ArgumentScholars of modern Chinese publishing and book culture focus on the dramatic transformations that took place in the late nineteenth and early twentieth centuries: the new technologies that enabled “mass” printing and the development of “modern” genres of print. They often neglect the fact that xylography remained a working technology through much of the Republican period and even into the People's Republic of China. Here I examine the continued use of woodblock printing and the continuing popularity of “traditional” textual (...) genres from two perspectives. First, from a “bottom up” perspective, I examine the production and sale of woodblock texts in rural markets, often in the face of efforts by both the Republic and the People's Republic to prohibit their use. Second, from a perspective from the top, I consider the deliberate choices made by the government, some elite book collector-publishers, and Daoist and Buddhist devotees to print certain works xylographically. (shrink)

This article traces publishing patterns in the Swedish humanities between 1840 and 1880; a period characterized by a new publishing regime yet bridging two dominant publication forms, the dissertation, and the disciplinary journal. Using the prominent historian Wilhelm Erik Svedelius as an entry point, the article charts how scholars in the humanities navigated the publishing landscape in a more diverse era in European historiography, before the advent of disciplinary platforms for research and boundary work. The article demonstrates that Svedelius and (...) his contemporaries used a plethora – or smorgasbord – of formats and hybrid genres; learned journals, transactions, yearbooks, and commercial printers that together formed an ephemeral ecosystem shared across the humanities. In this pre- or semi-professional system, neither platforms nor formats were guarantors of epistemic value and forgotten genres such as printed speeches or biographies provided the opportunity to express scholarly tradecraft, evaluated by the community on the basis of their ‘scientific’ quality. (shrink)

Histories of Japanese science have been integral in affirming the Meiji Restoration of 1868 as the starting point of modern Japan. Vernacular genres, characterized as “premodern,” have therefore largely been overlooked by historians of science, regardless of when they were published. Paradoxically, this has resulted in the marginalization of the very works through which most people encountered science. This article addresses this oversight and its historiographical ramifications by focusing on kyūri books – popular works of science – published in (...) the years following the Restoration, when there was unprecedented public interest in science. It asks, what if we take these kyūri books on their own terms as science books, just as those of the time saw them? This article explores three genres of kyūri books, namely fictionalized formats, such as the epic tale ( monogatari); epistolary guides; and genres, such as the sutra, that drew on religious textual practices. It argues that these literary genres provided interpretive frameworks that shaped readers’ encounters with “modern” science. This exploration underscores the importance of engaging with vernacular genres to understand the emergence of science as a global category in the nineteenth century. (shrink)

The cultural politics of Catholic restoration under Mary Tudor have been as crucial to the historical legacy of Thomas More as More's image was to the regime's own historical self-presentation. Not only did the Marian period see the first reappearance in print of many of More's writings after twenty years, the overwhelming presence of More's figure and work in official Catholic discourse, especially from 1556 onwards, also generated many instances of implicit Morean echoes pervading a great variety of Marian literary (...) texts and genres. This essay analyses a number of such hidden presences of More within classical translations of the period, from John Brende's History of Quintus Curtius, which was issued almost simultaneously with the 1553 Marian edition of More's Dialogue of Comfort, to George Colvile's Boethius and Nicholas Grimald's De officiis, whose appearance coincided with the preparation of More's English Workes for print. As it emerges, such implicit echoes and allusions to More's life and writings not only reshaped the classical works themselves, both updating them and enriching them with additional cultural and political significations; above all they helped to invest the program of Marian religious restoration with the credentials of classical learning promoted by the early Tudor humanists. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.4 (2002) 267-296 [Access article in PDF] Allegory and Democratic Public Culture in the Postmodern Era Robert Hariman The man lies on the hotel bed, clad only in his underwear, as he watches the TV screen just beyond his feet. His right hand holds the remote control, which he uses to scan through the cable channels. To his left sits Abraham Lincoln, clothed in long-sleeved white (...) shirt and black pants and reading a book. Lincoln's long, angular frame is just a bit stooped, and his brow is slightly furrowed, as if long accustomed to thinking on the edge of melancholy. Lincoln is mulling over a statement by Walter Benjamin: "Allegories are, in the realm of thoughts, what ruins are in the realm of things" (Benjamin 1977, 178). 1Seated to the man's right is a woman wearing the terry cloth bathrobe provided by the hotel. She leans slightly forward, legs crossed, as she reads the New York Times Magazine cover story about President Clinton. "Listen to this," she says with a bemused smile. "In the clutter around his desk in the Oval Office stands not a single bust of a favorite predecessor, but five: Lincoln, Teddy Roosevelt, Truman and two of F.D.R., plus a statuette of Will Rogers for good measure. If governing is choosing, this collection is a metaphor for this President's trouble with choices, and he himself allows, 'That's the story of my Presidency, that desk'" (Purdum 1996, 36).The man says nothing as he continues to watch the succession of images on the screen: a lizard flicks its tongue in the desert heat; a child in a stroller laughs as she holds a strawberry ice cream cone; a congressman in blue suit, white shirt, and red tie jabs his finger into the air as he talks earnestly; cars plastered with automotive product logos curl around a race track; Fred and Ginger swirl around the dance floor; soldiers wade ashore at Omaha Beach; the Space Shuttle lifts off; Groucho lifts his eyebrows; Regis smiles; mushrooms and peppers simmer in a pan.The succession of images could go on indefinitely. The tableau remains static. The composition is an allegory: a figural presentation that organizes multiple interpretations regarding collective experience. It also contains and comments on other forms of itself: Clinton's desk is an example [End Page 267] of the figural anecdote that has been a staple of American public address. The manifold of televisual images exemplifies the allegorical encoding that operates within postmodern art forms, including fragmentary appropriation, paratactic association, encyclopedic range, and non-linear temporality. The statement by Benjamin illuminates the nature of allegory in a specific genre and historical period, and as it is a general mode of representation, and perhaps as it is a model for all textual interpretation.The composition also evokes a set of dialectical tensions that are characteristic of both allegory in general and fundamental anxieties in the contemporary period. Past and present sit side by side, but incongruously, as if by artifice alone. So it is also with the print and visual media, which are held together by mutual competencies but otherwise in figural isolation that perhaps represents different destinies. Likewise, one might wonder about the peculiar relationship between public affairs and private life: the succession of images on the screen adhere to no hierarchy of values, no principle of loyalty or sacrifice, no basis for discerning obligations or maintaining rights, yet they are replete with the paraphernalia of these concerns, and the arrangement of figures in the room likewise is at once suggestive yet inconclusive. If this tableau contains familiar features of the mass-mediated experience that now saturates American politics, one might wonder: Is the democratic tradition in ruins?Allegories give us dynamic juxtapositions in a static frame. This principle of composition seems particularly suited to periods of cultural change. To the extent that the genre of allegory has a history, it is one of eternal recurrence at periods of loss and fragmentation produced by the expansion of a new, somewhat... (shrink)

