Early Books Research Articles

Ivano Luckevičiaus gudų muziejaus bibliotekos senųjų knygų paveldas / The Heritage of Old Books from in the Library of the Ivan Lutskevich Belarusian Museum

The Ivan Lutskevich Belarusian Museum was established in Vilnius over a century ago, in 1921. It was based on the documentary heritage of the Grand Duchy of Lithuania collected by Ivan Lutskevich (1881–1919), historian, archaelogist and bibliophile, who also was a prominent activist in the Belarusian community in Vilnius. The holdings of the museum also contained various artifacts acquired by Lutskevich in archaeological expeditions and donated to the Belarusian Scientific Society in 1916. The reorganization of Vilnius museums that began in 1939 caused the complete liquidation of the Ivan Lutskevich Belarusian Museum in 1945. At that time print publications and manuscripts from the holdings of the museum were handed over to the then Library of the Lithuanian Academy of Sciences. The museum’s library contained over 14 thousand volumes, with the collection of early print books (15th–18th centuries) consisting of about 600 items. The two-part Belarusian-language catalogue compiled in 1943 by the art scholar Vladas Drėma, museum custodian, contains 411 numbered entries for the books passed on to the Lithuanian Academy of Sciences. Based on this catalogue, which is now kept in the Library’s Manuscripts Department and on other sources, the article aims to examine the heritage of 15th–18th-century books kept in the Rare Books Department of the Wroblewski Library. The Drėmaʼs catalogue lists the old publications by century: one book from the 15th century, 24 from the 17th century; 293 from the 18th century (several of which might actually belong to the 19th century). There are 411 books in total. At present, we have been able to identify 224 15th–18th-century books (208 titles) that come from library of the Belarusian Museum: eight books from the 15th century, 21 books from the 16th century, 47 from the 17th century, and 144 from the 18th century. These statistical data, however incomplete, show that not all old publications have been described in Drėma’s catalogue. The collection includes rare printing masterpieces such as eight incunabula, the earliest of which is the Czech-language Biblia Bohemica published in Prague in 1488 and Biblia Latina printed in Basel in 1491 (these and other five incunabula are not listed in Drėma’s catalogue). The first entry in the catalogue is Pentecostarion (Триодь цветная), a liturgical book published in Cracow about 1493 by Schweipolt Fiol, pioneer of Cyrillic printing. Other notable entries are printing masterpieces of the Grand Duchy of Lithuania such as Part 4 of Бивлия руска published by Francysk Skaryna in Prague in 1519, the Slavonic grammar by Meletius Smotrytsky published in Vievis at the printing house of the Holy Spirit Brotherhood in 1619, extremely rare publications by the Vilnius Jesuit Academy, Basilian, and other printing houses of those times. The Belarusian Museum’s collection of old books is notable for its linguistic and thematic diversity. Most of the books, about 45 per cent, are in Polish; 25 per cent (53 publications) are in Church Slavonic, Old Slavic and Russian; 15 per cent (30 publications) are in Latin; several publications each are in French (six) and German (two), one incunabulum is in Czech. The content of the books is discussed after dividing them into two groups of equal quantity: religious and secular literature. A list of so-far identified old books is provided at the end of the article. Keywords: Ivan Lutskevich Belarusian Museum; heritage of old books; Vladas Drėma; manuscript catalogue; The Wroblewski Library of the Lithuanian Academy of Sciences; Rare Books Department.

Соотношение индивидуального и коллективного в социальной философии Г. Д. Гурвича

The relationship between the individual and society is the leitmotif of Georges Gurvitch’s work. Beginning from the early Russian-language books on the philosophy of law and ending with the works on sociology published in France and the USA at the final stage of his career, Gurvitch studied the individual person and collective units as interacting sides of the collective social subject. He sought to overcome the struggle between individualism and collectivism which found its ideological expression in the rivalry of the French (Emile Durkheim) and German (Max Weber) schools of sociology. Gurvitch formulated the concept of society as dynamic interaction and mutual determination of the individual and collective unit. In his Russian-language works, written before his emigration, he maintained that it was in the sphere of law that one could determine how the individual and society mutually condition each other and determine the direction of social development. In the late 1920s and early 1930s in his teaching on social law, Gurvitch formulated the concept of sociability which enabled him to focus attention not on the confrontation, but on the interaction of the individual and society. In the concept of “normative fact” he defined the being of society and embodied the dialectical interaction between singularity and multitude. In the late 1930s in his teaching on microsociology, he introduced criteria of sociability, recording individual (intensity of the fusion of individual minds) and collective (the force of social pressure) aspects of the process of social development. Proceeding from these criteria Gurvitch developed a gradation of sociability, expressing it in the scheme “mass — community — communion” which enabled him to analyse the formation of collective units and determine the features of their existence. In his article “Mass, Community, and Communion” (1941) he presented the forms of sociability which enabled him to describe the mutual conditioning of individuals and collective units. Gurvitch’s article spells out the key principles of his philosophy and sociology of law which overcome individualism and collectivism in his account of society.

