If there are any preconceived notions of a poet who refrains from sassy defamation of a critic or an academic who manages not to say something controversial, Wit’s Treasury shatters such notions. At the heart of the book is the organic development of the understanding and appreciation of literary classics, many of them appearing as various translations throughout the Jacobean and Elizabethan periods and beyond. The book gives special attention to adaptations of the classics rendered as poetry, dramatic performance, and other written and visual modes of art. Not only were the classics, such as the narrative and philosophical writings of the ancient Greeks and Romans, translated in ever-more-updated editions with plentiful illustrations, produced for the elite and popular culture, but the trappings, the settings, and the aesthetics of “the classics” also rubbed off on the books and plays of the whole Renaissance.
The central methodological claim of Lesser’s case study is that an attention to the long and disparate lives of each individual copy helps us to better understand the making of the Jaggard Quartos and allows us to complicate the studies conducted by New Bibliographers, whose bibliographic descriptions and attendant explanations of the texts’ extant forms still condition contemporary approaches to bibliography. By carefully studying individual copies across long periods of time, Lesser provides a fuller picture of the material conditions of their production and use.
Pentiment (Obsidian 2022, $19.99, Xbox and Steam), the new narrative game from Obsidian, is a piece of media that gets…
This collective volume is the result of the work of a research seminar assembled in 2015, under the auspices of the Complutense University of Madrid (ucm), commemorating the fifth centenary of the death of the humanist and printer Aldus Manutius the Elder (c. 1450-1515). The overall objective of the text is to reexamine the impact of Manutius in Renaissance Spain by covering different areas and avoiding common places broadly accepted in the traditional historiography, such as the devotion, fame, and prestige around the paradigmatic yet idealized figure of Manutius the Elder.
*Disclaimer: the author of the book is the current editor of SHARP News, however she did not procure nor edit this review in any way.*
In a year where bookcase credibility has become a crucial part of academic life, with towers of texts teetering into every Zoom call, Andie Silva’s insistence on the book as cultural commodity in this thought-provoking and innovative monograph is particularly resonant. From the introduction, the originality of Silva’s work becomes apparent as she productively combines contemporary marketing theory and book history. Sidestepping the focus upon the author found in Erne and Kastan, Silva places our attention firmly on “print agents” – a capacious term which here includes printers, publishers, editors, translators, stationers, and book sellers. By exploring the actions of these print agents through marketing theory, this wide-ranging, perceptive book draws together both market choices and cultural value, convincingly and cogently linking the commercial and rhetorical characteristics of the early modern marketplace of books and ideas. Silva challenges the distinctions that often stymie early modern book history: between reading for profit and reading for pleasure, literary and non-literary texts, canonical woks and printed ephemera, manuscript and print.