In his fine and thought-provoking book, Visual Culture in Contemporary China: Paradigms and Shifts, Xiaobing Tang presents a short history of visual culture in China from the mid-twentieth century to the present, a period that corresponds to the entire history of the People's Republic of China. Examining an array of artwork in various media and genres, from woodblock prints and oil paintings to films, Tang strives to excavate a vital tradition of socialist visual culture in China of the past (...) sixty years or so—a tradition that has been shaped by two major imperatives: "to create an inspirational visual environment in support of the social revolution" and "to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.1 (2000) 75-95 [Access article in PDF] "Not heretofore extant in print": Where the Mad Ranters Are Kathryn Gucer In 1654 Ephraim Pagitt published the fifth edition of Heresiography, subtitled "a Description of the Hereticks and Sectaries of these latter times." On the title page Pagitt promoted this latest edition of the catalog by stressing the "Additions" he had made. Among the new (...) targets of his anti-sectarian polemic were the Ranters, whom he introduced in a pithy character sketch as "an unclean beast much of the make with our Quaker." 1 But although Pagitt claimed to introduce the sect, Ranters had been around in print since Gerrard Winstanley attacked them in defense of his group, the Diggers, in 1649. 2 In fact writers had been attacking the sects generally--Anabaptists, Seekers, Brownists, Familists--in brief pamphlets like Winstanley's Vindication and in tome-like catalogs of sectarian "errours" since the outbreak of the Civil War. The anti-Ranter pamphlets were thus an incursion into an ongoing printed dialogue about the sects in general. Pagitt himself had been an interlocutor in this dialogue, having published four previous editions of his list. Why had he not marked the Ranters in 1649 and 1650 when Winstanley and others first noticed them?This essay will answer this question by arguing that the Ranters arose in dialogue across time, that they did not emerge spontaneously in Pagitt's 1654 text. When Pagitt introduced the sect in 1654, he was in fact responding to a heated discussion about the Ranters that had been developing for four years. He thus entered the debate a moment after "Ranters" and "ranting" had been defined by other pamphleteers. In this debate about the Ranters we can see the process by which pamphleteers invented a linguistic means of talking about religious diversity before it was an accepted feature of English society. At the same time that writers were exposing the Ranters' blasphemous excesses, they were also crafting a political identity for the group by attaching characteristic words and [End Page 75] behaviors to them in print. The printed controversy over the Ranters thus raises interesting questions about the relation between textual signification and actual politics. What were the processes by which pamphleteers invented new ways of talking about groups--sects and parties--in the period? What did labeling have to do with political identity?In fact the collective dialogue about the Ranters centered on a label that pamphleteers consistently attached to the group, their "madness." Although each writer identified the Ranters with a variety of creeds and practices, anti-Ranter pamphleteers all told their readers to view the group as an absence of reason. They claimed that Ranters were incapable of recognizing and conveying God's truth to their audience. Pagitt himself participated in the cooperative assault on Ranter madness. He consistently borrowed this language from his fellow interlocutors, branding the Ranters with terms such as "nonsensicall" and "absurd." Yet I argue that the label itself was largely a red herring. Writers shrewdly focused on Ranter unreason in order to persuade their readers not to use their own reason to consider the sectarian claims to authority. Moreover, writers shaped and reshaped what they meant by Ranter unreason in order to modulate its rhetorical effect on their readers. Thus it is not surprising that the precise construction of Ranter unreason shifted with the various responses these writers wanted to elicit from their readers. 3The explosion of anti-Ranter tracts, many of which had sensational titles showcasing the word "Ranters," indicated that the sect had particular rhetorical purchase on the public in the early 1650s: The Ranters Religion (11 October 1650), The Routing of the Ranters (19 November 1650), The Ranters Bible (9 December 1650), The Ranters Recantation And their Sermon (20 December 1650), The Joviall Crew, or the Devill turn'd RANTER (6 January 1651), Ranters of both Sexes, Male and Female (3 June 1651), RANTERS MONSTER (30 March 1652). 4 Although talk about Ranters was neither confined to print nor to... (shrink)

This essay does not aim to investigate film-novel relationships per se, although the fact that the two genres now share certain generative procedures may be further evidence that fiction in print and on film lie to a great extent in a unified field not only of diegesis but also of structure. A diachronic or historical approach to the theory of fictional generators would show that, with the shifts which have occurred on present-day aesthetic thought, much of what once was (...) considered to be a static analysis of retrospective rules or established forms could now be regarded as the disguised beginning of generative theory. Aristotle's seemingly static doctrines of dramatic structure, involving such notions as peripeteia, discovery, or unity of action, to the extent that dramatists had consciously or unconsciously followed such doctrines, obviously served the production of their works, as well as their later analysis. In fact, any sort of artistic intentionality constitutes a kind of "generator," as does the deliberate adherence to outward forms as rhyme schemes, stanzas, cantos, or chapters. As we shall see, it is not always easy to distinguish between generative formulas and self-imposed forms or limits, such as the sonnet with its fourteen lines, its quatrains, and its tercets. Although the most advanced practitioners of generative theory, like Jean Ricardou, seem to view their work as a radical break with the past and the discovery of an entirely new domain of fiction, literary history would provide innumerable examples of precedents, from antiquity through the Grands Rhétoriqueurs, the Gongorists and Baroque poets, and many subsequent groups of writers down to and including the pre-modern and modern periods. Bruce Morrissette has published widely on French fiction of the classical period, Rimbaud and the Symbolist movement, the Nouveau Roman and Robbe-Grillet, and on contemporary film. He is the Sunny Distinguished Service Professor and Chairman of Romance Languages and Literatures at the University of Chicago. He translated Alain Robbe-Grillet's "ARTISTS ON ART: Order and Disorder in Film and Fiction" for the Autumn 1977 issue of Critical Inquiry. (shrink)

As in the Arab and Persian literatures, many works have been written on the education and teaching of tajwīd, which provides the correct reading of the Qurʼān in Islamic Turkish Literature. Works on this subject were written generally as prose. Besides, some of these works were written in verse style because of practical benefits in education. In this context, the work named Ẓafar written by S̲h̲umnulu Ḥilmī Efendi (d. 1200/1785-86), which is one of the poetical tajwīds that has not been (...) studied enough, is one of the works that can be evaluated under a separate title within religious literaty genres such as forty hadith, ʻaqāʼidnāme and s̲h̲urūt al-ṣalāt (pillars or prayer). This study primarily deals with Ḥilmī Efendi’s tajwīd of verse in Turkish, named Ẓafar, with form and content analysis. The aim of the study is to give information about Ḥilmī Efendi, based on his works and to reveal the text of the work named Ẓafar, which has been transcribed. The importance of the study stems from the fact that it will introduce the first Turkish tajwīd written in verse as far as it has been identified and the master of qırāʼat poet author who can be accepted as the founder of this genre.Summary: During the formation of Islamic sciences such as tafsīr, hadīth, kalām, fiḳh, and ḳırāʼat many works related to these sciences were written in Arabic, Persian, and Kurdish languages. After Turks met with Islam, works were written in verse and prose style to learn the al-Ḳurʼān, the hadīth and the sciences that would help to understand these two sources in order to live a true faith and worship life. On the other hand, as a result of the writing of verse works, some literary genres emerged in Turkish Islamic literature. This issue has also been appeared in the science of tajwīd, which is defined as “a set of rules for the correct pronunciation of the letters with all their qualities” and which ensures the Ḳurʼān to be read properly. As a matter of fact, the writing of both prose and verse tajwīd works defined as a religious-literary genre is an indication of this phenomenon. For instance, Tuḥfe-i Şerīfī (S̲h̲erīfī d. 1260/1844) and Naẓmuʼl-Ehem (S̲h̲eyhī d. 1235/1819-20) are examples of verse tajwīd works. In this context, one of the verse tajwīds is Ẓafar, which is defined by his own writer, S̲h̲umnulu Ḥilmī Efendi, as the first work written in this type.The author of the work, Ḥilmī Efendi, lived in Vardar Yenicesi (Giannitsa) for a long time and died in Hijāz in 1200 (1785-86), is one of the 18th century authors and an specialist in the field. In the work named Osmanli Müellifleri (Bursalı Meḥmed Ṭāhir, 1333 / Ottoman Authors) it is stated that he has works named Manẓūm Tajwīd (Ẓafar) and Manẓūm S̲h̲urūt-ı ṣalāt (Naẓm-ı nefīs) and that he wrote death dates with poetry on the gravestones of the grandchildren of G̲h̲āzī Evrenos Bey (d. 820/1417) and an Arabic khatim prayer. Information about Ḥilmī Efendi's personality, educational life, and scientific level could not be found. One of the works of Ḥilmī Efendi is Naẓm-ı nefīs, which was written in 1190/1776-77, and is in the form of S̲h̲urūt-ı ṣalāt. In this work of 125 couplets except for the title of “Tertīb-i Secāvend-i Ḥurūf” (fāʻilātün fāʻilātün fāʻilün) the author used the meter of the fāʻilātün fāʻilātün fāʻilātün fāʻilün and preferred the masnavī as a form of verse. The work consists of a introduction of 9 couplets, a main part of 24 couplets, an addition and conclusion of 3 couplets.Another work of Ḥilmī Efendi is the work called Ẓafar in the form of verse tajwīd, which he wrote on the request of some of his friends and which is the main subject of this study. There is no record of the writing date of this work. This study also includes the transcribed text of the work. However, when considering the period the author lived in and the time of his other work Naẓm-ı nefīs (1190/1776-77) it is estimated that Ẓafar was written after the second half of the 18th century. However no manuscript copy of Ẓafar could be found. Therefore, for the text to be transcribed in this study, the oldest dated and printed copy with Arabic diacritics of the work (Istanbul: Dār at-tıbāʻa al-āmire, 1265) was taken as basis. In this copy, the work was incorrectly named as Tajwīd-i Manẓūm. Also, there are some typographical errors in the headlines or text; these errors were tried to be corrected. It consists of 71 couplets; an introduction and 25 main titles. Ẓafar, written was written in half, full and rich rhyme. In some places, as well as rhyme, redif (repeated voice) created with an appendix or a word was used. The work has a clear, intriguing and narrative language and expression.Traditionally, the author starts his work by praising God, salawat, prayer, followed by a statement about the importance and the provisions of the learning tajwīd. Then the author gives informations about some tajwīd subjects such as ḥarf-i med, sebeb-i med, medd-i muttaṣıl, medd-i munfaṣıl, and so forth.The author bases on the Ḥafṣ narration of the ḳırāʼat of the ʻĀṣım probably because of taking into account the readers. Another point that draws attention in the work is that the tajwīd issues are explained shorter and clearer compared to other verse tajwīds. There are also no secondary topics such as ţūl, tevaṣṣut, ḳaṣr, ḥarf-i muḫaffefe, kelime-i müṡaḳḳale or istiʻāẕe-basmala, states of tā-i teʼnīṡ. To provide an easy memoration Ḥilmī Efendi does not apply the method of formulations of letters corresponding to the bases such as ikhfā, iẓhār as in many other tajwīd Works. Instead, he writes the letters of a specific rule one by one. Additionally, he does not give many examples from Qurʾān verses to consolidate the rules, and sometimes refers only to the surahs. With his work called Ẓafar, the author follows and represents the tradition of religious-literary works in general, and in particular, the tradition of the verse tajwīd. In some verse types of tajwīd works, for example, only subjects of ḳatʻ and vaṣl are discussed, however, in Ẓafar, most rules of tajwīd are included.It can also be said that the work has a special place and importance due to the possibility of being the first text (constituent text) written in verse tajwīd. On the other hand, when considering the conditions of the period and the fact that it was published more than once, it can be stated that Ẓafar was used as a material in educational activities and raised attention. (shrink)

