Depuis le début de leur reconnaissance artistique dans les années 1990, les photographes japonais Homma Takashi (né en 1962), Kawauchi Rinko (née en 1972), Sanai Masafumi (né en 1968) et Yamamoto Masao (né en 1957) ont publié de très nombreux ouvrages. En privilégiant le livre à l’exposition pour la présentation de leurs oeuvres, ils en ont fait un espace de confrontation entre des réflexions occidentales et des modèles nationaux traditionnels déjà existants, notamment esthétiques et littéraires. On observe aussi, chez ces photographes puisant leur inspiration dans leur environnement immédiat, des similitudes dans les thèmes photographiés, les démarches de production, tout comme dans les choix de mise en page des clichés.Au sein d’une étude élargie de l’histoire du livre de photographies au Japon, la démarche exemplaire de ces quatre artistes permettra de développer et d’analyser comment les pratiques de publication de la photographie ont pu nourrir, et nourrissent encore, le renouvellement de la photographie japonaise contemporaine. L’emploi du livre, objet aisément transportable, manipulable et reproductible, impose également de s’interroger sur la diffusion et sur la réception du travail de ces artistes, au Japon comme à l’étranger. En effet, le livre est aussi à envisager comme un médium qui matérialise les échanges entre l’Extrême-Orient et l’Occident. / Since the beginning of their artistic recognition in the 1990s, Japanese photographers Homma Takashi (born in 1962), Kawauchi Rinko (1972-), Sanai Masafumi (1968-) and Yamamoto Masao (1957-) have published numerous photobooks. By favouring the book over the exhibition to display their works, they turned it into a space where Western reflections and traditional Japanese models intersect, especially aesthetic and literary ones. The four photographers all take their inspiration from their own environment, but similarities can also be observed in the photographic subjects, production processes and page settings.In an expanded study of the history of photobooks in Japan, the exemplary approaches of these four artists will enable to develop and to analyse how photography publishing practices have fed – and are still feeding – the renewal of Japanese contemporary photography. Using the book (an object that can be easily carried, handled and mechanically reproduced) makes it necessary to wonder about the circulation and the critical reception of the artists’ work, both in Japan and abroad. Indeed, the book has to be considered as an artistic medium that materialises the relationships between the Far East and the West.

Zugl.: Tübingen, Univ., Diss., 2004 u.d.T.: Wolff, Sandra: By des Byschoffs zyten volgiengen disz nachgeschriben ding vnd sachen ...

This thesis provides a critical edition of the longest extant version of the medieval Irish text Tochmarc Ferbe ('The Wooing of Ferb'), accompanied by translation, textual notes and literary commentary. Tochmarc Ferbe is found in two manuscripts, the Book of Leinster (LL) and Egerton 1782. This comprises three versions of the text: a short prose account in Egerton 1782, and a long prosimetric account in LL, followed in the same manuscript by a poetic account. After a preliminary analysis of the relationship between these three versions, the edited text of the long prosimetric version (LL-prose) is presented, alongside a facing-page translation. Issues arising from the text, in terms of interpretational difficulties, literary features and metrical analysis of the poems, are discussed in the form of textual notes. A particular focus is the prevalence of textual correspondences between Tochmarc Ferbe and other medieval Irish tales, many of which are identified as direct textual borrowings by the author of this text. The thesis concludes with a literary commentary focusing on the role of women in the LL-prose version. It is argued that its depictions of a wide range of female characters challenge traditional assumptions about medieval Irish attitudes towards women, which tend to focus on their supposed passivity and negativity. The portrayals of two female characters are singled out as especially noteworthy. Queen Medb, frequently viewed as the archetypal expression of negative attitudes towards power-wielding women in medieval Irish literature, is shown to receive a positive depiction in this text. Meanwhile, the main female protagonist Ferb is characterised by her use of speech, which dominates the text in a manner almost unparalleled in medieval Irish literature. It is argued that she subverts the usually passive role of lamenter by channelling her grief into an active force, offering an alternative model of positive female action.

No description available.

