George MacDonald's last major work of fiction, Lilith, was published in 1895, but the first version of the romance was written in March of 1890. Lilith is an account of the unintentional journey of the protagonist into another world populated by both mythological figures drawn from the Judeo-Christian tradition and by horrific personifications of the psychological horrors of the protagonist's own mind. The story of Lilith describes the protagonist's experiences in this other world which bring him to the point of repentance. The manuscript of the first version, known now as Lilith A, is housed in the British Library along with seven other typed revisions and printer's proofs. Taken together, the A-H manuscripts of Lilith represent the complete production history textual evolution of what is arguably MacDonald's greatest literary work. The body of this paper contains the 161 page transcription of Lilith A produced from the original manuscript and a microfilm photographic reproduction provided by the British Library. The introduction of this paper outlines the history of Lilith A, describes it's similarities and differences with the published version, provides a bibliographic description of the manuscript, and outlines the editorial principles used in producing the transcript of the text. The introduction is followed by a transcription of the title page created for the manuscripts of Lilith by Winifred Louisa, Lady Troup, who was MacDonald's daughter and amanuensis. This title page is followed by the transcription of Lilith A. / Master of Arts

This thesis responds to a lack of information regarding reading practice in literature in early Middle English. Here, reading is often used as a metaphorical or symbolic act - representing piety, devotional practice, or intellectualism - but how reading took place, how users engaged with books, is rarely figured. Other seams of evidence are therefore needed to access the reading process. The corpus of manuscripts on which I focus consists of thirty-three multilingual books containing English, Latin, and French produced in England between 1066 and c. 1300. Using this corpus, and inspired by the work of Leah Price, Juliet Fleming, Kathryn Rudy, and others, I seek to test the boundaries of what has previously been considered permissible evidence for reading, thereby adjusting and expanding current conceptions of the range of activities and practices high medieval book use entailed. The thesis begins with a case study of some important readers: scribes. In chapter one, using the seven surviving copies of Poema Morale as a corpus I read against current critical considerations of variance in manuscript transmission as a sign of 'scribal authorship' in order to establish practices of scribal reading. Chapters two and three go on to demonstrate how these 'scribal readers' prefigured a work's use as they copied, particularly when they chose to introduce or exclude textual apparatus in the form of titles, capitals, or paraph marks. The final part of the thesis examines the retrospective evidence of use left by readers who marked and altered their books to determine the extent to which readers conformed to the practices imagined by manuscript producers. As a whole, then, the thesis showcases the variegated nature of reading practice - from critical analysis to nugatory scanning - and the alternative uses for books in English in this period. It shows that vernacular reading was a work of 'embodied intellectual labour' that benefitted from the material form of the book, and that engagement and manipulation of this form was not just tolerated, but expected, and perhaps actively encouraged.

手稿是個人透過手寫產生之任何形式文件，能夠完整保留產生者在撰寫時的思想歷程、書寫習慣、字跡、刪修痕跡等紀錄，尤其在文學作家的手稿中，可考察文學作品的創作歷程、版本以及產生者的思想演變，也能提供對於手稿作者或者針對其書寫文本進行深入的研究，成為研究者不可忽視的第一手資料。 本研究乃針對國內文學作家手稿的徵集與典藏進行研究，研究採用「多重個案研究」和「深度訪談法」，透過立意抽樣選擇五個文學作家手稿典藏單位進行個案探討，並對此五個典藏單位之手稿管理人員進行訪談，以獲得有關作家手稿的管理相關經驗及看法。研究對象包括：國立臺灣文學館、國家圖書館、臺灣大學圖書館、政治大學圖書館、清華大學圖書館。 研究結果包括：一、作家手稿具有反映創作歷程、呈現作者生平、與作者直接連結、審美與藝術四種特性；二、作家手稿具有文學研究、典藏、文獻參考三種價值；三、各典藏單位的手稿徵集以捐贈方式為主；四、手稿徵集或捐贈受到典藏單位及捐贈者因素影響；五、手稿徵集工作的時間較難以掌控；六、每個徵集工作皆為獨立個案難採用同種方法處理；七、典藏單位多以現當代文學作家手稿為主要典藏；八、典藏單位之手稿較少修護而以維持原狀為主；九、典藏單位普遍遭遇人力與經費限制的問題。 最後根據研究結論提出三項建議：一、整合館際間之作家手稿；二、視手稿永久保存為最重要考量；三、建置理想之文學作家手稿徵集與典藏方式，包括：(一)編製作家手稿徵集與典藏工作手冊、(二)拓展多元徵集管道、(三)編排描述參考檔案管理經驗、(四)重視手稿細節之描述、(五)存放手稿於適宜之典藏環境、(六)加強管理人員之專業能力。 / This thesis focuses on the acquisition and repository of literary manuscripts in Taiwan. Study employed the multiple-case and depth interview approach to research. The case selected by Purposive sampling for studying, which included: 1.National Museum of Taiwan Literature, 2.National Central Library; 3.National Taiwan University Library; 4.National Chengchi University Library; 5.National Tsing Hua University Library. Research introduced the coverage and content of literature manuscripts of each institution, and interviewed the staff of institution who manage literature manuscripts in order to obtain the viewpoint and suggestion on the management of literature manuscripts. The conclusions of this study are: 1.Literature manuscript reflect the creative process, show the life of the author, directly link to the author, include aesthetic characteristics; 2.Literary manuscript have three values: literary value, references value, collection value; 3.The main approach by which every institutions acquired manuscripts is donation; 4.Manuscript acquisition or donation affected by the institutions and donor; 5.The work time of manuscript acquisition is more difficult to control; 6.Cases are independent of each acquisition work and repository institutions is hard to acquisition manuscripts in the same way to different cases; 7.Repository institutions mostly collect contemporary literary manuscript collection; 8.Repository institutions mostly maintain the original status of manuscripts; 9.Repository institutions generally face the problem of manpower and funding limitations. According to the results of the study, several suggestions are provided:1. Integrating the literature manuscripts from different institutions; 2.Considering the manuscript permanent preservation; 3.Setting up an ideal acquisition and repository model, which includes:(1)establishing the acquisition and repository manual;(2)expanding the acquisition approach;(3)following the arrangement and description work of archieves;(4)recording the details of manuscripts;(5) maintaining an appropriate storage environment for manuscripts;(6)enhancing the professional of the staff.

