Printing Virgil


Book Description

In this work Craig Kallendorf argues that the printing press played a crucial, and previously unrecognized, role in the reception of the Roman poet Virgil in the Renaissance. Using a new methodology developed at the Humboldt University in Berlin, Printing Virgil shows that the press established which commentaries were disseminated, provided signals for how the Virgilian translations were to be interpreted, shaped the discussion about the authenticity of the minor poems attributed to Virgil, and inserted this material into larger censorship concerns. The editions that were printed during this period transformed Virgil into a poet who could fit into Renaissance culture, but they also determined which aspects of his work could become visible at that time.




A Bibliography of the Early Printed Editions of Virgil, 1469-1850


Book Description

"A short-title catalogue of all printed editions of Virgil, from 1469 through 1850, containing almost five thousand entries. Each includes the printer, place of publication, names of any translators, editors, and commentators, and an indication of where a copy of the book may be found"--Provided by publisher.




English Humanism and the Reception of Virgil C. 1400-1550


Book Description

English Humanism and the Reception of Virgil c. 1400-1550 reassesses how the spread of Renaissance humanism in England impacted the reception of Virgil. It begins with the first signs of humanist influence in the fifteenth century, and ends at the height of the English Renaissance during the mid-Tudor period. This period witnessed the first extant English translations of Virgil's Aeneid, by William Caxton (1490), Gavin Douglas (1513), and the Earl of Surrey (c. 1543). It also marked the first printings of Virgil's works in England by Richard Pynson (c. 1515) and Wynkyn de Worde (1510s-1520s). Through a fine-grained analysis of surviving manuscripts and early printed editions, Matthew Day questions how and to what extent Renaissance humanism impacted readers' and translators' approaches to Virgil. Building on current scholarship in the fields of book history, classical reception, and translation studies, it draws attention to substantial continuities between the medieval and humanist reception of Virgil's works. Humanist study of Virgil, and indeed of classical poetry more generally, continued to draw many of its aims, methods, and conventions from well-established medieval traditions of learning. In emphasizing the very gradual pace of humanist development and the continuous influence of medieval scholarship, the book comes to a more qualified view of how humanism did and (just as importantly) did not affect Virgilian reading and translation. While recognizing humanist innovations and discoveries, it gives due attention to the understudied, yet far more numerous examples of consistency and traditionalism.




Abloh-isms


Book Description

A collection of essential quotations from the renowned fashion designer, DJ, and stylist Abloh-isms is a collection of essential quotations from American fashion designer, DJ, and stylist Virgil Abloh, who was a major creative figure in the worlds of pop culture and art. Abloh began his career as Kanye West’s creative director before founding the luxury streetwear label Off-White and becoming artistic director for Louis Vuitton, making Abloh the first American of African descent to hold that title at a French fashion house. Defying categorization, Abloh’s work has been the subject of solo exhibitions at museums and galleries, most notably in a major retrospective at the Museum of Contemporary Art Chicago. Gathered from interviews and other sources, this selection of compelling and memorable quotations from the designer reveals his thoughts on a wide range of subjects, including creativity, passion, innovation, race, and what it means to be an artist of his generation. Lively and thought-provoking, these quotes reflect Abloh’s unique perspective as a trailblazer in his fields. Select quotations from the book: “I believe that coincidence is key, but coincidence is energies coming towards each other. You have to be moving to meet it.” “Life is collaboration. Where I think art can be sort of misguided is that it propagates this idea of itself as a solo love affair—one person, one idea, no one else involved.” “Black influence has created a new ecosystem, which can grow and support different types of life that we couldn’t before."




The Inland Printer


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The Other Virgil


Book Description

The Other Virgil tells the story of how a classic like the Aeneid can say different things to different people. As a school text it was generally taught to support the values and ideals of a succession of postclassical societies, but between 1500 and 1800 a number of unusually sensitive readers responded to cues in the text that call into question what the poem appears to be supporting. This book focuses on the literary works written by these readers, to show how they used the Aeneid as a model for poems that probed and challenged the dominant values of their society, just as Virgil had done centuries before. Some of these poems are not as well known today as they should be, but others, like Milton's Paradise Lost and Shakespeare's The Tempest, are; in the latter case, the poems can be understood in new ways once their relationship to the 'other Virgil' is made clear.




Printing Art


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The Printing Art


Book Description