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Born out of wedlock to a former Mennonite girl, Mary Penner lived on the Shades of the Past Volume of Truly Yours Digital Editions.
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I'd like to read this book on Kindle Don't have a Kindle? Share your thoughts with other customers. Write a customer review. Showing of 11 reviews. Top Reviews Most recent Top Reviews. There was a problem filtering reviews right now. Please try again later. For those who already have read either the four single-volumes edition, or the dual omnibus edition - but especially for those who are curious about reading this strange, wonderful and unpretentiously philosophical novel This is the best edition available!
Long overdue in its complete form - as the Autarch Severian originally intended it - sturdily bound, and printed with a decently sized font that does not torment the eyes - as does the Orb omnibus. Mine was purchased at a quite reasonable price, as are others likewise, currently available. Short of an illustrated version - which, after three decades, sadly remains unaccomplished Alan Lee and John Howe The new cover by Don Maitz is an additional bonus, though it would have been great to have included all of his previous covers within, inappropriately Frazetta-ish though they seem.
For those of you who are truly committed to appreciating this wonderfully evocative and unique all tribute to Jack Vance acknowledged! However, amongst so many other fascinating conundrums, such as whether the setting is post-historical or prehistorical, or some combination or other alternative, truly satisfying answers are entirely up to your own interpretation. And isn't that always the case with art that most worthwhile?
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Mage of writers, Wolfe conjures up, from the very first to the very last sentence check them out! Even in spite of its "many deviations and digressions" - and other often frustrating stylistic indulgences - this is a novel brimming with imagination, invention and real enchantment. I suppose it is accurate to describe Wolfe as "a writer's writer", like John Fowles or Vladimir Nabakov ie: A Maggot, or Ada or Ardor , but a reader who is willing to experiment, will be greatly rewarded - particularly those with enthusiasm for fiction that advances the wonderful tropes and traditions of the weird.
A suitably dreamy Apollonian detachment lulls all the boundaries of this narrative, always abetted by a meticulous, yet marvelously imprecise language. So, along the way be warned: Wolfe's style is elegant, redolent with disguise: Whole enjoyment requires patience, even tolerance for the way in which a wide variety of genre conventions are introduced, spun - then veered away from. There is action and adventure in doses - particularly in my favorite volume The Sword of the Lictor. Each of the four volumes is composed of short chapters, very episodic, piling wonder upon bewilderment upon mystery.
There are entire histories and geographies, artifacts and customs only hinted at or hazily inferred; much for a tolerant and willing reader to participate with in trying to image - which only enhances the spell! And always there is a splendid wealth of wonderfully antique names: One example that no one has seemed to pick up on: Thecla, and how that vital character might correspond to the Claw.
In too many other reviews of this remarkable book one encounters predictable"Modern Lit" lecture hall parroting about Severian as an "unreliable narrator", a superficial observation - rarely justified with worthwhile examples - and almost entirely neglectful of the very essence of Maestro Wolfe's cunning and uncanny, though understated, conceit: Much of what he has attempted to transcribe from Severian's memoir is likely lost in translation, as he mentions in the appendices, due to the difficulty of its message-in-a-bottle recovery from whatever far shore it was cast adrift.
The overall tone and tenor of this otherworldly narrative, then, is seductively familiar yet unfamiliar, all in keeping with the unreliable nature of it inherently mysterious universe. Imagine the later days of the Byzantine Empire exaggerated by a wealth of alien, mutant and mythical beings and creations; and through this enigmatic landscape wanders the silhouette of an executioner: I've read and re read this book countless times and it never gets old, there's always something new to ponder about. Tied for first with my other favorite sci-fi classic Dune. Have you ever read one of those books that you keep thinking about a year after first reading it, until you find yourself cracking it open to read it again?
This is one of those books, and on a second read it is every bit as enjoyable as the first. Through the eyes of Severian the torturer, we see a far-future Earth under a dying sun, where we encounter a variety of interesting people and strange creatures. We witness Severian's rise from apprentice to journeyman in the guild of torturers, see him banished from his home, and follow him on his journey to a new life in a distant village. Wolfe's prose and diction are often archaic but always beautiful, and his characterization and story development are brilliant.
