To properly understand the intricate workings of Wulfstan’s intimidating legislative corpus, one should look more keenly into its genesis. The law code titled “The Laws of Edward and Guthrum” has largely been ignored and our understanding of the archbishop’s purpose and methodology is perhaps the poorer for it: in its current form, the code represents Wulfstan’s earliest attempt at legislation. It survives in two manuscripts: Cambridge Corpus Christi College 383 (B) and Strood, Medway Archive and Local Studies Centre, MS DRc/R1 (H), also known as Textus Roffensis. The present paper aims at elucidating how the provisions first mentioned here helped shape many of Wulfstan’s later laws, and that the text itself should not be interpreted as merely one’s first attempt at legislation. Quite the opposite, “The Laws of Edward and Guthrum” should be perceived as an invaluable key through which much of the later Anglo-Saxon legislation can be understood.
{"title":"Forging a Precedent: the Purpose and Legacy of The “Laws of Edward and Guthrum”","authors":"Ioan-Andrei Crișan","doi":"10.33993/eb.2021.02","DOIUrl":"https://doi.org/10.33993/eb.2021.02","url":null,"abstract":"To properly understand the intricate workings of Wulfstan’s intimidating legislative corpus, one should look more keenly into its genesis. The law code titled “The Laws of Edward and Guthrum” has largely been ignored and our understanding of the archbishop’s purpose and methodology is perhaps the poorer for it: in its current form, the code represents Wulfstan’s earliest attempt at legislation. It survives in two manuscripts: Cambridge Corpus Christi College 383 (B) and Strood, Medway Archive and Local Studies Centre, MS DRc/R1 (H), also known as Textus Roffensis. The present paper aims at elucidating how the provisions first mentioned here helped shape many of Wulfstan’s later laws, and that the text itself should not be interpreted as merely one’s first attempt at legislation. Quite the opposite, “The Laws of Edward and Guthrum” should be perceived as an invaluable key through which much of the later Anglo-Saxon legislation can be understood.","PeriodicalId":380509,"journal":{"name":"Études bibliologiques/Library Research Studies","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128712524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
There are several hundred old Romanian and foreign books in the Bucharest Metropolitan Library collections, especially in “Nicolaus Olahus” heritage repository of “Octavian Goga” Cultural Centre. Among the copies of old books, there are also ten volumes of the so-called Transylvanian book - transylvanica -, works printed in Transylvania or abroad yet having Transylvanian authors and/or about Transylvania. The ten identified volumes in the collection were printed in four typographical centres, Zürich, Amsterdam [Rouen], Venice and Sibiu, between 1546 and 1793. The list of works includes Johannes Honterus, Rudimenta cosmographica (Tiguri [Zürich], 1546) and Wolfgang Bethlen, Historia de rebus Transsylvanicis, vol. I-VI (Sibiu, 1782-1793). Even if the number of Transylvanian volumes is small in comparison with the foreign and Romanian prints, interest in them is justified by the novelty of the collection, the copies in the Metropolitan Library being unknown in specialised bibliographies.
{"title":"Transylvanian Prints in the Collections of the Bucharest Metropolitan Library (16th-17th Centuries)","authors":"Florin Bogdan","doi":"10.33993/eb.2020.04","DOIUrl":"https://doi.org/10.33993/eb.2020.04","url":null,"abstract":"There are several hundred old Romanian and foreign books in the Bucharest Metropolitan Library collections, especially in “Nicolaus Olahus” heritage repository of “Octavian Goga” Cultural Centre. Among the copies of old books, there are also ten volumes of the so-called Transylvanian book - transylvanica -, works printed in Transylvania or abroad yet having Transylvanian authors and/or about Transylvania. The ten identified volumes in the collection were printed in four typographical centres, Zürich, Amsterdam [Rouen], Venice and Sibiu, between 1546 and 1793. The list of works includes Johannes Honterus, Rudimenta cosmographica (Tiguri [Zürich], 1546) and Wolfgang Bethlen, Historia de rebus Transsylvanicis, vol. I-VI (Sibiu, 1782-1793). Even if the number of Transylvanian volumes is small in comparison with the foreign and Romanian prints, interest in them is justified by the novelty of the collection, the copies in the Metropolitan Library being unknown in specialised bibliographies.","PeriodicalId":380509,"journal":{"name":"Études bibliologiques/Library Research Studies","volume":"354 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116448301","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Metropolitan Sofronie Miclescu was dismissed on the 7th of November 1860 by Alexandru Ioan Cuza because he opposed the secularization of the Church’s wealth. Immediately after this removal, the government of the United Romanian Principalities began preparing the inventory of all the assets of the highest religious institution of Moldavia. Thus, not only the vestments, furniture and tools of the Metropolitan of Moldavia and Suceava were inventoried but also the cultural heritage of this institution, consisted in liturgical accessories and vestments, old books and documents as well as portraits of the country’s hierarchs and lords. The listing proves that the Metropolitan of Moldavia had a large library, which consisted of several hundred volumes, written in Romanian, Greek, Russian, German, Latin and French, held in several rooms of the Metropolitan Palace, together with the old archive of the institution. Many items were lost during the secularization procedure as well as during the two World Wars, so the inventory kept at the National Archives of Iași is the only evidence of the cultural heritage that existed in 1860.
