Among the holdings of the Department of Special Collections at the University of Arizona Library is a collection of incunabula numbering thirty-nine titles. This interesting collection of early printed books represents a wide variety of subjects that appealed to the late medieval reader and demonstrates as well a good range of early editorial practice and typographic presentation. None of the University's copies of these titles is listed in Frederick B. Goff's Incunabula in American Libraries: a Third Census (1973). The present work provides a description of each incunabulum according to Henry Guppy's Rules for the Cataloguing of Incunabula and offers a comprehensive study of the features of the collection as a whole and of its individual volumes for the purpose of establishing a record of the collection and bringing its scholarly value into clearer focus.

Thesis (Ph. D.)--University of Arizona, 1992. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 122-127).

Thesis (Ph. D.)--University of Pittsburgh, 1991. / Includes bibliographical references (leaves lxiv-lxix).

Inaug.-Diss.--Göttingen.

propósito deste trabalho é a elaboração de um catálogo dos incunábulos de Juan Carlos Reppucci, que possui importante coleção particular de livros de temática vinária (vinhos, vinhedos, uvas, vindima, viticultura, vinicultura, embriaguez etc.). A partir de um histórico dos incunábulos e da imprensa no século XV, e de sucinta caracterização do acervo, cada um dos 72 incunábulos foi minuciosamente descrito, de acordo com normas destinadas a obras raras, de modo a compor um instrumento de referência para pesquisadores de diferentes áreas. / The aim of this work is to catalogue the incunabula collection of Juan Carlos Reppucci, owner of an extensive library on wine and related themes (wine, grape, vineyard, vintage, drunkenness etc.). After a panoramic view of incunabula and press in the 15th century, and a brief characterization of the whole collection, each of the 72 incunabula was thoroughly described according international rules for rare books, in order to create a reference guide for researchers of different areas.

propósito deste trabalho é a elaboração de um catálogo dos incunábulos de Juan Carlos Reppucci, que possui importante coleção particular de livros de temática vinária (vinhos, vinhedos, uvas, vindima, viticultura, vinicultura, embriaguez etc.). A partir de um histórico dos incunábulos e da imprensa no século XV, e de sucinta caracterização do acervo, cada um dos 72 incunábulos foi minuciosamente descrito, de acordo com normas destinadas a obras raras, de modo a compor um instrumento de referência para pesquisadores de diferentes áreas. / The aim of this work is to catalogue the incunabula collection of Juan Carlos Reppucci, owner of an extensive library on wine and related themes (wine, grape, vineyard, vintage, drunkenness etc.). After a panoramic view of incunabula and press in the 15th century, and a brief characterization of the whole collection, each of the 72 incunabula was thoroughly described according international rules for rare books, in order to create a reference guide for researchers of different areas.

Thesis (doctoral)--Katholieke Universiteit te Nijmegen, 1984. / Summary in English. Includes indexes. Includes bibliographical references (p. xviii-xxix).

This presented diploma thesis deals with a list of manuscripts and old prints stored within the library collections of the Museum in the Middle Pootaví in Strakonice. After the total research of the book collection was allocated 83 manuscripts, one incunabula and 291 titles of old prints. On the basis of these lists was executed the detailed description, parsing and analysis of manuscripts and old prints. This work is divided into five chapters. In the introductory chapter are presented the purpose of this diploma thesis and critique of the used sources and literature. In this chapter is incorporated a short passage with general informations about museums and their libraries. The second chapter briefly attends to history of the museum in Strakonice. The third part of the thesis informs about history and development of the museum library in Strakonice. The fourth chapter analyses closely the manuscripts, incunabula and old prints. The collection of old prints was subjected to the linguistic, chronological and territorial description. Then follows analysis of printers and publishers, mentions of provenance of old prints (for example ex-librises, notes in the text, stamps etc.) and books allocations into thematic groups with specific examples of prints. The final chapter contains total summary and importance of this work. The list of sources and literature, the list of the abbreviations and the list of supplements (tables, graphs and photographs) are attached to the end of diploma thesis. A component of the diploma thesis is also the commentaries to the created lists and the extensive lists of the manuscripts and old prints.

My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.

My dissertation, Pen and Printing-Block: William Morris and the Resurrection of Medieval Paratextuality, considers William Morris’s influence on the rise of paratextual awareness, his negotiation strategies for Victorian England’s social identity, and his rhetorical construction of an idealized past through textual artifacts. The effect of Morris’s growing social awareness on his transition from illumination to print is reframed by considering his calligraphy as paratextual experiments, based on medieval examples, in combining graphic and discursive meanings with rhetorical and social dimensions. The varied and less ambitious agendas of those printers who followed Morris’s Kelmscott Press, however, limited Morris’s legacy in the book arts. The full significance of his illuminations’ meaningful interplay between text and image, and the social intent of these innovations applications in print, has received little critical attention. The opening chapter frames Morris’s visual work in light of his philosophies and introduces the major concerns of material art, the role of history, the limits of language, and the question of meaningful labour. The second chapter surveys select predecessors of Morris’s developing conception of the Gothic, the significance of architecture as its defining form, and the irreplaceability of the physical past. The third chapter considers the role of the illuminated manuscript in Pre-Raphaelite art, tracing Morris’s calligraphic experiments chronologically while identifying medieval inspirations and examining his artistic development. These experiments led to his final collaborative manuscript, the illuminated Æneid which is the fourth chapter’s focus. The sophistication of its paratextual elements is discussed in light of its unique physicality and limitations. The fifth chapter asserts the Kelmscott Press’s role in balancing craftsmanship and aesthetic paratextual strategies with reproducible models. The Kelmscott Chaucer is the culmination of these strategies, and it is compared to the visual rhetoric of its predecessors. The final chapter compares the philosophies and calligraphic elements of major private presses that followed Kelmscott’s legacy. This evolution of aesthetic, social, and practical considerations is also identified in the work of selected Canadian printers, and a final note considers the implications of the rise of immaterial digital text (radiant textuality) for the continuation of material paratextuality’s role in the future.