Documentary in Dispute: The Original Manuscript of Changing New York by Berenice Abbott and Elizabeth McCausland

2021 ◽  
pp. 1-3
Author(s):  
Michel Hardy-Vallée
Keyword(s):  
New York ◽  
PMLA ◽  
1956 ◽  
Vol 71 (5) ◽  
pp. 910-921
Author(s):  
Loring Baker Walton
Keyword(s):  
New York ◽  

It seems to be the fate of the preliminary drafts of Anatole France's novel to survive in the hands of unidentified persons. Something over half of what was apparently the original manuscript was sold in New York in the 1920's to a person who has preferred to remain anonymous. In 1948 a seventy-two-page fragment of manuscript was sold in Paris to an unidentified purchaser. The latter has now permitted this manuscript


Notes ◽  
1969 ◽  
Vol 26 (2) ◽  
pp. 350
Author(s):  
Bernard E. Wilson ◽  
W. A. Mozart
Keyword(s):  
New York ◽  

Traditio ◽  
2002 ◽  
Vol 57 ◽  
pp. 189-215
Author(s):  
Susan Boynton

The manuscript sources of the Mozarabic or Old Hispanic liturgy have been thoroughly described and analyzed, with the exception of an early-eleventh-century book of saints' offices that has been considered missing since the late nineteenth century from the Cathedral Archive of Toledo. In October 2001, I identified this lost book as manuscript B2916 in the library of the Hispanic Society of America in New York, where it has been since its acquisition by the Society's founder, Archer Huntington. HSA MS B2916 is the only codex of the Old Hispanic liturgy preserved outside Europe. This manuscript is a curious book, comprising the offices for the feasts of Saint Martin (November 11), Saint Emilianus or Millán (November 12), and the Assumption of the Virgin (August 15). The matins lessons of the first two offices consist of the entirety of, respectively, theVitaeof Martin by Sulpicius Severus and of San Millán by Braulio of Saragossa. Because the manuscript was in a private collection and has remained uncatalogued, it has gone unnoticed for the last century, a period that saw the maturation of modern study of the Mozarabic rite. The contents of the book were not unknown during this time, however, because some specialists have consulted the copy (today in the Biblioteca Nacional in Madrid) made in 1752 by the polymath Jesuit Andrés Marcos Burriel. Indeed, it was Clyde Brockett's remarkably accurate handmade copy of the Burriel copy that made the identification of the manuscript possible, even at two removes. While the Burriel copy is useful, many important aspects of the original manuscript deserve notice.


Author(s):  
Lois Gilmore

Philadelphia is celebrating 150 years of Alice in Wonderland with public programming and multiple exhibitions beginning in 2015 through 2016. There are lectures, tea parties, hands-on tours at the Rosenbach of the Free Library of Philadelphia, talks of medical oddities of Alice, costume parties, and more. Carroll’s original manuscript is traveling around the East coast in pop-up displays in Philadelphia and New York. This focus on Lewis Carroll’s work provides an intriguing opportunity to examine Woolf’s review, which was written on the occasion of the Nonesuch Press issue of the complete works in 1939. Woolf ‘s response to Carroll’s legacy, in the midst of what she calls “non-war” and “written in barren horror,” hones in on the construction of childhood, the relationship of the child to the adult, and the illusory nature of the author. Woolf’s diary entries, documenting what she calls the many distractions surrounding her, point to the irony of composition and the world Carroll creates. In this paper I will approach these topics and consider the ways in which Woolf reflects on, engages with, and represents the connections and disconnections with the literary heritage of Alice and her enduring appeal.


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