Editorial Conventions Research Articles

Chaucer’s Retraction: Examining the Case for Disavowal

Abstract Chaucer’s Retraction, which concludes both the Parson’s Tale and the Canterbury Tales in most manuscripts, presents a number of interpretive problems. Many of these problems stem from the widespread assumption that, as its (editorially supplied) title asserts, the Retraction constitutes a retraction or disavowal of Chaucer’s literary corpus. But on what basis do we assume that the work we know as the Retraction does in fact constitute a retraction or disavowal? This article examines the evidence for the presence of a disavowal, arriving at the conclusion that the element of disavowal has been overestimated. Editorial conventions that have persisted into our modern editions, some of which date to the earliest manuscripts, have the effect of not only creating the distinct work we know as the Retraction, but of subtly smoothing over many of the most vexing problems presented by the text in favor of a reading that highlights Chaucer’s supposed disavowal.

The Mo'olelo Hawai'i of Davida Malo: Hawaiian Text and Translation by Davida Malo

Reviewed by: The Mo'olelo Hawai'i of Davida Malo: Hawaiian Text and Translation by Davida Malo Kahikina de Silva (bio) The Mo'olelo Hawai'i of Davida Malo: Hawaiian Text and Translation, Vol. 2 davida malo; translated and edited by charles langlas and jeffrey lyon, biography contributed by noelani arista University of Hawai'i Press and Bishop Museum Press, 2020 394 pp. At the very start of this volume, we are reminded that its author, Davida Malo (1795–1853), wrote in a language that differs not only from the English on which most contemporary readers rely but also from the Hawaiian commonly spoken today. As the editors note, "His Hawaiian [is] not our Hawaiian" (x). What becomes most clear through this text is that Malo's Hawai'i is a similiarly independent, unfamiliar entity. In a sense, his [End Page 1019] Hawai'i is not our Hawai'i, though its most vital tenets persist in the lives and works of its Indigenous people. In this work, Malo provides detailed descriptions of Hawaiian society and a history of its chiefs, from those who voyaged across the Pacific to the royal genealogies of Hawai'i island. Though many histories of Hawai'i have been written, Malo's is unique in its perspective, penned by an Indigenous scholar and chiefly adviser who witnessed firsthand that of which he writes. His is a simultaneously broad and deep account of not only the famed endeavors of chiefs, but also Hawaiian philosophy, ethics, political structure, and daily life. The Mo'olelo Hawai'i of Davida Malo provides a carefully edited and annotated copy of Malo's original work, with an introduction written by editors Langlas and Lyon and a thoughtful biography of the author contributed by Noelani Arista. The editors' introduction conveys the scope of their work, detailing both the translation of Malo's Hawaiian manuscript into English and the editing of the Hawaiian text to follow contemporary conventions of orthography and punctuation. The discussion of the difficulties faced in both endeavors is of particular use to students working in transcription and translation, as it raises questions relating to consistency, readability, and establishing editorial conventions. Points raised here could provide an effective springboard from which to launch further discussion of choices often made by editors and translators and how those choices affect the information available to the reader. Both the editors' introduction and Arista's biography also do the important work of contextualizing Malo's life and writings for readers of varied familiarity with Hawaiian language and history. Arista attends to the former by offering a broader understanding of Malo, going beyond academia's identification of him as historian and "native informant." She examines Malo in his more influential role as adviser, first to chiefs and later to the entire nation, and it becomes clear that Malo not only penned the story of his people but also was actively involved in its production. Similarly, the editors' notes for reading Malo's Mo'olelo and their analysis of his text as a "bridge," spanning the eras of change Malo witnessed, afford the author agency in both "mov[ing] beyond what he was taught" in the two systems of education that fostered him and in choosing how to blend those teachings in his compositional style (5). As demonstrated in the introduction, this style depends on traditional Hawaiian literary practices [End Page 1020] such as word lists and the partnering of opposites, which are prevalent throughout the Hawaiian text. Though the editors have smoothed out some of these cultural elements, favoring readability in their translation, many remain and may seem cumbersome to English-only readers. The introductory notes prepare readers for such instances and create space for discussion regarding narrative strategies. As a teaching text, this edition of Malo's Mo'olelo will have a significant impact on Hawaiian language learners. Many advanced classes employ Malo's text to help students understand connections between language and worldview. Early chapters list Hawaiian terms that name and organize space—atmospheric strata, bands of terrestrial elevation, political land division, and so on. By mapping these terms on paper or the environment, students learn to visualize these words, their meanings, and how...