This project has come about because of the need for Australian saxophonists to develop an awareness of saxophone history and culture in their own country. Dulcie Holland, William Lovelock and Margaret Sutherland were artists who were active and influential in the areas of performance, composition and pedagogy, helping to create and promote the musical arts in Australia during the first half of the twentieth century. The high regard in which they are held should be evidence enough that their works for saxophone must be performed by their fellow Australians as a part of a well rounded, international exposure to the very best repertoire available. Saxophonists in Australia will be able to place themselves in a relevant world context only when they are fully aware of the heritage their instrument has in their own country. The present editions (created using the type-setting software Sibelius 4) seek to make performance considerably easier by eliminating the need to use the composer's autograph manuscripts, which are sometimes difficult to read and understand, due to poor hand-copying or repeated photocopying which has subsequently made some pages illegible. The accompanying performance guides are designed as introductions, the first step for the young student wishing to tackle these national treasures.

No description available.

This is a scholarly edition of Susan Ferriers (1782-1854) second novel, <i>The Inheritance</i> (1824). I want to reclaim its value as a novel that reveals much about nineteenth-century Scottish notions of class, gender, and nation. Ferrier was among many writers influenced by the development of the Scottish Renaissance. Anand Chitnis claims that this Scottish flowering began in earnest by 1750 and ended by 1830, during which time Scotland emerged from centuries of war and oppression to establish itself as a major force in Europes intellectual and scientific community (4). Improvements in transportation opened up opportunities for migration and travel, connecting Scotland with the rest of Britain. This changing climate influenced significantly Ferrier and her Scottish contemporaries, who adopted recurrent themes, symbols, and settings in their works to establish a sense of coherence within their own society. Ferriers works feature elements that are fundamental to Scottish womens writing as a whole. These elements, such as a powerful sense of locality,distinctive characters, and use of the Scottish vernacular, are especially evident in <i>The Inheritance</i>. In utilizing the 1853 edition as copytext, I adhere to Jerome McGanns notion that each text enters the world under determinate socio-historical conditions, which can be variously defined and imagined (9). The production of a text, therefore, can be influenced by changes in perspective of the author, as well as the opinions of publishers,reviewers, family, and friends. In 1850, in response to a letter from Bentley inviting Ferrier to make changes to the stereotypes of the 1841 edition in his possession, Ferrier asked that Bentley remove the existing illustrations and vignettes and make some substantive and accidental changes to the text. These appear to have been attended to, although Bentley did keep one of the illustrations as frontispiece. At this time, Ferrier also allowed her name to be released as author of the text. This present edition is collated against the 1824 edition held at the National Library of Scotland. As one of my aims is to illustrate the nature of literary production during this period, idiosyncrasies of spelling and punctuation are left unchanged. A few misprints are corrected as indicated in the footnotes. I have included separately accidental and substantive changes between the 1841 and 1853 texts. Aside from a comprehensive introduction, I also include a brief chronology of Ferriers life and works,an appendix that includes a selection of illustrations from various editions, and a list of editions of <i>The Inheritance</i>.

This is a scholarly edition of Susan Ferriers (1782-1854) second novel, <i>The Inheritance</i> (1824). I want to reclaim its value as a novel that reveals much about nineteenth-century Scottish notions of class, gender, and nation. Ferrier was among many writers influenced by the development of the Scottish Renaissance. Anand Chitnis claims that this Scottish flowering began in earnest by 1750 and ended by 1830, during which time Scotland emerged from centuries of war and oppression to establish itself as a major force in Europes intellectual and scientific community (4). Improvements in transportation opened up opportunities for migration and travel, connecting Scotland with the rest of Britain. This changing climate influenced significantly Ferrier and her Scottish contemporaries, who adopted recurrent themes, symbols, and settings in their works to establish a sense of coherence within their own society. Ferriers works feature elements that are fundamental to Scottish womens writing as a whole. These elements, such as a powerful sense of locality,distinctive characters, and use of the Scottish vernacular, are especially evident in <i>The Inheritance</i>. In utilizing the 1853 edition as copytext, I adhere to Jerome McGanns notion that each text enters the world under determinate socio-historical conditions, which can be variously defined and imagined (9). The production of a text, therefore, can be influenced by changes in perspective of the author, as well as the opinions of publishers,reviewers, family, and friends. In 1850, in response to a letter from Bentley inviting Ferrier to make changes to the stereotypes of the 1841 edition in his possession, Ferrier asked that Bentley remove the existing illustrations and vignettes and make some substantive and accidental changes to the text. These appear to have been attended to, although Bentley did keep one of the illustrations as frontispiece. At this time, Ferrier also allowed her name to be released as author of the text. This present edition is collated against the 1824 edition held at the National Library of Scotland. As one of my aims is to illustrate the nature of literary production during this period, idiosyncrasies of spelling and punctuation are left unchanged. A few misprints are corrected as indicated in the footnotes. I have included separately accidental and substantive changes between the 1841 and 1853 texts. Aside from a comprehensive introduction, I also include a brief chronology of Ferriers life and works,an appendix that includes a selection of illustrations from various editions, and a list of editions of <i>The Inheritance</i>.

