Fashioned Texts And Painted Books
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Kate Young, Dressing for the Dark Red Carpet Edition
In her first-ever book, celebrity stylist Kate Young draws inspiration from iconic fashion moments in film to choose the most influential eveningwear styles of all time, and offers her expert insight as to why these looks are so definitive and are worth revisiting today for that special night out. Spanning classic moments such as Audrey Hepburn in a timeless pink cocktail dress in Breakfast at Tiffany's and Julia Roberts in that iconic red gown in Pretty Woman, this book, complete with a directory of go-tos, is an accessory no woman will want to dress for the dark without.
Piety in Pieces
Author: Kathryn M. Rudy
language: en
Publisher: Open Book Publishers
Release Date: 2016-09-26
Medieval manuscripts resisted obsolescence. Made by highly specialised craftspeople (scribes, illuminators, book binders) with labour-intensive processes using exclusive and sometimes exotic materials (parchment made from dozens or hundreds of skins, inks and paints made from prized minerals, animals and plants), books were expensive and built to last. They usually outlived their owners. Rather than discard them when they were superseded, book owners found ways to update, amend and upcycle books or book parts. These activities accelerated in the fifteenth century. Most manuscripts made before 1390 were bespoke and made for a particular client, but those made after 1390 (especially books of hours) were increasingly made for an open market, in which the producer was not in direct contact with the buyer. Increased efficiency led to more generic products, which owners were motivated to personalise. It also led to more blank parchment in the book, for example, the backs of inserted miniatures and the blanks ends of textual components. Book buyers of the late fourteenth and throughout the fifteenth century still held onto the old connotations of manuscripts—that they were custom-made luxury items—even when the production had become impersonal. Owners consequently purchased books made for an open market and then personalised them, filling in the blank spaces, and even adding more components later. This would give them an affordable product, but one that still smacked of luxury and met their individual needs. They kept older books in circulation by amending them, attached items to generic books to make them more relevant and valuable, and added new prayers with escalating indulgences as the culture of salvation shifted. Rudy considers ways in which book owners adjusted the contents of their books from the simplest (add a marginal note, sew in a curtain) to the most complex (take the book apart, embellish the components with painted decoration, add more quires of parchment). By making sometimes extreme adjustments, book owners kept their books fashionable and emotionally relevant. This study explores the intersection of codicology and human desire. Rudy shows how increased modularisation of book making led to more standardisation but also to more opportunities for personalisation. She asks: What properties did parchment manuscripts have that printed books lacked? What are the interrelationships among technology, efficiency, skill loss and standardisation?
Rewriting the Orient
In this ambitious volume, Yunfei Bai delves into the creative adaptations of classical Sanskrit, Chinese, and Tibetan literary texts by four renowned nineteenth- and early twentieth-century authors in France and Argentina: Théophile Gautier, Stéphane Mallarmé, Victor Segalen, and Jorge Luis Borges. Without any knowledge of the source languages, the authors crafted their own French and Spanish retellings based on received translations of these Asian works. Rewriting the Orient not only explores the so far untapped translation-rewriting continuum to trace the pivotal role of Orientalism in the formation of a singular corpus of world literature that goes beyond the Anglophone canon, but also sheds light on a wide range of innovative discursive strategies that readily challenge traditional notions of cultural appropriation.