Search results for ""Author MANUS"

The years 1921 to 1927 were the most productive of Robinson Jeffers's career. During this period, he wrote not only many of his most well-known lyric poems but also Tamar, The Tower Beyond Tragedy, Roan Stallion, and The Women at Point Sur—the long poems that first established his reputation as a major American poet. Including an introduction, chronology, and critical afterword, the Point Alma Venus manuscripts presented here gather Jeffers's four unfinished but substantial preliminary attempts at what became The Women at Point Sur, which Jeffers believed was the "most inclusive, and poetically the most intense" of his narrative poems. The Point Alma Venus fragments and versions shed important light on the composition and themes of The Women at Point Sur. Further, they likely predate other key work from this crucial period, making them a necessary context for those who wish to clarify Jeffers's poetic development and to reinterpret his practice of narrative poetry. Ultimately, they call on general and scholarly readers alike to reconsider Jeffers's place in the canon of modern American poetry.

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Los "Manuscritos" sobre economía y filosofía, escritos en 1844, no fueron publicados en vida de Karl Marx (1818-1883) y permanecieron inéditos hasta casi cincuenta años después de su fallecimiento. La edición de esos borradores en 1932 supuso una verdadera revolución en los estudios marxianos y un acicate para la crítica de los enfoques economicistas de la historia; desde entonces, las discusiones entre el "joven Marx" y el "Marx maduro" han alimentado una polémica interminable sobre las líneas de continuidad o los puntos de ruptura de su pensamiento. En cualquier caso ?y quizás todavía más hoy, cuando a principios del siglo XXI el sistema capitalista vuelve a mostrar sus aspectos más negativos?, la lectura de esos textos, traducidos al español y prologados por Francisco Rubio Llorente, muestra la importancia del concepto de enajenación y del humanismo filosófico en el conjunto de la obra de Marx.

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'This book is an expression of love... Sublimely conceived and beautifully written' Gerard DeGroot, The Times'Immersive, conversational and intensely visual' Helen Castor------------------------------------------------------------------------------------Manuscripts teem with life. They are not only the stuff of history and literature, but they offer some of the only tangible evidence we have of entire lives, long receded.Hidden Hands tells the stories of the artisans, artists, scribes and readers, patrons and collectors who made and kept the beautiful, fragile objects that have survived the ravages of fire, water and deliberate destruction to form a picture of both English culture and the wider European culture of which it is part.Without manuscripts, she shows, many historical figures would be lost to us, as well as those of lower social status, women and people of colour, their stories erased, and the remnants of their labours destroyed.From the Cuthbert Bible, to works including those by the Beowulf poet, Margery Kempe, Julian of Norwich, Sir Thomas Malory, Chaucer, the Paston Letters and Shakespeare, Mary Wellesley describes the production and preservation of these priceless objects.With an insistent emphasis on the early role of women as authors and artists and illustrated with over fifty colour plates, Hidden Hands is an important contribution to our understanding of literature and history.

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Buddhist temples in Southeast Asia are centres for the preservation of local artistic traditions. Chief among these are manuscripts, a vital source for our understanding of Buddhist ideas and practices in the region. They are also a beautiful art form, too little understood in the West. The British Library has one of the richest collections of Southeast Asian manuscripts, principally from Thailand and Burma, anywhere in the world. It includes finely painted copies of Buddhist scriptures, literary works, historical narratives, and works on traditional medicine, law, cosmology and fortune-telling. This stunning new book illustrates over 100 examples of Buddhist art in the Library's collection, relating each manuscript to Theravada tradition and beliefs, and introducing the historical, artistic and religious contexts of their production. It is the first book in English to showcase the beauty and variety of manuscript art and reproduces many works that have never been photographed before.

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English Renaissance Manuscript Culture: The Paper Revolution traces the development of a new type of scribal culture in England that emerged early in the fourteenth century. The main medieval writing surfaces of parchment and wax tablets were augmented by a writing medium that was both lasting and cheap enough to be expendable. Writing was transformed from a near monopoly of professional scribes employed by the upper class to a practice ordinary citizens could afford. Personal correspondence, business records, notebooks on all sorts of subjects, creative writing, and much more flourished at social levels where they had previously been excluded by the high cost of parchment. Steven W. May places literary manuscripts and in particular poetic anthologies in this larger scribal context, showing how its innovative features affected both authorship and readership. As this amateur scribal culture developed, the medieval professional culture expanded as well. Classes of documents formerly restricted to parchment often shifted over to paper, while entirely new classes of documents were added to the records of church and state as these institutions took advantage of relatively inexpensive paper. Paper stimulated original composition by making it possible to draft, revise, and rewrite works in this new, affordable medium. Amateur scribes were soon producing an enormous volume of manuscript works of all kinds--works they could afford to circulate in multiple copies. England's ever-increasing literate population developed an informal network that transmitted all kinds of texts from single sheets to book-length documents efficiently throughout the kingdom. The operation of restrictive coteries had little if any role in the mass circulation of manuscripts through this network. However, paper was cheap enough that manuscripts could also be readily disposed of (unlike expensive parchment). More than 90% of the output from this scribal tradition has been lost, a fact that tends to distort our understanding and interpretation of what has survived. May illustrates these conclusions with close analysis of representative manuscripts.

