Editors Of Volume Research Articles

Енциклопедія як функціональна одиниця в системі англомовної медичної термінографії

. The article is devoted to the study of lexicography, namely terminological lexicography of medicine. Medicine is the most important field, which has always influenced the lives of mankind, taking into account all the consequences of scientific and technological progress. The proof of this are the realities where the world is today in the 21st century, when human survival is threatened under the influence of global pandemics. The solution of the problems of fruitful communication in the field of medicine can be solved due to the work of lexicographers. It is necessary to follow strictly general lexicographic principles when compiling terminological dictionaries, taking into account the complexity of the terminology of medicine (polysemy, abbreviations, acronyms, eponyms, neologisms, etc.). Unfortunately, in this context the question of the history of compiling, collecting and processing data, structure, typology, use of English medical encyclopaedias remains open in the field of metalexicographic exploration, which indicates the relevance and originality of this study. The aim of the work is to identify the features of the English medical encyclopaedia as a functional unit in the system of English medical terminology using diachronic and synchronic approaches. The study was based on English medical encyclopaedias, which were selected from the catalogues of National Library of Medicine, Simon Frazer University Library, The British Library, The Internet Archive, Library of Congress, WorldCat, National Library of Ukraine named after V.I. Vernadskyi. The period of study covered VII century. – XXI c. The methodology was comprehensive: an analytical review of the literature was used to identify lacunas in linguistics; diachronic and synchronic approaches – to study the history of dictionaries compilation and the current state of medical terminography; method of quantitative analysis; method of critical analysis of dictionaries – for lexicographic analysis of English medical encyclopaedias at the levels of mega-, macro-, microstructures; descriptive and comparative methods – to describe and systematize the results. The study of the encyclopaedic lexicographic tradition in English medical terminology revealed that encyclopaedias of 259 dictionary reference books are presented in monolingual, bilingual and multilingual editions of various volumes in paper and electronic forms. Quantitative and typological characteristics vary from 227 different classical medical encyclopaedias to 32 medical encyclopaedic dictionaries. The results obtained in the course of the study allowed to reach the following conclusions: the English medical encyclopaedia combines at the structural levels both linguistic and encyclopaedic parameters of medical term registration depending on the user's requirements; the medical encyclopaedia performs the functions of codification, registration of a medical term, as well as accumulation and transfer of accumulated knowledge with the tools of general lexicography and lexicography for special purposes; English medical encyclopaedia is an integral part of English medical terminography as an open dynamic system that operates within the interaction of linguistic and under the influence of extralinguistic parameters. The prospects for further research are in the comprehensive study of all components of English medical terminography as a dynamic system that operates within and under the influence of scientific and technical process.

Edukimia Vol 2 No 2 - Mei 2020 - Editorial - Sampul Depan, Daftar Isi dan Editorial

Front Cover, Table of Contents and Editorial of Edukimia Volume 2, Issue 2. Published on Mei 21st 2020.

SBE19 Temuco Committees

List of Organizing Committee, Scientific Committee and Volume Editor are available in this pdf.

Particle theory at Chicago in the late sixties and p-Adic strings**In memory of Peter G O Freund.

As a contribution requested by the editors of a memorial volume for Peter G O Freund (1936–2018) we recall the lively particle theory group at the Enrico Fermi Institute of the University of Chicago in the late sixties, of which Peter was a memorable member. We also discuss a period some twenty years later when our and Peter’s research overlapped on the topic of p-Adic strings.

Theologically Engaged Anthropology, edited by J. Derrick Lemons

At least in disciplinary terms, many might still consider anthropology and theology to be odd interlocuters. The history between them is not trouble-free. Yet anthropology’s efforts to “engage” theology (and vice versa) are nothing new. For example, the anthropology of Christianity has reflected on theology in various capacities since at least 2006, and several prominent anthropologists of Christianity even offer mature reflections on theology in this volume.1 Yet Theologically Engaged Anthropology moves beyond—even as it advances—anthropology of Christianity discourses to offer something that is arguably new to anthropologists, for instance,With both anthropologists and theological scholars contributing, this volume consists of an introduction and twenty chapters that place theology and anthropology in productive conversation. As Brian Howell registers at the outset, different types of theology can aid anthropologists. Some chapters focus on academic theologies. For example, volume editor J. Derrick Lemons explains how studying missional theology written by scholars “allowed me to discover new insights into the Wesleyan Church, which would have been missed if I had avoided theological engagement” (27). Indeed, secular theorists like Marx, Foucault, and Butler have long helped anthropologists sift through ethnographic data—but some chapters indicate that anthropologists can use theological theorists in similar ways (e.g., Timothy Larsen and Daniel King, 64). Other chapters focus primarily on the theologies of those they study. Martyn Percy, for instance, creatively suggests that theology’s “medium might be as important as the message,” exhorting readers “to pay attention to the mood, emotional weather, or optimum spiritual temperature of a church, congregation, or denomination” (312).Not only do theology’s types and mediums vary across this volume, but so too do the ends for which theology is used. In the above examples, one intention for theology’s use is to enrich ethnography. Naomi Haynes also does this, but an additional theoretical aim renders hers a key chapter: by considering theology as an ethnographic object, Haynes “address[es] one of the most vexing problems in the anthropology of Christianity—namely, how to write about divine action in a way that preserves the integrity of both our informants’ experiences and that of anthropological frameworks” (266). Like other contributors, Haynes takes seriously disciplinary boundaries between theology and anthropology, in this case proposing how divine agency can be studied without anthropology ceasing to be more or less empirical. Several additional chapters also use theology to develop anthropological theory, and a few, like Khaled Furani’s, even question disciplinary boundaries. Written with divergent aims, most of this volume’s chapters—too numerous to recount here—are filled with substantive insights not only into what theologians stand to gain from anthropology, but also—and especially—how theology can benefit anthropology, rendering this an important volume for anthropologists and theologians alike.Theologically inclined ethnographers might find this book especially worthwhile. For example, although James Bielo appreciates their “consistent use of a classic fieldwork model” (144), he points out that “ethnographic theologians” need not be as constrained by anthropology’s disciplinary strictures: what if “field notes . . . took the form of a Christian confession,” or “what would be the performative force of writing ethnography as prayer” (155)? Bielo thus issues a stunning invitation for innovation among theological scholars. Robbins gently chides ethnographic theologians for lacking imagination of a different sort: “Too often, they want to use ethnography to document things they already knew were present in the situations they studied.” Yet ethnography, Robbins maintains, should yield surprises, and so ethnographers should hope for “the kinds of findings one had not even guessed were in the world when one started one’s research” (226).Its self-reflexive contributors do not overlook what could be this volume’s two main weaknesses. First, there are conflicting and competing understandings of theology, and not having a shared object could challenge any comparative project’s viability. In a concluding reflection worth pondering carefully, Sarah Coakley takes stock of why theology’s definition matters and suggests a promising way forward. Second, this volume primarily considers Christian theology, perhaps reinforcing a longstanding critique of Christian bias among western anthropologists, but certainly overlooking how non-Christian theologies might bear upon anthropological discourse and practice. Lemons explains, “the reason for this focus is that most of the scholars involved in this project work directly with Christianity” (7). Accordingly, while this book can certainly benefit scholars studying other religions, its greatest value might be for those working with Christianity.As with anthropology and linguistics, Robbins hopes that anthropology’s and theology’s dialogue will “transform each discipline . . . expanding each discipline’s sense of its ends rather than merely augmenting its means of attaining them” (227). Will this dialogue transform anthropology’s or theology’s disciplinary ends? Time will tell—but this volume suggests that such transformation is possible.