Centymetr Reymonta. Wielokropki specjalne w Chłopach

In The Peasants Reymont uses unusual suspension points, which run across the whole length of a line. His precision in applying them reveals that this particular punctuation mark plays an important part in the book’s structure. Reymont inserts these long suspension points at moments when his characters pray, or when they stare at the sky, awaiting the reviving rays of the sun (invigorating also for the soul); he often puts them to mark the boundaries between the light (dawn) and the dark (night) – the visible and invisible worlds; he uses them to end scenes laden with the narrative and emotional climax. Reymont also writes his suspension points when his characters suffer poignantly (Hanka, Jagna). They accompany Kuba and later old Boryna as they pass away. Reymont’s suspension points do not merely function as a separating device in the novel’s narrative, but above all they point to the close ties between man and a space distinct from the temporal realm. They allow him to transcend the earthly time. An analysis of the existing manuscript fragments of The Peasants (1901 and 1902) demonstrates that Reymont valued these suspension points from the artistic perspective: they appear only in the second draft of the autograph text. Published editions of the texts ought, therefore, to respect Reymont’s editorial conventions. By neglecting this feature of the text, especially at the very beginning of the novel, the editors of The Peasants (from the Gebethner and Wolff original to the recent Ossolineum edition) deprive it of a meaningful compositional characteristic and can even lead to a wrong interpretation of The Peasants .

EDITORIAL CONVENTIONS

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Chaucer's Cunning: An Incarnational Pun and an Omission in the Middle English Dictionary

Abstract The medieval existence of a sexual meaning for the word cunning, rendering the word itself available for sexual puns, remains unrecognized today, in part because the Middle English Dictionary (MED) fails to include any instance demonstrating such use. But a line from the popular Proverbs of Hending, written before 1325, witnesses to the fourteenth-century availability of the sense. This article discusses the value of literary puns, shows numerous instances in which Chaucer appears to pun sexually on the word cunning, and explains the incarnational implications of the linking of body and spirit in such a pun. It also explores the MED's omission of the relevant quotation from the entry for cunning, examining the MED's archived slips and considering the editorial conventions that should have required inclusion of the evidence from the Proverbs of Hending.

