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1
Fulvi, Antonio. La storia della nautica in 50 edizioni del Salone nautico internazionale di Genova =: Editions of International Boat Show of Genoa. Sagep, 2010.
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2
Franchini, Silvia. Diventare grandi con il "Pioniere", 1950-1962: Politica, progetti di vita e identità di genere nella piccola posta di un giornalino di sinistra. Firenze University Press, 2006.
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3
Toor, David, ed. Twelfth Night by William Shakespeare: Stage Edition: Designed for use in stage productions of the play with an introduction by the editor. Kenilworth Press, 2000.
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4
Davis, Joel L. Mapping the Code: The Human Genome Project and the Choices of Modern Science (Wiley Science Editions). Wiley, 1991.
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5
Franklin, Carmela Vircillo. Theodor Mommsen, Louis Duchesne, and the Liber pontificalis. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198818489.003.0005.
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This chapter juxtaposes the theory and the practice of philology in the late nineteenth-century race to produce a modern critical edition of the Liber pontificalis. The resulting works, one by the French priest and church historian Louis Duchesne, the other by the classicist and German patriot Theodor Mommsen, showcase the editors’ divergent aims in the application of recensionist criticism, shaped as it was by their scholarly, national, religious, and personal loyalties. Mommsen’s edition adheres to the principles of ‘German’ critical philology and its desire to recover the original text; Duchesne’s two volumes exploit the nature of the medieval papal chronicle as a constantly changing ‘living text’ in order to emphasize the historical significance of its reception. Both editions illustrate the themes of marginality and canonicity as they relate to literary genre and historical period, to religious commitment and national sentiment, and to the tension between classical methodology and medieval texts.
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Little, Katherine C., and Nicola McDonald. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198795148.003.0001.
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In their Introduction, the editors argue that romance—a genre invented in the twelfth century as a new mode of storytelling and distinguished, throughout the period, for its confident, ambitious modernity—is one of the most important if unexpected sites for, and modes of, medieval thinking, especially about things that were elsewhere unthinkable. The Introduction also provides an overview of the eleven chapters in the volume, one that highlights their coverage (French, Middle English and Anglo-Norman), their interdisciplinarity, and their provocative insights into romance thought on politics, religion, music, the romance genre, and on the nature of romance thinking itself.
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Telotte, J. P. Movies, Modernism, and the Science Fiction Pulps. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190949655.001.0001.
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This book considers the impact that the new art of film had on the development of the emerging science fiction (SF) genre during the pre- and early post-World War II era, during the time that the genre was trying to locate an identity, develop its key themes, and even settle on a name. Focusing on the primary venue for early SF literature, the popular pulp magazines such as Amazing Stories, Wonder Stories, and Astounding Stories, it traces this early film/literature relationship by examining four common features of the pulps: stories that involve film or the film industry; film-related advertising; editors’ commentaries and readers’ remarks on film; and cover and story illustrations. All these features demonstrate an interest and even a fascination with the movies, which, as many of SF’s readers, writers, and editors recognized, demonstrated a modernist agenda similar to that which characterized the literature. By surveying these haunting traces of another medium in early SF discourse, this book shows how that cinematic influence penetrated and, both consciously and unconsciously, helped shape the experience of SF, as well as the cultural idea of SF during this formative period.
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Wolfgang, Holzgreve, and Lessl M. 1966-, eds. Stem cells from cord blood, in utero stem cell development, and transportation-inclusive gene therapy /cW. Holzgreve, M. Lessl, editors. Springer, 2001.
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9
Duffy, Brooke Erin. Making the Magazine. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037962.003.0002.
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This chapter traces the history of women's magazines that spans 300 years. Drawing upon four decades of scholarship on women's magazines, it examines the defining properties of the genre, and particularly the consideration that these periodicals are created exclusively for and targeted to female audiences. It also discusses the ways in which editors-in-chief create and maintain the identity of their publications while establishing the magazine as an intimate imagined space, and how consumerism and citizenship became intertwined in women's magazines. The chapter shows that the history of women's magazines has been defined by the creation of imagined communities of interest, the increasing specialization of titles, and the symbiosis of the magazine and advertising industries.
