Nineteenth Century Short Title Catalogue: Series 1, Phase 1: 1801-1815, A-C, Extracted from the Catalogues of the Bodleian Library, the British Library, the Library of Trinity College, Dublin, the National Library of Scotland, and the University Libraries

1986 ◽  
Vol 25 (2) ◽  
pp. 289
Author(s):  
Donald H. Reiman
Keyword(s):  
Nineteenth Century ◽  
Trinity College ◽  
Phase 1 ◽  
British Library ◽  
Bodleian Library ◽  
University Libraries ◽  
National Library ◽  
Trinity College Dublin ◽  
The University

Poetry and Science: William Wordsworth and his Irish Friends William Rowan Hamilton and Francis Beaufort Edgeworth, c. 1829

Romanticism ◽  
2020 ◽  
Vol 26 (1) ◽  
pp. 89-101
Author(s):  
Brandon C. Yen
Keyword(s):  
Literary History ◽  
William Wordsworth ◽  
Trinity College ◽  
Bodleian Library ◽  
Trinity College Dublin ◽  
The Relationship

Through hitherto neglected manuscripts at Trinity College Dublin, the Bodleian Library, and the Wordsworth Trust, this paper explores the relationship between William Wordsworth and his Irish friends William Rowan Hamilton and Francis Beaufort Edgeworth around 1829. It details the debates about poetry and science between Hamilton (Professor of Astronomy at Trinity College Dublin and Royal Astronomer of Ireland) and Edgeworth (the novelist Maria Edgeworth's half-brother), in which Wordsworth was embroiled when he visited Ireland in the autumn of 1829. By examining a variety of documents including letters, poems, lectures, and memoirs, a fragment of literary history may be restored and a clearer understanding may be reached of the tensions between poetry and science in Wordsworth's poetry, particularly in The Excursion, and of the Irish provenance of a memorable passage in ‘On the Power of Sound’.

scholarly journals VII. Elements of Captain Hall's Comet. By J. Brinkley, D. D. F. R. S. and M. R. I. A. and Andrew's Professor of Astronomy in the University of Dublin. In a letter addressed to W . H. Wollaston, M. D. V. P. R. S

1822 ◽  
Vol 112 ◽  
pp. 50-63
Keyword(s):  
Trinity College ◽  
Trinity College Dublin ◽  
The University

My dear Sir, Observatory, Trinity College, Dublin, October 15, 1821. I send you the elements of the comet observed at Valparaiso, the observations of which you were so kind as to send to me. We are indebted to the science of Captain Hall, for adding this comet to our catalogue.

Seventeen Ideograms and the Search for the Wandering Word

1994 ◽  
Vol 10 (38) ◽  
pp. 107-116 ◽  
Author(s):  
Armand Gatti ◽  
Hélène Châtelain ◽  
Wesley Hutchinson
Keyword(s):  
Recent Work ◽  
Trinity College ◽  
English Department ◽  
Doctoral Thesis ◽  
Trinity College Dublin ◽  
University Of Paris ◽  
The University ◽  
A Performance

In NTQ 30 (1992) Dorothy Knowles provided a description and explication of the recent work of the visionary French director Armand Gatti. For what he calls his ‘plural writing’ projects, Gatti has increasingly come to recruit not actors but ‘actors’: those exclus or rejects who have been marginalized by society, but whose histories need both to be reclaimed and, in the process, given back to them – together with the dignity of which they have so often been stripped. Whether developing a performance within the close confines of a prison, or accommodating the constraints of ‘the system’ at the Avignon Festival, Gatti's voice and theatre are entirely distinctive – as also, paradoxically, is his ability to speak with and for the unheard voices of others. Here, he speaks for himself, describing both the inspiration and the evolution of his work in a style which characteristically combines pragmatism with lyricism. The article derives from a series of interviews conducted in 1991 by Hélène Châtelain – an actress who has worked with Gatti since 1966 – and first published in Le Monde Diplomatique for February 1992. The translator for NTQ, Wesley Hutchinson, wrote his doctoral thesis on Gatti at Trinity College, Dublin, and now lectures in the English Department of the University of Paris, Nanterre.