A Secret Vice: Tolkien on Invented Languages by J.R.R. Tolkien

Reviewed by: A Secret Vice: Tolkien on Invented Languages by J.R.R. Tolkien Arden R. Smith A Secret Vice: Tolkien on In ven ted Languages, by J.R.R. Tolkien, edited by Dimitra Fimi and Andrew Higgins. London: Harper-Collins, 2016. lxv, 157 pp. £16.99 (hardcover). ISBN 978-0-00-813139-5. As revealed by Dimitra Fimi and Andrew Higgins, J.R.R. Tolkien presented the essay entitled "A Secret Vice" to the Johnson Society at Pembroke College, Oxford, at 9 p.m. on 29 November 1931 (xxxi). The time, date, and audience of the talk are among the various new details, previously unknown to Tolkien scholarship, that Fimi and Higgins have discovered in the course of researching this new, expanded edition of Tolkien's important essay on the "secret vice" of language invention. Entitled "A Hobby for the Home" in the original manuscript, the essay first appeared in print in 1983, edited by Christopher Tolkien and published in The Monsters and the Critics and Other Essays. Those who have read Christopher Tolkien's edition (and I would hope that all readers of Tolkien Studies fall into this category) may wonder how an essay that filled 26 printed pages, editorial notes included, could possibly warrant publication as a full-length book. Needless to say, this new volume contains more than "A Secret Vice" alone, and there is material here that will be new to even the most seasoned Tolkien scholar, not only in the extensive editorial commentary and the newly published manuscripts related to the essay, but in the text of the essay itself. Tolkien's texts in the volume are divided into three main sections: Part I: "A Secret Vice," Part II: "Essay on Phonetic Symbolism," and Part III: "The Manuscripts." Each of these sections ends with numerous editorial notes. A brief Foreword and a detailed Introduction precede the three main Parts, and a Coda on "The Reception and Legacy of Tolkien's Invented Languages" and Appendices, consisting of Chronology, Abbreviations, and Bibliography, complete the volume. I will treat each of these sections separately, in the order in which they appear in the book, though at times the discussion may naturally encompass related material appearing in other sections. Foreword (vii–x) In the Foreword, the editors briefly describe the contents of the volume, stating that it "makes available for the first time all the drafts of, and attendant notes for, 'A Secret Vice' currently deposited in the Bodleian Library as part of their holdings labelled MS Tolkien 24" [End Page 169] (vii). Here they outline the importance of "A Secret Vice" and summarize what is new in this expanded edition. They round out the Foreword with a statement of their editorial conventions and a good number of acknowledgements. The editors write that they "have tried to be faithful to the text while making it as readable as possible, with minimal editorial intrusion" (viii). In doing this, they have retained Tolkien's underlines as underlines, rather than italicizing the underlined words, and have included Tolkien's deletions with strikethroughs. We have seen this editorial style in some of the more recent publications of Tolkien's works (e.g., Beowulf and the Critics, Tolkien on Fairy-stories, The Story of Kullervo), and it naturally has both positive and negative aspects. Although it does give the reader a clearer idea of the appearance of the original manuscript, it can look rather unattractive on the printed page, especially if the manuscript in question contains numerous deletions. Fortunately, the manuscripts of "A Secret Vice" and the "Essay on Phonetic Symbolism" are rather clean, with few deleted words and passages, and even the notes and drafts presented in Part III (with a couple of exceptions) are largely free of deletions. Introduction (xi–lxv) The far more extensive Introduction summarizes "A Secret Vice," but it is primarily concerned with placing the essay in context, or, to be more precise, in several contexts. The Introduction consists of five separate sections, but the last two especially have a fairly broad scope. "Myth-making and Language Invention" (xi–xiv) discusses Tolkien's view of these as "coeval and co-dependent creative acts" (xi), reinforcing Tolkien...

INTRODUCTION

The documents edited in this volume were written during or shortly after missions from Elizabethan England and Jacobean Scotland to the Protestant princes of the Holy Roman Empire and Denmark. Through the particular perspectives of their authors, these accounts provide helpful if general descriptions while offering minute but critical details of two countries hitherto relatively unfamiliar to most sixteenth-century Englishmen and Scots. Much of the intelligence and many of the observations contained in these materials also remain obscure to modern scholarship. This edition is intended to highlight the importance of such information not only to the formation and execution of government policy but also to the intellectual formation and professional trajectory of the authors themselves. Because these documents are relevant to a number of distinct yet related fields of current scholarship, the following introduction offers an overview of English and Scottish diplomacy with Germany and Denmark before addressing the specific missions and authors, trends in diplomatic history, and the nature and purpose of travel writing during the late sixteenth and early seventeenth centuries. The introduction closes with a discussion of the documents as sources of intelligence, their significance, their locations, the editorial conventions, and the critical apparatus.

Concertos pour violon et orchestre op. VII édition by Louis Castelain (review)

