G. Thomas Tanselle

Studying printed books as physical objects can reveal not only how books were produced, but also how their design and layout features emerged and came to convey meanings. This concise and accessible introduction to analytical bibliography in its historical context explains in clear, non-specialist language how to find and analyze clues about a book's manufacture and how to examine the significance of a book's design. Written by one of the most eminent bibliographical and textual scholars working today, the book is both a practical guide to bibliographical research and a history of bibliography as a developing field of study. For all who use books, this is an ideal starting point for learning how to read the object along with the words.

Studying printed books as physical objects can reveal not only how books were produced, but also how their design and layout features emerged and came to convey meanings. This concise and accessible introduction to analytical bibliography in its historical context explains in clear, non-specialist language how to find and analyze clues about a book's manufacture and how to examine the significance of a book's design. Written by one of the most eminent bibliographical and textual scholars working today, the book is both a practical guide to bibliographical research and a history of bibliography as a developing field of study. For all who use books, this is an ideal starting point for learning how to read the object along with the words.

This text uses the diaries of lawyer and music lover George Templeton Strong as a starting point from which to explore aspects of New York City's musical life in the mid-19th century. This volume ranges across opera, orchestral and chamber music, black-face minstrels, military bands, church choirs and even concert saloons. Among the scenes portrayed are the rapturous reception of Verdi's "Ballo in Maschera" in 1861; the impact of the Civil War on New York's music scene, from theatres closing as their musicians enlisted, to the performance of "The Star-Spangled Banner" at every possible occasion; and open-air concerts in the developing Central Park. The author draws on primary source materials from daily newspapers, memoirs, city directories and architectural drawings.

This text uses the diaries of lawyer and music lover George Templeton Strong as a starting point from which to explore aspects of New York City's musical life in the mid-19th century. This volume ranges across opera, orchestral and chamber music, black-face minstrels, military bands, church choirs and even concert saloons. Among the scenes portrayed are the rapturous reception of Verdi's "Ballo in Maschera" in 1861; the impact of the Civil War on New York's music scene, from theatres closing as their musicians enlisted, to the performance of "The Star-Spangled Banner" at every possible occasion; and open-air concerts in the developing Central Park. The author draws on primary source materials from daily newspapers, memoirs, city directories and architectural drawings.

A catalogue of the Horblit collection of books, tracts, leaflets, and broadsides printed by Sir Thomas Phillipps at his press at Middle Hill, or elsewhere to his order, now in the collection of the Grolier Club. Published to accompany The Collector Collected: The Horblit Archive of Sir Thomas Phillipps at the Grolier Club, held at the Club May 20–July 31, 1997.

Textual criticism-the traditional term for the task of evaluating the authority of the words and punctuation of a text-is often considered an undertaking preliminary to literary criticism: many people believe that the job of textual critics is to provide reliable texts for literary critics to analyze. G. Thomas Tanselle argues, on the contrary, that the two activities cannot be separated. The textual critic, in choosing among textual variants and correcting what appear to be textual errors, inevitably exercises critical judgment and reflects a particular point of view toward the nature of literature. And the literary critic, in interpreting the meaning of a work or passage, needs to be (though rarely is) critical of the makeup of every text of it, including those produced by scholarly editors.

This book provides a basic guide to the study of the printed matter which has been produced in the United States. No comprehensive attempt has been made to record the great bulk of research in this field. Recognizing the need for an up-to-date guide to such investigations, G. Thomas Tanselle has compiled a listing of the principal material dealing with printing and publishing in this country.In his Introduction, Tanselle surveys the research which has attempted to trace the history of printing and publishing in America from its inception to the present and explains how this material can be utilized effectively.In nine carefully arranged categories he covers bibliographies of imprints of particular localities; bibliographies of works in particular genres; listings of all editions and printings of works by individual writers; copyright records; catalogues of auction houses, book dealers, exhibitions, institutional libraries, and private collections; retrospective book-trade directories; studies of individual printers and publishers; general studies of printing and publishing; and checklists of secondary material.From the mass of material, an appendix selects 250 titles. Although the work is arranged so that the reader may easily locate relevant sections, a comprehensive index provides further aid in finding individual items.“A successful checklist,” writes the author, “is not merely a work to be consulted for information but also a nucleus around which additional information can be gathered in a meaningful way; it provides a framework into which the community of workers in a field can place further references in an organized fashion.”Guide to the Study of United States Imprints is a reference tool designed to serve both as a guide to research and as a practical manual for use in identifying, cataloguing, and recording printed matter. It will be of enormous value to scholars in American literature, history, and bibliography, to librarians, typographers, and bibliophiles, and to antiquarian book dealers and book collectors.