Academic literature on the topic 'Posthumous editions'
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Journal articles on the topic "Posthumous editions"
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Aleksic, Milan. "The integrality of the text of Andric’s anxieties." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 84 (2018): 157–69. http://dx.doi.org/10.2298/pkjif1884157a.
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The paper points to a printing error which appeared in the edition of Andric?s volume of lyrical prose Anxieties (Nemiri), and since it was the only edition of this book in the author?s lifetime, the book was reprinted in all the posthumous editions with a note that it was impossible to reconstruct the missing place in the text. A possibility to establish the integral text has been found in the periodicals, within the edition of his lyrical prose entitled Children (Djeca), where the error appears. As there are three editions of this text, we point to the possibility of the text being reconstructed on the basis of the last edition published in the author?s lifetime as an expression of his authorial will.
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Guskov, Nikolai. "The creation of S. Marshak’s poem “Ice-cream”." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 154–79. http://dx.doi.org/10.31860/2304-5817-2020-2-18-154-179.
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The article compares seven versions of S. Marshak’s poem for children “Ice Cream”. Three of them (1925, 1940 and 1957) are recognized as the canonical editions, and others (of the 1929, 1949, 1960.1962) as their variants. The final version for posthumous publications is ascribed, without any reason given, to 1960 production year, with deviations taken from different publications of this text. The article analyzes the reasons underlining such transformation of the text that include changes in realia, social tastes and mores, stylistic and ideological tendencies of the 20th century, and the poet’s desire to harmonize his creative attitudes with external factors. The analysis demonstrates that although the editing process of the text was organic, the difference between editions is so great (only 30 verses are shared between all of the editions) that the reproduction of all versions is needed for scholarly and the critical editions of Marshak’s poetry. His editing method is compensatory: the plot and style varied, but the philosophical and ethical subtext important for Marshak as a creative individual remained the same. These are archetypal ideas of joyful acceptance of the objective laws of nature, the glorification of those who support world harmony, and the condemnation of those who violate it. The appendix contains a comparative table showing the history of Marshak’s text.
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Dukes, Gerry. "THE SECOND ENGLISIllNG OF ELEUTHERIA." Samuel Beckett Today / Aujourd'hui 7, no. 1 (December 8, 1998): 75–80. http://dx.doi.org/10.1163/18757405-90000086.
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A review of Barbara Wright's translation of Eleuthéria, Samuel Beckett's first full-length play in French, written in 1947. The posthumous publication history of Beckett's original text by Les Editions de Minuit (Paris), the first translation by Michael Brodsky into English, published by Foxrock Inc. (New York) and Wright's translation is briefly sketched. The two English translations are compared and Wright's is found not only superior but also eminently actable.
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HARRIS, JAMES A. "EDITING HUME'S TREATISE." Modern Intellectual History 5, no. 3 (November 2008): 633–41. http://dx.doi.org/10.1017/s1479244308001832.
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In 1975 the Clarendon Press at Oxford published Peter Nidditch's edition of John Locke's An Essay concerning Human Understanding. In his Introduction Nidditch says that his edition “offers a text that is directly derived, without modernization, from the early published versions; it notes the provenance of all its adopted readings (some of which are new, correcting long-established errors); and it aims at recording all relevant differences between these versions”. As Nidditch goes on to acknowledge, the “relevant differences” were many, “requiring several thousand registrations both in the case of material variants (deletions, additions, or changes of wording) and in the case of formal variants (changes of punctuation, parentheses, italics, etc.)”. The textual history of Locke's Essay is extremely complicated. While there is no manuscript of the first edition of the book, there were four editions in Locke's lifetime, each new one containing extensive and significant revisions, as well as a posthumous edition published shortly after the author's death. There was a translation into French made with Locke's cooperation and published in 1700, and a Latin translation came out a year later. Nevertheless, Nidditch managed to record all the material variants in footnotes to the text, in a way that makes it fairly easy to track the changes that Locke made to successive editions of the book, and to locate points at which judgements had to be made as a critical text was established on the basis of the chosen copy text. Sometimes a critical edition succeeds in completely changing the way that a text is read. Peter Laslett's 1960 edition of Locke's Two Treatises of Government is a good example. Nidditch's edition of the Essay did not have that kind of very dramatic effect on Locke scholarship. Rather, it made it possible for those without direct access to all the early editions to engage in careful, historically sensitive studies of Locke's account of human understanding. The result was a slow revolution in Locke studies that continues to shed new light on even the most familiar aspects of the Lockean philosophy.