From Paracelsus to Universal Reform

This article analyses the content, context, and legacy of an influential collection of texts ascribed to Paracelsus (1493–1541) and Valentin Weigel (1533–1588). Published under the title Philosophia Mystica in 1618, it was one of the earliest printed publications of the theologica of Paracelsus. By combining Paracelsus and Weigel, the volume demonstrated their unified theological approach. Besides, it included two works by the promulgator of the “Theophrastia Sancta,” Adam Haslmayr (1560–1630), as well as a treatise by the alchemist Johann Siebmacher, who might have also been the editor of the whole volume. By using these sources the book indicated that Paracelsianism and Weigelianism were, basically, aiming at universal reform which connected them with the ethos of the Rosicrucian manifestos.

Acknowledgment of Associate and Guest Associate Editors and Referees for Volume 46

Acknowledgment of Associate and Guest Associate Editors and Referees for Volume 46

Tomy rękopiśmienne Krzysztofa Kamila Baczyńskiego wobec kultury rękopisu

The article contains full characteristic of the manuscripted volumes written by Krzysztof Kamil Baczynski. The introduction contains an attempt to define the genre, the history of research approaches and the edition of volumes and compositions it includes, as well as the volumes’ position in the bibliographies of underground conspiracy documents. The above perspectives will be compared to the one of Baczynski and placed on the line between intimate writing and publication. In the article’s next part, a detailed description of the volumes is intertwined with further information on the presented compositions. The author traces the genre’s origins to the poem collections sent in Baczynski’s pre-war letters to Zuzanna Progulska (Chuwen, after her husband) and Wydawnictwo Sublokatorow Przyszlości (Future’s Subtenants’ Publishing House), which operated in the beginning of World War 2. The final part contains graphic and biographical contexts of the volumes. The article postulates to treat manuscripted volumes as sources of valuable interpretative motifs of Baczynski’s poetry, and to consider the volumes as an example of manuscript literary culture present in the period of occupation.

3e Symphonie en ut mineur by Camille Saint-Saëns, and: Poèmes symphoniques by Camille Saint-Saëns

Reviewed by: 3e Symphonie en ut mineur by Camille Saint-Saëns, and: Poèmes symphoniques by Camille Saint-Saëns James Brooks Kuykendall Camille Saint-Saëns. 3e Symphonie en ut mineur, op. 78. Edited by Michael Stegemann. Kassel: Bärenreiter, 2016. (Œuvres instrumentales complètes, Sér. I, Vol. 3) [Front matter in Fr., Eng., and Ger.: foreword, p. vii–xii; preface, p. xiii–lxxxiv; documents, p. lxxxvi–cv; score p. 3–192; crit. rep. in Fr. p. 195–213. Cloth. ISMN 979-0-006-55950-3. €365 ($438).] Camille Saint-Saëns. Poèmes symphoniques [Le Rouet d'Omphale, op. 31; Phaéton, op. 39; Danse macabre, op. 40; La Jeunesse d'Hercule, op. 50]. Edited by Hugh Macdonald. Kassel: Bärenreiter, 2019. (Œuvres instrumentales complètes, Sér. I, Vol. 4) [Front matter in Fr., Eng., and Ger.: foreword, p. vii–xii; preface., p. xiii–lviii; documents, p. lx–lxxiv; score p. 3–241; crit. rep. in Eng. p. 245–60. Cloth. ISMN 979-0-006-56115-5. €378 ($454).] Camille Saint-Saëns was involved in the first wave of monumental editions, serving as general editor of Œuvres complètes of Jean-Phillipe Rameau (published by Durand in eighteen volumes between 1894 and 1924, but never completed). Now, it seems, it is his turn. An astonishingly prolific composer, Saint-Saëns started early and stayed active to the end of his very long life (1835–1921). The sheer quantity of material poses a significant challenge to the publication of a complete edition of his works. The two volumes reviewed here are from a series aspiring to comprise only his instrumental works, but even so this entails a projected thirty-six volumes. It is an ambitious and even worthy endeavor, but it is off to a shaky start. Michael Stegemann points out in his series foreword that most of Saint-Saëns's instrumental works "have not been newly edited since their first publication (and are often full of errors, typical for this period)" (p. ix of both volumes). That may be true of the corpus as a whole, but it is not the case of the works under review here—each of which appeared in a second edition during the composer's lifetime, and the texts of these corrected second editions were actually very good—judging from a review of the original sources and these volume editors' decisions. Indeed, as Hugh Macdonald notes, for three of the symphonic poems—all but Le Rouet d'Omphale—"all the sources agree closely with one another" (pp. 252, 259). And there are a numerous sources to collate in this repertoire: autographs of the orchestral version as well as keyboard versions, two editions of the full score and the performing materials, sometimes sketches and marked proofs, plus derivative transcriptions. Even in the case of Le Rouet d'Omphale, the 1906 second edition of the full score presents an accurate text, correcting a number of errors in the first. The differences between the second edition and this new edition almost [End Page 319] entirely involve the regularization of articulations and dynamics. (The only error I spotted in the new edition of this work [m. 48, Vc and Cb] is obvious enough that any user can recognize it as such, and so does little harm.) The Poèmes symphoniques volume is fine, but it hardly makes a strong case for the need for a new edition of any of these works: we may not have had as complete a grasp of the textual situation until Macdonald had finished the project, but the texts presented here have negligible differences from what was already in the public domain. Is an œuvres complètes of his instrumental music necessary? I shall return to this issue below. The first volume of the new edition to be published was Symphony no. 3, one of the composer's best loved and most impressive works, and perhaps intended to serve as the flagship for the edition as a whole. The work is in a similar textual situation to the symphonic poems: Durand's 1907 second edition is actually very accurate. The problem—and it is a...

