduction (Ch.s: 2, 7-9: “2: Bibliography of MS Books,” “7: Evaluating the Text: Textual Bibliography,” “8: Criticizing the Text: Textual Criticism,” “9: Editing the Text: Scholarly Editing”) 36. McGann, The Textual Condition 37. McGann, Radiant Textuality 38. John Bryant, The Fluid Text: A Theory of Revision and Editing for Book and Screen 39. Graham Falconer, “Genetic Criticism” 40. Cambridge Companion to Textual Scholarship (Ch. 1-6: Greetham, “Ch. 1: A history of textual scholarship”; Sutherland, “Ch. 2: Anglo-American editorial theory”; Leernout, “Continental editorial theory”; Hans Walter Gabler, “Ch. 4: Late twentieth-century Shakespeares”; Eggert, “Ch. 5: Apparatus, text, interface: how to read a printed critical edition”; Warren, “Ch. 6: The politics of textual scholarship”) 41. Tanselle, “Classical, Biblical, and Medieval Textual Criticism and Modern Editing” (in SB 36 – year ’83) Case Studies: 42. Thomas Middleton, A Game at Chesse .
Recommended publications
  • FRONT9 2.CHP:Corel VENTURA

    FRONT9 2.CHP:Corel VENTURA

    144 Issues in Review The Red Bull Repertory in Print, 1605–60 With remarkable consistency throughout the early modern period, Red Bull playgoers are characterized as unlettered, ignorant, or possessed of a crass literary sensibility. Interestingly, though, they are also imagined as avid readers: Webster’s well-known depiction, following the failure at the Red Bull of his The White Devil, declares that ‘most of the people that come to that Play-house, resemble those ignorant asses (who visiting Stationers shoppes their use is not to inquire for good bookes, but new bookes).’1 Webster’s association of Red Bull spectators with book-buyers suggests that the persistent representations of the low literacy of this audience may obscure the extent to which the famously spectacle-driven Red Bull repertory intersects with early modern print culture. The number of Red Bull plays that were published with an explicit theatrical attribution, and more importantly the similarities in design and typography between them and plays belonging to the more elite indoor repertories, would seem to bear this out. As reading material, the Red Bull plays indicate that a seemingly ‘low’ or popular theatrical repertory is not sufficient evidence of the social or educational make-up of its audience. It is crucial at the outset to confront the publication figures that have led scholars to assume that a Red Bull attribution on the title page of a play quarto did not have any meaningful currency in early modern print culture: of the roughly 400 editions of plays published
  • Det. 1.2.2 Quartos 1594-1609.Pdf

    Det. 1.2.2 Quartos 1594-1609.Pdf

    author registered year of title printer stationer value editions edition Anon. 6 February 1594 to John 1594 The most lamentable Romaine tragedie of Titus Iohn Danter Edward White & "rather good" 1600, 1611 Danter Andronicus as it was plaide by the Right Honourable Thomas Millington the Earle of Darbie, Earle of Pembrooke, and Earle of Sussex their seruants Anon. 2 May 1594 1594 A Pleasant Conceited Historie, Called the Taming of Peter Short Cuthbert Burby bad a Shrew. As it was sundry times acted by the Right honorable the Earle of Pembrook his seruants. Anon. 12 March 1594 to Thomas 1594 The First Part of the Contention Betwixt the Two Thomas Creede Thomas Millington bad 1600 Millington Famous Houses of Yorke and Lancaster . [Henry VI Part 2] Anon. 1595 The true tragedie of Richard Duke of York , and P. S. [Peter Short] Thomas Millington bad 1600 the death of good King Henrie the Sixt, with the whole contention betweene the two houses Lancaster and Yorke, as it was sundrie times acted by the Right Honourable the Earle of Pembrooke his seruants [Henry VI Part 3] Anon. 1597 An excellent conceited tragedie of Romeo and Iuliet. Iohn Danter [and bad As it hath been often (with great applause) plaid Edward Allde] publiquely, by the Right Honourable the L. of Hunsdon his seruants Anon. 29 August 1597 to Andrew 1597 The tragedie of King Richard the second. As it hath Valentine Simmes Andrew Wise "rather good" Wise been publikely acted by the Right Honourable the Lorde Chamberlaine his seruants. William Shake-speare [29 Aug 1597] 1598 The tragedie of King Richard the second.
  • A Short History of English Printing : 1476-1900