This manuscript is comprised of a selection of poems written during my time as a student in the creative writing MFA program at Georgia State University. These are lyric/narrative poems arranged loosely according to subject matter – family, spiritual yearning/mystery.

Giuseppe Dall'Abaco was one of a small group of Italian cellists active as composers and performers in London at the midpoint of the eighteenth century. The majority of his cello sonatas, together with those of several cellist colleagues, appears in Manuscript 31528 (dated after 1760) at the British Library. Only four other Dall'Abaco cello sonatas are known to exist, and there is no record that any of his works were published during his lifetime. However, the first group of twelve sonatas in Manuscript 31528 appears to have been intended for publication since it is headed by an embryonic title page and the sonatas are arranged with regard to balance of key plan, increasing length, and progressively greater technical difficulty. Although it has been assumed that the sonatas were composed in the 1760s, this study will demonstrate that Dall'Abaco's nobility, acquired in 1766, was inscribed later on the title page of these sonatas; thus their actual date of composition presumably preceded this date. The sonatas, which exhibit style characteristics typical of the time of transition from the late baroque to the early classic era (primarily the decade of the 1740s), are shown to be a coherent collection because of common melodic, harmonic, and rhythmic gestures. Since four movements from the Dall'Abaco sonatas appear as the published works of "Signor Martino," dated 1745 by the British Library, Martino's sonatas are also evaluated. It will be shown that these four similar movements, two of which appear as part of the well-known Sonata in G major attributed to Giovanni Battista Sammartini, most probably have their origin in Dall'Abaco's manuscript. Although Martino's true identity has long been in dispute, this study will demonstrate that he was in fact the French cellist Martin Berteau. The eleven Dall'Abaco sonatas existing only in manuscript are transcribed in Part II. In Part III of this document, three of these manuscript sonatas have been realized and edited for modern performance.

This dissertation consists of two parts. Part I deals with analyses of the textstructure, the content and the possible sources of GKS. 1657. Part II is a critical edition of manuscript GKS 1657 in the Royal Library in Copenhagen. The manuscript dates from the 15th century and is written in the southern Dutch dialect of Brabant but with touches of Flemish. It is an instruction manual for women and deals with pregnancy, childbirth, child-care, menstruation and women's diseases. It is characterized by a frank view on sexuality and shuns value judgements in its attitude towards women. In addition to this neutral, perhaps even progressive attitude, the manuscript also contains scraps of popular magic and cabbala. GKS 1657 is rich in both language and content and provides important documentation of women's culture. In the study GKS 1657 is compared with MS 593, which is from the same period and region. MS 593 also deals with menstruation, women's diseases and, briefly, with childcare, but not with pregnancy and childbirth. Although the subject matter of MS 593 bears in certain parts, a similarity with that of GKS 1657, it is presented differently. MS 593 also lacks the marginal notes indicating that GKS 1657 was in use over a period of 150 - 200 years. The comparison shows the complexity of such manuscripts as well as the inadvisability of attaching simple labels to attitudes in any particular epoch. A major aim of the study is to make manuscript GKS 1657 availible to readers other than those normally interested in medieval texts and to stimulate further interdiscip­linary studies. / digitalisering@umu

