In 1994, the late James E. Walsh reported that the Harvard collection of fifteenth-century printed books, the third largest in North America, "comprises 3,517 editions in 4,187 copies." Ten years later the count has risen to 3,627 editions in 4,389 copies. Walsh's pioneering catalogue was published in five volumes between 1991 and 1997. This supplement describes 202 new incunabula at Harvard: 67 complete or nearly complete copies and 135 single leaves or fragments, representing a total of 173 editions, including 110 not in Walsh's original five volumes.
The initial section of the First Supplement consists of selected additions and corrections to the Walsh catalogue. The following section, "New Entries," details single leaves and fragments which were previously given only highly selective coverage. The supplement concludes with cumulative references, indices, and concordances. The apparatus follows the Walsh model, and the book is designed to be used both on its own and in conjunction with the five original volumes.
From Manet to Gericault, Daubigny to Corot, an insightful, breathtakingly original exploration of French art and literature.
French Suite examines a range of important French painters and two writers, Baudelaire and Flaubert, from the brothers Le Nain in the mid-seventeenth century to Manet, Degas, and the Impressionists in the later nineteenth century. A principal theme of Michael Fried’s essays is a fundamental concern of his throughout his career: the relationship between painting and the beholder. Fried’s typically vivid and strongly argued essays offer many new readings and unexpected insights, examining both familiar and lesser-known French artistic and literary works.
Portraits of the thirty-eight known patients Sigmund Freud treated clinically—some well-known, many obscure—reveal a darker, more complex picture of the famed psychoanalyst.
Everyone knows the characters described by Freud in his case histories: “Dora,” the “Rat Man,” the “Wolf Man.” But what do we know of the people, the lives behind these famous pseudonyms: Ida Bauer, Ernst Lanzer, Sergius Pankejeff? Do we know the circumstances that led them to Freud’s consulting room, or how they fared—how they really fared—following their treatments? And what of those patients about whom Freud wrote nothing, or very little: Pauline Silberstein, who threw herself from the fourth floor of her analyst’s building; Elfriede Hirschfeld, Freud’s “grand-patient” and “chief tormentor;” the fashionable architect Karl Mayreder; the psychotic millionaire Carl Liebmann; and so many others? In an absorbing sequence of portraits, Mikkel Borch-Jacobsen offers the stories of these men and women—some comic, many tragic, all of them deeply moving. In total, thirty-eight lives tell us as much about Freud’s clinical practice as his celebrated case studies, revealing a darker and more complex Freud than is usually portrayed: the doctor as his patients, their friends, and their families saw him.
From Dissertation to Book
William Germano University of Chicago Press, 2005 Library of Congress PN162.G37 2005 | Dewey Decimal 808.02
All new Phd's hope that their dissertations can become books. But a dissertation is written for a committee and a book for the larger world. William Germano's From Dissertation to Book is the essential guide for academic writers who want to revise a doctoral thesis for publication. The author of Getting It Published, Germano draws upon his extensive experience in academic publishing to provide writers with a state-of-the-art view of how to turn a dissertation into a manuscript that publishers will notice.
Acknowledging first that not all theses can become books, Germano shows how some dissertations might have a better life as one or more journal articles or as chapters in a newly conceived book. But even dissertations strong enough to be published as books first need to become book manuscripts, and at the heart of From Dissertation to Book is the idea that revising the dissertation is a fundamental process of adapting from one genre of writing to another.
Germano offers clear guidance on how to do just this. Writers will find advice on such topics as rethinking the table of contents, taming runaway footnotes, shaping chapter length, and confronting the limitations of jargon, alongside helpful timetables for light or heavy revision. With crisp directives, engaging examples, and a sympathetic eye for the foibles of academic writing, From Dissertation to Book reveals to recent PhD's the process of careful and thoughtful revision—a truly invaluable skill as they grow into their new roles as professional writers.
When a dissertation crosses my desk, I usually want to grab it by its metaphorical lapels and give it a good shake. “You know something!” I would say if it could hear me. “Now tell it to us in language we can understand!”
Since its publication in 2005, From Dissertation to Book has helped thousands of young academic authors get their books beyond the thesis committee and into the hands of interested publishers and general readers. Now revised and updated to reflect the evolution of scholarly publishing, this edition includes a new chapter arguing that the future of academic writing is in the hands of young scholars who must create work that meets the broader expectations of readers rather than the narrow requirements of academic committees.
At the heart of From Dissertation to Book is the idea that revising the dissertation is fundamentally a process of shifting its focus from the concerns of a narrow audience—a committee or advisors—to those of a broader scholarly audience that wants writing to be both informative and engaging. William Germano offers clear guidance on how to do this, with advice on such topics as rethinking the table of contents, taming runaway footnotes, shaping chapter length, and confronting the limitations of jargon, alongside helpful timetables for light or heavy revision.
Germano draws on his years of experience in both academia and publishing to show writers how to turn a dissertation into a book that an audience will actually enjoy, whether reading on a page or a screen. Germano also acknowledges that not all dissertations can or even should become books and explores other, often overlooked, options, such as turning them into journal articles or chapters in an edited work.
With clear directions, engaging examples, and an eye for the idiosyncrasies of academic writing, From Dissertation to Book reveals to recent PhDs the secrets of careful and thoughtful revision—a skill that will be truly invaluable as they add “author” to their curriculum vitae.
From the Book of Giants
Joshua Weiner University of Chicago Press, 2006 Library of Congress PS3573.E3937F76 2006 | Dewey Decimal 811.6
for Thom Gunn
There is no east or west
in the wood you fear and seek,
stumbling past a gate of moss
and what you would not take.
And what you thought you had
(the Here that is no rest)
you make from it an aid
to form no east, no west.
No east. No west. No need
for given map or bell,
vehicle, screen, or speed.
Forget the house, forget the hill.
Taking its title from a set of writings found in the Dead Sea Scrolls, From the Book of Giants retunes the signal broadcast from these ancient fragments, transmitting a new sound in the shape of a Roman drain cover, in imitations of Dante and Martial, in the voice of a cricket and the hard-boiled American photographer Weegee, in elegies both public and personal, and in poems that range from the social speech of letters to the gnomic language of riddles. Out of poetry’s “complex of complaint and praise,” Joshua Weiner discovers, in one poem, his own complicity in Empire during his son’s baseball game at the White House. In another, an embroidered parrot sings a hermetic nursery rhyme to an infant after 9/11.