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Essays considering the relationship between Gower's texts and the physical ways in which they were first manifested. The media in which Gower's works were first transmitted, whether in print of manuscript form, are of vital importance to an understanding of both the poet and his audience. However, in comparison with those of his contemporary Chaucer, they have been relatively little studied. This volume represents a major collaboration between specialist scholars in manuscript and book history, and experts in Gower more generally, breaking new ground in approaching Gower through first-hand study of his publications in manuscript and print. Its chapters consider such matters as manuscript and book illumination, provenance, variant texts and editions, scribes, and printers, looking at how, and to what degree, the materiality of the vellum, paper, ink and binding illuminates - and even implicates - the poet and his poetry. MARTHA DRIVER is Distinguished Professor of English and Women's and Gender Studies at Pace University; the late DEREK PEARSALL was Gurney Professor of English Literature, Emeritus, Harvard University; R.F. YEAGER Is Professor of English and Foreign Languages, Emeritus, University of West Florida. Contributors: Stephanie L. Batkie, Julia Boffey, Margaret Connolly, Siân Echard, A.S.G. Edwards, Robert Epstein, Brian W. Gastle, Amanda J. Gerber, Yoshiko Kobayashi, Aditi Nafde, Tamara Peréz-Fernández, Wendy Scase, Karla Taylor, David Watt.

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One `golden afternoon' in Oxford, in July 1862, the Reverend Charles Lutwidge Dodgson, accompanied three young sisters, Lorina, Alice, and Edith, on a boating trip. To keep the children amused, Dodgson, began to tell a tale about an inquisitive youngster called Alice, and her escapades in an underground world. Two years later, on the urgings of the heroine, Alice Liddell, he wrote the tale down and gave it to her as an early Christmas gift. Dodgson's story, later revised and illustrated by John Tenniel, would go on to become one of the most famous and best-loved children's books of all time - published as Alice's Adventures in Wonderland, under the pen name Lewis Carroll. However, the original tale - Alice's Adventures Under Ground - remains less well-known. In this facsimile edition of Dodgson's manuscript - now one of the British Library's most treasured possessions - with its accompanying commentary by former British Library curator Sally Brown, modern readers can enjoy the expressive story as it was first told.

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From reviews of The Cornell Yeats series: "For students of Yeats the whole series is bound to become an essential reference source and a stimulus to important critical re-readings of Yeats's major works. In a wider context, the series will also provide an extraordinary and perhaps unique insight into the creative process of a great artists."—Irish Literary Supplement "I consider the Cornell Yeats one of the most important scholarly projects of our time."—A. Walton Litz, Princeton University, coeditor of The Collected Poems of William Carols Williams and Personae: The Shorter Poems of Ezra Pound "The most ambitious of the many important projects in current studies of Yeats and perhaps of modern poetry generally.... The list of both general and series editors, as well as prospective preparers of individual volumes, reads like a Who's Who of Yeats textual studies in North America. Further, the project carries the blessing of Yeats's heirs and bespeaks an ongoing commitment from a major university press.... The series will inevitably engender critical studies based on a more solid footing than those of any other modern poet.... Its volumes will be consulted long after gyres of currently fashionable theory have run on."—Yeats Annual (1983) He has chosen death: Refusing to eat or drink, that he may bring Disgrace upon me; for there is a custom, An old and foolish custom, that if a man Be wronged, or think that he is wronged, and starve Upon another's threshold till he die, The common people, for all time to come, Will raise a heavy cry against that threshold, Even though it be the King's. —from The King's Threshold The King's Threshold was first performed in Dublin by the Irish National Theatre Society in 1903 and first published in New York in 1904. The Cornell Yeats edition of this play about a bard's hunger strike includes the preliminary notes and first prose drafts dictated by Yeats to his patron and collaborator, Lady Gregory, in March and April 1903. As well as providing an outline of the play, these preliminary notes identify contemporary persons on whom some of the characters were based. Other features of this edition of The King's Threshold include Yeats's first blank verse drafts, heavily revised and corrected typescripts and galley proofs, and notes for the changes made between 1904 and 1906. A major revision added a tragic ending to the version published in 1922, and this ending has remained in place ever since. Uniquely, this edition presents all four versions of the play, spanning thirty years of Yeats's efforts to perfect it. Declan Kiely presents the biographical and historical context of the play's genesis and Yeats's revisions, and gives accounts of several productions and revivals of the play. The Introduction also explores the relationship between theatrical production and textual revision.