The Long Fifteenth Century is intended as a companion volume to Douglas Gray's ground-breaking Oxford Book of Late Medieval Verse and Prose and incorporates a bibliography of his published writings. Gray's anthology revolutionized critical appreciation of English and Scottish literature of the `long fifteenth century' from the death of Chaucer to the Reformation, but the literature of the period as a whole remains much under-read, undervalued, and under-studied. The contributors to this volume, all leading scholars in the field, bring to (...) the fore the power of underrated writers, restore to the period writings often attributed to other centuries, open up new possibilities in neglected genres, offer radical rereadings of some more familiar works, and demonstrate how closely the literature of the period is bound up with political and social conditions. Written in honour of Douglas Gray, to mark his long and distinguished tenure of the J.R.R. Tolkein Professorship of English Literature and Language at Oxford university, the 15 essays in this volume portray the long fifteenth century as a major period of literature in its own right. They provide a comprehensive survey of fifteenth-century literature in print, from the morality play to the ballad, verse forms to prose romances, including Chaucer, Lydgate, Skelton, and Hoccleve, along with essays on the Middle French Poets and Scottish writings of the period. (shrink)

This article considers the changing pressures of genre on early modern plays and playwrights. The permanent London theatres of this time enjoyed only a brief cultural life (c. 1570s–1640s) but, despite this brevity, produced radical changes in the commercial, creative and aesthetic implications of genre. The article begins with the Shakespeare First Folio which, relatively late in this period (1623), set out three genres in the form of a list across its title page: Comedies, Histories and Tragedies. This triad (...) has been taken to represent ‘the’ early modern genres, as if comprehensive, self-evident and discrete, but is affixed to a play collection whose contents continually defy these categories. The article then moves to the beginning of commercial theatre and the work of John Lyly. Lyly was labeled as the writer of comedies in the 1630s (by the same man who created the above title page for Shakespeare), but continually denied generic definitions. The article’s dual focus on early generic playfulness and a later imposition of generic stability enables an exploration of the creative possibilities and problems of genre. (shrink)

This study deals with the functions of the feuilleton, which is in the newspaper but has an important role in the development of literature. The 19th century is a period in which Westernization movements began to enter political and social life. Political developments such as the Tanzimat Edict, the Reform Edict and the acceptance of the Constitutional Monarchy had significant effects on cultural life over time. Newspaper is the most important mass communication tool of that period that accelerates this effect. (...) Journalism has an important role in the introduction and development of Western genres such as novel, Western-style story, theater into Turkish literature. The newspaper, which plays an important role in the change of Turkish literature wih new genres, has cultural effects on large masses of people. The feuilleton, which emerged with the publication of long literary texts in certain series, continued its influence in Turkish journalism for a very long time. Feuilleton paved the way for more people to meet literature by making it possible for long literary texts to appear in the newspaper. Many young writers in Turkish literature became famous for their articles in newspapers. These articles found their place in the newspapers, generally with 'feuilleton'. Feuilleton is a cultural and literary activity in terms of journalism; in case in terms of literature, copyright and translation, especially popular literature, have enabled many works to meet with the reader. Thus, by ensuring the interaction between the reader and the work, he developed rapidly in the literary gathering-place. At the same time, it prevented the authors' book printing costs. Therefore, the feuilleton built a mutually beneficial relationship between literature and journalism, and mediated the revival of intellectual life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Aelius Théon: ProgymnasmataGeorge A. KennedyMichel Patillon, ed., avec l'assistance pour l'Arménien de Giancarlo Bolognesi. Aelius Théon: Progymnasmata. Paris: Les Belles Lettres, 1997. clvii + 229 pp. ( 1-120 double). Price not stated. (Editions Budé)Progymnasmata, handbooks of preliminary exercises in composition, are important sources for understanding Greek and Roman education and rhetoric and equally important in that the exercises they describe, including narrative, [End Page 476]fable, chria, encomium, ekphrasis, (...) synkrisis, prosopopoeia, and others, provided topics for literary genres in prose and poetry. Of the four surviving Greek treatises on progymnasmata, by or attributed to Theon, Hermogenes, Aphthonius, and Nicolaus, Pseudo-Hermogenes and Aphthonius were the most influential. There are good editions of them by Hugo Rabe and of Nicolaus by Joseph Felton, all in the Teubner series. Theon's work is the earliest treatment and in some ways the most interesting, for it shows the system of rhetorical education in a developing stage and, since it is addressed to teachers rather than to students, it has much to say about pedagogical method. It has, however, been available only in reprints of Leonard Spengel's Rhetores Graeci(II 59-130), originally published in 1854, and in copies of a dissertation by James R. Butts (Claremont Graduate School, 1986). The new Budé Theon, with its lengthy introduction, French translation, and extensive learned notes, at last makes the work accessible to scholars in its full form.The Greek manuscripts of Theon's treatise break off abruptly in the discussion of the exercise for and against a law and lack chapters at the end where Theon discussed reading aloud, listening, paraphrase, elaboration, and contradiction. In addition, the original order of chapters was altered by some editor in late antiquity to conform better to what is found in Pseudo-Hermogenes and Aphthonius. Forty years ago Italo Lana projected a new edition, restoring the original sequence, and published a valuable study of the Greek textual tradition (Turin 1959), but he never completed the edition. The probable reason is that about that time the existence of a full translation of the work into classical Armenian had come to be known from two manuscripts in the State Library in Erivan, Armenia. Butts was aware of the existence of the Armenian translation but had no direct access to the contents.The Armenian translation was made from a Greek text before the rearrangement of the chapters and before the loss of the concluding pedagogical chapters. Patillon, in collaboration with Bolognesi, has reconstructed the Greek text on which the translation was based. It was so literal as to be almost incomprehensible in itself, but by comparison with the Greek in the large part of the work where both survive it has proved possible to reconstruct the Greek original with some probability. Patillon makes much use of this reconstruction throughout his text and apparatus and prints the Armenian text of the otherwise lost chapters, with French translation but without the Greek reconstruction.On the basis of a notice in the SoudaTheon is probably to be identified with Aelius Theon of Alexandria. There is reference in a newly discovered part of the text (Patillon, p. 106) to Dionysius of Halicarnassus, which gives us a date after the first century B.C., and a possible reference to Theon in Quintilian (9.3.76), suggesting Theon may have been writing in the first century after Christ. The name Aelius might indicate a Hadrianic date but probably came into use in Egypt after the prefecture of Aelius Gallus in the Augustan period. [End Page 477]In any event, the work is clearly the earliest of the four major progymnasmatic treatises and has similarities to the Latin discussions of the exercises by Quintilian (1.9) and in Suetonius' De Grammaticis et Rhetoribus.Although there is much that deserves attention in the introduction and notes of this edition, readers will perhaps most want to know about passages where new readings in the Greek make a difference to the meaning and interpretation of passages, and also about the contents of the chapters that survive only in Armenian, here published for the first time. References are to page and line... (shrink)

(1993). Print-culture and the advent of nationalism. State-patriotism and the problem of nationality in the popular culture of the printing press during the period of “Vormärz” in Denmark. History of European Ideas: Vol. 16, No. 4-6, pp. 467-475.