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McCULLOUGH, PETER. "MAKING DEAD MEN SPEAK: LAUDIANISM, PRINT, AND THE WORKS OF LANCELOT ANDREWES, 1626–1642." Historical Journal 41, no. 2 (June 1998): 401–24. http://dx.doi.org/10.1017/s0018246x9800781x.
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This study examines the posthumous competition over the print publication of works by Lancelot Andrewes (1555–1626) before the English Civil War. The print history of the two official volumes edited by Laud and John Buckeridge (1626), and of competing editions of texts rejected by them but printed by puritan publishers, sheds important new light not only on the formation of the Andrewes canon, but on Laud's manipulation of the print trade and his attempts to erect new textual authorities to support his vision of the church in Britain.
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Nichol, Donald W. "'So proper for that constant pocket use': Posthumous Editions of Pope's Works (1751-1754)." Man and Nature 6 (1987): 81. http://dx.doi.org/10.7202/1011872ar.
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Milkov, V. "Apocryphal images of the other world in the Apocrypha "The vision of the Apostle Paul", "Walking of the Virgin by Flour", "Questions and Answers of St. Athanasius to the Antiochus"." Язык и текст 4, no. 4 (2017): 85–118. http://dx.doi.org/10.17759/langt.2017040407.
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In the publication the apocryphal texts are reproduced and analyzed, which describe the other world and the posthumous destinies of souls of the dead people. A place of torment sinners and Paradise are described in such Apocryphas as "The Vision of the Apostle Paul", "Walking of the Virgin by Flour", "Questions and Answers of St. Athanasius to the Antiochus". In the analytical part of the publication the author systemizes data about the editions of the apocryphal works and gives information about the manuscripts in which the data revision submitted. The publication contains the translation of the Apocrypha in modern Russian language.
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Feduta, Alexander I. "Reappearance of a Mistake. (On the history of a disappeard text by N.A. Nekrasov)." Literary Fact, no. 18 (2020): 393–402. http://dx.doi.org/10.22455/2541-8297-2020-18-393-402.
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In posthumous editions of K.I. Chukovsky’s works, including the newest 15-volume Collected Works, his article “The Poet and the Executioner” (1922), which is essentially devoted to the poem “Raising the Grace Cup...” addressed to M.N. Muravyov-Vilensky, is re-published. In the 1930s B.Ya. Bukhshtab finally disavowed the authorship of N.A. Nekrasov, and Chukovsky not only excluded this poem from the body of the poet's works, but also refused to republish his article. Now its republishing requires detailed reservations and explanations, which can be facilitated by the reconstruction of scientific polemics of the past decades. Thу article is devoted to its history.
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Kirby, Michael. "Centenary of HM Seervai – Doyen of Indian constitutional law – an Australian appreciation." Legal Studies 27, no. 3 (September 2007): 361–78. http://dx.doi.org/10.1111/j.1748-121x.2007.00060.x.