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La mariquita Antoñita se queda atrapada en una telaraña. La araña Pilar se la quiere comer, pero Antoñita le pide que sean amigas.

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Nostrarratus lo había predicho todo, incluida la fecha del Fin del Mundo! Yo quería publicar el manuscrito, pero en Ratonkfurt, durante la Feria del Libro, ocurrió algo increíble Por mil gatos peludos!

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"Sergio Chejfec is an admirable writer." —Patti Smith“Could anyone possibly believe that writing doesn’t exist? It would be like denying the existence of rain.”The perfect green notebook forms the basis for Sergio Chejfec’s work, collecting writing, and allowing it to exist in a state of permanent possibility, or, as he says, “The written word is also capable of waiting for the next opportunity to appear and to continue to reveal itself by and for itself.” This same notebook is also the jumping off point for this essay, which considers the dimensions of the act of writing (legibility, annotation, facsimile, inscription, typewriter versus word processor versus pen) as a way of thinking, as a record of relative degrees of permanence, and as a performance. From Kafka through Borges, Nabokov, Levrero, Walser, the implications of how we write take on meaning as well worth considering as what we write. This is a love letter to the act of writing as practice, bearing down on all the ways it happens (cleaning typewriter keys, the inevitable drying out of the bottle of wite-out, the difference between Word Perfect and Word) to open up all the ways in which “when we express our thought, it changes.”

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Beyond Words accompanies a collaborative exhibition at the McMullen Museum of Art, Boston College; Harvard University's Houghton Library; and the Isabella Stewart Gardner Museum. Featuring illuminated manuscripts from nineteen Boston-area institutions, this catalog provides a sweeping overview of the history of the book in the Middle Ages and Renaissance, as well as a guide to its production, illumination, functions, and readership. Entries by eighty-five international experts document, discuss, and reproduce more than two hundred and sixty manuscripts and early printed books, many of them little known before now. Beyond Words also explores the history of collecting such books in Boston, an uncharted chapter in the history of American taste. Of broad appeal to scholars and amateur enthusiasts alike, this catalog documents one of the most ambitious exhibitions of medieval and Renaissance manuscripts ever to take place in North America.

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This work explores the emergence of modern Greek language, thought, and sensibility reflected in Harvard’s 80,000-item-strong collection of Greek books and manuscripts, ranging from fifteenth-century liturgical manuals to Renaissance translations into modern Greek of Homer and other classical authors to the works and papers of such twentieth-century Greek literary figures as Nikos Kazantzakis, George Seferis, and C. P. Cavafy. With copious illustrations of Greek writing, design, and typography, Evro Layton’s catalogue is a visual and intellectual treat for philhellenes.

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Who wrote about the past in the Middle Ages, who read about it, and how were these works disseminated and used? History was a subject popular with authors and readers in the Anglo-Norman world. The volume and richness of historical writing in the lands controlled by the kings of England, particularly from the 12th century, has long attracted the attention of historians and literary scholars. This collection of essays returns to the processes involved in writing history, and in particular to the medieval manuscript sources in which the works of such historians survive. It explores the motivations of those writing about the past in the Middle Ages (such as Orderic Vitalis, John of Worcester, Symeon of Durham, William of Malmesbury, Gerald of Wales, Roger of Howden, and Matthew Paris), and the evidence provided by manuscripts for the circumstances in which copies were made.

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British Library MS Harley 2253 is one of the most important literary works to survive from the English medieval era. In rarity, quality, and abundance, its secular love lyrics comprise an unrivaled collection. Intermingled with them are contemporary political songs as well as delicate lyrics designed to inspire religious devotion.