In lieu of an abstract, here is a brief excerpt of the content:Leonhart Fuchs on the Importance of PicturesSachiko KusukawaIf not for the attractive plant with overhanging flute-like flowers that was named after him, Leonhart Fuchs (1501–66) is best known today as one of the pioneers of accurate representations of plants in histories of scientific illustrations.1 The pictures in Fuchs’s Remarkable Commentaries on the History of Plants (1542) have been appreciated usually for their “naturalistic” features (i.e., pictures drawn from observing (...) a plant specimen), as well as for their tendency to discard individual blemishes and portray a universal or ideal “type” of a plant where several varieties of species could be incorporated into one bush, or where various stages of the same plant may be depicted in one figure.2 On the other hand no historian of botany who has examined the text these pictures accompanied has found that such qualities as observation from nature or a sense of “ideal type” contributed to Fuchs’s theoretical understanding of [End Page 403] plants: he lacked any sense of the family genera or Linnean classification, for he had simply adopted an alphabetical ordering.3Fuchs himself considered his pictures remarkable—as he was at pains to point out—and he believed his pictures were absolutely crucial for his commentary on plants. My immediate aim in this paper, therefore, is to offer an interpretation of Fuchs’s Remarkable Commentaries on the History of Plants which does not split the work into artistically positive and botanically negative elements. As I shall argue, the uniqueness and so the controversial nature of Fuchs’s enterprise lies in the kind of argument and procedure he believed to be valid for an academic study of plants. More generally, I hope to use this reassessment of Fuchs’s work to show how pictures could be as controversial as texts and how the uses of texts and pictures together form past acts which require historical explanation. Click for larger view View full resolutionFigure 1.The Artists. Leonhart Fuchs, De historia stirpium, 1542, verso of last folio page. Reproduced by permission of the Syndics of Cambridge University Library.In 1542 Fuchs published his Remarkable Commentaries on the History of Plants Belaboured with Great Expense and Vigilance with More than Five Hundred Live Images of Plants Attached. It begins with a picture of Fuchs, the author, at the age of forty-one and ends with that of the artists (fig. 1). Although the division of labor depicted here seems to have been a standard one for printing illustrated books in this period,4 it is unusual that we know their names. Albrecht Meyer did the drawings from life, Heinrich Füllmaurer transferred the drawings to woodblocks, and Veit Rudolf Speckle cut those woodblocks.5 Fuchs was proud of one of the artists in particular: “the woodcutter [sculptor] Veit Rudolf Speckle, by far the best in Strasbourg, excellently imitated the admirable industry of painters: he has so skilfully expressed the outlines of each picture by carving [sculpendo] that he seems to compete with the painter for glory and victory.”6 A comparison between the painter and the sculptor had been a favorite topic in the Renaissance genre of paragone—Leonardo da Vinci, Galileo, Castiglione, and Michaelangelo composed treatises on it—where the [End Page 404] relative merits of various mimetic arts were discussed.7 Fuchs’s comment on Speckle is more nuanced, however, than a polite competition between the arts over their mimetic skills: Fuchs announces that Speckle is worthy of praise in producing a picture—normally the domain of the painter (pictor)—with the specialized skill of carving of the cutter (sculptor). This is surely an appreciation of the particular skill involved in producing replicable pictures for printed books, just as Erasmus had, a generation earlier, acknowledged in Albrecht Dürer’s prowess at engraving the potential for reproducibility in a print culture.8 Indeed, of the artists involved in printing, it was the woodcutter who could expect to be paid most in this period—nearly fifteen times more than the artist who originally drew the pictures.9 Click for larger view View full resolutionFigure 2.Atriplex. Theodore Dorsten, Botanicon, 1540, fol. 35r. Reproduced... (shrink)

Stay-at-home fathers challenge norms related to masculinity and gendered divisions of parenting roles. We conduct a content analysis of 94 print news articles about at-home fathers published 1987–2016 in the United States, identifying key themes and comparing results with our earlier research on news depictions of at-home mothers. We also analyze national trends in fathers staying home using Current Population Survey data to understand contexts in which articles were published. Articles were family-centric and disproportionately focused on economic elites, emphasizing their (...) “choice” to stay home, but economic reasons for fathers staying home were described more commonly than in portrayals of mothers. Stigmatization experiences were pervasive in articles, appearing more commonly when staying home was reported as discretionary, but less commonly when staying home resulted from involuntary unemployment in recent periods. Portrayals reflect, reinforce, contribute to, and challenge father-as-provider norms, mirroring changes in masculinity norms over time and revealing cultural ambivalence toward at-home fathers. (shrink)

The popular conception of the Renaissance as a culture devoted to order and perfection does not account for an important characteristic of Renaissance art: many of the period's major works, including those by da Vinci, Erasmus, Michelangelo, Ronsard, and Montaigne, appeared as works-in-progress, always liable to changes and additions. In Perpetual Motion, Michel Jeanneret argues for a sixteenth century swept up in change and fascinated by genesis and metamorphosis. Jeanneret begins by tracing the metamorphic sensibility in sixteenth-century science and culture. (...) Theories of creation and cosmology, of biology and geology, profoundly affected the perspectives of leading thinkers and artists on the nature of matter and form. The conception of humanity (as understood by Pico de Mirandola, Erasmus, Rabelais, and others), reflections upon history, the theory and practice of language, all led to new ideas, new genres, and a new interest in the diversity of experience. Jeanneret goes on to show that the invention of the printing press did not necessarily produce more stable literary texts than those transmitted orally or as hand-printed manuscripts—authors incorporated ideas of transformation into the process of composing and revising and encouraged creative interpretations from their readers, translators, and imitators. Extending the argument to the visual arts, Jeanneret considers da Vinci's sketches and paintings, changing depictions of the world map, the mythological sculptures in the gardens of Prince Orsini in Bomarzo, and many other Renaissance works. More than fifty illustrations supplement his analysis. (shrink)

This paper brings together a most fascinating and under-examined body of early New World writing that belong to a genre of writing I call “the torture narrative” with the insights of Marshall McLuhan in order to offer a way of thinking about body parts, especially hands, teeth, tongues, and eyeballs, and their extensions through technologies such as alphabets, manuscripts, books, and weapons. At its core are questions about the nature and effects of the changes wrought by the early-Gutenberg era—a period (...) characterized by vast scientific and technical discoveries, rising nationalisms, explorations, and conquests—in the New World. Rather than explore the ways an early New World print culture reflects or distorts discrete historical or ethnographic facts about colonial contact, I want to probe the ways the torture narrative speaks to the conditions of speaking and writing, and therefore to the discursive and textual production of the New World subject and New World space. My inquiry seeks to understand both the violence in, and the violence of, representation at founding historical moments, but its relevance far exceeds Renaissance or American studies. At stake in this discussion is an appreciation of a mode of intellectual inquiry that is attentive to the relationship between media technologies and the social worlds they reflect and transform. (shrink)

Many first-time mothers (primiparous) within UK National Health Service (NHS) settings require an obstetric intervention to deliver their babies safely. While the antepartum period allows time for conversations about consent for planned interventions, such as elective caesarean section, current practice is that, in emergencies, consent is addressed in the moments before the intervention takes place. This paper explores whether there are limitations on the validity of consent offered in time-pressured and emotionally charged circumstances, specifically concerning emergency obstetric interventions. Using the (...) legal framework of the Mental Capacity Act,Montgomery v. Lanarkshire Health Board(2015) andMcCulloch v Forth Valley Health Board(2023), we argue that while women have the capacity to consent during labour, their autonomy is best supported by providing more information about instrumental delivery (ID) during the antepartum period. This conclusion is supported by some national guidelines, including those developed by the Royal College of Obstetricians and Gynaecologists, but not all. Further, we examine the extent to which these principles are upheld in modern-day practice. Data suggest there is relatively little antepartum information provision regarding ID within NHS settings, and that primiparous women do not report a thorough understanding of ID before labour. Based on these results, and bearing in mind the pressures under which NHS obstetric services currently operate, we recommend further research into patient and clinician perceptions of the consent process for ID. Pending these results, we discuss possible modes of information delivery in future practice. (shrink)