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For much of the second half of the twentieth century, HM Seervai was a leading advocate of the Bombay High Court. He argued some of the most important constitutional cases decided by the Supreme Court of India and eventually resolved in 1970 to write his Constitutional Law of India. It became the leading text on Indian constitutional law. It is still in widespread use. Many instances of recent citations are quoted. But it is not the usual commentary on the text of the Indian constitutional and case law. Instead, the book contains a running discussion on the shifts in direction as well as sharp criticisms where Seervai felt that the courts had strayed from correct constitutional doctrine. Seervai died in 1996 as the fourth edition was just completed. In this paper, originally given as a lecture in Mumbai in 2007 on the centenary of Seervai’s birth, the author questions Seervai’s testamentary prohibition on posthumous editions of his text. He urges that a new edition should be produced to keep Seervai’s legacy alive not only in India but in other constitutional democracies where Indian judicial authority is increasingly cited.
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Hamburg, G. M. "Terence Emmons and Russian Historiography." Journal of Modern Russian History and Historiography 10, no. 1 (August 22, 2017): 71–111. http://dx.doi.org/10.1163/22102388-01000004.
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This article analyzes Terence Emmons’ contributions to Russian historiography. It discusses Emmons’ publications on the “golden age” of Russian historical writing and its links to Russian liberalism; his activity as instructor of graduate students at Stanford University from the 1960s to 2004, especially his seminars on the “new current” [novoe napravlenie] of the 1960s–1970s in Soviet historical writing; his editions of diaries by Iurii Vladimirovich Got’e, Frank Golder and Julia Dent Grant Cantacuzene; his articles on the “school” of Vasilii Osipovich Kliuchevskii and on Pavel Nikolaevich Miliukov as historian; his discovery of Boris Ivanovich Syromiatnikov’s unpublished monograph on Russian historiography; his analysis of Natan Iakovlevich Eidel’man’s “last book” on “revolution from above”; his editing of Martin Malia’s posthumous book, History’s Locomotives; his contemplated book on the Priiutino Brotherhood; his article on Vladimir Ivanovich Vernadskii and his son Georgii Vladimirovich (George) Vernadskii; and his links to Petr Andreevich Zaionchkovskii and to Zaionchkovskii’s “school” of historians.
Dissertations / Theses on the topic "Posthumous editions"
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Chaghafi, Elisabeth Leila. "Early modern literary afterlives." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:c46edf04-50ed-4fc0-8d4f-74dfdfdb470e.
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My thesis explores the posthumous literary life in the early modern period by examining responses to ‘dead poets’ shortly after their deaths. Analysing responses to a series of literary figures, I chart a pre-history of literary biography. Overall, I argue for the gradual emergence of a linkage between an individual’s literary output and the personal life that predates the eighteenth century. Chapter 1 frames the critical investigation by contrasting examples of Lives written for authors living before and after my chosen period of specialisation. Both these Lives reflect changed attitudes towards the writing of poets’ lives as a result of wider discourses that the following chapters examine in more detail. Chapter 2 focuses on the events following the death of Robert Greene, an author often described as the first ‘professional’ English writer. The chapter suggests that Greene’s notoriety is for the most part a posthumous construct resulting from printed responses to his death. Chapter 3 is concerned with the problem of reconciling a poet’s life-narrative with the vita activa model and examines potential causes for the ‘gap’ between Sir Philip Sidney’s public life and his works, which continues to pose a challenge for biographers. Chapter 4 examines the evolution of Izaak Walton’s Life of Donne. The ‘life history’ of Walton’s Lives, particularly the Life of Donne, reflects an accidental discovery of a biographical technique that anticipates literary biography. My method is mainly based on bibliographical research, comparing editions and making distinctions between them which have not been made before, while paying particular attention to paratextual materials, such as dedications, prefaces and title pages. By investigating assumptions about individual authors, and also authorship in general, I hope to shed some light on a promising new area of early modern scholarship and direct greater scrutiny towards the assumptions brought into literary biography.
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Bellotti, Michele. "Un livre jamais paru ? Le manuscrit Riccardiano 2354 et l’héritage épistolaire de Giorgio Vasari." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA153.
