"Spirited Media" analyzes distributed structures of authorship in the reform literature of the nineteenth-century United States. The literature that emerged out of reform movements like abolitionism often was a product of complex negotiations between speech and print, involving multiple people working across media in relationships that were sometimes collaborative, sometimes cooperative, and sometimes antagonistic. The cultural authority of print and individual authorship, often unquestioned in studies that focus on major or canonical figures of the nineteenth century, has tended to obscure some of this complexity. Moving from phonography, to Josiah Henson and Uncle Tom’s Cabin, to spiritualism, to Sojourner Truth and Walt Whitman, I consider four cases in which reporters, amanuenses, spirit mediums, and poets revived and remediated the voices of abolitionists, fugitive slaves, and figures from American history. By separating publication into events—speech, inscription, revision, and print—I show that "authorship" consisted of a series of interactions over time and across media, but that in the case of reform, the stakes for proving that authorship was a clear and indisputable characteristic of print were high. For abolitionist, African American, and spiritualist speakers and writers, authority depended on authorship, which in turn depended on the transparency of the print or the medium, or the perception of a direct relationship between speaker and reader. Like authorship, this transparency was constructed by a variety of social actors for whom the author was a key site of empowerment. It was authorized by appeals to revelation and race, two constructs often sidelined in media histories, yet central to discussions of society and politics in nineteenth-century America. Thinking of authorship as a distributed phenomenon disrupts models of the unitary subject and original genius, calling attention instead to uncanny acts of reading and writing in nineteenth-century literature. This dissertation argues that we should think about the transformative power of U.S. literature as located in revelation, not just creation, and in congregating people, not just representing them. / text

<p>At the community of Little Gidding from the late 1620s through the 1640s, in a special room known as the Concordance Chamber, Mary Ferrar, Anna Collett, and their sisters sliced apart printed Bibles and engravings, then pasted them back together into elaborate collages of text and image that harmonize the four gospels into a single narrative. They then bound these books between elaborate covers using a method taught to them by a bookbinder's daughter from Cambridge. The resulting volumes were so meticulously designed that one family member described the process as "a new kind of printing." Collectively, these books are known as the Little Gidding Harmonies, and they are the subject of Cut/Copy/Paste.</p><p>By close-reading the Little Gidding Harmonies, Cut/Copy/Paste illuminates a unique Caroline devotional aesthetic in which poets, designers, and printmakers collaboratively explored the capacity of the codex to harmonize sectarianism. Proceeding chronologically, I begin in the Elizabethan and early Stuart periods, when women writers like Isabella Whitney, Mary Sidney Herbert, and a range of anonymous needleworkers laid the groundwork for the Harmonies' cut-up aesthetic by marrying the language of text-making to textile labor (Chapter 1). Situating women's authorship in the context of needlework restores an appreciation for the significance and centrality of ideologically gendered skills to the process of authoring the Harmonies. Building on this chapter's argument, I turn next to the earliest Harmony to show how the Ferrar and Collett women of Little Gidding, in conversation with their friend George Herbert, used cutting and pasting as a way of bypassing the stigma of print without giving up the validation that publication, as in making public, brings. This early volume attracted the attention of the court, and Little Gidding soon found itself patronized by King Charles, Archbishop Laud, and an elite coterie who saw in the women's cut-and-paste "handiwork" a mechanism for organizing religious dissention (Chapter 2). In response, Little Gidding developed ever more elaborate collages of text and image, transforming their writing practice into a full-fledged devotional aesthetic. This aesthetic came to define the poetry of an under-appreciated network of affiliated writers, from Frances Quarles and Edward Benlowes to Royalist expatriate John Quarles, Mary Ferrar at Little Gidding, and her close friend Richard Crashaw (Chapter 3). It fell out of favor in the eighteenth century, derided by Alexander Pope and others as derivative and populist; yet annotations and objects left in one Little Gidding Harmony during the nineteenth century witness how women, still denied full access to publishing in print, continued to engage with scissors and paste as tools of a proto-feminist editorial practice (Chapter 4). The second half of the last chapter and a digital supplement turn to the Harmonies today to argue for a reorientation of digital humanities, electronic editing, and "new media" studies around deeper histories of materialist or technical tropes of innovation, histories that do not always begin and end with the perpetual avant-gardism of modernity.</p><p>This project participates in what has been called the "material turn" in the humanities. As libraries digitize their collections, the material specificity of textual objects - the inlays, paste-downs, typesetting, and typography occluded by print editions - becomes newly visible through high-resolution facsimiles. Cut/Copy/Paste seizes this moment of mass remediation as an opportunity to rethink the categories, concepts, and relationships that define and delimit Renaissance literature. By reading early modern cultural production materially, I reveal the richness of the long-neglected Caroline period as a time of literary experimentation, when communities like Little Gidding and their affiliates developed a multimedia, multimodal aesthetic of devotion. Yet, even as this project mines electronic collections to situate canonical texts within a wider field of media objects and material writing practices, it also acknowledges that digital media obscure as much as they elucidate, flattening three-dimensional book objects to fit the space of the screen. In my close readings and digital supplement, I always return to the polyphonic dance of folds and openings in the Harmonies - to the page as a palimpsest, thickly layered with paper, ink, glue, annotations, and evidence of later readers' interactions with it. By attending to the emergent materiality of the Harmonies over the longue durée, Cut/Copy/Paste both deepens our knowledge of seventeenth-century devotional literature and widens the narrow lens of periodization to consider the role of Little Gidding's cut-up method in past, present, and future media ecologies.</p> / Dissertation

