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Long after the establishment of printing in England, many writers and composers still preferred to publish their work through handwritten copies. Texts so transmitted included some of the most distinguished poetry and music of the seventeenth century, along with a rich variety of political, scientific antiquarian, and philosophical writings. While censorship was one reason for this persistence of the older practice, scribal publication remained the norm for texts which were required only in small numbers, or whose authors wished to avoid 'the stigma of print'. The present study is the first to consider the trade in manuscripts as an important supplement to that in printed books, and to describe the agencies that met the need for rapid duplication of key texts. By integrating a large body of findings already available concerning particular texts and authors it provides an arresting new perspective on authorship and the communication of ideas.
New England Puritan sermon culture was primarily an oral phenomenon, and yet its literary production has been understood mainly through a print legacy. In Jeremiah's Scribes, Meredith Marie Neuman turns to the notes taken by Puritan auditors in the meetinghouse in order to fill out our sense of the lived experience of the sermon. By reconstructing the aural culture of sermons, Neuman shifts our attention from the pulpit to the pew to demonstrate the many ways in which sermon auditors helped to shape this dominant genre of Puritan New England. Tracing the material transmission of sermon texts by readers and writers, hearers and notetakers, Jeremiah's Scribes challenges the notion of stable authorship by individual ministers. Instead, Neuman illuminates a mode of textual production that pervaded communities and occurred in the overlapping media of print, manuscript, and speech. Even printed sermons, she demonstrates, bore the traces of their roots in the oral culture of the meetinghouse. Bringing material considerations to bear on anxieties over the perceived relationship between divine and human language, Jeremiah's Scribes broadens our understanding of all Puritan literature. Neuman examines the controlling logic of the sermon in relation to nonsermonic writing—such as conversion narrative—ultimately suggesting the fundamental permeability among disparate genres of Puritan writing.
Ways of Writing is about the making of texts in seventeenth-century New England, whether they were fashioned into printed books or disseminated in handwritten form. David D. Hall explores issues of authority and authenticity, the roles of intermediaries, and the political and social contexts of publication, among other issues.
Since the first permanent English colony was established at Jamestown, Virginia, in 1607 and accounts of the new world started to arrive back on the English shores, English men and women have had a fascination with their transatlantic neighbours and the landscape they inhabit. In this excellent study, Catherine Armstrong looks at the wealth of literature written by settlers of the new colonies, adventurers and commentators back in England, that presented this new world to early modern Englanders. A vast amount of original literature is examined including travel narratives, promotional literature, sermons, broadsides, ballads, plays and journals, to investigate the intellectual links between mother-country and colony. Representations of the climate, landscape, flora and fauna of North America in the printed and manuscript sources are considered in detail, as is the changing understanding of contemporaries in England of the colonial settlements being established in both Virginia and New England, and how these interpretations affected colonial policy and life on the ground in America. The book also recreates the context of the London book trade of the seventeenth century and the networks through which this literature would have been produced and transmitted to readers. This book will be valuable to those with interests in colonial history, the Atlantic world, travel literature, and historians of early modern England and North America in general.
Throughout the seventeenth century, early modern play readers and playgoers copied dramatic extracts into their commonplace books, verse miscellanies, diaries, and songbooks. This is the first book to examine these often overlooked texts, which reveal what early modern audiences and readers took, literally and figuratively, from plays.
Cultivated by Hand aligns the overlooked history of amateur musicians in the early years of the United States with little-understood practices of music book making. It reveals the pervasiveness of these practices, particularly among women, and their importance for the construction of gender, class, race, and nation.
This book analyzes how women negotiated and shaped ideas about community in the British Atlantic world through claims of revelation.
Any attempt to understand the roles that textbooks played for early modern teachers and pupils must begin with the sobering realization that the field includes many books that the German word Lehrbuch and its English counterpart do not call to mind. The early modern classroom was shaken by the same knowledge explosion that took place in individual scholars' libraries and museums, and transformed by the same printers, patrons and vast cultural movements that altered the larger world it served. In the fifteenth through seventeenth centuries, the urban grammar school, the German Protestant Gymnasium and the Jesuit College, all of which did so much to form the elites of early modern Europe, took shape; the curricula of old and new universities fused humanistic with scholastic methods in radically novel ways. By doing so, they claimed a new status for both the overt and the tacit knowledge that made their work possible. This collected volume presents case studies by renowned experts, among them Ann Blair, Jill Kraye, Juergen Leonhardt, Barbara Mahlmann-Bauer and Nancy Siraisi.
Rebecca Herissone's study is the first comprehensive investigation of approaches to creating music in late seventeenth-century England. Her methodology challenges pre-conceptions about what it meant to be a composer in the period and goes on to raise broader questions about the interpretation of early modern notation.