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Précieuse source d’informations sur l’auteur des Vies des meilleurs peintres, sculpteurs et architectes, la correspondance de Giorgio Vasari (1511-1574) est bien connue des historiens de l’art depuis son édition par Karl Frey (1923-1930). La conservation rigoureuse de ses nombreuses lettres ainsi que la remarquable qualité stylistique d’une grande partie d’entre elles, invitent à s’interroger sur la valeur que Vasari lui-même pouvait attribuer à son écriture épistolaire. Voyait-il ses lettres comme une partie fondamentale de son legs culturel ? On peut se demander s’il avait pu caresser le projet de les publier sous forme de recueil, conformément à une pratique très diffusée chez les hommes doctes du XVIe siècle. C’est justement un recueil qui se distingue tout particulièrement au sein du riche carteggio vasarien : le manuscrit Riccardiano 2354, de la Bibliothèque Riccardiana de Florence. Datant de la fin du XVIe siècle, ce petit codex contient quarante-huit missives copiées par le neveu et principal hériter de l’artiste arétin, Giorgio Vasari le Jeune (1562-1625), fonctionnaire médicéen versé dans différents savoirs techniques et scientifiques. Cette étude analyse les opérations de sélection, de transcription et de possible transformation menées par Vasari le Jeune à partir des sources épistolaires originales de son oncle, aujourd’hui introuvables. Des indices matériels et textuels laissent penser que le volume de la Riccardiana pourrait avoir été conçu comme un « livre de lettres » destiné à la publication, mais finalement jamais paru. Une initiative éditoriale avortée donc, visant la célébration posthume de la vie et de l’œuvre de Vasari à travers la valorisation de son héritage épistolaire. La lecture croisée des textes du recueil et d’autres missives qui y furent exclues, permet de reconnaître, en amont de l’entreprise de Giorgio le Jeune, un dessein de reconstitution biographique qui privilégie certains aspects de la figure de Vasari, en omet d’autres et, parfois, plie l’héritage culturel de l’artiste aux exigences d’affirmation personnelle du neveu dans le contexte médicéen de son temps. La résultante principale de cette recherche est une réflexion sur les dynamiques propres à l’écriture épistolaire de Vasari, sur les fonctions diverses qu’elle pouvait endosser dans les différentes phases de sa carrière d’artiste et d’écrivain. Car la pratique épistolaire fut pour Vasari un outil privilégié pour la mise en représentation de soi vis-à-vis de son réseau de correspondants, pour l’apprentissage de la parole littéraire et pour l’élaboration des procédés de l’ekphrasis, plus largement développés dans les ViesA valuable source of information on the author of The Lives of the Artists, the correspondence of Giorgio Vasari (1511-1574) is well known to art historians, mainly since its almost complete edition published by Karl Frey (1923-1930). If we consider the fact that Vasari zealously kept his numerous letters during his whole life, as well as the remarkable stylistic quality of many of these texts, we realise the importance of inquiring into how significant his epistolary writing could have been to him. Did Vasari see his missives as an essential part of his cultural legacy? In this case, it has to be questioned whether the artist could have ever conceived the project of publishing a selection of his letters, in accordance with a widespread practice among literates in the Fifteenth century. A collection of Vasari’s letters was actually gathered and still stands out from the large number of documents of his vast carteggio: it’s the manuscript Riccardiano 2354, held by the Biblioteca Riccardiana in Florence. Dating from the late Fifteenth century, this small codex contains forty-eight letters posthumously copied by the artist’s nephew and principal heir of his estate, Giorgio Vasari the Younger (1562-1625), an official of the Medicean Court deeply versed in several scientific and technical disciplines. This study investigates the process of selection, transcription and possible manipulation conducted by Vasari the Younger on his uncle’s original epistolary sources, which are nowadays still missing. Several material or textual hints can suggest that the Riccardiana’s volume might have been a “libro di lettere”, a book of letters designed for publication, but finally never printed. The chief aim of this editorial effort would have been a posthumous celebration of Vasari’s life and artistic achievements, through the highlighting of his missives. The comparison between the texts included in the Riccardiana’s manuscript and other excluded letters, allows us to recognise, as the essential mainstay in Giorgio the Younger’s work, the design of a biographical depiction of Vasari’s figure, focusing on specific traits and omitting others. The artist’s epistolary legacy seems to be occasionally subject to his nephew’s personal career requirements in the Medicean context of his time. The result of this research is a series of considerations on the dynamics inherent in Vasari’s epistolary writing, such as the various functions that it could assume according to the different phases of the artist’s career. Epistolarity has been Vasari’s main tool for self-fashioning towards his correspondents; as well as for literary learning and for the conception of the device of ekphrasis, developed on a larger scale in the Lives
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Seitz, Susan M. "The posthumous editing of Ernest Hemingway's fiction." 1993. https://scholarworks.umass.edu/dissertations/AAI9329667.