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An illustrated manual showing how a medieval tournament was organised, here presented in three volumes with essays on various aspects of the manuscript. This 3 volume set contains the full text of René d'Anjou's Livre des tournois. This is famous as the most substantial account of the organisation of a medieval tournament that has come down to us. It survives in eight manuscripts, most of which have an almost identical layout; the best of these is a magnificent work of art in its own right. But these manuscripts have a further interest to the historian of culture, because they represent in effect the evidence for one of the first illustrated manuals, in which text and image are complementary, and form a single whole. The copyists understood this, and followed the original because the mise en page was an essential part of the whole. Justin Sturgeon's interdisciplinary study reveals the patterns and relationships which give the manual its very specific character. The study begins by exploring the relationship between the work's images and text, and brings into focus the author's identity as an authority on the subject matter. Next, the use and depiction of heraldry as essential to the construction of an embedded visual narrative within the work is explored. We then turn to the subject matter and to René's sources for the work and the form of tournament he describes, are examined and the author shows that René was drawing on specific precedents to construct his idealized version of such an event. Analysis of the visual presentation uses spatial and ritual theory to engage with a series of spectacles surrounding the punishment and review of the noble tourneyers. The last section of the book concentrates on the physical manuscripts.The codicological, textual and visual evidence from all eight known medieval manuscript copies is used to construct a new understanding of the provenance and transmission of the work, before turning to scrutinize the reception of two copies in detail. The conclusion draws together threads of identity, authority, and the importance of the Livre des tournois as a product of the culture and circumstances of its production. A series of appendices forms the second volume and directly supports the book. These appendices include the first scholarly edition of the source manuscript to make use of all eight medieval manuscripts,with full supporting data. The third volume contains 300 images of vital comparisons in high resolution close-ups using a special technique developed by the author which highlights important details within images while showing the detail in the context of the whole picture. Three Volume set.

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A new source for Shakespeare's plays, only recently uncovered, is investigated here with a full edition and facsimile of the text. New sources for Shakespeare do not turn up every day... This is a truly significant one that has not heretofore been studied or published. The list of passages now traced back to this source is impressive. - David Bevington, Professor Emeritus, University of Chicago "A Brief Discourse of Rebellion and Rebels" is the only uniquely existent, unpublished manuscript that can be shown to have been a source for Shakespeare's plays. George North wrote the treatise in 1576 while at Kirtling Hall, the North family estate in Cambridgeshire. His manuscript, newly uncovered by the authors at the British Library, has many implications for our understanding of Shakespeare's plays. for example, not only does it bring clarity to the Fool's mysterious reference to Merlin in King Lear, but also upsets the prevailing opinion that Shakespeare invented the final hours of Jack Cade in 2 Henry VI. Linguistic and thematic correspondences between the North manuscript and Shakespeare's plays make it clear that the playwright borrowed from this document in other plays as well, including Richard III, 3 Henry VI, Henry V, King John, Macbeth, and Coriolanus. The opening chapters of the book investigate such connections; the volume also contains both a transcript and a facsimile of "A Brief Discourse", making this previously unknown document readily available. DENNIS MCCARTHY is an independent scholar; JUNE SCHLUETER is Charles A. Dana Professor Emerita of English at Lafayette College, Easton, Pennsylvania.

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Integran el presente volumen tres ensayos que Böhm-Bawerk, el gran fundador de la teoría austriaca del capital y del interés, en términos de Rothbard, escribió para el Handwörterbuch der Staatswissenschaften, publicados en 1892 y 1894, es decir, en la época de plena madurez del Autor, por lo que bien pueden considerarse como una perfecta síntesis de su pensamiento sobre estos temas fundamentales.En el volumen se recoge también el ensayo sobre Turgot que Böhm-Bawerk escribió en su juventud cuando asistió al seminario de Karl Knies en Heidelberg (1876) en el que se perfilan los orígenes de la teoría de Böhm-Bawerk sobre el interés, que arranca de las geniales intuiciones de Turgot sobre la influencia del tiempo en el valor de los bienes.En la lúcida introducción que enriquece la presente edición, José Antonio de Aguirre sintetiza y destaca las ideas sobre estos temas expuestas en su reciente libro El capitalismo y la Riqueza de las Naciones, donde insiste sobre el lug

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This is a book for readers who are interested in the art and the social history of the Middle Ages. Illuminated manuscripts of that period are a primary source of information about the way in which men and women went about the everyday business of living–working on the land, engaging in trade and commerce, devoting themselves to crafts and manufactures, or carrying on the range of activities that we now regard as the professions. Many of the scenes reproduced in this superbly illustrated account are simply works of art in their own right; others are taken from manuscripts that are famous for the very high quality of their illumination. Patricia Basing provides a rich commentary, full of interesting observations, that relates each picture its historical context, explores the connections between the illustrations and text, and gives an account of the general background of manuscript production in medieval times.

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'The Index of Middle English Prose' is an international collaborative project which will ultimately locate, identify and record all extant Middle English prose texts composed between c.1200 and c.1500, in both manuscript and printed form in medieval and post-medieval versions. The first step towards this goal has been this series of 'Handlists', each recording the holdings of a major library or group of libraries. Compiled by scholars, 'Handlists' include detailed descriptions of each prose item with identifications, categorisations and full bibliographical data. Every 'Handlist' will also contain a series of indexes including listings of opening and closing lines, authors, titles, subject matter and rubrics. For students of the middle ages 'Handlists' provide essential bibliographical tools and shed light on a wide range of subjects.

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Explores the practices and processes by which manuscripts were crafted, mended, protected, marked, gifted and shared.

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