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfillment of the requirements for the degree of Masters in Publishing Studies 2017 / An introspective look at editing a manuscript is a personal account of editing and proofreading an unpublished manuscript. It focuses on how an editor looks at a piece of work and the different aspects involved in editing such as how to communicate with an author, how to avoid bias editing as well as how to approach correcting grammar, punctuation and language. / MT2018

The two books presented by Walter of Milemete to Edward III in 1326-7 are treated together. Two campaigns of decoration are suggested for the Milemete Treatise: an original campaign c1326-7 and one largely executed by a single artist before Queen Isabella's fall from power c1330. Three campaigns of decoration are suggested for the companion volume the Holkham Secretum. An original campaign, perhaps earlier than that on the Milemete Treatise, but still c1326-7, a second campaign c1327-30 and later work added when the book was repaired c1340-50. The iconography of the Milemete Treatise is related to court models and the 'Flores Historiarum'. The iconography of the Holkham Secretum is seen as having been created in three campaigns related to the different artists who worked on the book. From an analysis of the documentary evidence concerning illuminators in England in the Middle Ages, a model is applied which suggests the existence of three major centres of illumination in England, Oxford, Cambridge and London, as well as minor regional towns which also supported illuminators. The localisation of liturgical manuscripts, the patronage evidence from both secular and liturgical manuscripts as well as iconographical and codicological comparisons, are all used to suggest that the first group of illuminators of the Holkham Secretum were based at oxford. The main group of the Milemete Treatise itself can be associated with these artists, but also with more metropolitan trends and London. The later work on the Holkham Secretum is associated with an 'Ely group' of manuscripts c1340-50, produced by artists who may have been based at Cambridge. 3 it is suggested that some artists may have been trained in one 'centre' or 'workshop', but could be itinerant. other artists appear to be more closely related to Court painting in London through their style and the iconography of their miniatures. At least two of the artists who worked on the Milemete Treatise and Holkham Secretum1 after the initial campaign, but before c1330, fall into the latter category.

O Tratado da cozinha portuguesa, cód. I. E. 33, pertencente à biblioteca Nacional de Napóles é composto por quatro cadernos: manjares de carne, manjares de ovos, manjares de leite e coisas de conserva. O principal objetivo em estudá-lo, deve-se à curiosidade em conhecer e analisar os aspectos internos e externos desse tratado, bem como os aspectos culturais e lingüísticos, por apresentarem marcas específicas do século em que foram registradas. / The Um Tratado da cozinha portuguesa belonging to the National Library of Napoles is composited by four books: custard of meat, custard custard of eggs, of milk and conserves things. The first objective in studing this text is about the curiosity from knowing and to analysing the inside and outside aspects from this text, it means that looks for the cultural and linguistics studies that show the specifc of register of the fifteenth century.

This thesis investigates the significant role that the Venetian humanist Vettor Fausto (1490-1546), professor of Greek at the School of Saint Mark, played during the first half of the 16th century in Venetian naval architecture. Early in the 16th century, the maritime power of Venice was seriously threatened by the Ottoman Sultan Suleiman II in the East and by the Holy Roman Emperor Charles V in the West. In order to regain its naval power in the Mediterranean, the Republic of Venice strongly encouraged Venetian shipwrights to submit new designs for war galleys. The undisputed founder and champion of this naval program was not a skilled shipwright but a young professor of Greek in the School of Saint Mark named Vettor Fausto, who in the heat of this renewal programme, proposed “marine architecture” as a new scientia. In 1529, Vettor Fausto built a quinqueremis whose design, he claimed, was based upon the quinquereme “used by the Romans during their wars” and that he had derived the shipbuilding proportions “from the most ancient Greek manuscripts.” The recovery of Classical traditions resulted in major changes in many fields. It included shipbuilding practices as well, especially after Fausto introduced in the Venetian Arsenal a new scientia, that of “marine architecture”, in opposition to the fabrilis peritia, the empirical shipbuilding practice. This work examines several Renaissance sources and archival material in order to illuminate the technical features and the design of Fausto’s quinquereme. Based on the study of the anonymous 16th-century Venetian manuscript Misure di vascelli etc. di…proto dell’Arsenale di Venetia from the State Archive of Venice, this thesis presents a general overview of Fausto’s life and his cultural background in order to better understand the humanistic foundations that led him to propose the construction of the quinquereme. Also presented in this thesis is a theoretical reconstruction of Fausto’s quinquereme and the suggestion that the shipbuilding instructions contained in the anonymous manuscript are connected to the work of Fausto in the Venetian Arsenal.