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This work is a textual analysis of the editing of the posthumous fiction of Ernest Hemingway, including The Nick Adams Stories, Islands in the Stream, and The Garden of Eden. Through a study of the manuscripts of these works, I argue that in his posthumously published fiction, Hemingway was experimenting both stylistically and thematically, and that the editing of these manuscripts has functioned to suppress these new directions. In each of these three works, Hemingway's posthumous editors have been responsible for poor copyediting, substantial cuts of lines, scenes, and whole chapters, the addition of manuscript material that Hemingway had discarded, and transposed scenes and dialogue. Such editing has resulted in published texts which do not represent Hemingway's intentions in these works as he left them. In addition to these textual issues, I demonstrate that Hemingway was exploring new territory both in his prose style and in his view of the relationship between men and women. In his later work, Hemingway was reconsidering the male-female relationship and was exploring androgyny and the reversal of gender roles. The editing of the posthumous works has not allowed these new considerations in Hemingway's writing to appear. Rather, the texts have been edited to make the posthumous works conform to the received Hemingway canon, and do not allow for the new developments in both Hemingway's style and his treatment of the male-female relationship. I conclude that until a uniform editorial policy is applied to Hemingway's posthumous texts, we will never have a clear version of Hemingway's final works as he intended them.
Books on the topic "Posthumous editions"
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Thomas Wolfe and his editors: Establishing a true text for the posthumous publications. Norman: University of Oklahoma Press, 1987.
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Andò, Valeria. Euripide, Ifigenia in Aulide. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-513-1.
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This volume contains the first Italian critical edition with introduction, translation and commentary of Euripides’ Iphigenia in Aulis. The tragedy, exhibited posthumously in 405 BCE, stages the first mythical segment of the Trojan War, namely the sacrifice of Iphigenia, daughter of king Agamemnon, head of the Greek army, in order to propitiate the winds that should lead the navy to Troy. A tragedy of intrigue and unveiling, in which all the characters try to oppose the sacrifice, judged to be an impiety despite its sacred essence. It is therefore a tragedy without gods, in which characters of modest moral stature move, unstable, ready to sudden changes of mind, and among whom the protagonist stands out: the girl who, having overcome the dismay for the destiny awaiting her, voluntarily moves towards death on the altar, for a flimsy patriotic ideal and with the illusion of achieving immortal glory. Since the end of the eighteenth century, the text of this tragedy, handed over to us by the manuscript tradition, has been exposed more than others to a rigorous philological criticism that has broken its unity, through considerable expunctions of entire sections and sequences of verses. The volume traces the phases of this critical work, showing its methods – and sometimes its excesses – and choosing a balance line in the constitution of the text. The overall exegesis of the tragedy, which I propose in this study, consists in the belief that, despite the exodus being spurious, the finale, in view of which the entire dramaturgy was composed, still had to contemplate Iphigenia’s salvation. In fact, if the Panhellenic ideal of defence against the barbarians is now meaningless, and if a war of destruction, to begin with, needs the death of an innocent person, then this death must be transcended and the horror of human sacrifice must dissolve. It therefore seems that, once political current events become opaque, the poet’s research tends to create situations of great patheticism in an aesthetic setting of refined beauty.