Old Style: Unoriginality and Its Uses in Nineteenth-Century U.S. Literature by Claudia Stokes, and: Fair Copy: Relational Poetics and Antebellum American Women's Poetry by Jennifer Putzi

Reviewed by: Old Style: Unoriginality and Its Uses in Nineteenth-Century U.S. Literature by Claudia Stokes, and: Fair Copy: Relational Poetics and Antebellum American Women's Poetry by Jennifer Putzi Madeline Zehnder Stokes, Claudia. 2021. Old Style: Unoriginality and Its Uses in Nineteenth-Century U.S. Literature. Philadelphia: University of Pennsylvania Press. $79.95 hc. 288 pp. Putzi, Jennifer. 2021. Fair Copy: Relational Poetics and Antebellum American Women's Poetry. Philadelphia: University of Pennsylvania Press. $69.95 hc. 320 pp. In a 2016 profile of the poet Eileen Myles, journalist Emily Witt coined the "Theory of the Bad Copy"—a distillation of Myles's belief that copying can be a vehicle for artistic and social change. According to Myles, who has suggested that Black Sparrow Press published them "as a bad copy of Charles Bukowski," people often break with the past by presenting as imitations of established figures (Witt 2016).1 Copying may ease difference, but it also allows new artists to slip through the door and shake things up. The Theory of the Bad Copy suggests that as much as contemporary Western society professes to value originality, it more readily cleaves to the familiar. Latent in the concept of a "bad" copy is the critique that failures of imagination cloud audience ability to recognize what is new or original. At the same time, there's something subversive about a copy characterized by its badness. In a culture that outwardly praises innovation while denigrating imitation, the bad [End Page 146] copy disrupts, slyly reframing the act of copying as creative work. Myles themself has described copying as an essential part of their poetic labor: "[copying] is a form of loving the world. … It is a form of chanting and I do it for religious reasons. I mean it's my default position" (Myles 2020). Practices of imitation also offer social and creative resources for the nineteenth-century Americans whom Claudia Stokes and Jennifer Putzi discuss in their respective monographs. Yet while Myles embraces copying as a mode of introspection and individual renewal, these earlier American authors copy and imitate primarily to forge networks and connections—with the past, with the literary establishment, with each other. Challenging the assumption that originality is a timeless artistic value, Stokes and Putzi explicate unoriginality's appeal for particular nineteenth-century American audiences by pairing close readings of texts with attention to material conditions of textual production, circulation, and use. The nexus of the textual and the material has been a generative site for thinking about the role of copying in the nineteenth-century United States. In recent decades, scholarship including Meredith L. McGill's American Literature and the Culture of Reprinting (2003), Lindsay DiCuirci's Colonial Revivals: The Nineteenth-Century Lives of Early American Books (2018), and the Viral Texts Mapping Project (est. 2012) has positioned reprinting as an important heuristic for understanding early American literary culture. Research on nineteenth-century African American literature, including the essays in Early African American Print Culture (2012), has been crucial to recovering the social and political functions of copying, including how practices such as quotation index nineteenth-century Black American authors' orientation toward the collective. While both Stokes and Putzi engage this scholarship to examine how copying organizes material and social practices, their respective studies help connect the study of material texts with questions and methods drawn from aesthetics and poetics. Together, Old Style and Fair Copy invite scholars to take unoriginal texts seriously as literature—and to ask why the unoriginal has become cause for literary dismissal in the first place. In Old Style, Claudia Stokes charts the rise and fall of unoriginality as a "legitimate aesthetic mode" in the nineteenth-century United States (2021, 2). Revisiting a familiar story of the early national period as an era of print expansion, Stokes shows that even as some authors and publishers deployed novelty to compete for attention [End Page 147] in a crowded market, others advocated for treating the borrowed, familiar, and traditional as markers of literary skill and taste. For many early nineteenth-century Americans, Stokes argues, originality was suspect. Being perceived as literary was less about producing iconoclastic newness than showcasing knowledge of literary...

Lives in Book History: Changing Contours of Research over Forty Years

One of the accomplishments of Robin Myers's long career as a book historian (which includes being archivist of the Stationers’ Company) is a series of London conferences, of which she has been one of the organizers since its inception in 1979. These conferences, taking “book history” in its broadest sense, have covered many topics; and the fortieth one, in 2018, provided a backward glance by focusing on the development of the field over those four decades. The present handsomely produced volume prints eight papers from that conference, along with Myers's concise and charming history of the whole series and a record of all the papers and the thirty accompanying book publications. Although two conferences have taken place since 2018, Myers calls the theme of that one “valedictory” and feels that it forms “a natural closure.” The most recent conference (2021), she believes, may be the last, “certainly the end of the first series of conferences.” Whether or not more conferences are held, this volume stands as a fitting monument to a unique phenomenon in the history of book history.The authors of the eight papers are distinguished historians representing a wide range of specialties: Maureen Bell (personnel of the early English book trade), Peter W. M. Blayney (sixteenth-century English printing), Christopher de Hamel (illuminated manuscripts), Mirjam Foot (bookbindings), Antony Griffiths (prints), Lotte Hellinga (fifteenth-century printed books), David McKitterick (library and publishing history), and Mark Rose (copyright). They were asked to reflect on their own scholarly lives as well as on how their fields have changed over the years; and the essays (all well written and often amusing) vary in the proportions of these two ingredients. Perhaps the most evocative autobiographically are de Hamel's, beginning with his teenage enchantment with medieval manuscripts in a Dunedin Public Library display, and Blayney's, which conveys the process of discovering the joy of patient and thorough investigation; and perhaps the one with the broadest sweep of reference is McKitterick's, whose several themes include the need for national book histories to be international (since many books circulating within a country came from elsewhere). Most of the writers do not limit themselves to forty years in their survey of scholarship but often go back to at least 1900, and the book is thus a convenient guide to basic work in these areas. Other guides exist, but what makes this volume unusual is the biographical element. A passion for the subject, and for research into it, is evident in each essay, and the interdependence of personal stories and scholarly progress is repeatedly demonstrated. The result is an inspiring advertisement for the pleasures of book-history research. With this appealing volume, Robin Myers has reason to feel that her ninety-sixth birthday has been well celebrated.