Reviewed by: Concertos pour violon et orchestre op. VII éditionby Louis Castelain Neal Zaslaw Jean-Marie Leclair. Concertos pour violon et orchestre op. VII. Édition de Louis Castelain. (Les Essentiels.) (Collection Orchestre.) Versailles: Centre de musique baroque de Versailles, 2012. [Introd. in Fre., Eng., p. 4–11; scores, p. 13–231; crit. notes in Fre., Eng., p. 233–42. ISMN 979-0-56016-244-7; pub. no. CAH 244. i50.] In the early 1960s, when I first studied and performed the music of Jean-Marie Leclair l’aîné (1697–1764), a number of his works weren’t available at all, and many of the modern editions that did exist were of an old-fashioned type, with continuo realizations intended for the piano, and lots of slurs, dynamics, accents, bowings, fingerings, etc., added. Whatever the historical value or musical merits of such editions, they posed a problem for someone like me, who was interested in matters of eighteenth-century performance practice. Most of the recordings available then—and there were not many—were unimpressive technically and stylistically. How times have changed! Now we have access to first-rate editions and recordings of most of his output, and even published facsimiles of the original editions of much of his oeuvre. (His opera Scylla et Glaucusaside, there is no manuscript tradition, presumably because Leclair’s autograph manuscripts were consumed during the process by which his wife engraved his works; the manuscripts that do exist prove to have been copied from the printed editions.) Leclair composed a dozen concertos, published in two sets of six as his opus 7 (1737) and opus 10 (1745). With the exception of op. 7, no. 3, whose solo part bears the legend “violon, flûte allemande ou hautbois,” the concertos are orchestrated for solo violin, strings, and continuo. They were well known in the mid-eighteenth century, especially in France where, as Jean-Benjamin de La Borde wrote in 1780, “His sonatas, duets, trios and concertos are too well known for us to discuss them here; they still represent the finest school for those wishing to specialize in the violin” (p. 8). These attractive works may be summarily characterized as a French take on Vivaldi’s innovations. Leclair had grown up in Lyons, where he trained as a dancer and fiddler. He then went to Turin, where he studied with Corelli’s pupil Giovanni Battista Somis (1686–1763). Within the Vivaldian framework of his violin concertos, Leclair tended to lean to the Italianate side in the fast movements and to the French side in the middle movements, although those of his rondo-finales based on dance types echo French models as well. Some excellent modern editions of single concertos have been published before now, but never a full score of an entire opus. (Leclair’s original publications of course comprised sets of parts.) This new edition by Louis Castelain of the six concertos of opus 7 is therefore a welcome development. Before describing the edition and discussing a few problems with it, I want to make clear that it is eminently serviceable, and belongs in any music collection hoping to support the study and performance of late baroque music. The introduction, in French and English, presents a brief biography of Leclair, a description of the concertos’ only source (the first edition), an accounting of the editorial conventions employed, and notes for performers. Although most of this is comme il faut, there are a few things I would question. In the biography, for instance, Leclair is said to have studied and worked in Turin in 1722 and 1726, but documentation exists for only the latter period; the putative 1722 visit appears to be based solely on a misunderstanding found in an obscure nineteenth-century Italian book. Then, it is true that at the end of his life Leclair directed the music and theater presentations of the Duc de Gramont at the private theater of his country residence in Puteaux, at the time a rural landscape filled with vineyards, now a district of metropolitan Paris; but during “the season” the duke’s entertainments took place at his residence in the city. Finally, it is, I think, misleading...

Jumping up to the Next Step toward the World's Leading Journal in Primary Care Medicine.

Dear Readers of the Korean Journal of Family Medicine (KJFM), I am the new editor-in-chief of the KJFM, Seung-Kwon Myung, M.D., Ph.D. at the Department of Family Medicine, National Cancer Center, Korea. It's my great honor and pleasure to become the editor-in-chief of this journal newly, but on the other hand, I feel a great deal of burden and responsibility to develop the quality of the KJFM. In this editorial, I would like to briefly tell our readers my key plans to make the KJFM jump up to the next step toward the world' leading journal in primary care medicine. First, the KJFM will try to publish more papers than the past and more frequently. Definitely, one of the important aims of the journal might be to make many readers read and cite its papers as frequently as possible. Being an 'online-only' publication allows the journal to publish more papers than a print journal and save the cost of publishing. As of January 2014, the KJFM turned to online only publication. Also, in order to publish more papers, we will improve the current peer-review process including shortening the review period and consider employing PLOS ONE's 'publish first, judge later' publication concept.1) This idea does not use the perceived importance of a paper as a criterion for acceptance or rejection. Instead, they publish any paper that is methodologically sound or any research that was conducted rigorously, and leave it to the scientific community to ascertain importance, post publication, through debated and comment.2) Due to PLOS ONE's unique publication methodology and business strategy, since its publication of 138 articles in the first year, 2006, PLOS ONE published 31,500 papers in 2013, and its 2013 impact factor was 3.534.3) Although there are some critiques on PLOS ONE's publication strategy, its strengths could be adopted for the development of our journal. Second, we will invite outstanding foreign university professors of the department of family medicine or other researchers in the field of primary care medicine as international editors in the KJFM. This helps our journal to be known to many primary care physicians around the world. More importantly, one of the criteria for being selected in the Science Citation Index (SCI) is the international diversity of the editorial board members. Last, we will make every effort to let the KJFM be indexed in the SCI in the near future. The Thomson Reuters journal selection process mainly considers the journal's basic publishing standards (e.g., timeliness of publication, international editorial conventions, full text English, and peer review), its editorial content, the international diversity of its authorship, and the citation data associated with it.4) To meet these criteria, we will thoroughly review the KJFM publishing process and ameliorate it. I hope the KJFM readers and members of the Korean Academy of Family Medicine take an active interest in our journal's development and give advice.