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Balsamo, Jean. Publishing History of the. Edited by Philippe Desan. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780190215330.013.11.
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The originality of Montaigne’s literary project during his time was to have been able to combine an aristocratic and private writing style with a public publishing ambition, which is linked to the circulation of his book in the “bookseller’s shop.” The Essays thus are part of a long publishing history, whose stages corresponded to as many possible kinds of reading: the various editions (1580, 1582, 1588), planned out by the writer himself, the posthumous edition (1595), scrupulously put together by Marie de Gournay, along with its avatars until the nineteenth century, the debate about the Bordeaux Copy, and finally the choice of the best text on philological grounds.
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In Retrospect: Remembrance of Things Past/Posthumous Edition. Baker Pub Group, 1994.
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Neruda, Pablo. Late and Posthumous Poems, 1968-1974: Bilingual Edition (Neruda, Pablo). Grove Press, 1994.
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Van Raalte, Theodore. Antoine de Chandieu. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190882181.001.0001.
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The first study in any language dedicated to the influential theological publications of Antoine de Chandieu begins by introducing us to the memory of Chandieu as it was at Theodore Beza’s death. Poets in Geneva mourned the end of an era of star theologians by reminiscing about Geneva’s Reformed triumvirate of gold, silver, and bronze: gold represented Calvin (d. 1564); silver Chandieu (d. 1591); and bronze Beza (d. 1605). The present work sets Chandieu within the context of Reformed theology in Geneva, the wider history of scholastic method in the Swiss cantons, and the gripping social and political milieus. The book shows why Chandieu developed a very elaborate form of the medieval quaestio disputata and made liberal use of hypothetical syllogisms. Chandieu was far from a mere ivory-tower theologian: as a member of French nobility in possession of many estates in France, he and his family acutely experienced the misery and triumph of the French Huguenots during the Wars of Religion. Connected to royalty from at least the beginning of his career, Chandieu later served the future Henry IV as personal military chaplain and cryptographer. His writings range from religious poetry (put to music by others in his own lifetime) to carefully crafted disputations that saw publication in his posthumous Opera Theologica in five editions between 1592 and 1620. The book argues that Chandieu utilized scholastic method in theology for the sake of clarity of argument, rootedness in Scripture, and certainty of faith.
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Ellmann, Maud. Sylvia Townsend Warner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935338.013.31.
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This article reviews some important recent contributions to the belated recovery of the work of English novelist and poet Sylvia Townsend Warner. Described by Eleanor Perényi as “feminist, Marxist, historical novelist, social comedian, teller of fairy tales,” Warner has received scant critical attention, in stark contrast to her remarkable productivity. Warner published thirty-six books during her lifetime, in addition to four posthumous collections of poems and short stories; at least 154 short stories published in theNew Yorker; her diary, published by Chatto and Windus in 1994; several volumes of correspondence; a revised and expanded edition of her poems; her translation of Marcel Proust’s critical writings inBy Way of Sainte-Beuve; and a volume of previously uncollected writings,With the Hunted, which includes many short pieces previously published in theJournal of the Sylvia Townsend Warner Society. The present article looks at key critical responses to Warner’s work by such writers as Jan Montefiore, Jane Marcus, Gillian Beer, Jean-Jacques Lecercle, and Mary Jacobs.
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Whitehouse, Tessa, and N. H. Keeble, eds. Textual Transformations. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198808817.001.0001.