Çocuk ve İlk Gençlik İllüstrasyonunda Korkunun Görünümleri

Bu çalışma, illüstrasyonun bağımsız bir disiplin olarak ortaya çıkışından bu yana en eski uygulama alanlarından birisi olan çocuk ve ilk gençlik kitaplarındaki değişen çehresini “korku” kavramı üzerinden tartışmayı amaçlamaktadır. Korkunun görünümlerini; güncel çocuk ve ilk gençlik kitaplarının yakın zamanlı yayınlarda ve alana ilişkin etkinliklerde karşılaşılan örnekleri üzerinden anlamaya çalışmak, araştırma açısından önem taşımaktadır. Zira illüstrasyonun bilinen sınırların dışına taşarak, çok sayıda farklı üretim yaklaşımında rol alması neredeyse çeyrek yüzyıllık bir sürece dayansa da, korkuyla ilişkisinin izine kendi tarihinin ilk bulgularında dahi rastlanmaktadır. Diğer yandan, farklı gelişme ve gerekçeler eşliğinde gerçekleşen güncel üretim süreçlerinde çehreleri değişse de korkunun görünümleriyle karşılaşmalar sürmekte, hatta sayıca artış gözlenmektedir. Çalışma içerisinde de belirtildiği gibi, korku kavramının görselleştirilmesi, insanlık tarihinin görsel üretim süreciyle kökten bağlı görünmekte, üzerine eklenen dönemler boyunca yaşanan değişimler ve yaklaşımlarla çözülmek bir yana ilişki daha da kompleks bir hale gelmektedir. Bu araştırmanın amacı; ulaşılabilirliği, bilinirliği yüksek yayınevleri ve başlıca etkinlikler kapsamında öne çıkan örnekler üzerinden konuyu nedenleriyle ele almak, bu bağlamda sürecin güncelden yarına nasıl evrilebileceğini sorgulamaktır. Söz konusu süreçte görsel araştırma yöntemlerinin yanı sıra, ilgili örneklerin incelenerek değerlendirilmesine ve ilişkili bulgulardan yararlanılmaya çalışılmıştır. Dolayısıyla, dönemler boyunca iç içe geçen bu başlıkların araştırma kapsamında çeşitli örnekler üzerinden ele alınmasıyla, yalnızca güncel üretim sürecinin anlaşılıp çözümlenmesi değil, durum değerlendirmesinin ötesine geçilerek, sonraki üretim sürecine dair bazı varsayımlarla alana katkı sağlanması beklenmektedir.

From Symptomes of Martirdome to Symptoms of Inclination

The signifier term symptom is strongly associated with the medical register, and its history in English medical writing has been studied quite extensively. This study contributes to our knowledge of the non-medical uses of symptom during the Early Modern period. Drawing on the 1.4-billion-word Early English Books Online corpus, the study examines all extant occurrences of symptom and categorises their usage. The diachronic study shows that non-medical uses of symptom emerged almost immediately after the word came into common use, and that despite its semantic association with medical prognostication and ailments of various kinds, symptom has always been used to some extent as a signifier term referring to positive events and states of being.

Songs of Sacrifice: Chant, Identity, and Christian Formation in Early Medieval Iberia. By RebeccaMaloy. AMS Studies in Music. Oxford and New York: Oxford University Press. 2020. x + 331 pp + 10 online appendices. £35.99 (hardback). ISBN 9780190071530

Early Medieval EuropeEarly View Book review Songs of Sacrifice: Chant, Identity, and Christian Formation in Early Medieval Iberia. By Rebecca Maloy. AMS Studies in Music. Oxford and New York: Oxford University Press. 2020. x + 331 pp + 10 online appendices. £35.99 (hardback). ISBN 9780190071530 Raquel Rojo Carrillo, Raquel Rojo Carrillo orcid.org/0000-0003-1327-8047 University of CambridgeSearch for more papers by this author Raquel Rojo Carrillo, Raquel Rojo Carrillo orcid.org/0000-0003-1327-8047 University of CambridgeSearch for more papers by this author First published: 28 December 2022 https://doi.org/10.1111/emed.12614Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Early ViewOnline Version of Record before inclusion in an issue RelatedInformation