The Oxford History of Popular Print Culture, Volume 5: US Popular Print Culture to 1860 ed. by Ronald J. Zboray and Mary Saracino Zboray

Reviewed by: The Oxford History of Popular Print Culture, Volume 5: US Popular Print Culture to 1860 ed. by Ronald J. Zboray and Mary Saracino Zboray Amy Sopcak-Joseph (bio) Keywords (Lang: English) Print culture, Print production, Book history, Cultural history The Oxford History of Popular Print Culture, Volume 5: US Popular Print Culture to 1860. Edited by Ronald J. Zboray and Mary Saracino Zboray. (New York: Oxford University Press, 2019. Pp. 712. Cloth, $135.00). [End Page 763] A volume with the name “Oxford History” imprinted on it often evokes a specific vision: a weighty tome with hundreds of pages between its boards and a title embossed in neat gold lettering on the wide spine. The book likely sits on the shelf of a personal or university library. This staid vision is the opposite of the kinds of reading matter, and implied readers, that US Popular Print Culture to 1860 takes as its subject in its forty chapters. The Oxford History of Popular Print Culture is a nine-volume series; Volume 5 is the third to see publication. In it, editors Ronald J. Zboray and Mary Saracino Zboray offer up an interdisciplinary set of forty-one contributors from history and literature departments as well as schools of communication and library and information sciences. The result is a collection that not only contextualizes a diverse array of popular texts but also expands the boundaries of what forms constituted “popular print” to begin with. The entire Oxford series centers on the question, “What kind of reading was ‘popular reading’?” (61). The editors of Volume 5 intend to upend any quick and easy answer that their own readers might have in mind. Zboray and Zboray charge that the field of book history in the United States, with which these essays are in conversation, is “too top-down, value-laden, object-centered, supply-sided, processual, and restrictive for a history of popular print culture” (5). While Harriet Beecher Stowe’s Uncle Tom’s Cabin might have sold more copies than any book except the Bible, the Zborays’s volume moves away from privileging bestsellers and even the book form itself. US Popular Print Culture to 1860 strives instead to take cues from early American readers and embraces a capacious definition of “popular print.” In this telling, any kind of text that readers often engaged with falls under the scope. This includes imprints that were produced cheaply and inexpensively for wide distribution. These chapters, however, are attentive to how “alternative literacies” contributed to popular reading (61). Early Americans read letters and wampum belts, copied lines into commonplace books that they circulated among friends, attended lyceum lectures by well-known authors, and viewed commercialized pictures. The editorial decision to focus on the intersection of “popular” print with these oral and manuscript cultures distinguishes this volume from another epic undertaking on the subject, the multi-volume A History of the Book in America series produced in the 2000s by the American Antiquarian Society and published by the University of North Carolina Press. This volume is divided into four parts that are carefully crafted to avoid conveying a progressive narrative or imbuing certain genres with [End Page 764] significance over others. The editors stress that the four parts emphasize “stratification” and that much of the content introduced in early chapters “remains valid throughout ensuing chapters” (10). Within Parts II through IV, chapters appear in alphabetical order to avoid the appearance of ranking each subject’s importance. Such organization drives home two primary goals of the volume. First, Zboray and Zboray take issue with the argument that the history of print in the British North American colonies and the early republic could be characterized by a shift from “scarcity to abundance” (7).1 Second, they demonstrate significant continuities in the production, distribution, and usage of popular print amid technological, economic, and cultural changes. Parts I and II provide a baseline understanding of the production and distribution of texts as well as the genres familiar to early Americans. Part I, “Foundations,” includes synthetic overviews of staple topics of book history: print and book production, authorship, literacy and education, and the circulation of print from the colonial period through 1860...

Scribleriana Transferred:

Scribleriana Transferred: James E. May • In early February 2019 the University of Pennsylvania Libraries announced that it had purchased “the Geoffrey Day Collection of Sterneana.” Day, formerly the Fellows’ Librarian of Winchester College, during decades studying and editing Sterne, had collected “over 100 volumes of Sterne’s work printed before 1800 in English alone, including three copies of the rare York-printed first edition of volumes one and two of Tristram Shandy” and more than “100 translations of Sterne’s work in 21 languages (including Basque, Japanese, and Hungarian) . . . . Among these translations are at least two (one in German, one in Dutch) which are not known to exist anywhere else. Further, the Day collection also includes the only known copy of a completely spurious edition of volume 9 of Tristram Shandy, published clandestinely in 1767.” Also included are editions of his letters and sermons, works that Sterne drew on, and scholarly works on Sterne. In addition, Day gave “a manuscript letter written by Laurence Sterne to a local apothecary the day following the death of Sterne’s daughter in childbirth (Letter 10 in the Florida Edition of Sterne’s Letters). Day had himself received the letter as a gift from scholar and Penn benefactor Dr. William Zachs (C’83).” Zachs played a role in the acquisition, which was made possible, too, by the “generosity of local philanthropist Dan Gordon.” The press release by Sara Vilanova stresses the importance of the physical copies of Tristram Shandy given their marbled leaves, a “technical challenge” for subsequent editions that rose to it. An exhibition of the books was planned by Penn but cancelled due to the Covid-19 threat. • The National Library of Wales acquired several manuscript catalogues of the Pork-ington Library at the sale of the “Property of Lord Harlech, from Glyn Cywarch,” at Bonhams’s white-glove sale of 531 lots on March 29, 2017. One volume in cont. Russian gilt with Owen arms blindstamped on covers and illuminated frt inside, is labeled “Porkington Library. Feb: XXXVIII, MDCCIX. Arranged by John Broster, Chester,” and was compiled for Margaret Owen, wife of Owen Ormsby of London and Willowbrook; this is the oldest catalogue of the library, which will expand through marriage to the Ormsby Gore family and be called the “Brogyntyn Library.” After a “Plan of the Catalogue” on the first leaf, it has 73 folio leaves of text written on rectos only, with about 25 items on each page, listing titles, publication dates, and shelf numbers. There are another 150 titles on two loose leaves inserted, bringing the total to 2000 books. Another volume, acquired in the succeeding lot, #387, is labeled “MS Catalogue of Plays. Ormsby Gore. 1815,” 4to, 140 pp. mostly written on rectos, in cont. sheep, with two lists compiled by William Ormsby Gore, dated February 24, 1815, the first alphabetically by title, and the second by author. In the same lot, too, was a volume in late nineteenth-century calf and labeled “Old Plays. M.s. Index,” with 80 pp. of catalogue plus blanks, into which was inserted a twentieth-century list in pencil on eight pages, headed: “1st Quarto Plays in Collection of Brogyntyn.” • On June 9, 2020, Forum Auctions hammered sold twelve of thirteen works by Isaac Newton, including a presentation copy of the first edition of Opticks: or, a Treatise of the Reflexions, Refractions, Inflexions and Colours of Light (“for Sam. Smith and Benj. Walford, Printers to the Royal Society,” 1704). Though estimated at £300,000-400,000, this copy sold for a disappointing £150,000 plus premium. In cont. paneled calf with 19 [End Page 104] engraved plates, it bore the inscription of Nicolas Fatio de Dullier: “Ex Dono Autoris Clarissimi: Londini, Februarii undecimo, 1703/4, Nicolaus Facius.” The earliest presentation copy known, it was given by Newton to his friend and collaborator five days before he presented a copy to the Royal Society. A Swiss mathematician and scientist and Fellow of the Royal Society since 1688, Fatio had worked with Newton for over a decade, as on alchemical experiments in 1693; he was a go-between for Newton with Christiaan Huygens, and more recently had helped Newton contact Huguenot craftsmen...

Who Can Speak and Who is Heard/Hurt? Facing Problems of Race, Racism, and Ethnic Diversity in the Humanities in Germany ed. by Mahmoud Arghavan et al.

Reviewed by: Who Can Speak and Who is Heard/Hurt? Facing Problems of Race, Racism, and Ethnic Diversity in the Humanities in Germany ed. by Mahmoud Arghavan et al. Ervin Malakaj Who Can Speak and Who is Heard/Hurt? Facing Problems of Race, Racism, and Ethnic Diversity in the Humanities in Germany. Edited by Mahmoud Arghavan, Nicole Hirschfelder, Luvena Kopp, and Katharina Motyl. Bielefeld: transcript, 2019. Pp. 300. Paper $40.00. ISBN 978-3837641035. The last five years have seen the rise of publications examining the history of and conditions for racism at German universities. This work has appeared in various contexts, including German-language newspapers, reports by public foundations, as well as academic periodicals and scholarly presses. Of note is the advocacy and scholarship of Kien Nghi Ha, Daniela Heitzmann, Kathrin Houda, and Natascha A. Kelly, among others. These scholars and scholar activists have sought to uncover the systemic features in the German education system that complicate or obstruct access to higher education for migrants and People of Color. In effect, their work sought to stimulate additional inquiry about systemic racism in German higher education, hoping to mobilize a wave of critical scholarship in the service of transformative social justice. Who Can Speak and Who is Heard/Hurt? Facing Problems of Race, Racism, and Ethnic Diversity in the Humanities in Germany is firmly positioned in this scholarly and activist landscape. Drawing on critical discourse on diversity work as well as insights from postcolonial, critical race, and decolonial theory, the volume is a comprehensive assessment of structural racism underpinning the teaching and research in the German academy's humanities disciplines. It features a comprehensive introduction and fifteen contributions by scholars and scholar activists working in the German higher education system as well as those with ties to the international academy. In the discussions and debates about systemic racism at German universities, scholarship has productively reflected a paradox also at the heart of Who Can Speak and Who is Heard/Hurt? The volume's editors and contributors make a compelling case for stronger representation of migrant scholars and scholars of color at German universities while recognizing that the racist structure itself is a toxic place for them. For the contributors to the volume, this conundrum requires multiple strategies to advance its call for social justice. On the one hand, it requires dedicated support structures for the migrant scholars and scholars of color currently employed by or enrolled in university programs. By strengthening their success rates and providing representation including at the professoriate rank, universities would strengthen a support structure for future migrant scholars and scholars of color. On the other hand—and this emerges clearly in the introduction of the volume and in select chapters—German universities are not the only place to address an issue part and parcel of the total education system leading to university studies. Of note here is that Germany's three-tiered secondary education system provides multiple structural [End Page 448] hurdles for migrant students and students of color to enter academia. As such, approaches to diversify the academy will have marginal success rates unless they entail strategies to build a secondary education system more attentive to the statuses and lived experiences of migrant students and students of color. Among the merits of the volume is its sharp critique of American studies in Germany. In particular, the editors and contributors deftly demonstrate how even though impulses from US-based American studies form a point of orientation for its German counterpart, the process falls short of embracing some of the US academy's features more conducive to transformative antiracist work: when it comes to scholar activism, the import of US-based models falls short. That is, instead of embracing critical tendencies of postcolonial, decolonial, and critical race theory and directing these to examine the epistemological and pragmatic frameworks of the university itself—as has been done in the US academy through, for example, the #BlackLivesMatter movement—American studies in Germany on the whole subscribes to a purported detached objectivism in the German idealist tradition. The volume rejects scholarly praxes claiming epistemic distance such as those enacted through an insistence on objective truth, arguing that the commitment to...

