An annotated bibliography of the printed works of James Petiver (c.1663–1718)

The works of James Petiver have a complicated publishing history. Apart from his more substantial publications, Musei Petiveriani (1695–1703) and Gazophylacii naturæ et artis (1702–1711), which were chiefly based on specimens in his collection and were issued in multiple parts, Petiver also published nearly thirty shorter articles and tracts, some of them merely hand-bills. Many of these publications were produced in small numbers and are scarce in their original imprints. However, long after Petiver’s death, James Millan published two editions (in 1764 and 1767) of Petiver’s work which were assembled partly from unsold copies of the originals, and partly through re-setting and abridging others that were otherwise unavailable. Petiver also contributed 35 articles to the Philosophical Transactions of the Royal Society and has previously been acknowledged as the author of a further four for The Monthly Miscellany: or, Memoirs for the Curious, a rare, short-lived periodical whose contributors were generally anonymous. However, this study concludes that nearly 50 additional articles that appeared in this journal between 1707 and 1710 were written by Petiver, several of which are the original versions of articles which were published in a re-set format by Millan in 1767. In other cases, articles first published there prove to be the basis for expanded accounts that Petiver published subsequently. An additional article was published in a similarly rare periodical, Memoirs of Literature, in 1714. All 158 of his published articles, wherever they appeared, are listed and indexed, and cross-references are provided where articles appear in more than one version.

The Victorian Period

This chapter has five sections: 1. General and Prose, including Dickens; 2. The Novel; 3. Poetry; 4. Periodicals, Publishing History, and Drama; 5. Miscellaneous. Section 1 is by Ana Alicia Garza; section 2 is by Lois Burke; section 3 is by Sally Blackburn-Daniels; sections 4 and 5 are by William Baker. In somewhat of a departure from previous accounts, this chapter concludes with a mixed-genre section that covers Samuel Butler Thomas and Jane Welsh Carlyle, Wilkie Collins, George Eliot and George Henry Lewes, George Gissing, Richard Jefferies, William Makepeace Thackeray, and Anthony Trollope. This is followed by a section containing additional materials that came too late to be included elsewhere. These sections have been contributed by William Baker, who thanks for their assistance Dominic Edwards, Olaf Berwald, Beth Palmer, Sophie Ratcliffe, and Caroline Radcliffe.

Grafipar Edições: uma reação erótica à ditadura militar

Durante a primeira década da ditadura-civil militar, uma editora curitibana – a Grafipar –, de propriedade de uma família muçulmana, deixa de publicar livros de história e atlas e passa a investir no ramo de “revistas adultas”. Torna-se um polo nacional do gênero, chegando ao ápice de 49 títulos, 1,5 milhão de exemplares mês e 1,5 mil cartas/mês de leitores. Entre seus colaboradores, jornalistas malvistos pelo regime e intelectuais à esquerda, como os poetas Paulo Leminski e Alice Ruiz. Em meio aos então chamados “nus artísticos”, uma pequena de rede de intelectuais, de forma anônima, orientava a redação, num claro combate ao obscurantismo. Este artigo explora a resistência jornalística e intelectual disfarçada no conteúdo erótico. E o “lugar difícil” da qualificação desse material, que ficou à margem da chamada imprensa alternativa. Imprensa alternativa; revistas eróticas; comportamento. During the first decade of brazilian military dictatorship, a publishing house from Curitiba - Grafipar -, owned by a muslim family, stopped publishing history books and atlas and started to invest in adult themed magazines. Grafipar became a renowned publisher of this genre, reaching the peak of 49 titles, 1.5 million copies per month and 1.5 thousand letters from readers per month. Among the contributors were journalists that were frowned upon by the military regime and left-wing intellectuals, such as the poets Paulo Leminski and Alice Ruiz. Amid the “nude art”, a small net of intellectuals, anonymously, guided the editorial, in a clear fight against obscurantism. This article explores the journalistic and intellectual resistance disguised as erotic content and the difficulty to qualify this material, which were on the sidelines of the so called alternative press. Alternativa press; erotic magazines; behavior. Durante la primera década de la dictadura civil militar, una editora curitibana - la Grafipar -, de propriedad de una familia muzulmana, deja de publicar libros de história y atlas y comienza a invertir en el ramo de las "revistas adultas". Volviendose un polo nacional del género, llegando al ápice de 49 títulos, 1,5 millones de ejemplares al mes y 1,5 mil cartas/mes de lectores. Entre sus contribuyentes, periodistas malvistos por el régimen e intelectuales de izquierda, como los poetas Paulo Leminski y Alice Ruiz. En médio a los llamados desnudos artísticos, una pequeña red de intelectuales, de forma anónima, guiaba la redacción, en un claro combate al oscurantismo. Este artículo explora la resistencia periodística e intelectual disfrazada en el contenido erótico. Y el "lugar difícil" de la calificación de ese material, que quedó al margen de la llamada prensa alternativa. Prensa alternativa; revistas eróticas; comportamento.