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Cook, Daniel, James Morris, Valentina Bond, and Monica Burns. The Private Memoirs and Confessions of a Justified Sinner: The Dundee Edition. UniVerse, 2021. http://dx.doi.org/10.20933/100001190.
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Published anonymously in 1824, The Private Memoirs and Confessions of a Justified Sinner: Written by Himself: With a detail of curious traditionary facts and other evidence by the editor pushed the boundaries of genre. It has been called a Gothic novel, a psychological mystery, a religious satire, and an early example of modern crime fiction. The plot follows a staunch Calvinist, Robert Wringhim, who believes he is justified in killing those he believes are already damned by God. A masterclass of metafiction, many of the events are narrated twice; first by the 'editor', who gives his account of the facts as he understands them to be, and then in the words of the 'sinner' himself. Having sold poorly among its first readers, the novel suffered from a prolonged period of neglect. However, since the latter part of the twentieth century it has won greater critical interest and attention.
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Aarts, Bas, Jill Bowie, and Gergana Popova, eds. The Oxford Handbook of English Grammar. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780198755104.001.0001.
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This handbook provides an authoritative, critical survey of current research and knowledge in the grammar of the English language. Following an introduction from the editors, the volume’s expert contributors explore a range of core topics in English grammar, beginning with issues in grammar writing and methodology. Chapters in part II then examine the various theoretical approaches to grammar, such as cognitive, constructional, and generative approaches, followed by the chapters in part III, which comprehensively cover the different subdomains of grammar, including compounds, phrase structure, clause types, tense and aspect, and information structure. Part IV offers coverage of the relationship between grammar and other fields – lexis, phonology, meaning, and discourse – while the concluding part of the book investigates grammatical change over time, regional variation, and genre and literary variation.
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Platte, Nathan. From the Ranch to the Drawing Room. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0012.
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In story and production, Duel in the Sun and The Paradine Case have little in common, but it is precisely their contrasts that show how music served both a more elaborate and experimental function in Selznick’s postwar films. For Duel, Selznick construed a genre-bending western of operatic proportions, striving for “an equivalent of [Wagner’s] Tristan.” Inspired and intimidated by the comparison, composer Dimitri Tiomkin churned out music, much of it rejected. From film to soundtrack album, Tiomkin relied upon choral director Jester Hairston and editor Audray Granville to realize the film’s musical program. As Selznick conceded, The Paradine Case sought to make amends for Duel’s lapses of taste. In this emotionally chilled mystery of a piano-playing murder suspect, Franz Waxman’s music both conceals and discloses characters’ motivations. In adapting musical scenes from the source novel for the screen, Selznick and Hitchcock cast music as the hinge upon which deception swings.
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Greig, Matilda. Dead Men Telling Tales. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192896025.001.0001.
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Dead Men Telling Tales is an account of the lasting cultural impact made by the autobiographies of Napoleonic soldiers over the course of the nineteenth century. Focussing on the nearly three hundred military memoirs published by British, French, Spanish, and Portuguese veterans of the Peninsular War (1808–1814), it charts the histories of these books over the course of a hundred years, around Europe and the Atlantic, and from writing to publication to afterlife. Drawing on extensive archival research in multiple languages, the book challenges assumptions made by historians about the reliability of these soldiers’ direct eyewitness accounts, revealing the personal and political motives of the authors and uncovering the large cast of characters, from family members to publishers, editors, and translators, involved in production behind the scenes. By including literature from Spain and Portugal, it also provides a missing link in current studies of the Revolutionary and Napoleonic Wars, showing how the genre of military memoirs developed differently in south-western Europe and led to starkly opposing national narratives of the same war. The book’s findings tell the history of a publishing phenomenon which gripped readers of all ages across the world in the nineteenth century, made significant profits for those involved, and was fundamental in defining the modern ‘soldier’s tale’.
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Swift, Jonathan. Gulliver's Travels. Edited by Claude Rawson and Ian Higgins. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199536849.001.0001.