This paper consists of the different components of the introduction to “The Wanderer: a Hypertext Edition” presently housed on the server of the University of Saskatchewan’s Digital Research Centre. All the contents of this paper are available as part of that edition, although in a somewhat different format. This thesis contains two parts: the general introduction concerns the poem’s contents, context, and manuscript circumstance while the editorial introduction argues the rationale for this edition and the particulars of my editorial decisions. The editorial introduction explores how the single extant manuscript witness of “The Wanderer” has been inaccurately represented in transcription as well as the importance of transparency in one’s choices as an editor. The editorial introduction explains how this edition’s principles of transparency and interpretation over authority are based on clear objectives that were made after a survey of scholarly resources freely available on the web that revealed a great need for a freely available critical edition. These principles inform the edition’s rationale and specific editorial choices. The product of such an introduction is an edition that presents its editorial decisions in a transparent manner so that the user can distinguish between aspects of the text present in the document and those introduced by the editor.

Cette recherche part du concept de champ éditorial de Pierre Bourdieu, en tant qu'espace relativement autonome et capable de retraduire, selon sa logique propre et à travers les stratégies éditoriales, les forces économiques, politiques et culturelles qui lui sont extérieures. Nous émettons l'hypothèse de l'existence d'un sous-champ de l'édition féministe doté des mêmes attributs que le champ éditorial. Dans la mesure où l'édition participe du débat féministe, ce sous-champ éditorial est aussi une composante du champ militant. Son évolution est liée à celles du Mouvement de Libération des Femmes : l'édition a ainsi représenté une voie de légitimation pour le mouvement féministe, tandis que le MLF a modifié les frontières du champ éditorial. En effet, à partir des positions éditoriales, des prises de positions ont émergé dans le choix et la manière de publier le féminisme et les femmes. Sur le marché des biens littéraires, les revendications du MLF se sont d'abord élargies à des réflexions d'ordre esthétique, à l'avant-garde du champ. L'objectif était alors d'intégrer les strates du pouvoir culturel à travers des processus d'institutionnalisation. Ensuite, l'édition féministe a doté les agents du champ éditorial et ceux du champ militant en capitaux spécifiques. Ce genre d’édition, dans le cadre de l'économie de marché contemporaine, a généré des échanges intenses sur les plans militant et littéraire, y compris au niveau international (salons, traduction, manifestes, etc.). Enfin, les mutations du féminisme se sont traduites par des stratégies (risquées) de reconversion qu'illustrent les éditions Des Femmes dans leur politique de maintien dans le champ éditorial "cultivé" et sur le marché des idées "militantes" / This research is based on the concept of champ éditorial (publishing field) from Pierre Bourdieu, as a space which is relatively autonomous and able to reinterpret economic, political and cultural powers external to it, with respect to its own logic and through publishing strategies. We venture the hypothesis that feminist publishing comprises a subfield which has the same features as the publishing field. Inasmuch as publishing is part of the feminist debate, this publishing subfield is also included in the activist field. Its development reflects that of the Mouvement de Libération des Femmes : publishing has been a mouthpiece and a legitimization path for feminism, while the MLF has changed the publishing field’s boundaries. Indeed, from publishing perspectives, positions were adopted with regard to decision making and the way for publishing feminism and women. On literature goods market, claims from MLF extended to reflections related to aesthetics at the forefront of the field. The objective was then to incorporate power layers through institutionalization processes. Afterwards, feminist publishing provided both publishing field agents and activist field agents with specific assets. Feminist publishing, in the context of the contemporary market economy, generated strong exchanges as far as activism and literature were concerned, also at the international level (shows, translation, manifestoes, etc.). Finally, feminism mutations resulted in reconversion strategies illustrated by éditions Des Femmes , whose policy endeavoured to remain in the publishing field and on the market of ideas