Literary Britten: Words and Music in Benjamin Britten's Vocal Works ed. by Kate Kennedy

Reviewed by: Literary Britten: Words and Music in Benjamin Britten's Vocal Works ed. by Kate Kennedy Kevin Salfen Literary Britten: Words and Music in Benjamin Britten's Vocal Works. Edited by Kate Kennedy. (Aldeburgh Studies in Music, no. 13.) Woodbridge, Suffolk: Boydell, 2018. [xx, 405 p. ISBN 9781783272853 (hardcover), $99; ISBN 9781787442566 (e-book), price varies.] Illustrations, music examples, list of contributors, bibliography, index. In her brief introduction to Literary Britten—a collection of eighteen essays by prominent Britten scholars as well as academics whose careers have not been devoted to the erstwhile Baron of Aldeburgh—Kate Kennedy explains that "this book has chosen to move away from the theoretical debates concerning the relationship between words and music" (p. 5) and that it hangs together as "a snapshot of the lively diversity of current thinking on Britten" (p. 7). It may also point to a chameleonic quality in the composer, some capacity of his work to permit starkly contrasting views. Kennedy describes Britten as "one of the most literary composers" (p. 8), although what evidence supports this comparative assertion, echoed in the blurb on the back cover, never makes an appearance. More literary than who? we are left to wonder. And why does it matter if Britten wins this contest? Does being "most literary" make him top boy or enough of a brainbox to boost his canonical status, to give him a slab in the Westminster of the imagination? These are lines of thinking that the volume's editor and writers generally do not pick up: to explore what being "literary" meant in and beyond Britten's creative life and evolving circle of collaborators, and [End Page 123] what significance that should have for a twenty-first-century academic readership. Throughout the volume, the editor has used a light hand, letting writers be who they will be, which is why the argument for a "literary Britten" can never coalesce. Nominally divided into two major sections—"Perspectives" and "Studies," with one focused on broad issues and the other on specific works—"slippage" between these modes abounds, which further blurs the book's overarching focus. The architecture merely provides a place to put things, and so, as with many essay collections trailing the composer's centenary in 2013, Literary Britten's success depends not on the structure of the volume or on its editor but on the writer of each chapter. The first goes to Mervyn Cooke, who summarizes Britten's relationships with his librettists, observing along the way that Britten initially worked with fiercely independent ones (W. H. Auden, Montagu Slater, E. M. Forster) and gradually shifted to ones who were more "practical"—malleable, one might say (Myfanwy Piper, William Plomer). Although there is little new information here, Cooke's narrative has authority and serves as an effective entrée to the field because of his special place in the history of Britten studies. In "Britten, Auden and the 1930s," John Fuller draws on a lifelong history of reading and listening to give a rich sense of Auden's significance for the composer, though the finest quality of the chapter might be that it embodies an erudition and facility with unexpected connections that approximate Auden's, a kind of anachronistic example of what being "literary" might look like in Britten and Auden's circle of the 1930s. The third chapter marks a noticeable shift toward smaller claims, smaller gains. Nicholas Clark, as librarian with the Britten–Pears Foundation and series editor for Aldeburgh Studies in Music, has, like Cooke, earned a broad brush, and he does make some expansive claims: he proposes a view of evil in the operas Turn of the Screw and Owen Wingrave to compare with Henry James's "vision of evil," a distillation aided by consideration of James's oneact play "The Saloon." Clark also suggests an important point about "being literary": it permits, perhaps demands, the fruitful interplay of texts, which in turn necessitates that the scholar do more than say "x short story begat y opera." When we consider such textcomplexes, we begin to piece together the rich life of the mind that a volume called Literary Britten might have aspired to depict. Kate...

