Periodically, SHARP News will publish reflections from members of SHARP’s Executive Council regarding the state of the field and ongoing developments of the society. Our president, Shef Rogers, writes this section’s inaugural post.
In addition to our annual bibliographies, SHARP News will now also publish bibliographies focused on specific regions or on specific areas of study. We welcome any suggestions for future topics! Our inaugural post offers a select bibliography on Africa and Africana Studies. Compiled by Cecile Jagodzinski.
This collaborative book uses Raymond Klibansky as a window through which the reader can become acquainted with the agents and circumstances the philosopher encountered and navigated throughout his life. Although the book demonsrates how Klibansky was the result of his context, it is also clear that his intellectual journey, his philosophical and philological enterprises, and his rigorous commitment to knowledge changed the intellectual landscapes of Art History, Medieval Studies, and Philosophy. The title accurately depicts the focus of the book; a discussion of Klibansky that does not acknowledge the network surrounding the Warburg Library is not possible, just as an attempt to revise the history of The Warburg Institute without mention of Klibansky’s contributions would be unimaginable.
Lise Jaillant’s edited collection Publishing Modernist Fiction and Poetry brings together twelve essays on a range of twentieth-century publishing houses – from B. W. Huebsch to Jonathan Cape subsidiary Cape Goliard – and their role as publishers of modernist and late modernist literature. The particular ‘gap’ in existing scholarship the collection seeks to address is the comparative dearth of critical literature on modernist book publishing, an area which Jaillant suggests has long been neglected in favour of periodical publications.
At first, the move from in-person instruction to an online Zoom classroom seemed like it would hit us particularly hard in Dr. Matt Kirschenbaum’s “BookLab: How to Do Things with Books” course. The course focused not only on the theoretical affordances of reading textual materiality, but also on getting our hands dirty with the physical production of material objects: using clay tablets, making paper, playing with a 3-D printed type matrix and punch, collation exercises, bookbinding, letterpress printing. On our last day of class, the same day our university announced its plans for a campus closure, we were all huddled around one of the presses pulling prints of Walt Whitman’s “A Font of Type” on the paper we had made only a few weeks prior.