EDITORIAL CONVENTIONS

Letters have been ordered by chronology. Dates are given in Old Style, with the year taken to begin on 1 January; when the letter was originally dated in New Style, the equivalent Old Style date has been provided in the heading for consistency. Primarily the letters were given Old Style dates, either by the writer or by Anthony Bacon's secretaries, who endorsed most of his letters. Very occasionally, however, Anthony's secretaries are inconsistent as to whether they take the year to begin on 25 March or 1 January; unless there is evidence to the contrary, it has been assumed that endorsements follow the standard practice of the year beginning on 25 March, which in this edition is then altered to reflect the year beginning on 1 January. The endorsement and the date given by the letter-writer are often the same; Anne's letters reveal evidence that she expected the bearer to deliver her letter to London and return to Hertfordshire on the same day. On other occasions, the date given in the letter and the endorsement can be days apart. When there is no dating given by the letter-writer, however, then the date of endorsement has been taken as the date. Undated letters have been placed in chronological order, as far as the internal evidence allows, and the reasoning behind the decision is explained fully in the footnotes. In some cases, this has presented particular difficulties, when the internal evidence is very inexact.

On the Social Nature of Linguistic Prescriptions

Abstract The paper proposes an empirical method to investigate linguistic prescriptions as inherent corrective behaviors. The behaviors in question may but need not necessarily be supported by any explicit knowledge of rules. It is possible to gain insight into them, for example by extracting information about corrections from revision histories of texts (or by analyzing speech corpora where users correct themselves or one another). One easily available source of such information is the revision history of Wikipedia. As is shown, the most frequent and short corrections are limited to linguistic errors such as typos (and editorial conventions adopted in Wikipedia). By perusing an automatically generated revision corpus, one gains insight into the prescriptive nature of language empirically. At the same time, the prescriptions offered are not reducible to descriptions of the most frequent linguistic use.

The Correspondence of Jean Sibelius and Rosa Newmarch, 1906–1939 ed. by Philip Ross (review)

The Correspondence of Jean Sibelius and Rosa Newmarch, 1906-1939. Edited and translated by Philip Ross Bullock. Woodbridge, U.K.: Boydell Press, 2011. [xxii, 289 p. ISBN 9781843836834. $90.] Music examples, illustrations, chronology, bibliography, index.This volume contains the complete extant correspondence (mostly letters, but also the texts of telegrams and postcards) shared between Sibelius and his passionate British advocate, Rosa Harriet Newmarch (1857-1940). Editor and translator Philip Ross Bullock writes that one of its major aims is restore her letters to their rightful place, whether as documents chronicling Sibelius's reception in Britain, or as a private commentary on her own busy contribution to British musical life (p. 39). This statement comes with his observations that Sibelius's letters to Newmarch have long been more familiar, and that her messages to him are both greater in number and lengthier overall than his to her. This, therefore, is a collection that teaches us much about Sibelius, but at least as much about Rosa Newmarch. And this is a quite a good thing, owing to her prominence as a writer, lecturer, facilitator, and promoter within the early twentieth-century English concert scene. In those capacities, she played a significant role in establishing Sibelius's high esteem there. Many of the circumstances leading to this result figure in their letters. But whether one consults The Correspondence of Jean Sibelius and Rosa Newmarch primarily for issues relating to Sibelius, Newmarch, or any of the matters discussed (including plenty on music and life), one could scarcely ask for a more skillful presentation of their written communication than Bullock's.After the acknowledgments and a list of illustrations, Bullock's volume opens with a useful chronology showing highlights of both Sibelius's and Newmarch's lives and careers alongside notable world and musicrelated events. After a brief explanation of editorial conventions, a lengthy introduction follows. This in itself constitutes a significant scholarly contribution while at the same time it alerts the reader to the salient themes surrounding the correspondence. In addition to recounting key points of Newmarch's and Sibelius's relationship, not to mention the British musical climate just after the turn of the century, Bullock discusses Newmarch's writings and lectures on music alongside the composer's reception in Britain and elsewhere. We read about her shrewd promotion of Sibelius as a composer at once national in the positive sense that his art provided a viable alternative to German models (similar to how she felt about Russian music), and modern in the sense of his fresh yet tempered symphonic aesthetic. Making deftuse of primary and secondary sources, Bullock's introduction effectively facilitates an enhanced understanding of the letters that follow, adding greatly to the book's value.Bullock numbers each entry in the correspondence itself in chronological order, beginning with Newmarch's letter to Sibelius dated 15 January (with the year 1906 in brackets), and ending with the 135th entry in the form of Newmarch's last letter to Sibelius, dated 13 October 1939. He also includes some letters exchanged between Newmarch and Sibelius's wife Aino (nos. 17, 23, 25, 105, and 128) that concern among other things his music and wellbeing. Also helpful are Bullock's indications at the head of each message as to the original language selected by the given writer. Sibelius and Newmarch wrote to each other mostly in French and German (with Newmarch writing primarily in French), while Aino's modest skills allowed her to write to Newmarch on one occasion in the latter's own language and to read some letters received in English.The Sibelius-Newmarch correspondence itself covers a wide range of issues and says a great deal about both writers. Not surprisingly, many were written around planned and recent visits to each other's country or trips to third locations (such as France). …