Reconsidering the Place of Women in Transatlantic Quaker Studies

Reconsidering the Place of Women in Transatlantic Quaker Studies Lisa M. Logan (bio) The Quakers, 1656–1723: The Evolution of an Alternative Community richard c. allen and rosemary moore, eds. Pennsylvania State University Press, 2018 346 pp. Female Friends and the Making of Transatlantic Quakerism, 1650–1750 naomi pullin Cambridge University Press, 2018 302 pp. New Critical Studies on Early Quaker Women, 1650–1800 michele lise tarter and catie gill, eds. Oxford University Press, 2018 284 pp. Six years ago, I began a collaborative project on a Quaker manuscript, entering the terrain of Quaker studies as an early Americanist for the first time. The archival study of Quakerism and those writing and operating in it requires an intimate understanding of its meeting structure and organization and an awareness of the historical waves of the early Quaker movement. Three reference books enabled me to untangle unfamiliar language, structure, and people: William Charles Braithwaite's The Beginnings of Quakerism (1919, rev. 1955), The Second Period of Quakerism (1919, rev. 1961) and Rufus Jones's The Quakers in the American Colonies (1909). I remember being struck by the publication dates of these important tomes and wondering that such a rich field depended on reference works published before the 1960s. Besides the methodological shifts in academic disciplines since the publication of these touchstones in early Quaker studies, another reason to welcome the three books reviewed here is that they make the scholarship on [End Page 821] Quaker works and lives more accessible to those who live far from archives. These works emerge at a time when early Quaker texts and records are becoming available through digitization. Digital platforms such as Ancestry.com, which houses many early American Quaker meeting records, have improved accessibility to the rare manuscript materials necessary for this work. Modern editions bring early Quaker texts to new generations of scholars and students. For example, in 2019 alone, Penn State University Press, which produced two of the books under review, published The Francis Daniel Pastorius Reader: Writings by an Early American Polymath, a selection of works by the German settler who lived among Pennsylvania Quakers, edited by Patrick Erben, Alfred Brophy, and Margo Lambert, and The Writings of Elizabeth Webb, an early Quaker minister, edited by Rachel Cope and Zachary Hutchins. That same year Early American Literature printed a newly discovered letter by eighteenth-century Quaker autobiographer Elizabeth Ashbridge, edited by Jay David Miller, who found the document. A renewed interest in Quaker studies is afoot, signaled by the recent publication of Jordan Landes's London Quakers in a Transatlantic World: The Creation of an Early Modern Community (2015), which recognizes the transatlantic community in which London Quakers operated; The Oxford Handbook of Quaker Studies (2013), edited by Stephen Angell and Ben Pink Dandelion, which takes a comprehensive geographical and temporal approach; and the appearance of Dandelion's slim The Quakers in Oxford's Very Short Introduction series. The time has certainly come for revisiting the lives and works of Quakers in the early modern period. The three books under review are those I wished for six years ago. The Quakers, 1656–1723: The Evolution of an Alternative Community, Female Friends and the Making of Transatlantic Quakerism, 1650–1750, and New Critical Studies on Early Quaker Women, 1650–1800 use contemporary literary and historiographical methodologies to guide our understanding of early Quakers and their writings in new, inclusive ways. Together these studies inform, serve as foundations for, and suggest paths for transatlantic Quaker studies in the twenty-first century. The Quakers 1656–1723: The Evolution of an Alternative Community, part of Penn State University Press's new historical series, The New History of Quakerism, succeeds in its aim to update our general understanding of Quakers in the so-called second period. Aimed at the "specialist and nonspecialist reader alike," the volume includes thirteen chapter-length essays, [End Page 822] seven written singly or collaboratively by volume editors and eminent historians Moore and Allen and six by other experts, most from history and church history fields. The chapters follow broadly the chronology of Quaker history from its beginnings to the final years of the Stuart period. Each robust and extensively documented chapter concerns...

A People’s Atlas of Detroit ed. by Linda Campbell, et al

188 The Michigan Historical Review breaking into the women’s homes, holding them hostage with a pair of long-bladed scissors. In at least one instance, he raped a young mother along with her underage daughter.” (24) He is serving his sentence and will not be eligible for parole until 2058 when he turns 100. The abandoned suburban amusement park was Pirates Park, which was located in Flint Township behind a strip center. It closed when a coowner died. Redevelopment attempts on the site have so far been unsuccessful. Most impressive in the book is the bibliography in smaller print than the regular text and spread over three and a half pages, with many of the citations providing URLs of web sites where the citations can be found. As this review was written in April 2020, the libraries were closed because of the COVID-19 pandemic, preventing researchers from looking up material from hard copies. Since the libraries may remain closed for some time, including internet links in the citations is much appreciated. Gary Flinn Author of Remembering Flint, Michigan: Stores from the Vehicle City and Hidden History of Flint Linda Campbell, Andrew Newman, Sara Safransky, and Tim Stallmann, eds. A People’s Atlas of Detroit. Detroit: Wayne State University Press, 2020. Pp. 352. 52 photographs. 52 maps. 6 charts. Paper: $34.99 Detroit is often written about, but rarely engaged with. Many people come to the city to tell stories about it, without listening to the voices, perspectives, and ideas of the almost 700,000 people that call the city home. This is even more problematic because many people who treat the city as a “blank slate” or “urban frontier” are white, while Detroit’s population is approximately 85% African American. Much of this recent writing on Detroit positions the city as a unique outlier to contemporary American, or global urbanism. The economic, social, cultural, political, or racial insights gained from studying Detroit stem from its difference and framing as an outlier city. A People’s Atlas of Detroit takes a decidedly different view on the city and its contribution to urban knowledge. It asks what if “Detroit—and the stories of Detroiters—are captivating not because they are so different but rather because they have so much in common with such a wide variety of people and places?” (301) The recent murder of George Floyd by members of the Minneapolis Police Department, the Black Lives Matter movement, and the anti-black racism protests around the world (as well Book Reviews 189 as the ways in which the pandemic has augmented pre-existing inequities) have all illustrated that the racism and injustices that are so evident in Detroit are also common elements of capitalism and contemporary cities far beyond Detroit’s borders. The editors of this impressive volume argue that Detroit’s outlier status actively works to deprive its residents of their rights to the city. They seek to dispel the myth that Detroiters are “absent, silent or disengaged from efforts to improve their city (p.1).” By highlighting the experiences of Detroiters and amplifying the voices of grassroots community organisations, the Atlas beautifully illustrates many of these efforts, visions, initiatives, and practices that have been working to fight racism, economic decline, and injustice for decades. The Atlas emerged from a participatory research project called Uniting Detroiters, which was founded in 2012 and had three main goals: challenge the dominant narratives about development, use collective research to strengthen grassroots organisations, and reassert residents’ positions as active participants in the city’s development. Uniting Detroiters consists of activists, community leaders, scholars, students, and other residents and employs participatory research and critical cartography. The book is therefore not an atlas in the traditional sense, but rather one that seeks to reimagine Detroit’s place “on a map” through lived experiences, rather than scientific precision. Heavily influenced by William Bunge’s and Gwendolyn Warren’s work in the 1960s, the Atlas works to challenge racial capitalism and urban revanchism, while stressing possibilities and limitations of the right to the city and the urban commons. The editors are at the frontier of contemporary urban thinking that centers race and racism, not as by...

