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In this book, Joseph Dane critiques the use of material evidence in studies of manuscript and printed books by delving into accepted notions about the study of print culture. He questions the institutional and ideological presuppositions that govern medieval studies, descriptive bibliography, and library science. Dane begins by asking what is the relation between material evidence and the abstract statements made about the evidence; ultimately he asks how evidence is to be defined. The goal of this book is to show that evidence from texts and written objects often becomes twisted to support pre-existing arguments; and that generations of bibliographers have created narratives of authorship, printing, reading, and editing that reflect romantic notions of identity, growth, and development. The first part of the book is dedicated to medieval texts and authorship: materials include Everyman, Chaucer's Legend of Good Women, the Anglo-Norman Le Seint Resurrection, and Adam de la Helle's Le Jeu de Robin et Marion. The second half of the book is concerned with abstract notions about books and scholarly definitions about what a book actually is: chapters include studies of basic bibliographical concepts ("Ideal Copy") and the application of such a notion in early editions of Chaucer, the combination of manuscript and printing in the books of Colard Mansion, and finally, examples of the organization of books by an early nineteenth-century book-collector Leander Van Ess. This study is an important contribution to debates about the nature of bibliography and the critical institutions that have shaped its current practice.
Through their teaching of early Christian history and theology, Elizabeth A. Clark contends, Princeton Theological Seminary, Harvard Divinity School, Yale Divinity School, and Union Theological Seminary functioned as America's closest equivalents to graduate schools in the humanities during the nineteenth century. These four Protestant institutions, founded to train clergy, later became the cradles for the nonsectarian study of religion at secular colleges and universities. Clark, one of the world's most eminent scholars of early Christianity, explores this development in Founding the Fathers: Early Church History and Protestant Professors in Nineteenth-Century America. Based on voluminous archival materials, the book charts how American theologians traveled to Europe to study in Germany and confronted intellectual currents that were invigorating but potentially threatening to their faith. The Union and Yale professors in particular struggled to tame German biblical and philosophical criticism to fit American evangelical convictions. German models that encouraged a positive view of early and medieval Christianity collided with Protestant assumptions that the church had declined grievously between the Apostolic and Reformation eras. Trying to reconcile these views, the Americans came to offer some counterbalance to traditional Protestant hostility both to contemporary Roman Catholicism and to those historical periods that had been perceived as Catholic, especially the patristic era.
The Encyclopedia of Library and Information Sciences, comprising of seven volumes, now in its fourth edition, compiles the contributions of major researchers and practitioners and explores the cultural institutions of more than 30 countries. This major reference presents over 550 entries extensively reviewed for accuracy in seven print volumes or online. The new fourth edition, which includes 55 new entires and 60 revised entries, continues to reflect the growing convergence among the disciplines that influence information and the cultural record, with coverage of the latest topics as well as classic articles of historical and theoretical importance.
Between 1355 and 1806 the title of Poet Laureate was bestowed on around 1500 persons in the territories of the Holy Roman Empire. In some cases the title was conferred by the Emperor himself, on his own initiative or in response to a petitioner. In others the title was granted by a count palatine acting upon the Emperor's behalf, but an even larger number had the title bestowed on them by various German universities exercising this privilege under the Emperor's authority. The lives and publications of 1340 of these poets were detailed in the four-volume Poets Laureate in the Holy Roman Empire: A Bio-bibliographical Handbook published in 2006. This supplementary volume provides similar information about some 130 further poets who have come to light since that work was published. Furthermore, it updates, augments and - where necessary - corrects details relating to the poets covered in the previous volumes. In particular, it includes extensive new information about the two dozen women poets who were laureated in the seventeenth and eighteenth centuries. Poets Laureate in the Holy Roman Empire: A Bio-bibliographical Handbook, Volume 1–4 is still available for purchase.
English in Print from Caxton to Shakespeare to Milton examines the history of early English books, exploring the concept of putting the English language into print with close study of the texts, the formats, the audiences, and the functions of English books. Lavishly illustrated with more than 130 full-color images of stunning rare books, this volume investigates a full range of issues regarding the dissemination of English language and culture through printed works, including the standardization of typography, grammar, and spelling; the appearance of popular literature; and the development of school grammars and dictionaries. Valerie Hotchkiss and Fred C. Robinson provide engaging descriptions of more than a hundred early English books drawn from the Rare Book and Manuscript Library at the University of Illinois, Urbana-Champaign, and the Elizabethan Club of Yale University. The study nearly mirrors the chronological coverage of Pollard and Redgrave's famous Short-Title Catalogue (1475-1640), beginning with William Caxton, England's first printer, and ending with John Milton, the English language's most eloquent defender of the freedom of the press in his Areopagitica of 1644. William Shakespeare, neither a printer nor a writer much concerned with publishing his own plays, nonetheless deserves his central place in this study because Shakespeare imprints, and Renaissance drama in general, provide a fascinating window on the world of English printing in the period between Caxton and Milton.