The article considers the question of the study of satire in philosophy. The study found that satire is an underdeveloped topic in the field of Ukrainian philosophy and the philosophy of Englishspeaking countries. For instance, the works of the last five to six years by such philosophers as D. Ab rahams and D. Declercq, who echoed the opinion of C. W. Mendell concerning the close connection of satire with philosophy. In the work “Satire as Popular Philosophy” created at the be (...) ginning of the 20th century Mendell proved that ancient satire was a type of philosophy. Ne vertheless, the issue of the first place of appearance of the genre of satire in the period of Antiquity, whether in ancient Roman or ancient Greek art, needs to be clarified. Therefore, the purpose of the article is to solve a number of related questions, namely: where previously appeared satire as a genre — in Ancient Rome or in Ancient Greece, why it got such a name, and what metamorphoses took place with it over time Antiquities. One of the primary sources about the history of satire was Aristotle’s work “Poetics”, which describes iambic (humorous) and satirical poetry. According to Aristotle, the nature of satiric poetry undergo metamorphosis from the “dance” tetra meter to the iambic meter characteristic of mocking poetry. In this regard, the main part of the work is devoted to proving that satiric poetry got its name from mythological goat-like satyrs and if the performers of iambic (derisive lyrics) could be ordinary people, then the performers of satirical poems — only mythological goat-like satyrs. As a result of the research, it was found that initially the genre called satire had a poetic form and was borrowed by ancient Roman poets from ancient Greek artists. The adopted type of satire received the name “satura”, in Latin meaning “miscellany or medley” of prose and verse form of presentation of the creation. (shrink)

Trude Dijkstra discusses how Chinese religion and philosophy were represented in printed works produced in the Dutch Republic between 1595 and 1700. By focusing on books, newspapers, learned journals, and pamphlets, this study sheds new light on the cultural encounter between China and western Europe in the early modern period. Form, content, and material-technical aspects of different media in Dutch and French are analysed, providing new insights into the ways in which readers could take note of Chinese religion and (...) philosophy. This study thereby demonstrates that there was no singular image of Chinese religion and philosophy, but rather a varied array of notions on the subject. (shrink)

SUMMARYEarly modern printers, publishers and booksellers not only influenced readers to purchase particular books but continue to shape our reception of printed books today. Through title-page advertisements, prefaces and indexes, these ‘print agents’ forged unique relationships with new and returning readers. Paying attention to paratextual structures can uncover strategies for marketing new books, corralling readers and outlining new genres. A consideration of framing devices can also further our understanding of digital resources: much as print agents mediated printed (...) books, digital humanists help reinforce the value of new technologies for the study of early modern texts, guiding users to apply new methods of research, and helping establish new areas of scholarship. As a new kind of print agent, digital humanists must be more aware of their choices in curating, organising and labeling metadata. As we rethink what it means to read, edit and disseminate texts through the digital medium, we must also understand the degree to which modern and early modern editorial practices challenge and influence our scholarship and criticism. (shrink)

The use of gender in print media is poorly understood both at the level of the post-Soviet journalism studies and in the general context of social research. A similar situation is observed with regard to the study of the gender sphere of concepts, and at the postmodern stage of development of periodicals. Postmodern convergence of methodology and research objects of the humanities will make it necessary to study social and mass media phenomena from the point of view of linguistics, (...) sociology and journalism. This makes it relevant to study media issues of gender through links with language. The purpose of the work is to clarify the gender sphere of concepts in the study of Ukrainian periodicals for women and men. The article implements a combination of concrete-historical, structural-typological, system-functional methods. Descriptive and comparative methods, typology, modeling methods are used at different stages of work. The study used the method of content analysis to study the gender content of modern gender-labeled magazines. The article proves that the gender sphere of concepts is based on the basic gender macroconcepts “woman” and “man”. They are used in the periodicals under study in various proportions, depending on what roles are played by a woman or a man in society. It is from the balance, thoughtfulness, responsible selection of gender characteristics that are presented in gender-labeled periodicals that modern and future gender images are formed, the idea of ideal women and men, their needs, opportunities, responsibilities in the family, at work, and in general in all spheres of life. (shrink)

This article inquires into the shaping force that competition at musical contests exercised on ancient perceptions of literary genres, particularly for the non-choral and non-dramatic kinds of the Classical Period. Three musical contests of the fourth century BCE, the Panathenaia, the Amphiaraia, and the Artemisia, are taken as case studies. After a reconstruction of their programs, principles of categorization that spectators might have inferred from the contests are deduced, and modes in which categories of competition and literary genres (...) interacted are put forward. The article concludes by suggesting that, by enacting taxonomies, either strengthening or weakening the specificity of traditional types, institutionalized poetic and musical competitions contributed to the ancient conceptualization of literary genres. (shrink)

During the period before the Greek revolution of 1821, and especially during the years between 1750 and 1821, there were two ways in which European scientific thought was propagated in Greece. The first is traditional. It comes from ancient Greece and, through Byzantium, reaches the period before the Greek revolution. It makes known the thought of Aristotle, Democrititus, and others on ‘natural philosophy’. The second way comes from Europe. The Greek scholars of the period before the Greek revolution, and especially (...) at the end of the eighteenth century, tried to bring to and propagate in Greece the spirit ofthe European Enlightenment, They tried to make known to the Greek people the scientific achievements of Newton, Descartes, Lavoisier, and Laplace. Scientific knowledge is an important weapon against superstition, and Greek students had to learn about science to become free persons in an independent Greek state. (shrink)

This article is a co-written reflection on the process of curating and programming Printing Solidarity: Tricontinental Graphics from Cuba (2021–2022). Held at Stony Brook University's Paul W. Zuccaire Gallery, the exhibition featured over sixty posters and printed matter produced mostly in the 1960s–1970s by the Organization of Solidarity with the People of Asia, Africa, and Latin America (OSPAAAL) in Havana. As an experiment in pedagogical curating, the yearlong project spanned the isolation from, return to, and re-envisioning of inperson learning (...) during the COVID-19 pandemic. Reflecting on our inspirations, intentions, and challenges, we argue for the role of art objects in activating material-based, in-person learning on campus and consider the value of academic collaboration, cross-regional research, and experimental pedagogies. The project offered an opportunity to revisit the Cold War-period politics of global solidarity in today's pandemic era while exploring what it would mean to study art today from the question of solidarity rather than division. (shrink)

This article surveys the early history of printing in colonial Bengal, in particular the rise of the indigenous book trade in the Battala area of Calcutta. The article argues that the likes of Gangakishore Bhattacharya and Bhabanicharan Bandyopadhyay were among the first to attempt to socialize the printed book, leading to the rise of a substantial interpretive community by the middle of the 19th century. At the same time, traces of manuscript book practice lingered in the printed book, (...) especially in the disposition of the title-page and other paratextual apparatus. This article scrutinizes the interface between the manuscript and the printed books, and asks how the conceptions of intellectual property, authorship and entailment evolved within the ambit of the popular book trade. By looking at a number of title-pages from the period, the article tries to examine the relationship between intellectual property and the rise of the popular. (shrink)

The early decades of the twentieth century were marked by widespread optimism about biology and its ability to improve the world. A major catalyst for this enthusiasm was new theories about inheritance and evolution (particularly Hugo de Vries's mutation theory and Mendel's newly rediscovered ideas). In Britain and the USA particularly, an astonishingly diverse variety of writers (from elite scientists to journalists and writers of fiction) took up the task of interpreting these new biological ideas, using a wide range of (...) genres to help their fellow citizens make sense of biology's promise. From these miscellaneous writings a new and distinctive kind of utopianism emerged – the biotopia. Biotopias offered the dream of a perfect, post-natural world, or the nightmare of violated nature (often in the same text), but above all they conveyed a sense that biology was – for the first time – offering humanity unprecedented control over life. Biotopias often visualized the world as a garden perfected for human use, but this vision was tinged with gendered violence, as it became clear that realizing it entailed dispossessing, or even killing, ‘Mother Nature’. Biotopian themes are apparent in journalism, scientific reports and even textbooks, and these non-fiction sources shared many characteristics with intentionally prophetic or utopian fictions. Biotopian themes can be traced back and forth across the porous boundaries between popular and elite writing, showing how biology came to function as public culture. This analysis reveals not only how the historical significance of science is invariably determined outside the scientific world, but also that the ways in which biology was debated during this period continue to characterize today's debates over new biological breakthroughs. (shrink)

Rachel Scarborough King’s Writing to the World: Letters and the Origins of Modern Print Genres offers a fascinating investigation into the culture of letter-writing in the long eighteenth century,...