    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.
  • Article Reference

    Article Reference

    Article Shakespeare and the Publication of His Plays ERNE, Lukas Christian Abstract Challenging the accepted view that Shakespeare was indifferent to the publication of his plays by focusing on the economics of the booktrade, examines the evidence that the playing companies resisted publishing their plays, reviews "the publication history of Shakespeare's plays, which suggests that the Lord Chamberlain's Men has a coherent strategy to try to get their playwright's plays into print," and "inquire[s] into what can or cannot be inferred from Shakespeare's alleged involvement (as with the narrative poems) or noninvolvement (as with the plays) in the publication of his writings." Concluding that publishers had little economic incentive to publish drama, calls for renewed attention to Shakespeare's attitude to his plays and their publication. Reference ERNE, Lukas Christian. Shakespeare and the Publication of His Plays. Shakespeare Quarterly, 2002, vol. 53, p. 1-20 Available at: http://archive-ouverte.unige.ch/unige:14491 Disclaimer: layout of this document may differ from the published version. 1 / 1 Shakespeare and the Publication of His Plays LUKAS ERNE N WHAT S. SCHOENBAUM HAS CALLED Pope's "most influential contribution to IShakespearian biography;' the eighteenth-century poet and critic wrote: Shakespear, (whom you and ev'ry Play-house bill Style the divine, the matchless, what you will) For gain, not glory, wing'd his roving flight, And grew Immortal in his own despight. 1 Pope's lines were no doubt instrumental in reinforcing the opinion, soon to be frozen into dogma, that Shakespeare cared only for that form of publication—the stage which promised an immediate payoff, while being indifferent to the one that even- tually guaranteed his immortality—the printed page.
  • THE CASE for the FOLIO Jonathan Bate

    THE CASE for the FOLIO Jonathan Bate

    THE CASE FOR THE FOLIO Jonathan Bate ‘The First Folio remains, as a matter of fact, the text nearest to Shakespeare’s stage, to Shakespeare’s ownership, to Shakespeare’s authority’ (Charlotte Porter and Helen Clarke, preface to their Pembroke Edition, 1903) © Jonathan Bate 2007 THIS ESSAY OFFERS A MORE DETAILED ACCOUNT OF THE EDITORIAL PROBLEM IN SHAKESPEARE THAN THAT PROVIDED ON pp. l-lvii/50-57 OF THE GENERAL INTRODUCTION TO THE RSC SHAKESPEARE: COMPLETE WORKS THE QUARTOS The original manuscripts of Shakespeare’s works do not survive: the sole extant composition in his hand is a single scene from Sir Thomas More, a multi-authored play that cannot really be described as ‘his’. Shakespeare only survives because his works were printed. In his lifetime there appeared the following works (all spellings of titles modernized here, numbering inserted for convenience only, sequence of publication within same year not readily established). They were nearly all printed in the compact and relatively low- priced format, which may be thought of as the equivalent of the modern paperback, known as quarto (the term is derived from the fact that each sheet of paper that came off the press was folded to make four leaves): 1] Venus and Adonis (1593) – poem. 2] Lucrece (1594) – poem. 3] The most lamentable Roman tragedy of Titus Andronicus, as it was played by the right honourable the Earl of Derby, Earl of Pembroke and Earl of Sussex their servants (1594) – without the fly-killing scene that appears in the 1623 First Folio. 4] The first part of the contention betwixt the two famous Houses of York and Lancaster, with the death of the good Duke Humphrey, and the banishment and death of the Duke of Suffolk, and the tragical end of the proud Cardinal of Winchester, with the notable rebellion of Jack Cade, and the Duke of York’s first claim unto the crown (1594) – a variant version of the play that in the 1623 First Folio was called The Second Part of Henry the Sixth.
  • Reclaiming the Passionate Pilgrim for Shakespeare

