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This book studies the uses of orality in Italian society, across
all classes, from the fifteenth to the seventeenth century, with an
emphasis on the interrelationships between oral communication and
the written word. The Introduction provides an overview of the
topic as a whole and links the chapters together. Part 1 concerns
public life in the states of northern, central, and southern Italy.
The chapters examine a range of performances that used the spoken
word or song: concerted shouts that expressed the feelings of the
lower classes and were then recorded in writing; the proclamation
of state policy by town criers; songs that gave news of executions;
the exercise of power relations in society as recorded in trial
records; and diplomatic orations and interactions. Part 2 centres
on private entertainments. It considers the practices of the
performance of poetry sung in social gatherings and on stage with
and without improvisation; the extent to which lyric poets
anticipated the singing of their verse and collaborated with
composers; performances of comedies given as dinner entertainments
for the governing body of republican Florence; and a reading of a
prose work in a house in Venice, subsequently made famous through a
printed account. Part 3 concerns collective religious practices.
Its chapters study sermons in their own right and in relation to
written texts, the battle to control spaces for public performance
by civic and religious authorities, and singing texts in sacred
spaces.
During the Italian Renaissance, laywomen and nuns could take part
in every stage of the circulation of texts of many kinds, old and
new, learned and popular. This first in-depth and integrated
analysis of Italian women's involvement in the material textual
culture of the period shows how they could publish their own works
in manuscript and print and how they promoted the first publication
of works composed by others, acting as patrons or dedicatees. It
describes how they copied manuscripts and helped to make and sell
printed books in collaboration with men, how they received books as
gifts and borrowed or bought them, how they commissioned
manuscripts for themselves and how they might listen to works in
spoken or sung performance. Brian Richardson's richly documented
study demonstrates the powerful social function of books in the
Renaissance: texts-in-motion helped to shape women's lives and
sustain their social and spiritual communities.
Investigating the interrelationships between orality and writing in
elite and popular textual culture in early modern Italy, this
volume shows how the spoken or sung word on the one hand, and
manuscript or print on the other hand, could have interdependent or
complementary roles to play in the creation and circulation of
texts. The first part of the book centres on performances, ranging
from realizations of written texts to improvisations or
semi-improvisations that might draw on written sources and might
later be committed to paper. Case studies examine the poems sung in
the piazza that narrated contemporary warfare, commedia dell'arte
scenarios, and the performative representation of the diverse
spoken languages of Italy. The second group of essays studies the
influence of speech on the written word and reveals that, as
fourteenth-century Tuscan became accepted as a literary standard,
contemporary non-standard spoken languages were seen to possess an
immediacy that made them an effective resource within certain kinds
of written communication. The third part considers the roles of
orality in the worlds of the learned and of learning. The book as a
whole demonstrates that the borderline between orality and writing
was highly permeable and that the culture of the period, with its
continued reliance on orality alongside writing, was often hybrid
in nature.
The author suggests that architects and engineers facing the
challenges and changes of the construction marketplace in the next
century need to develop a marketing agenda which can be supported
and reinforced at every level. This work develops a comprehensive
marketing discipline that is relevant and applicable to both small
and large practices. The marketing discipline of scenario planning,
synthesis marketing and strategic mapping is forward looking and
intuitive - a radical move away from retrospective, analytical
methods of traditional marketing. The author argues that marketing
in the late 1990s and beyond will be shaped and formed by synthesis
rather than analysis with successful marketing strategies in the
next century being based on a synthesis of social, cultural,
political and economic factors; a demonstrable ability to bring
together and manage a wide variety of project elements; a clear
articulation of the benefits of intangibles such as design, quality
and purpose.
Investigating the interrelationships between orality and writing in
elite and popular textual culture in early modern Italy, this
volume shows how the spoken or sung word on the one hand, and
manuscript or print on the other hand, could have interdependent or
complementary roles to play in the creation and circulation of
texts. The first part of the book centres on performances, ranging
from realizations of written texts to improvisations or
semi-improvisations that might draw on written sources and might
later be committed to paper. Case studies examine the poems sung in
the piazza that narrated contemporary warfare, commedia dell'arte
scenarios, and the performative representation of the diverse
spoken languages of Italy. The second group of essays studies the
influence of speech on the written word and reveals that, as
fourteenth-century Tuscan became accepted as a literary standard,
contemporary non-standard spoken languages were seen to possess an
immediacy that made them an effective resource within certain kinds
of written communication. The third part considers the roles of
orality in the worlds of the learned and of learning. The book as a
whole demonstrates that the borderline between orality and writing
was highly permeable and that the culture of the period, with its
continued reliance on orality alongside writing, was often hybrid
in nature.