Puts forward an account of the printing and publishing history of the second edition of Leviathan—an edition that has the same date as the first, is known to be a later production, but has never hitherto been dated with any accuracy. With the help of bibliographical evidence and details drawn from the archives of the Stationers’ Company, a fairly detailed account of the history of this edition can be constructed. What the evidence shows is that this so‐called ‘Bear’ edition was (...) first printed in 1670 in London; that the printing was partly confiscated by the Stationers’ Company; and that the remaining sheets were then combined with sheets produced by a Dutch printer in the period 1675–8. (shrink)

In "On Variations of the Classical Chinese Literary Genre terminchinesescript in Literary History," the authors analyze the representation of the classical Chinese literary genre Fu, or namely, rhapsode, in Chinese literary histories compiled in English. A unique classical literary genre, Fu commonly appears in classical Chinese literature as well as in aesthetics and philosophy, thus constituting an important part in Chinese literature in all periods from ancient to contemporary. However, Fu falls outside the quartered-division of modern western stylistics, so is (...) bound to cause problems in the compilation of a literary history in the Anglophone literary culture, as is the case in Sinology. This paper argues that variations caused in the translation of the name Fu and its configuration set-up in the English context have resulted in the under exploration of its full meanings in existing relevant studies, which necessitates future research for the sake of substantially changing the peripheral status of Chinese literature in the arena of world literature. (shrink)

This collection of essays explores the history of the book in pre-modern South Asia looking at the production, circulation, fruition and preservation of manuscripts in different areas and across time. Edited by the team of the Cambridge-based Sanskrit Manuscripts Project and including contributions of the researchers who collaborated with it, it covers a wide range of topics related to South Asian manuscript culture: from the material dimension and the complicated interactions of manuscripts with printing in late medieval Tibet and in (...) modern Tamil Nadu, to reading, writing, editing and educational practices, from manuscripts as sources for the study of religious, literary and intellectual traditions, to the creation of collections in medieval India and Cambodia, and the formation of the Cambridge collections in the colonial period. The contributions reflect the variety of idioms, literary genres, religious movements, and social actors of ancient South Asia, as well as the variety of approaches, interests and specialisms of the authors, and their impassionate engagement with manuscripts. (shrink)

Rylands English MS 60, compiled for the Spencer family in the eighteenth century, contains 130 printed portraits of early modern artists gathered from diverse sources and mounted in two albums: 76 portraits in the first volume, which is devoted to northern European artists, and 54 in the second volume, containing Italian and French painters. Both albums of this ‘Collection of Engravings of Portraits of Painters’ were initially planned to include a written biography of each artist copied from the few (...) sources available in English at the time, but that part of the project was abandoned. This article relates English MS 60 to shifting practices of picturing art history. It examines the rise of printed artists’ portraits, tracing the divergent histories of the genre south and north of the Alps, and explores how biographical approaches to the history of art were being replaced, in the eighteenth century, by the development of illustrated texts about art. (shrink)

This paper examines representations of the woman avenger in three types of medieval Chinese writings, namely, official biographies, Music Bureau poetry, and unofficial prose accounts. Such cross-genre comparisons shed light on how different narrative conventions or the lack thereof shaped the ways in which the potentially controversial stories of female vengeance were recounted. Unofficial prose accounts from the Tang period, in particular, demonstrate the development of a distinctive discourse on women and sanctioned violence that opened up fertile grounds for exploring (...) the gender tensions and ambiguities of the subject. (shrink)

The article centres on Italian Neorealist cinema and its crucial role in negotiating the positioning of Italy in the transnational post-war scenario. Recent scholarship on the topic has come to challenge many deeply rooted assumptions about Neorealism, claiming that the disproportioned attention paid to this particular filmic trend has proven in the long term to be an hindrance to a full comprehension of the Italian visual culture of the period. I seek to contribute to such a renewed understanding of the (...) ideological and aesthetical issues at stake in the definition of Neorealism. It is indeed very important to underscore that the innovations brought about by Neorealist films (connected in particular to the diffusion of location shooting practices) must always be framed in the context of a lively relationship with popular genre cinema. The article thus focuses on the close reading of one specific filmic text, Sotto il sole di Roma (1948). Castellani’s film proposes an original blending of Neorealist techniques, melodramatic structures and comedic tones: an hybridization of genres representing in itself a most apt correlate to the moment of flux Italy and Italian cinema were experiencing at the time. The film’s use of Rome’s ‘Non-synchronous’ and ‘Heterotopic’ spaces can be read as an attempt to come to terms and overcome fascism’s agendas about history, community, and, last but not least, masculinity. While offering a very ironic interpretation of Italy’s deeply conflicted route to modernity, Castellani’s film also reflects on (personal as well as national) identity as the result of a performance: a performance in which loss and nostalgia play a major role. (shrink)

Summary The life and works of John Mercer (1791–1866), a calico-printer from Lancashire, is a good example to illustrate the complexity of the process of printing cottons with natural colours, and the different skills required to obtain a final product able to be sold in the markets in the early years of the nineteenth century. A subtle combination of entrepreneurial dynamism, chemical knowledge, and expertise in the workshop provided a very special sort of ‘artisan-chemist’, who played a key role in (...) the industrial prosperity of the coloured textiles in the early Victorian years. The paper tries to show how, apart from the traditional ‘great luminaries’ of the period (Gay-Lussac, Berzelius, Davy, or Dalton), self-educated provincial chemists such as Mercer also made significant practical and theoretical contributions. (shrink)

The subject of this study is Poetry in Arabs: Cultural Characteristics and Financial Supporters of the Ancient Literary Genre. The problem of this study is to question whether poetry can be evaluated from a cultural point of view in Arabs and a cute lifestyle, aesthetic, symbolic and semantic dimension. In this article, not only Arabic poetry is evaluated in terms of culture; the cultural dynamics that enable the development of poetry are also emphasized. There have been great developments in social (...) studies in the modern period. New sciences such as sociology, anthropology, archeology and cultural history were formed. Among these sciences, sociology primarily focused on Western societies, while anthropology investigated non-Western societies. These sciences have studied human diversity in ancient societies and peoples. As a result of these studies, a lot of data has been collected about the cultures of existing and ancient societies; The history of humanity has been tried to be understood and its future has been tried to be predicted. However, the poetry of the Arabs, one of the ancient societies, is known by everyone, and while the Arabs are an advanced society in poetry, the cultural aspect of poetry has not been adequately evaluated. Recent studies in this field are a repetition of the past as a method. These studies are certainly important, but as in the past, Arabic poetry is discussed in the context of history, content, form, subject and poets with the beginning date of poetry and the fairs where poetry is performed are emphasized. However, it is time to consider Arabic poetry around the cultural corpus, which is considered important today, with the dynamics of culture and cultural perspective. Therefore, in this study, ancient Arabic poetry has been evaluated in terms of culture. In this study, document analysis, one of the qualitative method techniques, was used; In addition to the works related to Arabic literature, some cultural and cultural history books were consulted. (shrink)