Once more we can offer our readers some further titles of the Swahili- related research literature, some brand new in publication, others already out since years, yet still not yet put on record for the wider world of Swahilists. Our call for bibliographical references was hardly responded to by the readers of Swahili Forum VII and other possible contributors except for one scholar who much prefers to be `in consultation with` a certain other scholar. Therefore we once more would like to draw your attention to communicate your articles, books and other resources on Swahili studies to us so that the bibliographical section of the next Swahili Forum will be a treasure house again. Atiya koko wangue koma (Tiuow a fruit stone into the tree and you may bring down a doum-fruit). For the present issue we present all the titles which we happened to come across during one year of observation.

Thomas Coryate (1577?-1617), the writer, traveler and social climber, embraced various media in order to achieve social gains. This thesis surveys the content and materiality of writings by and about Coryate to investigate the nature of his sociability. The study begins by drawing on John Hoskyns’ (1566–1638) poem, “Convivium philosophicum,” to explore how Coryate used oral and social performance to create a unique form of sociability through which mockery is transmuted into praise. This thesis then addresses how Coryate’s sociability factored into the conflation of aspects of manuscript and print media in the production of the “Panegyricke Verses” that were published with Coryate’s travel narrative, Coryats Crudities (1611). Finally, it gauges the success of Coryate’s social maneuvering by analyzing Coryate’s follow up to his travel narrative, Coryats Crambe (1611) and an anonymously pirated version of the “Panegyricke Verses,” The Odcombian Banqvet (1611).

Eine Auswahl von Literatur zur Statistik, die subjektiv, historisch gewachsen, selektiv und unvollständig, aber dennoch vielleicht nützlich ist.

The aim of this thesis is to present a survey of Swedish vocal music.

It is the purpose of the study to make a survey of the larger libraries in this region and to compile a list of the holdings of books about music. With the impetus of the North Texas Regional Union List of Serials, 1943; Comprising the libraries of North Texas State Teachers College. Southern Methodist University, Southwestern Baptist Theological Seminary, Texas Christian University Texas State College for Women, and the Public Libraries of Dallas and Fort Worth, and its two supplements of 1943-45 and 1945-46, and following the general form of that work, the present "Union List of Musical Literature in North Texas Regional Libraries, 1946," has been compiled. The libraries represented in the North Texas Regional Union List of Serials are included here, with holdings listed as of March 1, 1946. These libraries are: North Texas State Teachers College and Texas State College for Women, Denton, Texas; Texas Christian University, Southwestern Baptist Theological Seminary and Fort worth Public Library, Fort Worth, Texas; Southern Methodist University and Dallas Public Library, Dallas, Texas.

The instrumental composition of the band is an outgrowth of utilitarian improvisation. The well-developed percussion section, and the voluminous reed and brass sections are a carry-over from the Military, where the emphasis was on functional beating of time for marching. Mobility and volume sufficient for the accompaniment of troop movements were also necessary. Until recent times, the band existed only for functional matters, never as an independent and self-justifying medium with its purpose being a musical organization. Through the growth of military, professional, and school bands, the band of today has developed into a musical organization in its own right, which can perform almost anything in the technical range of composition.

The findings of this study should prove to be a boon to all those who enjoy performing madrigals, for through the cooperation of the leading music publishing houses in this country, a complete authoritative list of fine madrigals has been gathered. Many of these will be new both to the performers and the public.

In this bibliography an attempt has been made to furnish references to teachers that may assist them to develop in the students: (1) an attitude of friendly interest which will help to link the Americas in mutual respect and to promote a better understanding of problems to be met; (2) to gain an understanding and appreciation of the background of South American culture of today; (3) to become familiar with the folk music as well as the concert, both vocal and instrumental.