A man as a Buddhist imaginary in L. Yuzefovich's novel “Cranes and Dwarfs”

Buddhism finds a diverse reflection in the work of L. Yuzefovich for many decades. Buddhist ideas and motifs are present in his early book “The Autocrat of the desert. Baron R. Ungern von Sternberg and the world in which he lived,” in some of his other prose texts, in poetry. In the proposed work, within the framework of a large study devoted to the Buddhist text of modern Russian literature, the influence of Buddhism on Leonid Yuzefovich's novel “Cranes and Dwarfs” is analyzed. The Buddhist idea of the illusory nature of reality and man is reflected in the plot of the work and in the organization of the system of characters. The novel intrigue is based on the principle of repetition, realized in space, time and in human destinies. The heroes of “Cranes and Dwarfs,” according to one of the possible interpretations offered by the novel, represent one consciousness that changes its forms in Russian history. At the same time, the illusory nature of a separate human existence is perceived by the author not in a pessimistic way, but as evidence of the spiritual kinship of all living things. The author also draws parallels to a similar perception of reality and people in the novel “Prince of the Wind” and the story “Sand Riders” by Yuzefovich and the book by E. Limonov “The Old Man Travels.”

The Vulnerability of Withdrawal

In Tao Lin's early books Eeeee Eee Eeee (2007), Bed (2007), Shoplifting from American Apparel (2009), and Richard Yates (2010) vulnerability is linked to a lack of context. Passages and sentences are semantically removed enough from each other that a space of vulnerability opens in which the unexpected can happen. Using the work of Quentin Meillassoux, Judith Butler, Jacques Rancière, and Levi Bryant, among others, this sense of vulnerability is argued to be the primary experience of our lives, but we often forget it. Lin's work makes this primary vulnerability visible in the three works analyzed using three different techniques: incomplete information, withdrawn context, and a monstrous vulnerability. In this sense, the author makes his writing vulnerable to the very problems that it foregrounds.

The Eleventh-Century ‘N’ Psalter from England: New Pieces of the Puzzle

Abstract This paper presents an analysis of two recently found fragments of a Latin psalter with a continuous Old English gloss. The fragments were used as endleaf guards in an early modern book from the collection of Samuel Meienreis, currently held at the C. Norwid Library in Elbląg. We argue that the newly found parchment pieces match four other membra disiecta from the same eleventh-century codex produced in England. Since the formerly identified fragments were removed from the bindings of unknown books, their provenance and the origin of the manuscript from which they were removed have not been established, so far. The new findings partially fill this gap. In this paper we explore palaeographical and linguistic evidence, and the historical context of the manuscript waste found in Elbląg in an attempt to reconstruct the history of the so-called N Psalter to which all the extant pieces once belonged.

Enhancing Picture Book Reading for Young EFL Learners

With increasing globalization, global English and its association with literacy worldwide have gained widespread attention. Following the law of language learning, more and more countries are making efforts to help their citizens become literate in English from their early years. Picture books have played a crucial part in developing children’s emergent literacy skills. They provide children with fascinating illustrations, advancement in vocabularies, and meaningful sentence structures that go beyond the present contexts. However, picture book reading can be difficult for young English as a Foreign Language (EFL) learners due to the lack of English-speaking environment and language accumulation. With regard to this situation, this article analyzes and discusses the common debates on the print concept, phonological awareness, and vocabularies within an EFL early picture book reading setting to shed light on the practical direction in this field. Following this, this article coins relevant supporting strategies to ensure effective English picture book reading among children by developing supplementary activities, encouraging parent-child interaction, and applying multimedia materials. This article ends with a brief conclusion and questions that may need further exploration and research.

Miscellaneity and Apocrypha in Chaucer's Works (1532)

abstract: The miscellany has, historically, been treated as a category of remainder in catalogs of both manuscripts and printed books. Miscellanies are those volumes that, because of their inherently mixed character, do not fit neatly into other categories. However, this practice risks making miscellanies appear to be haphazard or accidental productions. Recent studies of such books have begun to excavate the strategies of assemblage, borrowing, and reorganization that mark their production. These strategies are not restricted to those books we now term miscellanies; frequently, they can also be discerned in books that fit more comfortably into other categories. How might our view of early books and the circumstances of their making shift if we centered the practices associated with miscellanies? As a case study, this essay will consider manuscripts and early printed editions of the works of Geoffrey Chaucer, tracing the significant commonalities between early copies of Chaucer's writings, in what might be termed "miscellaneous contexts," and the large printed folios that proudly announce themselves as "Chaucer's works" while still containing significant material attributed to other authors. Ultimately, taking the variance within the corpus of early Chaucer books into account, Cook argues for the quality of the miscellaneous as a potentially more useful framework for literary history than the more static category of the miscellany.

