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This impeccably researched and “adventure-packed” (The Washington Post) account of the obsessive quest by Christopher Columbus’s son to create the greatest library in the world is “the stuff of Hollywood blockbusters” (NPR) and offers a vivid picture of Europe on the verge of becoming modern. At the peak of the Age of Exploration, Hernando Colón sailed with his father Christopher Columbus on his final voyage to the New World, a journey that ended in disaster, bloody mutiny, and shipwreck. After Columbus’s death in 1506, eighteen-year-old Hernando sought to continue—and surpass—his father’s campaign to explore the boundaries of the known world by building a library that would collect everything ever printed: a vast holding organized by summaries and catalogues; really, the first ever database for the exploding diversity of written matter as the printing press proliferated across Europe. Hernando traveled extensively and obsessively amassed his collection based on the groundbreaking conviction that a library of universal knowledge should include “all books, in all languages and on all subjects,” even material often dismissed: ballads, erotica, news pamphlets, almanacs, popular images, romances, fables. The loss of part of his collection to another maritime disaster in 1522, set off the final scramble to complete this sublime project, a race against time to realize a vision of near-impossible perfection. “Magnificent…a thrill on almost every page” (The New York Times Book Review), The Catalogue of Shipwrecked Books is a window into sixteenth-century Europe’s information revolution, and a reflection of the passion and intrigues that lie beneath our own insatiable desires to bring order to the world today.
This book takes a fresh look at a familiar element of the Homeric epics - the poetic catalogue. It shows that in a variety of contexts, Homer uses catalogue poetry not only to develop his themes, but to comment on the ideals and limitations of the epic genre itself.
This edited collection offers in seventeen chapters the latest scholarship on book catalogues in early modern Europe. Contributors discuss the role that these catalogues played in bookselling and book auctions, as well as in guiding the tastes of book collectors and inspiring some of the greatest libraries of the era. Catalogues in the Low Countries, Britain, Germany, France and the Baltic region are studied as important products of the early modern book trade, and as reconstructive tools for the history of the book. These catalogues offer a goldmine of information on the business of books, and they allow scholars to examine questions on the distribution and ownership of books that would otherwise be extremely difficult to pursue. Contributors: Helwi Blom, Pierre Delsaerdt, Arthur der Weduwen, Anna E. de Wilde, Shanti Graheli, Ann-Marie Hansen, Rindert Jagersma, Graeme Kemp, Ian Maclean, Alicia C. Montoya, Andrew Pettegree, Philippe Schmid, Forrest C. Strickland, Jasna Tingle, Marieke van Egeraat, and Elise Watson.
This bilingual (English-French) anthology of early modern fictitious catalogues presents a multitude of texts, from the genre’s beginnings (Rabelais’s satirical catalogue of the Library of St.-Victor (1532)) to its French and Dutch specimens from around 1700.
Adeze Wilford, Alex Poots, Ashley James, Hans Ulrich Obrist, Howardena Pindell
2003 Commonwealth Writers Prize for Best First Book (Caribbean & Canada Region) 2002 City of Calgary W. O. Mitchel Book Award 2001 Canongate Prize for short fiction The Scent of a Lie is a book of fourteen inter-connected stories set in two charismatic towns in Portugal where characters weave in and out of the narrative. The book can be read as a novel in fragments. This is a remarkable debut collection of tales told by a true storyteller. The Scent of a Lie received the 2003 Commonwealth Writers Prize for Best First Book in the Caribbean & Canada region and the 2002 City of Calgary Book Award. One of the stories received the 2001 Canongate Prize for short fiction at the International Book Festival in Edinburgh, Scotland. The Scent Of A Lie, (...) marks the debut of a remarkable writer. - John Terauds, Toronto Star With this book of linked stories, Paulo Da Costa adds piquant new spice to the CanLit broth. Paying homage to a fabulist tradition running from Marquez and Borges and Carlos Fuentes all the way back to Cervantes, Da Costa evokes his God-beset, earthbound peasants, priests and villagers with palpable, redolent precision. Jim Bartley, The Globe and Mail The reader can see just how well da Costa writes: the language here is lyrical and flowing, and the imaginativeness of the stories speaks for itself. Da Costa is clearly a writer to watch. Tim McNamara, Edmonton Journal The most uniformly fresh, sprightly, meaty work of Canadian fiction I’ve read in a long time. Vue weekly, Print Culture - Christopher Wiebe
By innovative use of mail-order catalogs, three bored mountains enliven their dull existence by importing new animal friends and keeping them fed and entertained.
"Agnes Denes, the queen of land art, made one of New York's greatest public art projects ever in 1982. Now, the world might be catching up with her." -Karrie Jacobs, New York Times Agnes Denes: Absolutes and Intermediates accompanies the largest exhibition of the artist's work in New York to date, held at The Shed in fall 2019 as part of the arts space's opening season. Presenting more than 130 works, this comprehensive publication, presented in an embossed slipcase, spans the 50-year career of the path-breaking artist dubbed "the queen of land art" by the New York Times, famed for her iconic Wheatfield--A Confrontation (1982), for which she planted a two-acre wheatfield in Lower Manhattan on the Battery Park Landfill, in the shadow of the then recently erected Twin Towers. A major undertaking, this superb catalog includes a comprehensive text by the exhibition's curator, Emma Enderby, an interview with Denes by Hans Ulrich Obrist, essays by prominent scholars and curators including Caroline A. Jones, Lucy R. Lippard and Timothy Morton that examine Denes' multifaceted practice in new ways, writings by the artist and reflections by curators who have worked with Denes over the course of her career. New works by Denes commissioned by The Shed for the exhibition are presented in a special insert. Budapest-born, New York-based artist Agnes Denes (born 1931) rose to international attention in the 1960s and 1970s as a leading figure in conceptual, environmental and ecological art. A pioneer of several art genres, she has created work in many mediums, utilizing various disciplines--such as science, philosophy, linguistics, ecology and psychology--to analyze, document and ultimately aid humanity.
Vols. for 1898-1968 include a directory of publishers.
This final volume in The Works of Jonathan Edwards publishes for the first time Edwards’ “Catalogue,” a notebook he kept of books of interest, especially titles he hoped to acquire, and entries from his “Account Book,” a ledger in which he noted books loaned to family, parishioners, and fellow clergy. These two records, along with several shorter documents presented in the volume, illuminate Edwards’ own mental universe while also providing a remarkable window into the wider intellectual and print cultures of the eighteenth-century British Atlantic. An extensive critical introduction places Edwards’ book lists in the contexts that shaped his reading agenda, and the result is the most comprehensive treatment yet of his reading and of the fascinating peculiarities of his time and place.