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This collection of twelve original essays by an international team of eminent scholars in the field of book history explores the many ways in which early modern books were subject to reworking, re-presentation, revision and reinterpretation. Their history is often the history of multiple, sometimes competing, agencies as their texts were re-packaged, redirected and transformed in ways that their original authors might hardly recognize. The essays discuss the processes of editing, revision, redaction, selection, abridgement, glossing, disputation, translation and posthumous publication that resulted in a textual elasticity and mobility that could dissolve distinctions between text and paratexts, textuality and intertextuality, manuscript and print, author and reader or editor, such that title and author’s name are no longer sufficient pointers to a book’s identity or contents. The essays are alive to the impact of commercial and technological aspects of book production and distribution (discussing, for example, the career of the pre-eminent bookseller John Nourse, the market appeal of abridgements, and the financial incentives to posthumous publication), but their interest is also in the many additional forms of agency that shaped texts and their meanings as books were repurposed to articulate, and respond to, a variety of cultural and individual needs. They engage with early modern religious, political, philosophical and scholarly trends and debates as they discuss a wide range of genres and kinds of publication (including fictional and non-fictional prose, verse miscellanies, abridgements, sermons, religious controversy) and of authors and booksellers (including Lucy Hutchinson, Richard Baxter, Thomas Burnet, Elizabeth Rowe, John Dryden, and Samuel Taylor Coleridge, Lucy Hutchinson, Henry Maundrell, John Nourse; Jonathan Swift, Samuel Richardson, John Tillotson, Isaac Watts and John Wesley).
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Rivers, Isabel. Poems and Hymns. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198269960.003.0012.
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This chapter challenges the common modern differentiation between religious poems and hymns, emphasizing the category of poetry that promoted piety in a range of forms. Isaac Watts was a pervasive influence. Multi-authored Congregationalist, Methodist, Baptist, Presbyterian, and Unitarian hymn collections are examined, together with the methods and choices of the main editors, including the Wesleys, Whitefield, Ash and Evans, George Burder, and Andrew Kippis. The publishing and editing of poetry by a range of writers, famous and obscure, is compared. Milton, Young, and Cowper were the favourite religious poets, but many little-known writers published volumes of religious poetry or contributed to the religious magazines, with some of their poems being published posthumously. Readers and writers made extensive use of hymns and poems in private and in company, reading them in silence and aloud, quoting them in their manuscript journals and letters, and interweaving them in their prose publications.
Book chapters on the topic "Posthumous editions"
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Fitzer, Anna M. "‘Posthumous remains, family papers, and reminiscences sans fin’." In Editing Women’s Writing, 1670–1840, 139–55. New York: Routledge, 2017. |: Routledge, 2017. http://dx.doi.org/10.4324/9781315100418-10.
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Merisalo, Outi. "The Historiae Florentini populi by Poggio Bracciolini. Genesis and Fortune of an Alternative History of Florence." In Atti, 25–40. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-6453-968-3.05.
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During the last years of his life, Poggio Bracciolini (1380-1459), former Apostolic Secretary and Chancellor of Florence, was working on a long text that he characterized, in a letter written in 1458, as lacking a well-defined structure. This was most probably his history of the people of Florence (Historiae Florentini populi, the title given in Jacopo’s dedication copy to Frederick of Montefeltro, Duke of Urbino), revised and published posthumously by Poggio’s son, Jacopo Bracciolini (1442-1478). Contrary to what is often assumed, Poggio’s treatise was not a continuation, nor even a complement, to Leonardo Bruni’s (1370-1444) official history of Florence. It concentrates on the most recent history of Florence from the fourteenth-century conflicts between Florence and Milan through Florentine expansion in Tuscany and finally reaching the mid-fifteenth century. This article will study the genesis and fortune of the work in the context of Poggio’s literary output and the manuscript evidence from the mid-fifteenth century until the first printed edition of the Latin-language text by G.B. Recanati in 1715.
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"Early Posthumous Printed Editions M AT T H EW DI R ST." In The Routledge Research Companion to Johann Sebastian Bach, 490–500. New York, NY: Routledge, 2017.: Routledge, 2016. http://dx.doi.org/10.4324/9781315452814-32.