The Proceedings against the Templars in the British Isles , Vol. 1: The Latin Edition ; Vol. 2: The Translation (review)

The Proceedings against the Templars in the British Isles, Vol. 1: The Latin Edition; Vol. 2: The Translation. Edited and translated by Helen J. Nicholson. (Burlington, VT: Ashgate Publishing. 2011.VoI. 1: Pp. xl, 432; $134.95; ISBN 978-1-409-43650-8. Vol. 2: Pp. Ix, 653; $154.95; ISBN 978-1409-43652-2.) Controversy has followed the Order of the Knights Templar from the time of the arrest of the French Templars on October 13, 1307, until today. Their name has become mired in myth, legend, and fantasy, and their original function-to protect pilgrims in the Holy Land- has been largely forgotten, as has their role in medieval society as military monks who took monastic vows of poverty, chastity, and obedience. Representatives of the Order arrived in Britain in 1 128, and the king and his nobles vied with each other to give them land. As the Templars were latecomers to the British land-market this was often land that had to be reclaimed from the waste, marsh, or fen. Over the years they did this and became efficient farmers, sending the profits from their estates to their brothers in the East. Apart from the occasional squabble with neighbors (revealed in local court records), they were unobtrusive landlords in the countryside. In London, however, high-ranking members of the Order became advisers, accountants, and bankers to the monarch. When the French king Philippe IV arrested the French Templars, King Edward ? of England procrastinated on the grounds that the Templars had always been good friends to his family. After pressure from Pope Clement V, he eventually arrested the English Templars in January 1308 and held them on loose house arrest until the arrival in 1309 of the papal inquisition.The text of these volumes that are transcribed and translated in a work of great scholarship by Helen Nicholson is the evidence from the trials of the Templars in England, Ireland, and Scotland. Five versions of the proceedings exist. The most complete of these is Ms Bodley 454 in the Bodleian Library, Oxford. There are three versions in the British Library, which are either incomplete or damaged by fire, and there is a version in the Vatican Library (Armarium XXXV 147), which is a summary of the proceedings in Britain sent to Clement V for use at the Council of Vienne in 1312, when he disbanded the Order. All five versions are used in this edition. In the introduction to volume 1 Nicholson gives the provenance and history of the manuscripts and describes these in detail. She also discusses versions already in print, including the flawed version by David Wilkins. The editorial conventions are carefully explained, and the text adheres as closely as possible to the original manuscript, including marginalia, insertions, additions, and line breaks. …

Editorial conventions

Parliamentary HistoryVolume 29, Issue s1 p. lxxxviii-lxxxix Editorial conventions First published: 11 May 2010 https://doi.org/10.1111/j.1750-0206.2010.00172.xAboutPDF 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. Volume29, Issues1Special Issue: A supplement to Parliamentary History: Parliamentary Record Series, volume 1: Tory and Whig – The Parliamentary Papers of Edward Harley, Third Earl of Oxford, and William Hay, M.P. for Seaford, 1716-1753, Edited by Stephen Taylor and Clyve Jones.October 2010Pages lxxxviii-lxxxix RelatedInformation

The Thomson Reuters Journal Selection Process

This paper includes a detailed description of the Thomson Reuters Journal Selection Process, which evaluates many criteria, including timeliness of publication, adherence to international editorial conventions, and English language bibliographic information. Thomson Reuters also examines a journal's editorial content and the international diversity of it authors and editors. Citation analysis is carried out using Thomson Reuters data to determine a journal's citation history and/or the citation history of its authors and editors.

