‘My printer must, haue somwhat to his share’: Isabella Whitney, Richard Jones, and crafting books

Given Isabella Whitney’s reputation as the first English professional woman writer, her books are fertile ground for the recent material turn in the study of early modern women’s writing. Women’s engagement in book production meant that their texts were mediated through the work of booksellers, printers, and other agents in the print trade. We need to remember that writers make texts, but books are made by publishers and printers. Whitney’s own working relationship with her printer-publisher, Richard Jones, is well-known. Yet, the precise nature of Jones’s role in the production of Whitney’s books and her fashioning as an “Auctor” remains shadowy, largely because questions of agency have not been explored through the technologies of book production. To understand the ways in which Whitney’s texts were mediated through print, and her participation in this process, this essay will focus on how her books of poetry were made, starting with the role of her printer-publisher, Richard Jones

The Cowl - v.83 - n.13 - Jan 17, 2019

The Cowl - student newspaper of Providence College. Vol. 83 No. 13 - January 17, 2019. 24 pages

The Plains of Mars, European War Prints, 1500-1825

Over fifty original prints by renowned artists from the sixteenth through the early nineteenth century, including Albrecht Dürer, Lucas Cranach, Théodore Géricault, and Francisco de Goya, among many others, are featured inThe Plains of Mars: European War Prints, 1500-1825. On loan from the Sarah Campbell Blaffer Foundation at the Museum of Fine Arts, Houston, the works of art included in this exhibition examine the topics of war and peace, propaganda, heroism, brutal conflicts, and the harrowing aftermath of battle. Spanning from the Renaissance to the Romantic periods and encompassing a wide geographic scope including Italy, Germany, France, Spain, the Low Countries, England, and North America, the prints depict triumphant Renaissance soldiers, devastating scenes of violence, and satirical caricatures of political figures. Also on display is Goya’s compelling “Disasters of War” series, completed in response to the brutality of the Spanish War of Independence. Goya’s prints serve as a powerful testament to the horrors faced by both soldiers and civilians. Under the direction of Professor Felicia Else and Shannon Egan, Melissa Casale ‘19 and Bailey Harper ‘19 have researched and written didactic labels, catalogue essays, and created an interactive digital interface to complement the exhibition. Together, Melissa and Bailey will lead public tours of the exhibition. A Gallery Talk by Prof. Peter Carmichael will draw connections between the depictions of warfare on view in the Gallery with representations of the American Civil War. James Clifton, Director of the Sarah Campbell Blaffer Foundation at the Museum of Fine Arts, Houston, will be delivering a lecture in conjunction with the exhibition. Dr. Clifton, who also serves as curator of Renaissance and Baroque painting at MFAH, curated the exhibition in its first iteration and wrote the exhibition catalogue (published by Yale University Press). Dr. Clifton’s lecture not only will provide an overview of the exhibition, but also will focus on the concept of “mediated war.” A full-color catalogue with images and essays by Bailey Harper ’19 and Melissa Casale ’19, under the supervision of Profs. Felicia Else and Shannon Egan, is planned to accompany the exhibition.https://cupola.gettysburg.edu/artcatalogs/1028/thumbnail.jp

‘Out of bed, but not yet abroad’: spatial experiences of recovery from illness in Early Modern England

In early modern England, patients tracked their transition from sickness to health according to where they were in domestic space. During severe illness, the sick were usually confined to bed, unable to stir; but as health returned, they gradually expanded their spatial horizons, until eventually they could leave the house – known as ‘going abroad’. Recovery was thus a state of spatial liminality – between the sickbed and the outdoors, or more specifically, the threshold of the front door. The present study asks what it was like to make this transition, exploring the patient’s physical, emotional, sensory and spiritual experience of the return to normal spatial life. Through these discussions, the chapter seeks to rebalance and brighten our overall picture of early modern health, which has hitherto focused mainly on disease and death. In so doing, it challenges the fairly widespread assumption that recovery was rare in this period

Skating With Donovan: Thoughts on Librarianship as a Profession

James M. Donovan’s article: Skating on Thin Intermediation: Can Libraries Survive?, 27 Legal Reference Services Q. 95 (no. 2-3, 2008) argues that librarians place more emphasis than they might on providing service to library users at a time when information seekers are relying less on intermediaries, and that over-emphasizing service to the detriment of other values diminishes the status of librarianship as a profession. The article presents two contrasting models of librarianship. This article discusses Donovan’s models and comments on the continuing importance of the service model to librarianship

Skating With Donovan: Thoughts on Librarianship as a Profession

James M. Donovan’s article: Skating on Thin Intermediation: Can Libraries Survive?, 27 Legal Reference Services Q. 95 (no. 2-3, 2008) argues that librarians place more emphasis than they might on providing service to library users at a time when information seekers are relying less on intermediaries, and that over-emphasizing service to the detriment of other values diminishes the status of librarianship as a profession. The article presents two contrasting models of librarianship. This article discusses Donovan’s models and comments on the continuing importance of the service model to librarianship

African Universities: Stories of Change

Profiles successful foundation initiatives in Ghana, Kenya, Mozambique, Nigeria, South Africa, Tanzania, and Uganda that are reforming the higher education landscape in Africa

Editoriales Etno-iconográficos en Vogue (1948-2016): un enfoque a las diplomacias culturales

Este artículo ofrece la visión general de una investigación que ha sentado sus bases en una sistematización de los mensajes que surgen de la interfaz entre diferentes culturas a través de la comunicación visual de la moda. Profundiza en un estudio semántico de las composiciones relacionadas con la "etno-iconografía" desarrolladas por tres ediciones occidentales de Vogue desde 1948 a 2016. Para esta investigación, hemos examinado 100 editoriales fotográficos. El artículo propone un marco teórico que sirva para evaluar la forma en que la moda ha reflejado y construido las nociones coloniales del Otro, impulsadas por políticas visuales de género y raza, y moldeadas por ideologías imperialistas de la industria. El artículo también introduce una exploración del legado de los regímenes visuales eurocéntricos y la negociación con las subjetividades postcoloniales por parte de las últimas ediciones no occidentales. Finalmente resalta que este tipo de imagen puede proporcionar visibilidad a realidades sociales de dichos territorios, permitiendo a las revistas de moda actuar como detonadores de la reflexión crítica y agentes capaces de establecer interrelaciones culturales.This article offers an overview of a seminal research that laid its foundations in a systematization of the messages emerging from the interface between cultures through fashion image making. It delves into a semantic study of the compositions related to “ethno-iconography” that have been developed by three Western editions of Vogue since 1948 to 2016. We had examined 100 photographic editorials. The paper proposes a theoretical framework that serves to evaluate the way that fashion has reflected and built colonial notions of the Other, driven by race and gender visual politics, and shaped by the industry’s imperialist ideologies. The article also introduces a prospective exploration of the legacy of the Eurocentric visual regimes and the negotiation with post-colonial subjectivities by non-Western editions. It ultimately highlights that photo shoots also provide visibility to social realities that permit magazines to act as triggers of critical reflection and agents capable of establishing inter-cultural relations