    Reclaiming the Passionate Pilgrim for Shakespeare

    Reclaiming The Passionate Pilgrim for Shakespeare Katherine Chiljan he Passionate Pilgrim (1598-1599) is a hornet’s nest of problems for academic Shakespeareans. This small volume is a collection of twenty T poems with the name “W. Shakespeare” on the title page. Only fragments of the first edition survive; its date is reckoned as late 1598 or 1599, the same year as the second edition. Scholars agree that the text was pirated. Why it was called The Passionate Pilgrim is unknown. It has been suggested that the title was publisher William Jaggard’s at- tempt to fulfill public demand for Shake- speare’s “sugar’d sonnets circulated among his private friends” that Francis Meres had recently mentioned in Palladis Tamia, or Wit’s Treasury , also published 1598. Jag- gard somehow acquired two Shakespeare sonnets (slightly different versions of 138 and 144 in Thomas Thorpe’s 1609 edition), and placed them as the first and second poems in his collection. Three additional pieces (3, 5 and 16) were excerpts from Act IV of Love’s Labor’s Lost , which was also printed in 1598. A total of five poems, therefore, were unquestionably by Shakespeare. But attribution to Shakespeare for the rest has become confused and doubted because of the inclusion of pieces supposedly by other poets. Numbers 8 and 20 were published in Richard Barnfield’s The Encomion of Lady Pecunia: or The Praise of Money (1598); No. 11 appeared in Bartholomew Griffin’s Fidessa (1596); and No. 19, “Live with Me and Be My Love,” was later attributed to Christopher Marlowe.
  • View Fast Facts

    View Fast Facts

    FAST FACTS Author's Works and Themes: Hamlet “Author's Works and Themes: Hamlet.” Gale, 2019, www.gale.com. Writings by William Shakespeare Play Productions • Henry VI, part 1, London, unknown theater (perhaps by a branch of the Queen's Men), circa 1589-1592. • Henry VI, part 2, London, unknown theater (perhaps by a branch of the Queen's Men), circa 1590-1592. • Henry VI, part 3, London, unknown theater (perhaps by a branch of the Queen's Men), circa 1590-1592. • Richard III, London, unknown theater (perhaps by a branch of the Queen's Men), circa 1591-1592. • The Comedy of Errors, London, unknown theater (probably by Lord Strange's Men), circa 1592-1594; London, Gray's Inn, 28 December 1594. • Titus Andronicus, London, Rose or Newington Butts theater, 24 January 1594. • The Taming of the Shrew, London, Newington Butts theater, 11 June 1594. • The Two Gentlemen of Verona, London, Newington Butts theater or the Theatre, 1594. • Love's Labor's Lost, perhaps at the country house of a great lord, such as the Earl of Southampton, circa 1594-1595; London, at Court, Christmas 1597. • Sir Thomas More, probably by Anthony Munday, revised by Thomas Dekker, Henry Chettle, Shakespeare, and possibly Thomas Heywood, evidently never produced, circa 1594-1595. • King John, London, the Theatre, circa 1594-1596. • Richard II, London, the Theatre, circa 1595. • Romeo and Juliet, London, the Theatre, circa 1595-1596. • A Midsummer Night's Dream, London, the Theatre, circa 1595-1596. • The Merchant of Venice, London, the Theatre, circa 1596-1597. • Henry IV, part 1, London, the Theatre, circa 1596-1597.
  • Popular Theatre and the Red Bull