This article examines the influence of the Hanafī philosophy of the Mamlūk period on the early Ottoman fiqh studies. Since the Egyptian and Damascus regions, which were under the rule of the Mamlūks, became the most important centres of knowledge in the Islamic world, it is understood that the Mamlūks’ scientific knowledge was superior to the Ottomans. On this occasion, many scholars who were considered the leading figures of the Ottoman scientific community turned to Egypt and Damascus regions and benefited (...) from the scientific accumulation there. In fact, these scholars who played an active role in the formation of the Ottoman scientific environment completed their education in Damascus and Egypt under the rule of the Mamlūks and graduated from the Mamlūk education system and assumed important roles in the formation of the Ottoman science understanding. During this period, the Hanafī judges (fuqahāʾ), who were active in the Mamlūk community, contributed to the development of the leading names of the Ottoman scientific community and this thought had an impact on their understanding of science. In this context, it is possible to say that the fiqh studies of the Ottomans in the first period were influenced by the Mamlūk Hanafī who had their characteristics. The two main characteristics of Hanafī thought in the Mamlūk period, the hadīth-centred juristic (fiqh) idea and the method of mamzûc (mixed) fiqh style are also seen in Ottoman fiqh works.Summary: In this article, the effect of Hanafī fiqh thought on the early Ottoman fiqh studies in Mamlūk period is discussed. While the Ottomans did not yet establish a scientific tradition in the period of foundation and ascension, many Mamlūk cities replaced Baghdad as the centre of knowledge of the Islamic world. Because the Mongol invasion, the crusades and the destruction of Andalusia due to reasons such as many scholars displaced by the Mamlūks settled there. Especially during this period, Egypt and Damascus, which were under the rule of the Mamlūks, became the most important centres of science in the Islamic world. In this respect, 14th-16th It is accepted that the science level of the Mamlūks was quite superior to the Ottomans in the 16th century. On this occasion, many scholars who are considered as the leading names of the Ottoman scientific community turned to Egypt and Damascus regions and benefited from the scientific accumulation there. Osman Ghāzī’s teacher and father-in-law, Sheikh Edebālī, Davud-i Kayserī, Sheikh Bedreddin, Molla Fanārī, Molla Gürānī are some of these scholars. In addition to these, scholars such as Muhsin-i Kayserī, Germiyanlı Poet Ahmedī, Hacı Paşa, Celāleddin Hızır, İbnü’l-Cezerī and İbn Arabşāh have also studied science in Egypt and Damascus. These scholars, who played an active role in the formation of the Ottoman scientific environment, completed their education in Damascus and Egypt under the rule of the Mamlūk and after graduating from the Mamlūk education system, they played an important role in the formation of the Ottoman science understanding. Sheikh Edebālī was accepted as one of the scientific and spiritual leaders of the Ottoman Empire. Davud-ı Kayserī was the first chief professor of İznik madrasah, the first Ottoman madrasah. Molla Fanārī had the privilege of being the first Ottoman shaykh al-Islām. Molla Gürānī became the teacher of Fatih Sultan Mehmed. During this period, the Hanafi faculties, which were active in the Mamlūk science community, contributed to the growth of the leading names in the Ottoman science community. Molla Fanārī, Seyyid Şerif Cürcānī, Shaykh Bedreddin and Poet Ahmadī have learned lessons from Bābertī, who important Hanafī scholars in Egypt. The idea of Hanafī fiqh in the Mamlūk period influenced the studies of the Ottoman fiqh in the first period. In this context, Molla Khüsrev refers to Zeyla‛ī and Bābertī, the leading Hanafī scholars of Mamlūk in many parts of his work, although he did not go to the regions dominated by the Mamlūks. The two main characteristics of the Hanafī thought in the Mamlūk period were the hadith-centred fiqh thought and mamzûc (mixed) method of fiqh. In the Mamlūk period, hadith studies which were not seen before in Hanafī sect were done. During this period, Hanafī jurists spent time in the field of hadith such as Ibn Balabān, Ibn Turkmānī, Zeylaʻī, Kuraşī, Mogoltay b. Kılıç, Bedruddīn Aynī, Ibn Kutluboğa, Serūcī, Bābertī, İbnü’l-Humām, İbnü’l-‛Adīm. They tried to eliminate the lack of studies in the field of hadith in the Hanafī circles while their studies certainly require hadith expertise. As a result of the works of these jurists in the field of hadith, the basic sources were frequently included in the fiqh studies in the Mamlūk period and, the hadiths were started to be made. The influence of this understanding, which had an important place in the thought of the fiqh of Hanafī during the Mamlūk period, can be seen in the Ottoman fiqh works in the first period. In this context, Molla Khüsrev, in his work with the influence of the early Ottoman jurists who had been educated in Egypt before him, gave some basic sources of hadith and sometimes gave information about the reliability of hadiths. On the other hand, it is possible to say that this issue is quite insufficient in Ottoman fiqh works when compared with Hanafi jurists of the Mamlūks. A comparison of Ibnü’l-Humām’s Fethü’l-kadīr and Netāicu’l-efkār, which was performed by Kādızāde order to complete it, can be compared. Apart from that, there are different attitudes between Şürünbülālī and Şeykhi-zāde known as Damad Efendi, they lived in the same period. Şürünbülālī, one of the Egyptian scholars of the Ottoman period generally gave the hadiths from the basic hadith sources in his work Merāki’l-felāh, while Şeyhīzāde did not obey this issue and rarely included basic hadith sources in his work Mecma‛ü’l-enhur. These differences can be explained by the necessity of the scientific environment. Because the Hanafīs were accused of not using hadith in Egypt and its environs, the Hanafī jurists living in this region should have directed them to be more rigorous about the hadith. However, since the Hanafī jurists living in other Ottoman regions did not have such a problem, they probably did not feel the need to refer to the main sources of hadith in the power of hadiths. Therefore, it can be said that the scientific environment and the need arising in this direction lead to different attitudes of the jurists living in the same period. The mamzûc (mixed) method starting with Ibnu’s-Sāātī, In the 8th-century, it was especially effective on the idea of ​​the fiqh style of Hanafī jurists. Although the first name of the mamzûc (mixed) method, Ibnu’s-Sāātī, was not one of the scholars of the Mamlūk period, the influence he initiated was more common in the Mamlūk period and became one of the characteristic features of the Hanafī fiqh thought in this period. Therefore, it is understood that the majority of Hanafī jurists had a gratified method. In addition to this, it is seen that Ottoman jurists who were educated in and around Egypt write procedural works in grammatical style. Molla Fanārī's work Fusūlü’l-Bedāyi is the most important example of this genre. Moreover, even Molla Khüsrev, who had not gone to Egypt and his surroundings, wrote a memoir-like work called Mir’ātü’l-Usûl. The works of these two authors show that the Ottoman jurists were influenced by the Mamlūks. As a result, it is possible to say that the fiqh studies in the early period of the Ottomans were influenced by the Mamlūk Hanafīs who had their characteristics. The hadith-centred fiqh thought and mamzûc (mixed) fiqh style understanding had an impact on the early Ottoman fiqh studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Handbook of Classical Rhetoric in the Hellenistic Period, 330 B.C.-A.D. 400Terry L. PapillonStanley E. Porter, ed. Handbook of Classical Rhetoric in the Hellenistic Period, 330 B.C.-A.D. 400. Leiden, New York, and Cologne: E. J. Brill, 1997. xvi 1 901 pp. Cloth, Gld. 430, US $253.This massive collection of essays by various authorities will serve as a good basic introduction to the nature and history of classical rhetoric, even (...) for those working outside the Hellenistic period.Its intentions are several: to provide (1) “a comprehensive and wide-ranging introduction to classical rhetoric as it was practiced in the Hellenistic period,” (2) “a thorough introduction to the standard categories of thought, terminology, and theoretical writing on the subject, along with its history and development,” (3) “an assessment of the use of classical rhetorical categories in a representative selection of literary genres and a number of specific writers of the Hellenistic period,” (4) “relevant examples of each term defined and analyzed,” and (5) “areas warranting further research” (xiii–xiv). It has four intended audiences: scholars working with the New Testament, and with Hellenistic classical, and patristic authors. It succeeds in attaining the five stated goals, and will be useful for the four stated audiences. This is especially true for the first audience, New Testament scholars. It will serve a fifth audience well too: it would be a useful book for graduate students, both in classical and in New Testament studies, since it offers clear presentations of issues and future work, points well to other bibliography, and is so broad in scope as to be a concise literary history of classical and biblical literatures.The book is broken into three larger parts. Part I, “Rhetoric Defined,” includes six chapters of introduction to and overview of the five parts of rhetoric. Kennedy’s two chapters (“Historical Survey of Rhetoric” and “The Genres of Rhetoric”) display his typically clear, magisterial, and thorough presentation of the background material. The next four chapters, on the five parts of rhetoric, serve as preparation for the rest of the book. They are of mixed quality. Wuellner’s chapter on arrangement (3), placed before the chapter on invention, is overly difficult, idiosyncratic, and less helpful than it could be, especially when it follows on Kennedy’s clear and controlled prose. Heath’s chapter on invention (4) is a stimulating change of pace. Rather than offering just a straight discussion of the history of invention (though the discussion of its history is thorough), he works through all aspects of the topic with an actual case before him, the response of Antenor during the Trojan War to the Greek request for the return of Helen. He discusses almost every aspect of invention, with thorough reference to the ancient theorists, as he grapples with the actual situation. This provides a good sense of what an orator would actually go through in the composition process. Rowe’s chapter on style (5) follows the four virtues with an emphasis on examples of ornamentation. He begins with the assertion that “at least three reasons account for its [the four virtues’] influence” (121): it provides a “rich nomenclature,” it offers precepts that “apply to any verbal expression,” [End Page 308] not only that used to persuade, and it provides “criteria for judging style that are sufficiently flexible to allow for changing tastes and requirements.”Part II, “Rhetoric in Practice,” treats various genres in ten chapters: the epistle (J. T. Reed), philosophical prose (D. M. Schenkeveld), historical prose (S. Rebenich), poetry and rhetoric (R. Webb), biography (R. A. Burridge), oratory and declamation (D. H. Berry and M. Heath), homily and panegyrical sermon (F. Siegert), the rhetoric of romance (R. F. Hock), apocalyptic and prophetic literature (J. M. Knight), and drama and rhetoric (R. Scodel). These serve as a useful, if uninspiring, survey of several genres in the Hellenistic period, with appropriate reference to important classical antecedents and post-Hellenistic developments. These essays are, in essence, a brief survey of classical and biblical literature. They are thorough and give the appropriate background information with abundant bibliography for further study.Their most useful function is to provide a backdrop for... (shrink)