Even after the arrival of printing in the fifteenth century, texts
continued to be circulated within Italian society by means of
manuscript. Scribal culture offered rapidity, flexibility and a
sense of private, privileged communication. This book is a detailed
treatment of the continuing use of scribal transmission in
Renaissance Italy. Brian Richardson explores the uses of scribal
culture within specific literary genres, its methods and its
audiences. He also places it within the wider system of textual
communication and of self-presentation, examining the relationships
between manuscript and print and between manuscript and the spoken
or sung performance of verse. An important contribution to a lively
area of the history of the book, this study will be of interest
both for the abundance of new material on the circulation of texts
in Italy and as a model for how to study the cultures of manuscript
and print in early modern Europe.
Even after the arrival of printing in the fifteenth century, texts
continued to be circulated within Italian society by means of
manuscript. Scribal culture offered rapidity, flexibility and a
sense of private, privileged communication. This book is a detailed
treatment of the continuing use of scribal transmission in
Renaissance Italy. Brian Richardson explores the uses of scribal
culture within specific literary genres, its methods and its
audiences. He also places it within the wider system of textual
communication and of self-presentation, examining the relationships
between manuscript and print and between manuscript and the spoken
or sung performance of verse. An important contribution to a lively
area of the history of the book, this study will be of interest
both for the abundance of new material on the circulation of texts
in Italy and as a model for how to study the cultures of manuscript
and print in early modern Europe.
This book studies the uses of orality in Italian society, across
all classes, from the fifteenth to the seventeenth century, with an
emphasis on the interrelationships between oral communication and
the written word. The Introduction provides an overview of the
topic as a whole and links the chapters together. Part 1 concerns
public life in the states of northern, central, and southern Italy.
The chapters examine a range of performances that used the spoken
word or song: concerted shouts that expressed the feelings of the
lower classes and were then recorded in writing; the proclamation
of state policy by town criers; songs that gave news of executions;
the exercise of power relations in society as recorded in trial
records; and diplomatic orations and interactions. Part 2 centres
on private entertainments. It considers the practices of the
performance of poetry sung in social gatherings and on stage with
and without improvisation; the extent to which lyric poets
anticipated the singing of their verse and collaborated with
composers; performances of comedies given as dinner entertainments
for the governing body of republican Florence; and a reading of a
prose work in a house in Venice, subsequently made famous through a
printed account. Part 3 concerns collective religious practices.
Its chapters study sermons in their own right and in relation to
written texts, the battle to control spaces for public performance
by civic and religious authorities, and singing texts in sacred
spaces.
The emergence of print in late fifteenth-century Italy gave a crucial new importance to the editors of texts, who could strongly influence the interpretation and status of texts by determining the form and context in which they would be read. Brian Richardson examines the Renaissance production, circulation and reception of texts by earlier writers including Dante, Petrarch, Boccaccio and Ariosto, as well as popular contemporary works of entertainment. In so doing he sheds light on the impact of the new printing and editing methods on Renaissance culture.
The spread of printing to Renaissance Italy had a dramatic impact
on all users of books. As works came to be diffused more widely and
cheaply, so authors had to adapt their writing and their methods of
publishing to the demands and opportunities of the new medium, and
reading became a more frequent and user-friendly activity.
Printing, Writers and Readers in Renaissance Italy focuses on this
interaction between the book industry and written culture. After
describing the new technology and the contexts of publishing and
bookselling, it examines the continuities and changes faced by
writers in the shift from manuscript to print, the extent to which
they benefited from print in their careers, and the greater
accessibility of books to a broader spectrum of readers, including
women and the less well educated. This is the first integrated
study of a topic of central importance in Italian and European
culture.
The emergence of print in late fifteenth-century Italy gave a
crucial new importance to the editors of texts, who determined the
form in which texts from the Middle Ages would be read, and who
could strongly influence the interpretation and status of texts by
adding introductory material or commentary. Brian Richardson here
examines the Renaissance circulation and reception of works by
earlier writers including Dante, Petrarch, Boccaccio and Ariosto,
as well as popular contemporary works of entertainment. In so doing
he sheds light on the impact of the new printing and editing
methods on Renaissance culture, including the standardisation of
vernacular Italian and its spread to new readers and writers, the
establishment of new standards in textual criticism, and the
increasing rivalry between the two cities on which this study is
chiefly focused, Venice and Florence.