Don't go into this expecting light reading. Severian is a liar. His world is unfamiliar to us, but familar to him. For this reason, he is not going to waste words telling us a great deal about ancient history, which for us has yet to happen. If we are careful readers, we will understand certain things about Severian's world better than he leads us to believe he understands them himself.
Beware of those reviewers who would have you believe that this book is anything less than great. I have seen some say that the writing is dull; they didn't read the same book that I read. Some say that it is full of events that don't advance the plot; Severian tells us nothing that is unimportant. So every new manuscript online is a celebration. But now, you who are making digitized medieval manuscripts available online, tell us more.
How, exactly, are you making your manuscripts available? I hate this phrase. It makes my teeth clench and my heart beat faster. What else can you tell me? Those are the big five questions I like to have answered when I read about a new digital manuscript collection, and they very rarely are. This is an enormous shift. Thanks so much to Georg for inviting me! And thanks to the audience for the discussion after. Thank you to Georg Voegler for inviting me to present the keynote at the symposium, thank you Dixit for making this conference possible, and danke to welcoming speakers for welcoming us so warmly.
Georg invited me here to talk about my work on medievalists use of digital editions. But first, I have a question. What is an edition? Preparing for this talk was no different. So, I asked Google to define edition for me, and this is what I got. It might be a version compiled together from other versions, like in a scholarly critical edition, but need not be. So here is some text from the Illiad , written on a papyrus scroll I the 2 nd century BC. The Illiad , you probably know, is an ancient Greek epic poem set during the Trojan war, which focuses on a series of battles between King Agamemnon and the warrior Achilles.
If you are a Classicist, I apologize in advance for simplifying a complex textual situation. That text, however, is built from many small material fragments that were written over a thousand years, and which represent written form of text that was composed through oral performance. The Bankes Papyrus is actually one of the most complete examples of the Illiad in papyrus form — most surviving examples are much more fragmentary than this.
Venetus A, aka Marcianus Graecus Z. I have an image of the first page of the first book of the Illiad here. You can see that this presents much more than the text, which is the largest writing in the center-left of the page. This compiled text is surrounded by layers of glossing, which includes commentary as well as textual variants.
The Venetus A is just one example of a medieval glossed manuscript. Another more common genre of glossed manuscripts are Glossed Psalters, that is, texts of the Psalter written with glosses, quotes from the Church Fathers, included to comment on specific lines. This is a somewhat early example, dated to around , which is before the Glossa Ordinara was compiled the Glossa Ordinaria was the standard commentary on the scriptures into the 14 th century. One more example, a manipulus florum text from another University of Pennsylvania manuscript. This particular florilegium contains approximately Latin proverbs and textual excerpts attributed to a variety of classical, patristic and medieval authors.
The flora are organized under alphabetically-ordered topics; here we see magister , or teacher. The red text is citation information, and the brown text is the quotes. A glance at the table of contents reveals an introduction with various sections describing the history of editions of the text, the methodology behind this edition, and a description of the manuscripts and the relationships among them. This is followed by the edited texts themselves, which are presented in the traditional manner: Electronic and digital editions have traditionally as far as we can talk about there being a tradition of these types of editions presented the same type of information as print editions, although the expansiveness of hypertext has allowed us to present this information interactively, selecting only what we want to see at any given moment and enabling us to follow trails of information via links and pop-ups.
Here we have a basic table of contents, which informs us of the sections included in the edition. Here we have the edited text from one manuscript, with the page image displayed alongside this of course being one of the main differences between digital and print editions , with variant readings and other notes available at the click of the mouse.
A more extensive content list is also available via dropdown, and with another click I can be anywhere in the edition I wish to be. With the possible exception of the Bankes Papyrus, all of these examples are editions. They reflect the purpose of the editor, someone who is not writing original text but is compiling existing text to suit some present desire or need.
