scholarly journals A Puzzle in the Print History of Locke's Essay

Locke Studies ◽  
2018 ◽  
Vol 17 ◽  
pp. 49-60
Author(s):  
Patrick J. Connolly
Keyword(s):  
Print History ◽  
History Of

In the Epistle to the Reader that prefaces Locke’s Essay he famously declares that he considers himself to be an underlaborer to the great scientific minds of his generation.

The Declaration of Arbroath in print, 1680–1705

2021 ◽  
Vol 72 (2) ◽  
pp. 158-176
Author(s):  
Roger A. Mason
Keyword(s):  
English Translation ◽  
Print History ◽  
Original Manuscript ◽  
History Of ◽  
The Church ◽  
Manuscript Copy ◽  
The Revolution

This article examines the circumstances in which the Declaration of Arbroath was first printed in 1680 by Sir George Mackenzie of Rosehaugh and the original manuscript on which Mackenzie’s text was based (NRS SP13/7). It then traces its subsequent print history between the Revolution of 1689–90 and the Union of Parliaments in 1707 both in Latin and in an English translation that first appeared in 1689. It locates the Declaration within the broader context of whig propaganda that encompassed a defence not just of the Revolution Settlement but of Scottish sovereignty at the time of the Union, culminating in James Anderson’s new edition and translation of the text of 1705. An appendix further examines the earliest reference to the Declaration in print – in Archbishop John Spottiswoode’s History of the Church in Scotland (1655) – and Spottiswoode’s use of a manuscript copy of Walter Bower’s Scotichronicon.

MAKING DEAD MEN SPEAK: LAUDIANISM, PRINT, AND THE WORKS OF LANCELOT ANDREWES, 1626–1642

1998 ◽  
Vol 41 (2) ◽  
pp. 401-424 ◽  
Author(s):  
PETER McCULLOUGH
Keyword(s):  
Civil War ◽  
English Civil War ◽  
Print History ◽  
Print Publication ◽  
History Of ◽  
The Church

This study examines the posthumous competition over the print publication of works by Lancelot Andrewes (1555–1626) before the English Civil War. The print history of the two official volumes edited by Laud and John Buckeridge (1626), and of competing editions of texts rejected by them but printed by puritan publishers, sheds important new light not only on the formation of the Andrewes canon, but on Laud's manipulation of the print trade and his attempts to erect new textual authorities to support his vision of the church in Britain.

Publishing

2020 ◽  
Author(s):  
Troy Bassett
Keyword(s):  
Book History ◽  
Cultural Practice ◽  
History Of The Book ◽  
Book Production ◽  
Business Practices ◽  
Mass Market ◽  
Print History ◽  
New Novel ◽  
History Of ◽  
Print Materials

Over the course of the 19th century, British publishing evolved unevenly from a handcrafted industry run by gentleman publishers to the modern industrialized mass media of the 20th century. At the same time, the period witnessed a massive increase in the size of the reading public due to population growth and increased literacy. These changes affected all aspects and levels of literary production. For authors, the increase in publishing output meant more opportunities to earn a living at writing, particularly for women writers and especially in the fields of literature and journalism. For publishers, the growing demand for print materials led to the adoption of mechanized production and the cultivation of a mass market for print. For readers, the increasing abundance of print materials at decreasing prices created a mass market where thousands of publications competed for readers’ eyes and pennies. To take the novel as one example, early in the century a new novel frequently appeared in an expensive three-volume edition of 500 copies priced at 31s 6d (thirty-one shillings and sixpence) each, a price well out of the range of the majority of readers who then depended on circulating libraries for access. By the end of the century, a new novel typically appeared in a one-volume edition of thousands of copies priced at 3s 6d or 6s each, an appealing price for nearly all middle-class readers. Magazine publication followed a similar transition: in the 1830s, monthly magazines such as Bentley’s Miscellany cost 2s 6d; at midcentury, monthly magazines such as the Cornhill cost 1s; and by century’s end, monthly magazines such as the Strand cost 6d, with stark increases in circulation. Past scholarship of publishing has often focused on the history of one author’s or publisher’s experiences in publishing: for instance, the descriptive bibliography of Alfred Lord Tennyson’s editions of poems or the general history of William Blackwood’s publishing company. Based on this well-developed bibliographical foundation, recent scholarship has been influenced by the development of book history as a field—the History of the Book, sometimes called print history or print culture, focuses on the authorship, production, and reading of books as a material practice. Broadly speaking, the history of the book investigates book production as an important cultural practice: in what ways do the interactions between authors, publishers, and readers affect what print material is produced? Alternately, how do social forces—such as class and gender—affect the production and consumption of print materials? The history of the book field has greatly widened our scope of study to, among other things, the lives of lesser-known authors, the business practices of publishers, and the experiences of readers: for example, on the experiences of women authors in the literary marketplace, the adoption of steam-powered presses by magazine publishers, or the changing tastes of children readers.

scholarly journals L´on faict sçavoir que l´on vendra. El anuncio y catálogo impreso de la subasta de pinturas del Príncipe de Portugal (Bruselas, 1670)

2018 ◽  
pp. 39
Author(s):  
Fernando Bouza
Keyword(s):  
Early Modern ◽  
Early Modern Europe ◽  
Art Collecting ◽  
Print History ◽  
History Of ◽  
Modern Europe ◽  
Material Form

ABSTRACT: In 1670, in Brussels, a printed advertisement announced the auction of a valuable set of a hundred paintings, property of the late Fernando Alejandro de Portugal. A printed broadside announced the sale, and included the names of the artists and titles of the works, as well as their formats and the material form of the pieces, in some cases. Therefore, the advertisement is also an auction catalogue, one of the first to be printed in early modern Europe. This article seeks to tell the story of the print history of the humble broadside as advertisement and catalogue, as well as its content and information on the owners of this extraordinary collection of paintings. KEYWORDS: Printed Auction Advertisements; Printed Sale Catalogues; Art Collecting; Portugal-Orange Family. RESUMEN: En 1670 se imprimía en Bruselas el anuncio de la subasta de un centenar de valiosas pinturas que habían sido propiedad de Fernando Alejandro de Portugal. El impreso contenía los nombres de los autores y los títulos de las pinturas, así como, en ocasiones, su soporte y formato. Por ello, el anuncio es también un catálogo de subasta, uno de los primeros que se imprimieron en la Europa altomoderna. El artículo intenta acercarse a la pequeña historia de la impresión del anuncio-catálogo, así como de su contenido y de los propietarios de una extraordinaria colección de pinturas. PALABRAS CLAVES: Anuncios de subastas impresos; catálogos de venta impresos; coleccionismo artístico; familia Portugal-Orange.

Sign in / Sign up

Export Citation Format

Share Document