The Gate of Horns: History and Fiction in Ovid’s Cipus Episode (Met. 15.565–621)*

Ovid’s tale of Cipus, the returning general who discovers that horns have miraculously appeared on his forehead, combines narrative elements that point back to the poem’s early books with others that suggest historiography. Cipus’ own hybridity, therefore, figures a generic combination that simultaneously invites incredulity and belief. These different interpretative strategies feature in the different responses to the prodigy within the episode. The general’s determination to keep his horned presence, and the kingship it predicts, out of Rome makes space for Republican history to proceed as normal, while his likeness to other metamorphic figures within the poem complicates that strategy. As a representation of the Roman past, Ovid’s Metamorphoses necessarily summons up foreign, even tyrannical, comparands at the moment of their exclusion and questions the very reality on which history’s authority depends by grounding it in unbelievable stories. The second half of this article uses this Ovidian perspective as a vantage point for re-examining the blending of myth and history at the conclusion of Aeneid 6, intermittently recalled by the language and imagery of the Ovidian episode. Reading Vergil back through Ovid exposes the earlier poet’s refashioning of history to serve dynastic ends: Cipus’ prescription for the Roman future, ‘no kings’, sets up a Republican response to the entire Vergilian spectacle and suggests how its internal contradictions persist in the normative conclusions Anchises draws from it.

The Cabinetmaker's Apprentice

The Cabinetmaker's Apprentice Jeffrey R. Di Leo (bio) When Sir Karl Popper (1902–94) was twenty years old, he became an apprentice to Adalbert Pösch, an old master cabinetmaker in Vienna. A university student at the time, Popper claims that he learned more about the theory of knowledge from this "omniscient master" than from any of his teachers. "For it was my master who taught me not only how very little I knew," wrote Popper in Unending Quest: An Intellectual Autobiography (1976), "but also that any wisdom to which I might ever aspire could consist only in realizing more fully the infinity of my ignorance." Popper worked with this omniscient cabinetmaker for two years, after which he decided that he was "too ignorant and too fallible" to make mahogany writing desks for the rest of his life. So he did social work with neglected children for a year, and then, after five more years mainly spent studying and writing, he became a schoolteacher in 1930. He says that at that point he had no other professional ambitions. Still, after the publication of The Logic of Scientific Discovery in 1935, he started to grow tired of schoolteaching. In this early book, the Austrian-British philosopher famously argued that science should adopt a methodology based on falsifiability because no number of experiments can ever prove a theory, but a reproducible experiment or observation can refute one. However, writes Popper, "non-reproducible single occurrences are of no significance to science." "Thus a few stray basic statements contradicting a theory will hardly induce us to reject it as falsified," he continues. "We shall take it as falsified only if we discover a reproducible effect which refutes the theory." This notion of falsifiability is one that Paul Ricoeur regards as similar to his own conception of "invalidation," wherein the role of falsification is played by the conflict between competing interpretations of the text. "An interpretation," writes Ricoeur in "The Model of the Text" (1971), "must not only be probable, but more probable than another." "There are criteria of relative superiority," he continues, "which may easily be derived from the logic of [End Page 1] subjective probability." According to Ricoeur, it is the falsification of Popper found in The Logic of Scientific Discovery that renders easier this derivation. Two years after the publication of The Logic of Scientific Discovery, Popper gave up schoolteaching and became a professional philosopher. He was thirty-four years old, and said, "I thought that I had now finally solved the problem of how to work on a writing desk and yet be preoccupied with epistemology." In 1960 the former cabinetmaker's apprentice delivered the Annual Philosophical Lecture to the British Academy. Popper surprised and offended some of his colleagues by entitling it "On the Sources of Knowledge and of Ignorance." While the first part of the title, "On the Sources of Knowledge," was regarded as standard fare for an epistemologist at the time, the latter part, concerning the sources "of Ignorance," was not—and raised some philosophical eyebrows. As his friend put it, "Ignorance is something negative: it is the absence of knowledge." "But," he continued, "how on earth can the absence of anything have sources?" Unsure how to respond, Popper said the following: I told him that I hoped to direct attention, through the phrasing of this title, to a number of historically important although unrecorded philosophical doctrines and among them, especially, to a conspiracy theory of ignorance which interprets ignorance not as a mere lack of knowledge but as the work of some mischievous power, the source of impure and evil influences which pervert and poison our minds and instill in us the habit of resistance to knowledge. Thus, for Popper, the sources of ignorance in the British and Continental schools of philosophy often involve conspiracy theory, which although unstated is nonetheless a consequence of their stated philosophical doctrines. As Popper sees it, "the quarrel between the classical empiricism of Bacon, Locke, Berkeley, Hume, and Mill," that is, the British school, and "the classical rationalism or intellectualism of Descartes, Spinoza, and Leibniz," that is, the Continental school, is overstated. Though it is true that "the British school...