And I could even make an argument that the papyrus is an edition as well, if I posit that the individual who wrote the text on the papyrus was compiling it from some other written source or even from the oral tradition. I want to take a step back now from the question of what is an edition and talk a bit about why, although the answer to this may not matter to me personally, it does matter very much when you start asking people their opinions about editions.
I am not generally a fan of labels and prefer to let things be whatever they are without worrying too much about what I should call them. I had taken a traditional course of work, including courses in paleography and codicology, Old English, Middle English, and Latin language and literature, and several courses on the reading of religious texts, primarily hagiographical texts. I was keenly aware of the importance of primary source materials to the study of the middle ages, and I was also aware that there were CD-ROMs available that made primary materials, and scholarly editions of them, available at the fingertips.
There were even at this time the first online collections of medieval manuscripts notably the Early Medieval Manuscript Collection at the Bodleian Library at Oxford. But I was curious about how much these new electronic editions and electronic journals and databases, too were actually being used by scholars.
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I conducted a survey of medievalists, asking them about their attitudes toward, and use of, electronic resources. Comments from four different respondents explaining when they use digital editions and how they find them useful. I have thought about this specific disconnect a lot in the past five years, because I think that it does reflect a general disconnect between how we who create digital editions think about editing and editions, and how more traditional scholars and those who consume editions think about them.
Interestingly, this second definition arguably includes the Venetus A manuscript we looked at earlier. Digital scholarly editions are not just scholarly editions in digital media. I distinguish between digital and digitized. The digital edition is guided by a different paradigm. In practice most digitized editions will be photographic copies of print editions, although of course they could just be very simple text rendered fully in HTML pages with no links or pop-ups. First, a word about methodology. There were total respondents although not every respondent answered every question.
This year, I asked respondents about their use of editions — digital, digitized, and print — over the past year, focusing on the general number of times they had used the editions. A chart comparing the three types of editions side-by-side shows clearly how similar numbers are for digitized and print editions vs. What can we make of this? Questions that come immediately to my mind include: That they will find useful?
If we are creating our editions as a scholarly exercise, for our own purposes, does it matter if other people use them or not? It might hurt to think that someone is downloading a 19 th century edition from Google Books instead of using my new one, but is it okay? I want to change gears and come back now to this question, what is an edition.
But now I want to take a step back — way back — and think about what an edition is at the most basic level. On the Platonic level. If an edition is a shadow on the wall, what is casting that shadow? I say, we know texts because someone cared enough to write them down, and some of that survives, so what we have now is a written record that is intimately connected to material objects: Can the publication of a digital manuscript on the internet be understood as an edition?
This concept is very appealing to me. This position is a great deal of fun and encompasses many different responsibilities. All our digital images are released in the public domain, and published openly on our website, OPenn , along with human readable HTML descriptions, links to download the images, and robust TEI manuscript descriptions available for download and reuse.
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I also do a fair amount of what I think of as experimental work, including new ways to make manuscripts available to scholars and the public. I posted them all to Google Docs , along with spreadsheets as a very basic search facility. The next version will include facilities for connecting tags, and perhaps transcriptions, to the deconstructed manuscript.
This means you can use images from different repositories in the same browser or other tool. Here, quickly, is an example of how that can work. A manifest is a json file that contains descriptive and structural metadata for a manuscript, including links to images that are served through a IIIF server. You can look at it. However, if you copy that link and paste it into a IIIF-conformant tool such as Mirador a simple IIIF browser which I have installed on my laptop you can create your own collection and then view and manipulate the images side-by-side.
And here I can view them side by side, I can compare the images, compare the text, and I can make annotations on them too. Here is tool for creating editions of manuscripts. A quick side note: I cannot stress how radical this is for medieval manuscript studies.
However as fond as I am of IIIF, and as promising I think it is for my future vision, my support for it comes with some caveats. I believe that in most cases, when institutions digitize their manuscript collections they are obligated to release those images into the public domain, or at the very least under a creative commons: My issue with IIIF is that is presents the illusion of openness without actual openness.
