In an exciting turn of events, Adam Hooks and I are organizing the slate of SHARP panels at RSA for the 2014 meeting in New York. If you’ve been following Adam’s “breaking things apart” series on his blog and if you’ve seen my twitter musings recently, you won’t be surprised to learn that the theme we’re working with is fragmentation and gathering. Read our call for papers below, share it with anyone you think might be interested, and consider sending us your submissions! Call for Papers: SHARP @ RSA 2014 The Society for the History of Authorship, Reading & Publishing (SHARP) will sponsor a series of panels at the Renaissance Society of America’s annual meeting in New York City, 27-29 March 2014. SHARP @ RSA brings together scholars working on any aspect of the creation, dissemination, and reception of manuscript and print and their digital mediation. For the 2014 conference,…
Year: 2013
Pen facsimiles of early print
As the commenters on last week’s crocodile guessed, the mystery image showed writing masquerading as print or, to use the more formal term, a pen facsimile (click on any of the images in the post to enlarge them): It’s telling that two of the three guesses focused not on the blackletter but on the roman font and the decorated initial. Both of those aspects, I think, are easier to spot as being somehow “off” in comparison to what we expect from print. But we’re not so used to looking at blackletter, and so a manuscript facsimile of that type isn’t quite as tell-tale. This is particularly true when the facsimile doesn’t have the print nearby as a point of comparison, but the difference isn’t necessarily glaring even looking across the gutter to the early printed page:
What do we want from online facsimiles of Shakespeare?
Over at The Collation last week, I wrote a blog post providing a quick explanation for what might be gained from looking at multiple copies of digital facsimiles of the First Folio and linking to the eight copies I’ve found. Mostly what I was interested in there was the availability of such things and a taste of the joys of copy-specific reading. Here I want to look at what actually matters to me a bit more: the usability of such resources. It should be perfectly clear, but I’m going to say it anyway, just to be safe. This is my personal site and I am not representing the Folger’s point of view here, only my own as a user of such resources. Before I look at specific examples, here’s what I want as a scholar: high-resolution cover-to-cover images, zoomable to, say, larger-than-life size with full clarity so that I can…
First Folios online
I imagine that you’re all thinking the same thing I’m thinking in the lead-up to April 23rd, Shakespeare’s birthday/deathday: Where can I find a good online facsimile of the First Folio? And I’m here to tell you the answer: In many places! In fact, by my count, there are at least seven eight nine ten eleven different copies of the First Folio that are online in at least reasonably high-resolution facsimiles. But here we must pause a moment, in case there are some of you wondering a) why would one need a high-quality online facsimile of F1 and b) why would one be so excited that there were so many? And I can tell you the answer to this, as well, based on my own experience. Recently I was working on an edition of The Taming of the Shrew and was comparing my text with that of the Folio to make sure I’d caught and…
Secret histories of books
This month’s crocodile mystery was a bit more challenging than recent ones (perhaps not helped by my cryptic “suitable for April” introduction), but Aaron Pratt guessed the gist of it: the image was a detail of a page printed in black, usually referred to as a mourning page. Here is the full context, with the bit we were looking at taken from the middle of the left-hand page: