This thesis explores how the paratexts to and physical features of English Tudor books about the New World presented the books’ content to their original readers. The contribution this thesis makes to knowledge is threefold. First, the field of study of English travel and colonial literature lacks a bibliographically informed account of how the books’ constitutive elements of type and paper affect meaning. Widespread use of modern editions of the few accessible texts effaces the originals’ rich aesthetic, structural and tactile forms and fails to comprehensively historicise the production and intentions of the books. The careful, contextualised examinations of typefounts and composition included in this thesis go beyond what has been previously done and suggest agendas for further, necessary and illuminating bibliographical work. Second, the thesis presents the first comprehensively investigative survey of how the paratextual elements of the books marketed the New World to Tudor England. It goes beyond John Parker’s fifty-year-old _Books to Build an Empire_ (1965) by considering the full range of forty-three editions’ paratextual apparatus, not just prefaces, proems and dedications. It is simultaneously a counterbalance to the narrow focus on Richard Hakluyt’s anthological _Principal Navigations_ (1598-1600). The thesis begins the much-needed recovery of the conceptual and publication histories of both the constitutive texts reprinted in _Principal Navigations_ and those not included in Hakluyt’s anthology that are nontheless relevant to the history of the genre. Third, this survey that challenges a still powerful teleology: that the publications were unequivocally books to build an empire. Many of these books were in fact marketed as recreational reads. As the paratextual, structural and material features of many of the books this thesis looks at are under-explored and under-reported, close examination of multiple exemplars was necessary to ensure that this thesis is a representative and reliable record of the marketing strategies used to promote Tudor books about America.

Ce travail propose de montrer de quelle manière Clément Marot a conçu son métier d’auteur. À cette fin, il prend d’abord appui sur une reconstruction synthétique et critique de la carrière du poète, des premiers engagements auprès de Nicolas de Neufville ou (peut-être) de la reine Claude, jusqu’au service de François Ier, afin d’en comprendre les contraintes, et la façon dont elles conditionnent l’écriture (I). Suit logiquement l’étude des représentations du métier d’auteur dans l’œuvre, c’est-à-dire du discours par lequel le poète se met en scène en tant qu’auteur ; celle-ci comprend ainsi l’analyse de la signature marotique ainsi que des choix lexicaux et métaphoriques qui caractérisent le regard que le poète pose sur son activité (II). Marot faisant partie des premiers écrivains à s’impliquer fortement dans le processus d’impression, la troisième partie est consacrée à l’enquête bibliographique qui s’intéresse à la totalité des éditions marotiques autorisées : elle en présente les différents acteurs et propose une description matérielle des ouvrages, afin de reconstituer l’histoire de leur fabrication et de déterminer la mesure de la collaboration du poète (III). Les conclusions de l’enquête sont exploitées dans la dernière partie pour mettre en évidence le sens du projet poétique et éditorial des recueils considérés. L’étude de leur ordonnancement en est la clé principale, Marot s’emparant du critère de l’organisation pour se réapproprier une œuvre qui lui échappe en raison même de son succès, et faire finalement de la presse un instrument essentiel pour réaliser ses intentions (IV). / This study offers to show how Clément Marot conceived of his role as an author. For this purpose, it begins with a synthetic and critical narrative of the poet’s career, from the first appointments, under the patronage of Nicolas de Neufville or (maybe) Queen Claude de France, to the service of Francis I, so as to bring to light the constraints of the office and the way they influenced his writing process (I). The study then explores the representations of the author’s work in the text, i.e. the way the poet portrays himself as an author; it includes the analysis of Marot’s signature and of the lexical and metaphorical choices which define the way the poet looks at his own activity (II). Because Marot is one of the first writers to get fully involved in the printing process, the third part is devoted to a bibliographical inquiry dealing with all the authorized editions of Marot’s works: it presents the various actors involved and offers a material description of the books, in order to reconstruct the story of their making and to determine the extent of the poet’s collaboration in the process of their production (III). The findings of the inquiry are used in the last part to highlight the import of Marot’s poetical and editorial project. To this end, the study of the books’ dispositio provides the main key, as Marot uses it to reclaim a work that eludes him because of its very success, managing to turn the printing press into an instrument at the service of his auctorial intentions (IV).

In spite of the enormous resurgence of critical interest in minor figures of the Victorian era over the last twenty years, almost no attention has been paid to Francis Turner Palgrave (1824-1897). In his own age, he was respected as a man of letters, educator, art critic, poet, friend of Alfred Tennyson, and editor of The Golden Treasury of the Best Songs and Lyrical Poems in the English Language, first published in 1861. This dissertation attempts to make good that neglect in two ways: firstly, through an analysis of his life and times, an assessment of his writings as an art and literary critic, an examination of his considerable corpus of original poetry, and the compilation of the first comprehensive bibliography of his own publications. This bibliography is accompanied by a checklist of manuscript sources and a listing of secondary materials about Palgrave himself. Secondly, the dissertation makes the first systematic examination of the Golden Treasury, its genesis and editing principles, its critical reception, and its publication history. This detailed study is accompanied by eight appendices giving bibliographical information about the form and contents of the four major editions of the Treasury published in Palgrave's lifetime, along with a listing of sources and a checklist of contemporary reviews. Throughout the dissertation, the intellectual concerns that led Palgrave to develop a set of fixed principles for judging all art and literature are examined in order to establish that, like his friend Matthew Arnold, he was a committed Hellenist, who insisted that all poetry conform to what he perceived as the "Homeric" ideals of simplicity and unadorned language. The Golden Treasury, in particular, is based on an ideal of "unity" which Palgrave used to justify the many editorial excisions and variant readings which are such a feature of the volume's texts. It is impossible to account fully for the unprecedented success of the Golden Treasury, which has continued to be reprinted in a variety of editions from the time of its first publication until the present, but one of its most important features is that it is the first anthology of English lyric poetry to declare itself complete: Palgrave insisted that the book contained all the best lyrics in the English language. Just as significant is the fact that it is the first anthology by a professional educator who refused to make his selections on the basis of their morally improving qualities, but relied instead on poetic excellence alone. "Francis Turner Palgrave and The Golden Treasury," therefore, attempts to account for the extraordinary success of the Golden Treasury and to examine one of the nineteenth-century's more interesting minor figures, one who was a friend of some of the most brilliant men of his day, including Jowett, Browning, Arnold, Clough, and Gladstone; a recognised minor poet of the "contemplative" school which included Arnold and Clough; and a well-known champion of the Pre-Raphaelite painters. / Arts, Faculty of / English, Department of / Graduate

An expansive repertoire of original chamber works is available for ensembles comprised of saxophone, wind and percussion instruments. Many musicians, including saxophonists and conductors, are unaware of this enormous body of literature. This produces a compelling need for sources of identification available to conductors, performers and teachers. This study begins to provide such a source through the presentation of selected works and the accompanying annotated bibliography. The lack of awareness of available scores for chamber music with saxophone, winds and percussion among conductors and many performers often contributes to the absence of these works in concert halls. The objective of this lecture-recital document is to make available a tool that includes only original works for the saxophone in a variety of chamber ensemble settings. The nature of this study will be descriptive. The literature chosen for this project reveals varying levels of performance difficulty, compositional techniques, form, and instrumentation. Chosen works employ an ensemble size that requires a conductor or are more successfully performed with a conductor. Selected compositions are illustrated in which the saxophone is identified as a vital ingredient in an already existing repertoire of serious chamber literature. Works in this study include original compositions using from seven to seventeen musicians. Some of the works discussed in this study include double bass and piano. Chapters include information on the Parameters of Study (Introduction, Historical Perspective, Sources, Criteria, Selection of Works for Analysis), composer Jean Françaix, a Historical Overview and Detailed Study of Danses Exotiques, composer Fisher Tull, a Historical Overview and Detailed Study of Nonet and an Annotated Bibliography of compositions matching the established criteria. Appendices include List of Works of Fisher Tull and Jean Françaix.

Vor 40 Jahren, im Jahre 1969, begann die Deutsche Forschungsgemeinschaft (DFG) das „Verzeichnis der im deutschen Sprachgebiet erschienenen Drucke des 16. Jahrhunderts (VD16)“ zu fördern. Damit setzten die Bibliotheken und die DFG ein Zeichen für einen Neuanfang bei der nationalbibliographischen Erfassung des historischen Buchdrucks in Deutschland. An das bis 1999 geförderte VD16 schloss sich seit 1996 das große Nachfolgeprojekt VD17 an, dessen Hauptphase bis 2010 abgeschlossen wird. Und noch in diesem Jahr hat ein weiteres, noch größeres Vorhaben begonnen: die Erschließung und Digitalisierung der im deutschen Sprachgebiet erschienenen Drucke des 18. Jahrhunderts (VD18). BIS will in diesem und in den folgenden Heften die bislang erreichten Ergebnisse vorstellen.

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

This thesis is a complete bibliography of texts written by Růžena Vacková published in between years 1929 and 1948, supplemented by contemporary contextualisation of the time and characteristics of individual periodicals in which these texts appear. A substantial part of this study deals with magazines Vacková has contributed to consistently for a long period of time. This study presents a brief biographical summary, serving to facilitate the classification of individual texts and their relation to the author's persecuted life. The study also includes a brief outline of her views as an author and as an critic. Keywords: Růžena Vacková, bibliography, criticism, magazines of the 1930s and 1940s

"The three objectives of this study are to present a biographical sketch of William Thomas Person, to comment on the techniques used in his short stories, particularly those which have been reprinted in collections for young people, to summarize his seven novels published to date, and to report critical reactions to them. Very little biographical data concerning Tom Person is available in print. To supplement the information in Who's Who Monthly Supplement, in Mrs. Person's scrapbook, and on book jackets, this writer contacted the Person family, a profitable experience both from the standpoint of information obtained and from the personal satisfaction of knowing fine people. Friends of the Persons also were most helpful in furnishing further details about the family. Letters from a plantation owner, a lawyer, a newspaper columnist, an educator, and other interesting friends included pertinent biographical and critical data. The biographical section treats Person's early years, his literary apprenticeship as a writer of short stories, his family, his friends, and his work"--Introduction. / Typescript. / "August, 1960." / "Submitted to the Graduate School of Florida State University in partial fulfillment of the requirements for the degree of Master of Arts." / Advisor: Sarah Rebecca Reed, Professor Directing Paper. / Includes bibliographical references (leaves 54-58).

An update of Swahili bibliography and listing of articles of former issues of the Swahili Forum.

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.