    Popular Theatre and the Red Bull

    Early Theatre 9.2 Issues in Review Lucy Munro, Anne Lancashire, John Astington, and Marta Straznicky Popular Theatre and the Red Bull Governing the Pen to the Capacity of the Stage: Reading the Red Bull and Clerkenwell In his introduction to Early Theatre’s Issues in Review segment ‘Reading the Elizabethan Acting Companies’, published in 2001, Scott McMillin called for an approach to the study of early modern drama which takes theatre companies as ‘the organizing units of dramatic production’. Such an approach will, he suggests, entail reading plays ‘more fully than we have been trained to do, taking them not as authorial texts but as performed texts, seeing them as collaborative endeavours which involve the writers and dozens of other theatre people, and placing the staged plays in a social network to which both the players and audiences – perhaps even the playwrights – belonged’.1 We present here a variation on this approach: three essays that focus on the Red Bull theatre and its Clerkenwell locality. Rather than focusing on individual companies, we take the playhouse and location as our organising principle. Nonetheless, we are dealing with precisely the kind of decentring activity that McMillin had in mind, examining early drama through collaborative performance, through performance styles and audience taste, and through the presentation of a theatrical repertory in print. Each essay deals with a different ‘social network’: Anne Lancashire re-examines the evidence for the London Clerkenwell play, a multi-day biblical play performed by clerks in the late fourteenth and early fifteenth centuries; John Astington takes a look at acting traditions and repertory composition at the Red Bull and its fellow in the northern suburbs, Golden Lane’s Fortune playhouse; and Marta Straznicky looks at questions relating to the audience for Red Bull plays in the playhouse and the print-shop.
  • Faith Acker Phd Thesis (Appendix II Embargoed)

    Faith Acker Phd Thesis (Appendix II Embargoed)

    ‘NEW-FOUND METHODS AND ... COMPOUNDS STRANGE': READING THE 1640 'POEMS: WRITTEN BY WIL SHAKE- SPEARE. GENT.' Faith Acker A Thesis Submitted for the Degree of PhD at the University of St Andrews 2012 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/3461 This item is protected by original copyright ‘New-found methods and . compounds strange’: Reading the 1640 Poems: Written by Wil. Shake-speare. Gent. Faith Acker This thesis is submitted in partial fulfilment for the degree of PhD at the University of St Andrews 11 October, 2012 iii Abstract The second edition of Shakespeare’s sonnets, titled Poems: Written by Wil. Shake-Speare, Gent, and published by stationer John Benson in 1640, was a text typical of its time. In an effort to update the old-fashioned sonnet sequence in which its contents had first reached print, the compiler or editor of the Bensonian version rearranged the poems from the earlier quarto text, adding titles and other texts thought to have been written by or about the sonnets’ author. The immediate reception of the 1640 Poems was a quiet one, but the volume’s contents and structure served as the foundation for more than half of the editions of Shakespeare’s sonnets produced in the eighteenth century. In part due to the textual instability created by the presence of two disparate arrangements of the collection, Shakespeare’s sonnets served only as supplements to the preferred Shakespearean canon from 1709 to 1790.
  • Bibliography Manuscript and Archival Sources Bristol Record Office Parish

    Bibliography Manuscript and Archival Sources Bristol Record Office Parish

    Bibliography Manuscript and archival sources Bristol Record Office Parish Registers FCP/AS/R/1 (All Saints) FCP/Xch/R/1 (Christ Church) FCP/St.Aug/R/1 (St Augustine the Less) FCP/St. E/R/1 (St Ewen) FCP/St.J/R/1 (St James) FCP/St.JB/R/1 (St John the Baptist) FCP/St. MR/R/1 (St Mary Redcliffe) FCP/St.N/R/1 (St. Nicholas) FCP/St.P+J/R/1 (St Philip and St Jacob) FCP/St.S/R/1 (St Stephen) FCP/St.T/R/1 (St Thomas) FCP/St.W/R/1 (St Werburgh) FCP/Tem/R/1 (Temple) FCP/Dy/R/1 (Dyrham) Wills and Inventories FCI/1620-1632/19 ((Probate Inventory of Cattelena of Almondsbury, 24 May 1625) EP/J/4/6 (Will of Richard Ford of Almondsbury 25 April 1639) Bromley Historic Collections P92/1/1 (St. Nicholas, Chislehurst) Cambridge University Library Additional Manuscripts, 7226-7306 (G.R.G. Conway Collection, Mexican Inquisition) Canterbury Cathedral Archives Parish Registers U3/26/1/1 (St. James’s, Dover) U3-30 (St. Mary’s, Dover) U85/38/14 (Sir Anthony Throckmorton’s Diary, 1578-1596, 1609-1613) DCb-L/R/vol 11, f. 223v (Register of General Licences, 1625–1629) DCb/L/R/13 (Petition of Henry Jenken, 27 June 1635) DCb/BT/1/94 (Baptism of an ‘Indian manchild’, St. Mary’s Fordwich, 28 June 1635) Cornwall Record Office, Truro AP/L/253(John Lankford’s will, 1624) Parish Registers FP133/1/1(Madron) FP99/1/1 (St Keverne) FP236/1/1 (St.

