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Marginalia in early modern and medieval texts - printed, handwrit-
ten, drawn, scratched, colored, and pasted in - offer a glimpse of
how people, as individuals and in groups, interacted with books and
manu- scripts over often lengthy periods of time. The chapters in
this volume build on earlier scholarship that established
marginalia as an intellec- tual method (Grafton and Jardine), as
records of reading motivated by cultural, social, theological, and
personal inclinations (Brayman [Hackel] and Orgel), and as
practices inspired by material affordances particular to the book
and the pen (Fleming and Sherman). They further the study of the
practices of marginalia as a mode - a set of ways in which material
opportunities and practices overlap with intellectual, social, and
personal motivations to make meaning in the world. They introduce
us to a set of idiosyncratic examples such as the trace marks of
objects left in books, deliberately or by accident; cut-and-pasted
additions to printed volumes; a marriage depicted through shared
book ownership. They reveal to us in case studies the unique value
of mar- ginalia as evidence of phenomena as important and diverse
as religious change, authorial self-invention, and the history of
the literary canon. The chapters of this book go beyond the case
study, however, and raise broad historical, cultural, and
theoretical questions about the strange, marvelous, metamorphic
thing we call the book, and the equally mul- tiplicitous,
eccentric, and inscrutable beings who accompany them through
history: readers and writers.
Marginalia in early modern and medieval texts - printed, handwrit-
ten, drawn, scratched, colored, and pasted in - offer a glimpse of
how people, as individuals and in groups, interacted with books and
manu- scripts over often lengthy periods of time. The chapters in
this volume build on earlier scholarship that established
marginalia as an intellec- tual method (Grafton and Jardine), as
records of reading motivated by cultural, social, theological, and
personal inclinations (Brayman [Hackel] and Orgel), and as
practices inspired by material affordances particular to the book
and the pen (Fleming and Sherman). They further the study of the
practices of marginalia as a mode - a set of ways in which material
opportunities and practices overlap with intellectual, social, and
personal motivations to make meaning in the world. They introduce
us to a set of idiosyncratic examples such as the trace marks of
objects left in books, deliberately or by accident; cut-and-pasted
additions to printed volumes; a marriage depicted through shared
book ownership. They reveal to us in case studies the unique value
of mar- ginalia as evidence of phenomena as important and diverse
as religious change, authorial self-invention, and the history of
the literary canon. The chapters of this book go beyond the case
study, however, and raise broad historical, cultural, and
theoretical questions about the strange, marvelous, metamorphic
thing we call the book, and the equally mul- tiplicitous,
eccentric, and inscrutable beings who accompany them through
history: readers and writers.
Originally published in 1995, this book contains a full version of
The Diary of Anne Clifford, alongisde an introduction and textual
notes. Anne Clifford left one of the most extensive
autobiographical records of the seventeenth century and, it was
first published, this edition was the first critical edition of any
of her works.
Originally published in 1995, this book contains a full version of
The Diary of Anne Clifford, alongisde an introduction and textual
notes. Anne Clifford left one of the most extensive
autobiographical records of the seventeenth century and, it was
first published, this edition was the first critical edition of any
of her works.
Early modern printed books are copiously illustrated with charts,
diagrams, and other kinds of images that represent systems of
thought and ways of doing things. Visual Rhetoric and Early Modern
English Literature shows how these images fostered what Elizabeth
Eisenstein called brainwork related to concepts of space, truth,
art, and nature, and reveals their importance to poetry by Andrew
Marvell and John Milton, and Aphra Behn's Oroonoko. The genres of
illustration considered in this book include military strategy and
tactics, garden design, instrumentation, Bibles, scientific schema,
drawing instruction, natural history, comparative anatomy, and
Aesop's Fables. The argument produces unique insights into the ways
in which visual rhetoric affected verbal expression, and the book
develops novel methods of using printed images as evidence in the
interpretation of the rich, strange, and beautiful literature of
early modern England.
Early modern printed books are copiously illustrated with charts,
diagrams, and other kinds of images that represent systems of
thought and ways of doing things. Visual Rhetoric and Early Modern
English Literature shows how these images fostered what Elizabeth
Eisenstein called brainwork related to concepts of space, truth,
art, and nature, and reveals their importance to poetry by Andrew
Marvell and John Milton, and Aphra Behn's Oroonoko. The genres of
illustration considered in this book include military strategy and
tactics, garden design, instrumentation, Bibles, scientific schema,
drawing instruction, natural history, comparative anatomy, and
Aesop's Fables. The argument produces unique insights into the ways
in which visual rhetoric affected verbal expression, and the book
develops novel methods of using printed images as evidence in the
interpretation of the rich, strange, and beautiful literature of
early modern England.
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