Review: Photofascism: Photography, Film, and Exhibition Culture in 1930s Germany and Italy, by Vanessa Rocco

Book Review| December 01 2022 Review: Photofascism: Photography, Film, and Exhibition Culture in 1930s Germany and Italy, by Vanessa Rocco Photofascism: Photography, Film, and Exhibition Culture in 1930s Germany and Italy by Vanessa Rocco. Bloomsbury (sb 2022) 216 pp. $31.45, ISBN 1350284246; (hb 2020) 210 pp. $99.00, ISBN 1501347063. Maud Lavin Maud Lavin Maud Lavin is professor emerita at the School of the Art Institute of Chicago and a Guggenheim Fellow. Her most recent book, co-edited with Ling Yang and Jing Jamie Zhao, Boys’ Love, Cosplay, and Androgynous Idols, was nominated for a Lambda award. An earlier book, Cut with the Kitchen Knife: The Weimar Photomontages of Hannah Höch (1993), was named a New York Times Notable Book. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2022) 49 (4): 59–63. https://doi.org/10.1525/aft.2022.49.4.59 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Maud Lavin; Review: Photofascism: Photography, Film, and Exhibition Culture in 1930s Germany and Italy, by Vanessa Rocco. Afterimage 1 December 2022; 49 (4): 59–63. doi: https://doi.org/10.1525/aft.2022.49.4.59 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search Fascism is an art built on propaganda as well as economically reactionary policies. In the 1920s, ’30s, and early ’40s in Europe, in its rise, rootedness, growth, and continuance as a political system, fascism grew as a radical allegiance to ultranationalism, to racism including antisemitism, and to dictatorship. It has since been copied and updated in extreme right-wing movements in Europe and the United States, movements that announce their historical ties to the original fascists either indirectly through dog whistles (Trumpism, specifically with Donald Trump’s praising of such American groups as the Proud Boys) or directly with, say, Nazi emblems (neo-Nazis in Germany, even though these emblems are illegal for public display). The term also applies to genocidal dictators such as Vladimir Putin. The art of fascist propaganda has fed, and still does feed, adherence to fascist beliefs such as white superiority. Although modes of production and dissemination, most meaningfully... You do not currently have access to this content.

Social Science and Its Frontiers

Social Science and Its Frontiers Myron P. Gutmann (bio) Mark Solovey,Social Science for What? Battles over Public Funding for the “Other Sciences” at the National Science Foundation. Cambridge, Massachusetts: MIT Press, 2020. X+ 398pp. Figures, notes, index. $50.00. Americans often date the emergence of a strong commitment to government support of science to the launch of the Soviet Union’s Sputnik 1 satellite in October 1957. That event certainly spurred policy decisions that increased federal investments in education and science, and thus is an appropriate starting point for the popular narrative about science. At the same time, policy developments of the Sputnik era built on earlier events, widely recognized by historians of science. That perspective starts the story with the presentation in July 1946 of Vannever Bush’s report, Science, The Endless Frontier, to President Truman, advocating for a large, organized federal investment in scientific research, based on the role of science and technology in the Second World War. Early efforts to enact legislation based on the Bush report failed (Truman vetoed the first bill that passed because it lacked presidential control over the appointment of the Foundation’s leadership), but in 1950 Truman signed the National Science Foundation Act, establishing an enduring basis for publicly—especially federally—funded scientific research in the United States. The debates about the creation of the National Science Foundation pitted progressives against conservatives and advocates of public and congressional control of science against advocates of exclusive control by scientists.1 One of the topics of debate—although hardly the loudest—was whether the social sciences would be included in the Foundation’s charge.2 Vannever Bush was opposed to their inclusion, sometimes arguing that they should be supported by a separate organization; on the other side, Democratic West Virginia Senator Harley M. Kilgore, a leading sponsor of a more progressive approach, supported their inclusion in the Foundation’s mission. In the end, the compromise legislation that Truman signed in 1950 did not include support for the social sciences, but at the same time did not prohibit such support. The Foundation did not totally exclude the social sciences for long; it hired sociologist Harry Alpert in 1953, and in 1954 introduced a first, extremely modest, program to support the linkage between the social and natural sciences. [End Page 396] The first Social Sciences Division was not established until 1960 (in an era in which the Foundation was divided into four scientific divisions reflecting major disciplinary categories). Later, when the Foundation was reorganized into seven directorates (three of them disciplinary, one for education, and three for administrative activities) in 1975, the Divisions of Social Sciences and Behavioral and Neural Sciences were part of an expanded Directorate for Biological, Behavioral and Social Sciences (p. 179). Only in 1991–92 did the Foundation establish a separate Directorate for the Social, Behavioral and Economic (SBE) Sciences, an organizational status that still exists today. The road from the origin of the Foundation to the creation of the SBE Directorate was not linear, with ups and downs in support for the social and behavioral sciences mostly reflecting political and institutional challenges. This history spanning the period from the first discussions of the National Science Foundation through the end of the 1980s (with an added discussion of recent events and recommendations for the future) is the topic of Mark Solovey’s Social Science for What? Battles over Public Funding for the “Other Sciences” at the National Science Foundation. In this book he builds on his earlier book, Shaky Foundations: The Politics-Patronage-Social Science Nexus in Cold War America (2013), on extensive archival research, and on interviews with surviving participants. Social Science for What? is an impressive accomplishment, capturing the connections between partisan politics, scientific inquiry, tensions among scientific disciplines, and the institutional development of the Foundation. It is instructive for all readers, including for me, who served for four years (2009–13) as one of the Foundation’s Assistant Directors and head of the Directorate for Social Behavioral and Economic Sciences (SBE). Social Science for What? articulates consistent themes that define social science at NSF, along with a lively narrative arc. To define that arc, Solovey divides the main...