The Bannatyne Club and the Publication of Scottish Ecclesiastical Cartularies

Investigative research on Scottish cartularies has been grossly neglected in comparison to other European countries. In fact, over 90% of the printed Scottish cartularies were published by antiquarian groups like the Bannatyne, Maitland and Spalding Clubs between 1832 and 1893 and no substantive work on these editions has occurred since that time. They are now both commonly treated and used as primary sources in their own right. To date, nobody has delved too deeply into the methodologies employed to convert the manuscripts into printed material in the first instance. This has placed a huge burden of trust upon the accuracy and editorial skills of the men who were employed as editors by the various clubs. The focus of this investigation is the Bannatyne Club and its most prolific editor of ecclesiastical manuscripts, Cosmo Innes. It is suggested that these editions can be divided into different categories, depending on the number of source manuscripts available to Innes and his editing teams. As a rule of thumb, the greater the number of sources Innes and his scribes used, the greater the latitude for error. Using the Moray register as a stark example, it is argued that the editorial team involved in its production radically re-ordered and re-worked much of the source material to fit the editorial conventions of that time.

Translation

Rimi Chatterjee addresses the current practice of translation in India and explores the ongoing debate concerning the intended audience for these translations. Chatterjee argues that Indian translators must keep their Indian readers in mind in the course of translating scholarly, educational, and popular literature. Professional standards of scholarly translations must be established, including editorial conventions of annotation and citation, which suit the particular needs of the Indian communities of readers, whether scholarly or otherwise.

The Letters of Sir Walter Ralegh

List of the Letters, vii List of Plates, xv List of Abbreviations, xvi FOREWORD by Emeritus Professor David Quinn, FBA, xix PREFACE, xxi INTRODUCTION The Collection, xxv Previous Publication of the Letters, xxx A Brief Biography: Sir Walter Ralegh 1554-1618, xxxiv The Recipients of the Letters, xxxvii The Subject Matter of the Letters Ireland and Virginia, xxxviii Ships, Privateering and the Sea Wars, xl The Queen and the Court, xlii Patronage, xliv The Sherborne Estate, xlvi The Westcountryman, xlviii Guiana, li The Man behind the Pen, liv The Writing of the Letters Spelling and Style, lvii Ralegh's Clerks and Carriers, lviii. Editorial Conventions, lx Acknowledgements, lxi THE LETTERS, 1 APPENDICES 1. Letter 31a. To Master [James] Gold from the Court, 10 October [1589], 379 2. Sir Walter Ralegh's Will, 8-10 July 1597, 381 3. Agnes M.C. Latham: Bibliography, 388 INDEX, 389.

Women Writers of Traditional China: An Anthology of Poetry and Criticism

Editorial conventions Abbreviations Maps Introduction: genealogy and titles of the female poet Part I. Poetry: 1. From ancient times to the six dynasties (222-589) 2. Tang (618-907) and five dynasties (907-60) 3. Song dynasty (960-1279 4. Yuan dynasty (1264-1368) 5. Ming dynasty (1368-1644 6. Qing dynasty (1644-1911) Part II. Criticism: 7. Female critics and poets 8. Male critics and poets Appendixes Notes Bibliography Index of names.

Slave Captain: The Career of James Irving in the Liverpool Slave Trade

List of Illustrations, Maps and Tables Preface to the Second Edition The Documents and Editorial Conventions List of Abbreviations I. James Irving's Career 1. Introduction 2. Early Career in the Liverpool Slave Trade 3. Irving's Voyages in the Transatlantic Slave Trade 4. Shipwreck and Enslavement 5. Freedom and Return to England 6. Conclusion II. James Irving's Correspondence, 1786-1791 III. Journal of James Irving's Shipwreck and Enslavement, May 1789-Octorber 1790 A 'Short Account' by James Irving II, June-October 1789 Notes Bibliography Index