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‘Thus, gentle Reader, I have given thee a faithful History of my Travels for Sixteen Years, and above Seven Months; wherein I have not been so studious of Ornament as of Truth.’ In these words Gulliver represents himself as a reliable reporter of the fantastic adventures he has just set down; but how far can we rely on a narrator whose identity is elusive and whoses inventiveness is self-evident? Gulliver’s Travels purports to be a travel book, and describes Gulliver’s encounters with the inhabitants of four extraordinary places: Lilliput, Brobdingnag, Laputa, and the country of the Houyhnhnms. A consummately skilful blend of fantasy and realism makes Gulliver’s Travels by turns hilarious, frightening, and profound. Swift plays tricks on us, and delivers one of the world’s most disturbing satires of the human condition. This new edition includes the changing frontispiece portraits of Gulliver that appeared in successive early editions.
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Hartmann, Anna-Maria. Mythography in Europe, 1500–1567. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807704.003.0002.
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In the late fifteenth and early sixteenth centuries, there were several collections and editions of earlier mythographies available, but these books often drew attention to the need for new mythographies to be written. The first phase of the renewal of the mythographical genre came in humanist miscellanies, in which sophisticated indexes allowed readers to look up all the latest information on a specific god. In the middle of the sixteenth century, there then emerged a series of large-scale, Italian mythographies by Giraldi (1548), Cartari (1556), and Conti (1567). Each of these mythographies specialized in one of the three key aspects of Renaissance mythography: etymology, images, or allegory. Unlike the English works, all of these continental mythographies were educational tools that were designed to be used as reference works, and not to engage in political or religious debates
17
Abbott, Helen. Repackaging Baudelaire. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0003.
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Beginning with a survey of known Baudelaire settings, this chapter analyses the extent of reworkings of Baudelaire’s poetry, including those made by the poet himself, through the different editions of Les Fleurs du mal, and translations of his work beyond France. The rationale for the selected corpus of song settings is then outlined (focus on an important time period for transmission of Baudelaire’s poetry across Europe; analysis of groups of Baudelaire poems set to music by a given composer; focus on scores which converge around the mélodie genre). It explores definitions of a ‘song set’ as: (a) a looser grouping than the ‘song cycle’ of the German Lied tradition; and (b) shaped by both aesthetic and commercial concerns. These concerns influence the analysis which seeks to balance ‘quantifiable’ features of song settings against the challenges of evaluating songs which emerge from a given historical and cultural context.
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Fink, Robert, Melinda Latour, and Zachary Wallmark, eds. The Relentless Pursuit of Tone. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199985227.001.0001.
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The Relentless Pursuit of Tone: Timbre in Popular Music assembles a wide spectrum of contemporary perspectives on how sound functions in an equally wide array of popular music. With subjects ranging from the twang of country banjos and the sheen of hip-hop strings to the crunch of amplified guitars and the thump of subwoofers on the dance floor, this volume attempts to bridge the gap between timbre, the purely acoustic characteristics of sound waves, and tone, an emergent musical construct that straddles the borderline between the perceptual and the political. The book’s chapters engage with the entire history of popular music as recorded sound, from the 1930s to the present day, under four large categories. The chapters in Part I, “Genre,” ask how sonic signatures define musical identities and publics; Part II, “Voice,” considers the most naturalized musical instrument, the human voice, as racial and gendered signifier, as property or likeness, and as raw material for algorithmic perfection through software; Part III, “Instrument,” tells stories of the way some iconic pop music machines—guitars, strings, synthesizers—got (or lost) their distinctive sounds; and Part IV, “Production,” puts it all together, asking structural questions about what happens in a recording studio, what is produced (sonic cartoons, rockist authenticity, empty space?), and what it all might mean. The book includes a general theoretical introduction by the editors and an afterword by noted popular music scholar Simon Frith.
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McCarthy, Erin A. Doubtful Readers. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198836476.001.0001.