This study examines discursive representations of judicial power in Russian print media. The data are drawn from governmental and oppositional newspapers and cover a six-month period during 2013. Using an approach that is informed by Critical Discourse Analysis and a pragma-dialectical perspective on argumentation, the authors distinguish strategies and specific linguistic means as well as argumentation fallacies that journalists employ in the articles to construct the representation which is consistent with a newspaper’s ideology.

Journal Name: Semiotica Issue: Ahead of print.

It seems that a Greek romance named Chaereas and Callirhoe—if it was in fact written about A.D. 50—might be the oldest extant romantic novel.1 Chaucer's Troilus, Chretien's Erec, Apuleius' Metamorphoses, and for all l know Homer's Odyssey have already blushed under this dubious accolade; and I do not mean to celebrate an old Greek book by thrusting an English genre-label upon it. But nothing quite like Callirhoe survives from an earlier period of western literature; and following our inclination to comprehend (...) such a phenomenon by fitting it into familiar categories we would call it a Greek romance because it is written in Greek, a novel because it is an extensive prose fiction of ordinary moral life that conforms to a recognizable canon of realism, and a romance because its admirable protagonists suffer the most serious threats to their lives and values but survive them all. Its author, a certain Chariton of Aphrodisia, a small city in the province of Caria in Asia Minor, places his book about Callirhoe in the Hellenistic genre of the erotikon pathematon—a story of erotic suffering. This is an accurate label and perhaps a bold one, as erotic pathemata were thought to be more suitable for epic or elegiac verse than for prose. In any case, I am not here concerned to argue that Callirhoe is the precursor of such entities as the novel, nor to speculate about its cultural origins, nor to point out its obvious likenesses to later narratives. I do want to discuss the habits of narrative art Chariton exploits in his book, and to explore a few of the ways he makes erotic suffering pleasurable for his readers—us, and the leisured, literate members of the bourgeois households that had for centuries flourished in the great Hellenic cities of the eastern Mediterranean basin. · 1. I accept the date accepted by Ben E. Perry, The Ancient Romances , p. 350. The standard edition is W.E. Blake's , whose translation I use throughout. Chariton's work did not see print until 1750, so it did not enjoy the vogue enjoyed by other Greek romances in the Renaissance. Arthur Heiserman is the author of several articles, short stories, and Skelton and Satire. 'Aphrodisian Chastity" will appear as a chapter in his forthcoming book, Romance in Antiquity: Essays and Discussions about the Beginnings of Prose Fiction in the West. (shrink)

In 1644 George Wither stood outside or without the doors of the House of Commons and delivered a speech to Parliament and the nation simultaneously. Not only did this “print oration” function as a prototype for Areopagitica, A Speech of John Milton [...] to the Parliament of England, but it inspired a genre of print pamphlets that would extend well into the eighteenth century. This article identifies and argues for the popular consequences of the genre, detailing its contribution to England’s (...) developing structure of political communication and representation. (shrink)

This article examines whether the attention to cultural products on the internet is more democratically structured than in traditional print media, and how these types of media attention affect commercial success. For the U.S. fiction book releases in February 2009, I analyze consumer ratings at the web store Amazon.com and the social networking site Goodreads.com. The results show that on the internet far more books receive attention, and that this indeed comes to the advantage of female authors and authors of (...) popular fiction. Moreover, online publicity positively affects commercial success. These outcomes suggest that online attention to cultural products dampens the effects of institutionally embedded evaluations, while word-of-mouth mechanisms are becoming increasingly prominent in terms of how cultural products are discussed. (shrink)

The Korean concept of kyoyang conceives different layers of meaning corresponding to the enlightenment and reform project in the early modern and colonial periods of Korean society. This article traces the historical trajectory of kyoyang published in Korean vernacular magazines and newspapers by Korean reformists, the main media intellectuals who appropriated Japanese and Western ideas of enlightenment, nationalism, and culturalism. It reveals the way the reformist media intellectuals employed kyoyang to define the nature of modern print media while simultaneously transforming (...) the concept, providing resources for enlightening the populace. Accordingly, kyoyang, once assumed by a few literary men under the influence of Neo-Confucianism, was shifted to encompass the commoners, envisioning the enlightened national subjects who embody contradictory qualities. (shrink)

The Middle English Pearl is known for its mixture of genres, moods and various discourses. The textual journey the readers of the poem embark on is a long and demanding one, leading from elegiac lamentations and the erotic outbursts of courtly love to theological debates and apocalyptic visions. The heterogeneity of the poem has often prompted critics to overlook the continuity of the erotic mode in Pearl which emerges already in the poem’s first stanza. While it is true that (...) throughout the dream vision the language of the text never eroticizes the relationship between the Dreamer and the Pearl Maiden to the extent that it does in the opening lines, the article argues that eroticism actually underlies the entire structure of the vision proper. Taking recourse to Roland Barthes’s distinction between the erotic and the sexual to explain the exact nature of the bond which connects the two characters, the argument posits eroticism as an expression of somatic longing; a careful analysis of Pearl through this prism provides a number of ironic insights into the mutual interactions between the Dreamer and the Maiden and highlights the poignancy of their inability to understand each other. Further conclusions are also drawn from comparing Pearl with a number of Chaucerian dream visions. Tracing the erotic in both its overt and covert forms and following its transformations in the course of the narrative, the article outlines the poet’s creative use of the mechanics of the dream vision, an increasingly popular genre in the period when the poem was written. (shrink)

The first 100 years of printing in Europe was a vibrant period full of innovation and adaptation. Continental printers controlled the production of Latin books, many of which were imported into England. English printers worked hard to create an audience for their editions and achieved,this by adopting specific design features from the Latin editions. Yet despite this connection, English printing is often studied in separation from European printing. This article studies the Golden Legend, a hagiographic text popular throughout England and (...) Europe, and shows that the two traditions were interrelated, especially in book design. On the continent, printers found themselves in a crowded marketplace and some adopted established designs to target a particular audience. In contrast, English printers were inspired by the design of continental books. Design was governed by the intended audience but not restricted to national demarcations. Not only was English printing integrated with European printing, it sustained a distinctive character while remaining part of the European tradition. (shrink)

This essay is part of a project that has set out, as one of its primary objectives, to observe perversions as important indicators of broader changes and developments within society. Both of the momenta I follow in this study meet all the requirements for such an inquiry. The first development to be examined is what I will call the decline of pornography. At a time when all of society is increasingly becoming pornographic in so many ways, it sounds strange to (...) talk about the decline of pornography. And yet pornography as a genre is, I believe, losing ground to something else – to a distinctly different system of unfolding sexuality and its economic exploitation. The second development to be discussed is the rise of masochism. In this context, I will analyse certain reports that show that, especially since the outbreak of the pandemic COVID-19, the number of people practicing masochistic “heavy play” has increased significantly. It appears that in a period when one would expect people to be dreaming of the lifting of restrictions, freedom, or whatever, many have chosen to undertake the cruel path of “servitude”. Eventually, I will show that these two developments are essentially connected, probably even consubstantial. (shrink)