A Publishing History of A Discourse of Life and Death, Translated by the Countess of Pembroke

The short meditation, A discourse of life and death was translated by Mary (Sidney) Herbert, Countess of Pembroke in 1590 from Excellent discours de la vie et de la mort by Philippe de Mornay, seigneur du Plessis-Marly. This article presents the publishing history of Herbert’s translation and how it was adapted twice in the seventeenth century. First, it is found as an incomplete manuscript by ‘T. H. Gent.’ (BL MS Sloane 1037). The manuscript has the correct licence to print, but the wrong author, and was used as setting copy in the print shop of George Eld and Miles Flesher in early 1624. All copies of that edition are now lost. In 1697 Herbert’s translation was revised again as the ‘contemplations’ of Sir John Fenwick before his execution for treason.

8. And/also: Laurel Brake, Print Culture’s Restless Pluralist

I shall begin with the book and the named author because that form with that authority is where ‘Eng. Lit.’ normally starts, and that is the discourse in which Pater’s Renaissance volume has been primarily circulated. However, I want to register a protest as I commit the act: if I were writing in the discourse of publishing history, I would not begin with the book or the author but with the periodicals in which most of the articles in the book first appeared, their names and those of their editors; the titles of articles, both Pater’s and others in the issue in which his appeared; the formats and characters of the journals; how much they cost and who published them; and whether the articles were anonymous (as most nineteenth-century articles were) or signed.1 Genre may be thought of as always already comparative. The matrix of relations of genres of print comprises print culture. It encourages a critical practice that probes within issues and runs of a single title, and across titles and genres. It is not enough to identify ‘X’ as a novel or fiction by ‘Y’ but as a novel appearing in a named review, in monthly parts, over a time span of nineteen months, and in different miscellanies that made up successive issues.2

Dworstwo obyczajów Sebastiana Fabiana Klonowica. Przekład Civilitas morum Erazma z Rotterdamu w spuściźnie poety oraz wydawnicze losy książeczki w dawnej Rzeczypospolitej

Sebastian Fabian Klonowic’s Translation of Civilitas morum by Erasmus of Rotterdam: Its Place in the Poet’s Legacy and Its Publishing History in Poland-Lithuania The article focuses on the Polish rendition of De civilitate morum puerilium – that is, a translation from Reinhard Lorich’s (Hadamarius’) catechismal version of Erasmus’ of Rotterdam treatise. The main goals of the text are: first, to understand the presence of the text (the Polish title: Dworstwo obyczajów) among works of such a talented author as Sebastian Fabian Klonowic; second, to reconstruct the publishing history of the Polish De civilitate; third to argue that forgotten bestsellers, such as Dworstwo, can help to better understand both early modern literature and book market in the first centuries of printing. The article summarises current knowledge about Sebastian Fabian Klonowic (ca. 1545–1602), a prolific poet, but also an author of textbooks and handbooks used to teach Latin and morals, as De civilitate was used as well. It analyses Klonowic’s translation practices and discusses his enthusiasm for Erasmus’ output. It also suggests that the Polish text was written with school usage in mind, probably for students of the newly opened academy established by Polish Brethrens in Raków. Next, the text moves on to describe the publishing history of De civilitate – Erasmus’ manual, its adaptations and translations. The author concentrates on the Polish translation, but the scarce evidence available for this title and its editions in the Commonwealth of Poland-Lithuania is interpreted in the wider context of the Latin and vernacular editions of De civilitate printed in other European lands. The survey combines information offered by the unique copies preserved in the library collections and the evidence found in archival sources to reconstruct the reasons for the success of the handbook, and to explain why the majority of copies multiplying the text once enormously popular with printers and readers alike were bound to perish. Edition of Dworstwo obyczajów presents the Polish text of Klonowic. It is based on a printed unique copy of about 1603 (held at Ossolineum Library in Wrocław).

Des Grieux and the Origins of Teleny

Scholarly discussions of the anonymous homoerotic novel Teleny (1893) invariably confront the question of its mysterious origins. This is understandable, since for many commentators what has been dubbed “the first gay modern novel” represents the opening chapter in a story about queer print culture that may (or may not) have been authored by Oscar Wilde. Joining the methodologies of bibliography and queer theory, with particular emphasis on temporal directionality and sequencing, this article offers new insight into Teleny's history in light of its virtually unknown 1899 prequel, Des Grieux (The Prelude to “Teleny”). “Des Grieux and the Origins of Teleny” represents the first detailed critical analysis of Teleny's literary progeny, and I pursue this analysis by attending to publishing history, authorial speculation, and both novels’ engagement with Victorian sexology. Although the bibliographer Peter Mendes avers that “Des Grieux was indeed written by the same hand(s) as Teleny, and possibly before Teleny at that,” I contend that its appearance six years after the first appearance of Teleny articulates a queer textual genealogy for the two novels, situating Teleny in an inverted relation to a prequel that postdates it.