Index to Volume 116

Previous article FreeIndex to Volume 116 Papers of the Bibliographical Society of AmericaPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreSubject entries, whether topical, personal name, or geographical, are set in small capitals. A chronological approach is provided under chronological references. Geographical entries are made for all articles, notes, and reviews treating a subject that can be localized. Adams, Christopher, “‘Could You Make It Rather More of a He and She picture’: Queer Texts and Dust-Jackets in Mid-Twentieth Century British Fiction,” 537–65 Aldine Studies: Bordini, Alessandra, review of Kray and Paolo Sachet, eds., The Afterlife of Aldus: Posthumous Fame, Collectors and the Book Trade, 129–34; Sachet, Paolo, review of Costas, ed., Aldo Manuzio en la España del Renacimiento, 489–92 American Anti-Slavery Society: Winship, Michael, “Early Publication History of Narrative of James Williams, an American Slave (1838),” 277–91 Anti-Black Violence: Goldsby, Jacqueline, and Meredith L. McGill, “What is ‘Black’ about Black Bibliography?” 161–89 Archival Studies: Cataldo, Ashley, review of DiCuirci, Colonial Revivals: The Nineteenth-Century Lives of Early American Books, 492–95; Soto, Margarita M. Castromán, review of Cloutier, Shadow Archives: The Lifecycles of African American Literature, 326–33 Barlow, Thomas: Blake, Liza, “Margaret Cavendish’s University Years: Batch Bindings and Trade Bindings in Cambridge and Oxford,” 21–91 Bartlett, Henrietta: Houghton, Eve, “Private Owners, Public Books: Henrietta Bartlett’s Feminist Bibliography,” 567–87 Barton, Melissa, review of West, Ebony Magazine and Lerone Bennett Jr.: Popular Black History in Postwar America, 333–37 Batch Bindings: Blake, Liza, “Margaret Cavendish’s University Years: Batch Bindings and Trade Bindings in Cambridge and Oxford,” 21–91 Berthelet, Thomas: Gwara, Joseph J., “Who Printed Huon? New Light on the Early Tudor Book Trade,” 409–81 Black Bibliography Project: Goldsby, Jacqueline, and Meredith L. McGill, “What is ‘Black’ about Black Bibliography?” 161–89; Lee, Jeong Yeon, “Compiling ‘A Selected Bibliography of Bibliographies of African American Writing,’” 305–07; Spires, Derrick R., “On Liberation Bibliography: The 2021 BSA Annual Meeting Keynote,” 1–20; “Order and Access: Dorothy Porter and the Mission of Black Bibliography,” 255–75 Black Book Interactive Project: Goldsby, Jacqueline, and Meredith L. McGill, “What is ‘Black’ about Black Bibliography?” 161–89; Spires, Derrick R., “Order and Access: Dorothy Porter and the Mission of Black Bibliography,” 255–75 Black Panther Party: Nishikawa, Kinohi, “Mumbo Jumbo’s Paratextual Condition,” 215–54 Black Vernacular: Nishikawa, Kinohi, “Mumbo Jumbo’s Paratextual Condition,” 215–54 Blake, Liza, “Margaret Cavendish’s University Years: Batch Bindings and Trade Bindings in Cambridge and Oxford,” 21–91 Bliss, Philip: Gwara, Joseph J., “Who Printed Huon? New Light on the Early Tudor Book Trade,” 409–81 Board Edges: Blake, Liza, “Margaret Cavendish’s University Years: Batch Bindings and Trade Bindings in Cambridge and Oxford,” 21–91 Böninger, Lorenz, Niccolò di Lorenzo della Magna and the Social World of Florentine Printing, ca. 1470–1493, reviewed, 591–93 Book Collecting: Di Pietro, Debora M., review of Johnston, ed., A British Book Collector: Rare Books and Manuscripts in the R. E. Hart Collection, Blackburn Museum and Art Gallery, 610–13; Fulton, Allison, review of Poole, Henderson, and Nasifoglu, Robert Hooke’s Books, database, 594–97 Bordini, Alessandra, review of Kray and Paolo Sachet, eds., The Afterlife of Aldus: Posthumous Fame, Collectors and the Book Trade, 129–34 Brander, Elisabet, review of Savage, Early Colour Printing: German Renaissance Woodcuts at the British Museum, 589–90 Braun, Jolie, review of Lomazow, Magazines and the American Experience: Highlights from the Collection of Steven Lomazow, 613–16 Buddhism: Cho, Hwisang, “Embodied Literacy: Somatic Origins of Nonlinear Layouts in Chosŏn Epistolary Culture,” 93–127 Cambridge University: Blake, Liza, “Margaret Cavendish’s University Years: Batch Bindings and Trade Bindings in Cambridge and Oxford,” 21–91 Cataldo, Ashley, review of DiCuirci, Colonial Revivals: The Nineteenth-Century Lives of Early American Books, 492–95 Cataloging: Spires, Derrick R., “Order and Access: Dorothy Porter and the Mission of Black Bibliography,” 255–75 Cavendish, Margaret: Blake, Liza, “Margaret Cavendish’s University Years: Batch Bindings and Trade Bindings in Cambridge and Oxford,” 21–91 Chatto and Windus: Adams, Christopher, “‘Could You Make It Rather More of a He and She picture’: Queer Texts and Dust-Jackets in Mid-Twentieth Century British Fiction,” 537–65 Chinese Characters: Cho, Hwisang, “Embodied Literacy: Somatic Origins of Nonlinear Layouts in Chosŏn Epistolary Culture,” 93–127 Chinese Literature: Cho, Hwisang, “Embodied Literacy: Somatic Origins of Nonlinear Layouts in Chosŏn Epistolary Culture,” 93–127 Cho, Hwisang, “Embodied Literacy: Somatic Origins of Nonlinear Layouts in Chosŏn Epistolary Culture,” 93–127 Chosŏn Society: Cho, Hwisang, “Embodied Literacy: Somatic Origins of Nonlinear Layouts in Chosŏn Epistolary Culture,” 93–127 Christenson, Julie, review of Da Rold, Paper in Medieval England: From Pulp to Fictions, 483–86 Christian Recorder: Jones, Kassidi, review of Gardner, Black Print Unbound: The “Christian Recorder,” African American Literature, and Periodical Culture, 313–17 Chronological