Cooperation between Legal Deposit Libraries in the United Kingdom and the Republic of Ireland

1994 ◽  
Vol 6 (1) ◽  
pp. 73-80 ◽  
Author(s):  
I. D. McGowan
Keyword(s):  
Pilot Project ◽  
British Library ◽  
Republic Of Ireland ◽  
Trinity College Dublin ◽  
The United Kingdom ◽  
The Republic ◽  
The Uk ◽  
The University ◽  
National Libraries ◽  
Retention Policies

Five libraries in the UK and the Republic of Ireland - the National Libraries of Scotland and Wales, the university libraries of Oxford and Cambridge, and Trinity College Dublin Library - can claim material from publishers through the Copyright Libraries' Agency, while deposit with The British Library, which maintains the Legal Deposit Office, is obligatory. In spite of problems caused by diverse sources of funding, there is much incentive and pressure to cooperate, and efforts have been made, particularly since 1988, to coordinate the activities of all six libraries. The Mellon Microfilming Project aims to film important scholarly collections in Britain and Ireland to agreed archival standards, and to improve access to the Register of Preservation Microfilms. A Working Group on Legal Deposit identified as areas for fruitful collaboration the coordination of acquisition of serials and of some types of monograph, and retention policies; some savings have already been made. A third exercise, a pilot project for shared cataloguing, aimed to maximize the utility to all libraries of the BL's National Bibliographic Service and minimize costs in the participating libraries; the Shared Cataloguing Programme itself started in September 1993.

Francis Junius (1591–1677): copyist or editor?

2000 ◽  
Vol 29 ◽  
pp. 279-296 ◽  
Author(s):  
Kees Dekker
Keyword(s):  
Seventeenth Century ◽  
Pastoral Care ◽  
Old English ◽  
English Translation ◽  
British Library ◽  
Bodleian Library ◽  
Scholarly Edition ◽  
The University ◽  
Made In

In September 1890, Hendrik Logeman, professor of English and Germanic philology at the University of Ghent in Belgium, had the audacity to accuse no less a scholar than Henry Sweet of misleading his readers. Logeman based his accusation on an unfortunate remark Sweet had made in his edition of the Old English translation of Pope Gregory'sPastoral Care. For this scholarly edition, Sweet had wished to include the text of London, British Library, Cotton Tiberius B. xi. However, having barely survived the Ashburnham House blaze of 1731, this manuscript had been almost entirely consumed by fire at a bookbinder's in 1865. As a replacement, Sweet had used Oxford, Bodleian Library, Junius 53, a transcript made by the seventeenth-century philologist Francis Junius (1591–1677) when the Cotton manuscript was still unscathed. Sweet praised Junius and emphasized the accuracy of the transcript by stating that Junius only ‘swerved from the path of literal accuracy in a few unimportant particulars’. Hendrik Logeman had collated the Old English glosses to the Benedictine Rule from Cotton Tiberius A. iii with a Junius transcript, Junius 52, for his 1888 edition, but he found, instead, that Junius failed to distinguish between 〈ð〉 and 〈þ〉 that he corrected his text without giving the reading of the manuscript, and that he added, omitted or transposed entire words.

The originality of the Old English gloss of the Vespasian Psalter and its relation to the gloss of the Junius Psalter

1996 ◽  
Vol 25 ◽  
pp. 37-62 ◽  
Author(s):  
Phillip Pulsiano
Keyword(s):  
Old English ◽  
Direct Relationship ◽  
Trinity College ◽  
British Library ◽  
Bodleian Library ◽  
Extended Study ◽  
Cambridge University ◽  
Full Form ◽  
The Subject ◽  
The Relationship