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Hone, Joseph. "Censorship and Political Editing." In Alexander Pope in the Making, 160–88. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198842316.003.0007.
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Recent scholarship has increasingly recognized literary editing as a political activity. This final chapter examines Pope’s overlooked role as the editor of Buckingham’s posthumous Works, published at the height of the Atterbury Plot in 1723. This controversial book was seized upon publication and censored by the government; as the editor, Pope himself was taken in for questioning. This episode was the most politically dangerous of Pope’s career. This chapter sheds light on Pope’s involvement in the edition and his immersion in the conspiratorial diaspora of Buckingham House. The subscription for the edition was used to disguise fundraising for Atterbury’s plot for a Stuart restoration; Atterbury, the Duchess of Buckingham, John Barber, and Mary Caesar were all involved in this plan. Why did Pope return to the conspiratorial fold after his retirement from political affairs in 1714? He too must have known about the plan and believed that it could succeed. By editing and emending Buckingham’s Works for the press, this chapter suggests, Pope found an opportunity to express ideas that he simply could not afford to ventilate under his own name.
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Whitehouse, Tessa. "Friendship, Labour, and Editing Posthumous Works." In The Textual Culture of English Protestant Dissent 1720–1800, 164–96. Oxford University Press, 2015. http://dx.doi.org/10.1093/acprof:oso/9780198717843.003.0007.
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"2. Posthumous Motion The Deathwork of Narrative Editing." In Deathwatch. New York Chichester, West Sussex: Columbia University Press, 2014. http://dx.doi.org/10.7312/comb16346-003.
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Pratt, Lynda. "Family Misfortunes? The posthumous editing of Robert Southey." In Robert Southey and the Contexts of English Romanticism, 219–38. Routledge, 2016. http://dx.doi.org/10.4324/9781315606743-14.
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Boulouque, Clémence. "The Afterlives of a Manuscript." In Another Modernity, 53–62. Stanford University Press, 2020. http://dx.doi.org/10.11126/stanford/9781503612006.003.0006.
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Chapter 5 is a study of the fate of Israel and Humanity, Benamozegh’s posthumous manuscript, and the controversies that surround the editorial changes made by Benamozegh’s Christian disciple, Aimé Pallière, who was entrusted with its publication by the Livornese rabbi’s family and turned the 1,900-page manuscript into the 735-page first edition published in 1914. Yet no previous scholarship had ever compared Benamozegh’s original manuscript to the one published by Pallière in 1914. This book fills this lacuna and provides further insights into the inner world of Benamozegh and his influences.
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Marcus, Jane. "Editor’s Introduction." In Nancy Cunard, edited by Jean Mills, 1–10. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979299.003.0001.
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This chapter charts the editor’s journey in re-organizing, editing, and seeing through to publication a posthumous unfinished manuscript by her mentor, Jane Marcus. The chapter highlights the book’s significance to feminist scholarship, Modernism, post-colonial and critical race theory, and to historians of race, gender, class, fascism, war, and peace. The book’s response to issues of reputation and representation are considered, here, while making connections to the uses of feminist anger in current debates and strategies in activism against racism and sexual assault.
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Hartley, Jenny. "1. More." In Charles Dickens: A Very Short Introduction, xviii—14. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198714996.003.0001.
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Charles Dickens’s first two novels—The Posthumous Papers of the Pickwick Club and Oliver Twist—were published in monthly instalments, usually of two or three chapters at a time, beginning in 1836. Charles Dickens was also editing a new monthly magazine, Bentley’s Miscellany, and writing for theatre at this time. He was the talk of the town, his name everywhere. ‘More’ explains how contradiction and opposition fired Dickens’s imagination and were characteristics running throughout his writing. Oliver was a great success with many versions and manifestations. There were numerous translations and the invention of cinema at the end of the 19th century saw film versions, followed by adaptations for television, musicals, and theatre.