  • The Materiality of the Shakespearean Text Author(S): Margreta De Grazia and Peter Stallybrass Source: Shakespeare Quarterly, Vol

    The Materiality of the Shakespearean Text Author(s): Margreta de Grazia and Peter Stallybrass Source: Shakespeare Quarterly, Vol. 44, No. 3 (Autumn, 1993), pp. 255-283 Published by: Oxford University Press Stable URL: https://www.jstor.org/stable/2871419 Accessed: 29-06-2019 21:12 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/2871419?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Shakespeare Quarterly This content downloaded from 128.227.131.182 on Sat, 29 Jun 2019 21:12:54 UTC All use subject to https://about.jstor.org/terms The Materiality of the Shakespearean Text MARGRETA DE GRAZIA AND PETER STALLYBRASS FOR OVER TWO HUNDRED YEARS, KING LEAR WAS one text; in 1986, with the Oxford Shakespeare, it became two; in 1989, with The Complete King Lear 1608-1623, it became four (at least). As a result of this multiplication, Shakespeare studies will never be the same. This is not simply because we may now have more Shakespeare than before-many Lears instead of one; a mere enlargement of the canon requires no rethinking of how the works are to be prepared and interpreted.
  • Article Reference

    Article Reference

    Article Shakespeare and the Popularity of Poetry Books in Print, 1583-1622 ERNE, Lukas Christian, BADCOE, Tamsin Abstract Shakespeare's poems had very uneven success in the early modern book trade: Venus and Adonis and The Rape of Lucrece became immediate bestsellers, whereas the Sonnets received not a single reprint in the 30 years following their original publication in 1609. We argue that an examination of the popularity of poetry books in the book trade is necessary to come to a better understanding of the status of Shakespeare's printed poems in their own time. What were the best-selling poetry books of the period, and how popular were they compared to Shakespeare's narrative poems? How unusual was it for a poetry book to be reprinted 15 times (like Venus and Adonis), or not to be reprinted at all? We also contextualize the question of popularity by focusing on genre, placing Shakespeare's Sonnets and Venus and Adonis amidst the publication history of their generically most closely related poetry books. Our article also has a second, broader ambition, which is to evaluate the popularity of late sixteenth-century and early seventeenth-century poetry books in relation to the book trade more generally. Reference ERNE, Lukas Christian, BADCOE, Tamsin. Shakespeare and the Popularity of Poetry Books in Print, 1583-1622. The Review of English Studies, 2013, p. 1-25 DOI : 10.1093/res/hgt020 Available at: http://archive-ouverte.unige.ch/unige:32041 Disclaimer: layout of this document may differ from the published version. 1 / 1 The Review of English Studies Advance Access published April 26, 2013 SHAKESPEARE AND THE POPULARITY OF POETRY BOOKS IN PRINT, 1583–1622 by lukas erne and tamsin badcoe Shakespeare’s poems had very uneven success in the early modern book trade: Venus and Adonis and The Rape of Lucrece became immediate bestsellers, whereas the Sonnets received not a single reprint in the 30 years following their original publication in 1609.