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Doubtful Readers: Print, Poetry, and the Reading Public in Early Modern England focuses on early modern publishers’ efforts to identify and accommodate new readers of verse that had previously been restricted to particular social networks in manuscript. Focusing on the period between the maturing of the market for printed English literature in the 1590s and the emergence of the professional poet following the Restoration, this study shows that poetry was shaped by—and itself shaped—strong print publication traditions. By reading printed editions of poems by William Shakespeare, Aemilia Lanyer, John Donne, and others, this book shows how publishers negotiated genre, gender, social access, reputation, literary knowledge, and the value of English literature itself. It uses literary, historical, bibliographical, and quantitative evidence to show how publishers’ strategies changed over time. Ultimately, Doubtful Readers argues that although—or perhaps because—publishers’ interpretive and editorial efforts are often elided in studies of early modern poetry, their interventions have had an enduring impact on our canons, texts, and literary histories.
20
Wells, Rob. The Enforcers. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042942.001.0001.
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The Enforcers describes the problems with business journalism and its possible future by focusing on the little-studied genre of the trade press. A historical and normative analysis of business journalism frames a case study about a small but extraordinary trade newspaper, the National Thrift News, whose aggressive reporting on the savings-and-loan crisis contributed to the downfall of a corrupt banker, Charles Keating Jr., chairman of American Continental Corporation and owner of Lincoln Savings and Loan. The National Thrift News offers broader lessons for mainstream business journalism in that its newsroom envisioned investigative reporting as a commercial and market opportunity; the editor’s part-ownership of the newspaper allowed the staff to take risks. The National Thrift News defied a long-standing narrative that trade publications are captive to the industries they cover; the case study provides new evidence of accountability and investigative journalism in the trade press. It explores the complex relationships and interactions between businesspeople and the press, how their fortunes can rise and fall as a result of similar economic forces, and how their roles in the capitalist system create tension and put them at odds with one another. This book makes the case that business journalism must evolve from its origins as market servant and become a market watchdog.
21
Deaville, James, Siu-Lan Tan, and Ron Rodman, eds. The Oxford Handbook of Music and Advertising. Oxford University Press, 2021. http://dx.doi.org/10.1093/oxfordhb/9780190691240.001.0001.
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The Oxford Handbook of Music and Advertising assembles an array of forty-two pathbreaking chapters on the production, texts, and reception of advertising through music. Uniquely interdisciplinary, the collection’s tripartite structure leads the reader through these stages in the communication of the advertising message as presented by Chris Wharton (2015). The chapters on production study the factors, activities, and people behind the music for the marketing pitch, both past and present. Prominent throughlines in the section include factors influencing the selection of music (and musicians) for advertising, the role of music in corporate branding strategies, the creative forces behind the soundscape of advertising, and industry practices that undergird all aspects of music in commercial contexts. The section on Text focuses on analytic and historical approaches to ads in various media, and includes commentaries on musical genres in ads ranging from Western European art music to American popular genre. Also covered in this section is ad music as used in different ad genres, such as political ads, public service announcements, and television commercials. The analyses used in this section draws from traditional music theory, semiotics, and hermeneutic analysis. Finally, the last section addressing “Reception”—with contributions by researchers in psychology, marketing, and other fields—involves the formulation of models and theories, and implementation of research methods to examine how the presence of music may influence peoples’ attitudes, emotions, thoughts, and behaviors in the context of advertisements and within service environments such as stores, restaurants, and banks. The editors and chapter contributors of this book bring a diversity of perspectives to the topic but share a united aim: to illuminate music’s vital contribution to the advertising message.
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Clark, Kate, and Amanda Markwick. The Renaissance Flute. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190913335.001.0001.