It was introduced to us by Doug Emery, our data programmer who was also responsible for the curation of the data of the Archimedes Palimpsest Project and the Walters Art Museum manuscripts. We like it so much we had it put on teeshirts You can order your own here! I like it, not because I necessarily agree that the data is always more important than the interface, but because it makes me think about whether or not the data is always more important than the interface.
Is a manuscript simply an interface for the text and whatever else it bears, or is the physical object data of its own that begs for an interface to present it, to pull it apart and put it back together in some way to help us make sense of it or the time it was created? I am so excited to be here and to hear about what everyone in this room is thinking about editions, and interfaces, and what editions are, and what interfaces are and are for.
Thank you so much for your time, and enjoy the conference. The manifests published by the Vatican Digital Library are a good example of this. What can you do in that case? Why this is important will become clear momentarily. When it opens, it will appear as a single long string: Manifest open in TextWrangler. You need to get all the URLs on separate lines. The easiest way to do this is to find and replace all commas with a comma followed by a hard return.
Manifest, now with returns! Then open it in TextWrangler.
- A Family.
- Butterfly Shrug Knitting Pattern- 2 Versions.
- Buy for others;
- From the Publisher!
- Wounded Earth: An Environmental Thriller;
- Ten ways to save the publishing industry.
After second find and replace. You will notice I hope! So we need to remove them too. Before the slash find and replace. After the slash find and replace. We have our list of base URLs. Now we need to add the criteria necessary to turn these base URLs into direct links to images. I keep mentioning the criteria required to turn these links from error-throwers to image files. After find and replace. Test one, just to make sure it works.
Copy and paste the URL into a browser. In order to do that you need to turn the text links into hot links. I had to uninstall Down Them All and delete everything out of my Firefox profile before I could get it to work again. Happily I found a tool that made it easy to turn those text links into hot links: So now open a new tab in Firefox and open Multilinkr.
Down Them All should automatically recognize all the files and highlight them. Two things to be careful about here. One is that you need to specify a download location. The second one is that Down Them All will keep file names the same unless you tell it to do something different. In the case of the Vatican files, a file that lives here:. This is still a mouthful, but both the shelfmark Vat.
And please remember that the Vatican manuscript images are not licensed for reuse, so only download them for your own scholarly work.
The exact approach will vary since different institutions construct their image URLs in different ways. This is the easiest method, but it only works if the manifest contains urls that resolve directly to image files. If you can copy a url and paste it into a browser and an image displays, you can use this method. The manifest will open in the browser. It will recognize all the files linked from the manifest including. New filter Return to the main Down Them All view and check the box next to your newly-created filter.
So you need to change the Renaming Mask to at least give you unique names for each one, and specify where to download all those files. Downloading… Congratulations, you have downloaded all the images from this manuscript!
As with the Schoenberg Manuscripts, these two other collections are in their own folders, along with a spreadsheet you can search and brows to aid in discovery. You are free to download the PDF files and redistribute them as you wish. They are in the public domain. The main directory for the manuscripts is here. I actually have something pretty interesting to report! I spoke on OPenn: Primary Digital Resources Available to Everyone , which is the platform we use in the Schoenberg Institute for Manuscript Studies at the University of Pennsylvania Libraries to publish high-resolution digital images and accompanying metadata for all our medieval manuscripts I also talked for a few minutes about the Schoenberg Database of Manuscripts , which is a provenance database of pre manuscripts.
The philosophy of OPenn is centered on openness: Next to openness, we embrace simplicity. There is no search facility or fancy interface to the data. The images and metadata files are on a file system similar to the file systems on your own computer and browse pages for each manuscript are presented in HTML that is processed directly from the metadata file. This approach is actually pretty novel. Librarians and faculty scholars alike love their interfaces!
I just want to see the manuscripts. The humanities scholar who just wants to look at manuscripts is really not the audience for OPenn. If you want to search for and page through manuscripts, you can do that on Penn in Hand , our longstanding page-turning interface.