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Collectors, Scholars, and Forgers in the Ancient World focuses on the fascination which works of art, texts, and antiquarian objects inspired in Greeks and Romans in antiquity and draws parallels with other cultures and eras to offer contexts for understanding that fascination. Statues, bronze weapons, books, and bones might have been prized for various reasons: because they had religious value, were the work of highly regarded artists and writers, had been possessed by famous mythological figures, or were relics of a long disappeared past. However, attitudes towards these objects also changed over time: sculpture which was originally created for a religious purpose became valuable as art and could be removed from its original setting, while historians discovered value in inscriptions and other texts for supporting historical arguments and literary scholars sought early manuscripts to establish what authors really wrote. As early as the Hellenistic era, some Greeks and Romans began to collect objects and might even display them in palaces, villas, or gardens; as these objects acquired value, a demand was created for more of them, and so copyists and forgers created additional pieces - while copyists imitated existing pieces of art, sometimes adapting to their new settings, forgers created new pieces to complete a collection, fill a gap in historical knowledge, make some money, or to indulge in literary play with knowledgeable readers. The study of forged relics is able to reveal not only what artefacts the Greeks and Romans placed value on, but also what they believed they understood about their past and how they interpreted the evidence for it. Drawing on the latest scholarship on forgery and fakes, as well as a range of examples, this book combines stories about frauds with an analysis of their significance, and illuminates and explores the link between collectors, scholars, and forgers in order to offer us a way to better understand the power that objects held over the ancient Greeks and Romans.
From international #1 bestselling author of The Ruin and The Murder Rule comes a compulsive crime thriller set in the fiercely competitive, cutthroat world of research and academia, where the brightest minds will stop at nothing to succeed. When Dr. Emma Sweeney stumbles across the victim of a hit-and-run outside Galway University early one morning, she calls her boyfriend, Detective Cormac Reilly, bringing him first to the scene of a murder that would otherwise never have been assigned to him. The dead girl is carrying an ID that will put this crime at the center of a scandal--her card identifies her as Carline Darcy, heir apparent to Darcy Therapeutics, Ireland's most successful pharmaceutical company. Darcy Therapeutics has a finger in every pie, from sponsoring university research facilities to funding political parties to philanthropy--it has even funded Emma's own ground-breaking research. As the murder investigation twists in unexpected ways and Cormac's running of the case comes under scrutiny from the department and his colleagues, he is forced to question himself and the beliefs that he has long held as truths. Who really is Emma? And who is Carline Darcy? A gripping and atmospheric follow-up to The Ruin, an "expertly plotted, complex web of secrets that refuse to stay hidden" (Karen Dionne, author of The Marsh King's Daughter), The Scholar is perfect for fans of Tana French and Flynn Berry.
This study describes the books produced by one of America's most controversial publishers, Thomas Bird Mosher, whose editions helped disseminate British literature and design to the American public. Variously described as literary pirate by some yet praised as prince of publishers by others, Mosher's passion for literary texts led him to reprint books without the author's permission, though he often paid royalties. Mosher never technically broke any copyright laws, and many authors defended him for assisting in introducing the American public to authors such as William Morris, Oscar Wilde, Robert Louis Stevenson, Walter Pater, Dante Gabriel Rossetti, George Meredith, Robert Browning and George Gissing in affordable editions. The designs of Blake, Rossetti, Pissarro, Strang, Morris and MacMurdo and presses such as the Vale, Chiswick and Kelmscott also appeared in The Mosher Books.
From the beloved bestselling creator of The Dot and our own Happy Dreamer comes an inspiring story about the transformative and profound power of words. Some people collect stamps.Some people collect coins.Some people collect art.And Jerome?Jerome collected words . . . In this extraordinary new tale from Peter H. Reynolds, Jerome discovers the magic of the words all around him -- short and sweet words, two-syllable treats, and multisyllable words that sound like little songs. Words that connect, transform, and empower. From the creator of The Dot and Happy Dreamer comes a celebration of finding your own words -- and the impact you can have when you share them with the world.
In fifteenth- and sixteenth-century Italy, many leading citizens constructed and furnished distinctive studies for themselves. The study was an individually designed room for private and social use - as an office, library, a family archive or treasury, as the nucleus of an art collection, or as a space for contemplation. This book is an account of the Renaissance Italian study and its contents. Illustrated with depictions of studies and the precious and unusual objects they contained, the book examines the significance of the study to its owner and visitors, its structure and location, and the prized possessions that might fill such a special room.
For Jerome McGann, the purpose of scholarship is to preserve and pass on cultural heritage, a feat accomplished through discussion among scholars and interested nonspecialists. In The Scholar’s Art, a collection of thirteen essays, McGann both addresses and exemplifies that discussion and the vocation it supports. Of particular interest to McGann is the demise of public discourse about poetry. That poetry has become recondite is, to his mind, at once a problem for how scholars do their work and a general cultural emergency. The Scholar’s Art asks what could be gained by reimagining the way scholars have codified the literary and cultural history of the past two hundred years and goes on to provide a series of case studies that illustrate how scholarly method can help bring about such reimaginings. McGann closes with a discussion of technology’s ability to harness the reimagination of cultural memory and concludes with exemplary acts of critical reflection. Astute observation from one of America’s most bracing and original commentators on the place of literature in twenty-first century culture, The Scholar’s Art proposes new ways—cultural, philological, and technological—to reimagine our literary past and future.