In a brief discussion of the Vespasian Psalter in 1898, Albert S. Cook offered a statement that set the tone for subsequent debate about the relationship between the Old English gloss of the Vespasian Psalter (A = London, British Library, Cotton Vespasian A. i) and that of the junius Psalter (B = Oxford, Bodleian Library, junius 27): ‘It seems not improbable that it [i.e. the gloss to the Vespasian Psalter] is the original from which all later Old English glosses on the Psalms have been derived, undergoing in the process such modifications as were due to the language of the particular dialect or epoch.’ With regard to the Junius gloss specifically, Cook printed the text of Psalm XCIX [C] from the Vespasian Psalter, which he collated with the Junius, Cambridge (C = Cambridge, University Library, Ff. 1.23), Regius (D = London, British Library, Royal 2. B.V), and Eadwine (E = Cambridge, Trinity College R. 17.1) psalters; he concluded that ‘B stands nearest to A, but is carelessly written, and changes Anglian peculiarities in the direction of West Saxon (in to on, all to eall, &c.) while retaining, in general, a comparatively early and Anglian cast (weotað, scep, leswe, &c.)’. Although Otto Heinzel, writing in 1926, disagreed with Cook's assertion that the Vespasian gloss was the source from which all other psalters ultimately derived their glosses, he reiterated, after a fashion, the idea that the Junius gloss is related to that of the Vespasian Psalter, although, like Cook, he did not argue for a direct relationship between these two works. In Heinzel's stemma, from the Urtext*0 derive *α, which stands as the model for B, and *β, which in turn stands as the model for both A and C. The stemma, in its full form, taking the Dtype (Regius Psalter) tradition into account, has justly been termed ‘fanciful’ by Kenneth Sisam. The relationship between the glosses in these two psalters formed the subject of an extended study by Uno Lindelöf published in 1901.

scholarly journals Introduction

2007 ◽  
Vol 4 (2) ◽  
pp. 3-6
Author(s):  
Susan Wollenberg
Keyword(s):  
Nineteenth Century ◽  
Bodleian Library ◽  
Special Issue ◽  
Chamber Works ◽  
Conference Organizer ◽  
University Of Oxford ◽  
Conference Programme ◽  
The University

The eight articles published here represent the selected proceedings of the conference held at St Catherine's College, Oxford, 22–24 July 2005, under the auspices of the University of Oxford, Faculty of Music, to mark the bicentenary of the birth of Fanny Hensel (née Mendelssohn Bartholdy). As conference organizer I was deeply gratified by the list of speakers and papers we were able to assemble for the conference programme. The conference also featured two concerts given by Françoise Tillard (pianoforte) with Erika Klemperer (violin) and Robert Max (cello), performing piano and chamber works of Fanny Hensel; and April Fredrick (soprano), with Briony Williams accompanying, in lieder of Fanny Hensel and her circle. Peter Ward Jones (Music Librarian, Bodleian Library, Oxford) arranged and introduced an exhibition of materials from the Bodleian's Mendelssohn collection as part of the conference. The opportunity to achieve a close concentration of attention on Fanny Hensel provided by the event is now further developed in the proceedings published in this special issue of Nineteenth-Century Music Review.

Alchemy in Cambridge

Nuncius ◽  
2015 ◽  
Vol 30 (2) ◽  
pp. 345-511 ◽  
Author(s):  
Anke Timmermann
Keyword(s):  
Visual Culture ◽  
Trinity College ◽  
University Libraries ◽  
Wide Audience ◽  
Corpus Christi ◽  
College And University ◽  
High Interest ◽  
History Of ◽  
The University ◽  
First Time

Alchemy in Cambridge captures the alchemical content of 56 manuscripts in Cambridge, in particular the libraries of Trinity College, Corpus Christi College and St John’s College, the University Library and the Fitzwilliam Museum. As such, this catalogue makes visible a large number of previously unknown or obscured alchemica. While extant bibliographies, including those by M.R. James a century ago, were compiled by polymathic bibliographers for a wide audience of researchers, Alchemy in Cambridge benefits from the substantial developments in the history of alchemy, bibliography, and related scholarship in recent decades. Many texts are here identified for the first time. Another vital feature is the incorporation of information on alchemical illustrations in the manuscripts, intended to facilitate research on the visual culture of alchemy. The catalogue is aimed at historians of alchemy and science, and of high interest to manuscript scholars, historians of art and historians of college and university libraries.

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