Updated estimates of biotic diversity and endemism for Madagascar—revisited after 20 years

AbstractThe terrestrial and marine biotypes of Madagascar are critical priorities for conservation, with almost unparalleled levels of endemism, species diversity and human threat for a land area of its size. Field inventories and molecular-based research conducted from the mid 1980s to present have greatly expanded knowledge of the country's biota, for some groups with nearly exponential growth in measures of species diversity. I provide updated measures of estimated species diversity between a book with 289 contributors, published in 2003 (The Natural History of Madagascar), and a full-scale update with 539 contributors, published in 2022 (The New Natural History of Madagascar). I compare biodiversity information presented in the new book with data from the earlier book, providing insight into scientific advancements, and revised estimates of species richness and endemism of a range of taxonomic groups.

The Viking Great Army and the Making of England. By Dawn M.Hadley and Julian D.Richards. London: Thames & Hudson. 2020. 320 pp. £25. ISBN 9780500022016.

Early Medieval EuropeEarly View Book review The Viking Great Army and the Making of England. By Dawn M. Hadley and Julian D. Richards. London: Thames & Hudson. 2020. 320 pp. £25. ISBN 9780500022016. Jane Kershaw, Jane Kershaw orcid.org/0000-0002-2237-6186 University of OxfordSearch for more papers by this author Jane Kershaw, Jane Kershaw orcid.org/0000-0002-2237-6186 University of OxfordSearch for more papers by this author First published: 28 November 2022 https://doi.org/10.1111/emed.12602Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Early ViewOnline Version of Record before inclusion in an issue RelatedInformation

Moralising in Dimitri Rostovsky’s Works (from The Dewy Fleece to The Cell Chronicle)

The author of this article proposes to consider moralising in Dimitry Rostovsky’s work as a separate narrative, which has a certain set of genre characteristics. Many sermons delivered by Metropolitan Dimitry can be analysed not only from the point of view of sermons glorifying a church holiday or an Orthodox saint but also from the standpoint of writings aimed at educating and raising the moral level of both the flock and pastors. The author of the article especially highlights two epistles addressed to priests dedicated to the sacraments of Confession and the Eucharist, in which Dimitry Rostovsky acts as a true spiritual teacher. These instructive literary epistles, as a type of Slavic bookish rhetoric, are similar in style to the metropolitan’s sermons, but carry a much more pronounced moralistic load. Apology for the Soothing of Sorrows of a Man Who Is in Trouble, Persecution, and Bitterness… (1696) also belongs to the spiritual writings of Dimitry and its apology is close to moralising. Starting with the first works of Dimitry Rostovsky, such as The Miracle of the Most Holy and Blessed Virgin Mary (1677) and The Dewy Fleece (1683) and ending with The Cell Chronicle (1707–1709), moralising becomes a special narrative (sometimes marked, as in Miracles… and The Dewy Fleece). Their content is an explanation of the causes of human sins, a call through repentance for a virtuous life, and the glorification of the blessings of the Lord. The moralising not only has a clear internal structure in the form of small texts that interpret miracles by presenting quotes and images borrowed from the Holy Scripture and the writings of the holy fathers, but they also occupy an important place in the composition of the early books, turning into a kind of an epiphonema of each miracle. The Cell Chronicle was created in the same way. Along with the presentation of biblical history and its interpretation, moralising is an integral part of the work. However, the instructions of The Cell Chronicle concerned not only general Christian topics, but they were also occasional; reflecting the circumstances of everyday life, they were close to the texts found in the Statir collection created in the Urals in the late seventeenth century.