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The last four decades have seen a revival of interest in the renaissance transverse flute. The few collections of surviving original flutes from the sixteenth century have increasingly attracted musicologists, instrument makers, and players to examine, measure (and copy), perform, and record on them. Renaissance flute workshops and summer courses attract students and amateur players in several corners of Europe every year. At the same time, renaissance manuscripts and early prints have increasingly become available on the internet, providing an ever-expanding supply of materials for flutists wanting to experience renaissance music for themselves. This handbook for renaissance flute players offers all the information needed to buy, maintain, and learn to play the renaissance flute, whether alone or in consort. It explains how to read and interpret renaissance music whether from original notation or in modern editions, how to make your own transcriptions, and how to write your own diminutions. It also introduces readers to the basics of renaissance music theory, in clear and simple language. At a time when the gap between the professional “classical” music world and its public seems to have grown irrevocably, this book aims to demystify the business of making beautiful music together. It is a key to the elegant, cylindrical flute that was played all over Europe in the age of polyphony and to the gentle art of consort playing.
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Shakespeare, William. Twelfe Night, Or What You Will: Applause First Folio Editions (Applause Shakespeare Library Folio Texts). Applause Books, 2000.
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24
Tufanova, Olga A., and Marianna V. Kaplun. Hermeneutics of Old Russian Literature: Issue 20. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/horl.1607-6192-2021-20.
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The book is a comprehensive fundamental research on the history of Russian literature of the 11th–17th centuries, reflecting various domestic and foreign schools and trends. The materials are structured into sections depending on the subject, topics and methods of analysis and show both the novelty and the traditional nature of the research problem. The focus is on the scientific problems of codicology, source study, textology, macro- and micropoetics of both manuscript collections and individual monuments of the literature of Old Russia, editions of newly found redactions and previously unknown medieval texts. Analytical and survey research focuses on the problems of interpretation of Old Russian written monuments, the artistic specifics of various genre forms, syncretic phenomena of Old Russian literary and artistic creativity. A number of works have shown a deep interest in the issues of the reception of plots of Old Russian literature in the literature of the 20th–21th centuries, allusions to the medieval texts. The newest original research devoted to the peculiarities of Old Russian writing and manuscript ruling clarifies the issues of the existence of Old Russian books and makes significant adjustments to the established traditional practice of publishing Old Russian monuments. In general, research presented in the book expands and deepens the understanding of the history of the development of Russian medieval literature. The book is addressed primarily to trained readers — medieval scholars, university professors, graduate students and philology students, historians, cultural experts, art historians.
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Hadidi, Ahmed, Ricardo Flores, John Randles, and Joseph Semancik. Viroids. CSIRO Publishing, 2003. http://dx.doi.org/10.1071/9780643069855.
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This comprehensive volume presents indispensable and up-to-date information on viroids and viroid diseases. It provides a single source of information on the properties of viroids, the economic impact of viroid diseases, and methods for their detection and control. It examines the diseases associated with different plant species, the geographic distribution and epidemiology of viroids, diseases of possible viroid etiology, and the future applications of viroids.
 Viroids examines the biology of viroids, molecular characteristics, localization and movement, replication, pathogenesis, viroids and gene silencing, classification, viroid-like satellite RNAs, detection of viroids using bioamplification hosts, biological indexing, polyacrylamide gel electrophoresis, molecular hybridisation and polymerase chain reaction. The book looks at the geographical distribution and epidemiology of viroids in North America, Australasia, China, Japan, Europe, the Middle East, Africa, South America, and at the global level. It covers the control of viroids including quarantine of imported germplasm, availability of viroid-tested propagation materials, thermotherapy, tissue culture, and other conventional strategies as well as biotechnological control approaches. Special topics such as ribozyme reaction of viroids and economic advantages of viroid infection are also included. Other chapters summarise the current state of knowledge concerning viroid diseases of the crop in question and aspects of the natural history of viroids in horticulture. Among the crops covered are potato, tomato, tobacco, cucumber, pome fruits, stone fruits, avocado, citrus, grapevines, hop, chrysanthemum, coleus, columnea, and coconut palm.
 The four eminent editors of this watershed volume have assembled an international group of more than 70 scientists who have substantial experience with viroids and viroid diseases. They have produced a cohesive and comprehensive work that can be used by students, researchers, extension agents, and regulators. It may also be of a great value to science managers, policy makers, and industries in formulating policies and products to obtain viroid-free plants and control viroid diseases. The information on plant quarantine and certification programs will help anyone concerned with the safe movement of plant material across international boundaries or within a single country.