During the Italian Renaissance, laywomen and nuns could take part
in every stage of the circulation of texts of many kinds, old and
new, learned and popular. This first in-depth and integrated
analysis of Italian women's involvement in the material textual
culture of the period shows how they could publish their own works
in manuscript and print and how they promoted the first publication
of works composed by others, acting as patrons or dedicatees. It
describes how they copied manuscripts and helped to make and sell
printed books in collaboration with men, how they received books as
gifts and borrowed or bought them, how they commissioned
manuscripts for themselves and how they might listen to works in
spoken or sung performance. Brian Richardson's richly documented
study demonstrates the powerful social function of books in the
Renaissance: texts-in-motion helped to shape women's lives and
sustain their social and spiritual communities.
This book brings together several major essays on foundational
topics of narrative studies and the theory of fictionality by one
of the preeminent figures of postclassical narrative theory. It
reexamines and reconceives the role of the author, the status of
implied authors, the model for unnatural narrative theory, the
nature of narrative, and the ideological implications of narrative
forms. It also explores the status of historical characters in
fictional texts, the paradoxes of realism, the presence of multiple
implied readers, the role of actual readers, and the question of
fictionality. In addition, an appendix offers a useful approach for
teaching narrative theory. The book includes analyses of works by
Conrad, Joyce, Woolf, Nabokov, Beckett, Jeanette Winterson, Deborah
Eisenberg, and others. Throughout, it argues for a more expansive
conception of narrative theory and keen attention to the nature and
difference of fiction. This provocative book makes crucial
interventions in ongoing critical debates about narrative theory,
literary theory, and the theory of fictionality, and is essential
reading for all students of narrative.
George Eliot wrote that "man cannot do without the make-believe of
a beginning." Beginnings, it turns out, can be quite unusual,
complex, and deceptive. The first major volume to focus on this
critical but neglected topic, this collection brings together
theoretical studies and critical analyses of beginnings in a wide
range of narrative works spanning several centuries and genres. The
international and interdisciplinary scope of these essays,
representing every major theoretical perspective--including
feminist, cognitive, postcolonial, postmodern, rhetorical, ethnic,
narratological, and hypertext studies--extends from classic
literary fiction to nonfictional discourse to popular culture. The
authors, respected scholars and emerging critics, ask what
conventions structure our understanding of beginnings before we
encounter them; how best to analyze and comprehend beginnings in
historical, traditional, and postmodern works; and how endings are
(often unexpectedly) related to beginnings. The contributors use
historical, political, narratological, and psychological frameworks
to pursue these and related questions in works by Laurence Sterne,
James Joyce, Virginia Woolf, Samuel Beckett, Manuel Puig, Salman
Rushdie, Julia Alvarez, and feminist hypertext fiction. Together
their essays comprise the single most important volume for
theorizing about and understanding narrative beginnings.
The MHRA Style Guide is intended primarily for use in connection
with books and periodicals published by the Modern Humanities
Research Association, but it is also widely useful to students and
other authors, to editors, and to publishers of texts written
mainly in English. Its chapters deal with preparing material for
publication; spelling and usage; names; abbreviations; punctuation;
capitals; italics; dates, numbers, currency, and weights and
measures; quotations and quotation marks; footnotes and endnotes;
references; the preparation of indexes; useful works of reference;
and proof correction. This third edition has been revised and
updated in the light of developments in technology and means of
communication, and of suggestions made by users of the second
edition. It introduces a Quick Guide to the main features of MHRA
style, and it gives fuller information on referencing, including
online publications and social media, and on indexing.
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The Discourses (Paperback, Revised)
Niccolo Machiavelli; Edited by Bernard Crick; Introduction by Bernard Crick; Translated by Brian Richardson, Leslie Walker
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R411
R337
Discovery Miles 3 370
Save R74 (18%)
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Machiavelli examines the glorious republican past of Rome. In contrast with The Prince, this unfinished work upholds the Republic as the best and most enduring style of government.
The current period has seen the rise of Islamophobia, a resurgence
of fascism in Europe and constant attempts to scapegoat immigrants.
This book seeks to challenge the idea that racism is inevitable by
taking a critical look at the origins and history of racism in
Britain and abroad. The eight authors shared Marxist approach and
activist history ensure a smooth narrative and a clear argument for
the struggle for liberation today.
The October 2013 issue of The Modern Language Review.
Brian McReynolds has finally graduated at the top of his class from
the police academy as a detective. He lands a job with the New York
Police Department in the Homicide division. Both good and bad come
his way when he falls in love with a beautiful waitress at the
local diner, but his best friend becomes involved in drugs. Now
Brian must try to help his friend before it's too late.
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