The Earls of Derby and the Early Modern Performance Culture of North-West England

The Earls of Derby and the Early Modern Performance Culture of North-West England Elspeth Graham This issue of Shakespeare Bulletin is concerned with the 3rd to 7th Earls of Derby, their patronage roles, and other involvements in performance cultures in the early modern period. This forms one central strand of research into the early modern theatrical history of the small town of Prescot (now in Liverpool City Region's Borough of Knowsley; formerly in south Lancashire). It is this history, and the connections between Knowsley and Shakespearean theatre which it evidences, that inform the current Shakespeare North Playhouse Project, a major, heritage-based, urban regeneration initiative that has been developing for over a decade and which is now coming to fruition. The project commemorates Knowsley's early modern theatrical heritage by building the Shakespeare North Playhouse, a replica of Inigo Jones's/John Webbs's Cockpit-in-Court theatre enclosed in a modern wraparound building housing community and education activities, and surrounded by a performance garden. Construction of the Playhouse began in 2019 and it will open in 2022 with a program of retained and associated companies performing both Shakespeare's plays and other forms of drama in the Cockpit-in-Court theatre, as well as educational programs based in the surrounding modern building but extending into the wider community and its schools, colleges, and universities. The project overall takes its impetus from knowledge of the littlerecognized—and perhaps surprising—level of Knowsley's Elizabethan and Jacobean dramatic activity and interests. Retrieval of historical understanding of theatrical activity in Knowsley has, over recent decades, revealed two centrally-intertwined stories. There is, firstly, that of the Lancashire-based Earls of Derby: courtiers, local magnates and theatrical patrons, one of whose major residences, Knowsley Hall, bordered the [End Page 311] town of Prescot (as it still does today, as the Merseyside home of the 19th Earl and Countess of Derby). Then, secondly, there is the history of the "play howse," "lusorium," or "theatrum" in Prescot itself—the earliest known Elizabethan, purpose-built playhouse outside London. The intersection of these two narrative strands also brings north west England, as a specific regional locality, into dialogue with the royal courts of the period and London as England's burgeoning metropolis, embodying national concerns and cultures. A similar dialogue between region and metropolis also relates to our contemporary world and the Shakespeare North project. While the significance of the sixteenth- and seventeenth-century Earls of Derby, for whom dramatic patronage was, as Sally-Beth MacLean has put it, "a family tradition," has been relatively well established in the past, recent research has enriched, extended, and reconfigured perception of their roles (MacLean, "Family"; Manley and MacLean). Such research informs the articles included in this issue. The story of the Prescot playhouse is perhaps less generally-recognized than that of the Earls of Derby. But it has been known since the 1950s, when the local historian, F. A. Bailey, brought its existence to light, that a purpose-built theatre existed from the 1590s to the early 1600s in the small (both today and in the sixteenth and seventeenth centuries) town of Prescot (Bailey, "Playhouse"). While David George, both in his work as editor of the Lancashire volume of Records of Early English Drama, and in a separate essay, has directly considered the significance of this early theatre, and others have mentioned the Prescot playhouse in passing, little dedicated research into its existence, other than that related to the Shakespeare North project, has been published (REED. Lancashire; George, "Playhouse"; Graham and Tyler). Knowledge of the existence of this Prescot playhouse derives largely from town records: the Prescot Court Leet records; the accounts of its Grammar School; and some miscellaneous letters and notes. And, since a particular feature of Prescot's history was (and still is) its relationship to King's College, Cambridge—as the town's advowson was held by the College—further information is found in its archives. (Henry VI had gifted the Manor and Rectory of Prescot to King's College as part of its endowment in 1447, so that the town was under the College's governance and paid rents to it both in...

The Oxford History of Popular Print Culture, Volume 5: US Popular Print Culture to 1860 ed. by Ronald J. Zboray and Mary Sarcino Zboray

Reviewed by: The Oxford History of Popular Print Culture, Volume 5: US Popular Print Culture to 1860 ed. by Ronald J. Zboray and Mary Sarcino Zboray Jennifer Putzi (bio) The Oxford History of Popular Print Culture, Volume 5: US Popular Print Culture to 1860 ronald j. zboray and mary sarcino zboray, eds. Oxford University Press, 2019 736 pp. US Popular Print Culture to 1860, a remarkable collection of forty essays, demonstrates the breadth of the field of print culture studies in the United States and points toward its future potential for literary scholars, historians, and other scholars of the early and antebellum periods. Those of us who have relied on the first three volumes of the earlier History of the Book in America (published by UNCP in 2007published by UNCP in 2010, and 2007, respectively) will find Zboray and Zboray’s volume similarly invaluable in our own research and teaching. Brilliantly edited, clearly organized, and responsive to recent trends in the field, broadly defined, US Popular Print Culture to 1860 represents a significant achievement for Zboray and Zboray, as well as for those scholars who contributed to it. This volume is the fifth in the Oxford History of Popular Print Culture series. (The only others published so far are volume 1, Cheap Print in Britain and Ireland to 1660, and volume 6, US Popular Print Culture, 1860– 1920.) Series editor Gary Kelly outlines the questions driving the editors of the individual volumes in this way: “What did most people read? Where did they get it? Where did it come from? What were its uses in its readers’ lives? How was it produced and distributed? What were its relations to the wider world of print culture? How did it develop over time?” (unpaginated introduction). As in all of their work about print culture in the antebellum United States, Zboray and Zboray respond to these questions with a keen sense of history and social justice, emphasizing the diffusion of print throughout early America and the variety of people encountering it. They accordingly eschew the term history of the book, which seems to them to be “too top-down, value-laden, object-centered, supply-sided, processual, and restrictive,” for “a history of popular print culture, which here is more bottom up, value-critical, person-centered, demand-driven, nonlinear, and fluid” (5). The book is usefully organized into four parts: “Foundations,” “Pre-industrial Era,” “Mass Market Emergence,” and “Segmentation and Diversity.” The essays throughout are, for the most part, written by the most [End Page 571] important scholars in the fields of print culture and book history. Just a few examples will suffice to demonstrate the depth of training and expertise contributors bring to the volume: Jared Gardner writes the chapter “Magazines to 1820,” for example, while Sandra M. Gustafson writes “Oral Genres and Print” and Tom F. Wright writes “Lyceums, Public Lectures and Print.” Eric Gardner’s essay, “Black Engagement with Print,” and Phillip H. Round’s, “Native Imprints and Readers,” are notable contributions. In nearly every chapter, authors undertake a generous and detailed survey of the field, highlighting their own interests and arguments but not allowing them to dominate the essay. As Zboray and Zboray note in the introduction, the organization of the book is intended to indicate continuity as well as change over the centuries, with the past and present mingled in printing technologies, reading practices, and the purchasing of texts, among other things. Part 1, “Foundations,” contains chapters on authorship, readers, libraries, bookstores, and other concepts integral to any consideration of print culture. Each chapter considers its topic within the broad period covered by the History and presents a summary of the relevant work in the field. As the title of the section indicates, these essays provide a foundation for the work of the rest of the book. Zboray and Zboray’s “Readers,” for example, emphasizes “actual readers’ daily experiences” and argues that it is to our benefit to broaden our definition of reading to a variety of texts and encounters (62). Several of the chapters in this section address the circulation of imprints: Wayne Wiegand, for example, examines the dual and sometimes contradictory goals of libraries to simultaneously uplift...

Reflection of the Editorial Process of an Academic Journal

This paper is a reflection on our experiences as managing editors and layout editors of volume 2, issue 2 of Relay Journal. In accordance with the developmental aims of Relay Journal, via this reflective practice, our motivations are not only to foster each others’ learner autonomy and grow our professional development, but additionally to encourage others to also share reflections of their editing responsibilities, practices, and realisations. We also believe this will provide insight into the process for those who do not have the experience in such roles, yet wish to pursue them. With that in mind, we will briefly detail the journal-editing process and our roles in such; then follow with our individual reflections upon our experiences. Our reflections will focus on our responsibilities and roles, our feelings, and what we learned through the experience.

Comic Books, Graphic Novels and the Holocaust: Beyond Maus ed. by Ewa Stancyzk

Reviewed by: Comic Books, Graphic Novels and the Holocaust: Beyond Maus ed. by Ewa Stancyzk Lynn Marie Kutch Comic Books, Graphic Novels and the Holocaust: Beyond Maus. Edited by Ewa Stancyzk. Routledge: New York, 2019. Pp. 132. Cloth $155.00. ISBN 978-1138598645. Although the standard debate about comics belonging to low art or high art continues in general discussions and as part of comics studies, Art Spiegelman’s Maus has continually emerged as evidence that comics can in fact treat subjects as weighty as the Holocaust. While Spiegelman’s work was indeed ground-breaking, the collected volume at hand introduces readers to works from other countries and various decades since the 1940s, when the themes of war and the Holocaust reemerged as part of national discourses. The anthology, which was first published in its entirety as a special issue of the Journal of Modern Jewish Studies in February 2018, considers a variety of aesthetic methods and historicized approaches, including nationally specific ways of examining the Holocaust through comics. The studies in the volume perform the [End Page 635] important work of expanding the critical dialogue about comics and the Holocaust, even if it is unclear why the journal’s contents were reprinted without revision into anthology form (even directing researchers to use original journal citations)—perhaps the contributors sought to thereby reach a wider audience. Nevertheless, the publication is a welcome contribution to comics studies scholarship, with its original and well-crafted theoretical and content-related analyses. The volume begins with Kees Ribbens’s discussion of a 1940s antisemitic comic strip in the Nazi-occupied Netherlands—specifically, Peter Beekman’s “Odd, but True Comments.” In the strip, Beekman presents then-current events from a National Socialist point of view. The chapter points out that the strips were a mix of entertainment and political propaganda, using the comic technique of amplification in order to exaggerate Jewish stereotypes. Ribbens performs a close reading of distinct visual aspects of the comic, including Jews as a separate nation, Jews and greed, and Jews and the evil of communism. He convincingly argues that, although the comic medium would suggest a different aim than that of Nazi propaganda, the comic’s reliance on visual stereotypes and common clichés indicates largely the same motivations. Sean Eedy transports the discussion to East Germany and children’s comics as examples of educational materials that framed the Holocaust as a form of antifascist resistance and a way to develop awareness of a socialist class struggle. Eedy reminds his readers that in East Germany confronting the Nazi past took on a much different character than it did in West Germany—perhaps best summed up with the official East German position that labor camps were filled with communist resistance. Eedy also seems to leave the door open to future research that would consider how East German children (who are now aware adults) may have reacted to these messages. In the third chapter, volume editor Ewa Stancyzk investigates Polish comic books, with publication dates spanning from 1940–2000 and genres ranging from newspaper cartoons to graphic novellas and educational comic books, that all present a “de-Judaizing” of the Shoah. In her chronological reading, Stancyzk categorizes the comics into entertainment, postmodern challenge, an exercise in history making, and educational material. Stancyzk demonstrates through her readings that although a progression of national attitude and thought is evident, the representation of the Shoah plays a consistently smaller role than that of other topics in the comics that she analyzes here. Ultimately the comics still take a more selective approach to the Polish past. In his chapter, Paolino Nappi examines the content of Italian comic books over a three-decade span as it relates to the topic of the Holocaust “slowly being adopted into the Italian historical consciousness” (51). Nappi maintains that the Italian comics tradition has seen a delay in entering mass popular tradition and instead reflects a general evolution of the relationship between the Shoah and Italian culture, ending in comics rooted in an Italian politics of memory. [End Page 636] Jose Alaniz considers the theme of the Shoah as found in Czech and Slavic comics. In his reading, he discusses a...

A revista ARJ e os compromissos de suas gestoras, as associações brasileiras de pesquisadores da área de artes

O Editorial do volume 6, número 1, 2019, da revista ARJ – Art Research Journal / Revista de Pesquisa em Artes apresenta a continuidade do dossiê Perspectivas Multidisciplinares no Campo da Arte e os dossiês especiais XXVIII Congresso Nacional da Federação de Arte/Educadores do Brasil e ABRACE 20 anos: celebrando a diversidade.