1860年11月7日，大主教Sofronie Miclescu被Alexandru Ioan Cuza解职，因为他反对教会财富的世俗化。在撤职之后，罗马尼亚联合公国政府立即开始编制摩尔达维亚最高宗教机构的所有资产清单。因此，不仅Moldavia和Suceava大都会的法衣、家具和工具被盘点，而且该机构的文化遗产也被盘点，包括礼拜用品和法衣、旧书和文件以及该国等级和领主的肖像。清单证明摩尔达维亚大都会有一个大型图书馆，其中包括数百卷，用罗马尼亚语、希腊语、俄语、德语、拉丁语和法语写成，存放在大都会宫的几个房间里，以及该机构的旧档案。许多物品在世俗化过程中以及两次世界大战期间丢失，因此保存在国家档案馆Iași的清单是1860年存在的文化遗产的唯一证据。
{"title":"The Library of the Metropolitan Palace from Iași at the Revoking of Metropolitan Sofronie Miclescu of Moldavia","authors":"Arcadie M. Bodale, Suzana Bodale","doi":"10.33993/eb.2020.07","DOIUrl":"https://doi.org/10.33993/eb.2020.07","url":null,"abstract":"Metropolitan Sofronie Miclescu was dismissed on the 7th of November 1860 by Alexandru Ioan Cuza because he opposed the secularization of the Church’s wealth. Immediately after this removal, the government of the United Romanian Principalities began preparing the inventory of all the assets of the highest religious institution of Moldavia. Thus, not only the vestments, furniture and tools of the Metropolitan of Moldavia and Suceava were inventoried but also the cultural heritage of this institution, consisted in liturgical accessories and vestments, old books and documents as well as portraits of the country’s hierarchs and lords. The listing proves that the Metropolitan of Moldavia had a large library, which consisted of several hundred volumes, written in Romanian, Greek, Russian, German, Latin and French, held in several rooms of the Metropolitan Palace, together with the old archive of the institution. Many items were lost during the secularization procedure as well as during the two World Wars, so the inventory kept at the National Archives of Iași is the only evidence of the cultural heritage that existed in 1860.","PeriodicalId":380509,"journal":{"name":"Études bibliologiques/Library Research Studies","volume":"110 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129903049","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The current study will aim to present several considerations on the formats of codices and early printed books, with special reference to the proportions, the virtual geometrical structure of the page dimensions and the entire surface of the open book. The author proposes herein that such ratios and virtual geometric arrangements are elements of a hidden religious symbolism inherited from antiquity. To support this argument, some codices and early printed books will be indicated that underwent repair works and were re-bonded. Ten material signs by which one could identify any re-binding works will be indicated herein. Supplementary, four methods for recalculating the initial paper size of codices and early printed books, before the trimming of the book block was performed, will be indicated as well.
{"title":"Formats of Early Book: Symbolism, Ill Treatmeant, Initial Size Recalculation","authors":"Florea Oprea","doi":"10.33993/eb.2020.01","DOIUrl":"https://doi.org/10.33993/eb.2020.01","url":null,"abstract":"The current study will aim to present several considerations on the formats of codices and early printed books, with special reference to the proportions, the virtual geometrical structure of the page dimensions and the entire surface of the open book. The author proposes herein that such ratios and virtual geometric arrangements are elements of a hidden religious symbolism inherited from antiquity. To support this argument, some codices and early printed books will be indicated that underwent repair works and were re-bonded. Ten material signs by which one could identify any re-binding works will be indicated herein. Supplementary, four methods for recalculating the initial paper size of codices and early printed books, before the trimming of the book block was performed, will be indicated as well.","PeriodicalId":380509,"journal":{"name":"Études bibliologiques/Library Research Studies","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128244218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is about the library set up by the Mavrocordatos family. It refers to all three of its branches: Constantinople, Chios and Văcăreşti, but focuses especially on the latter. The library in the monastery near Bucharest was one of the most complete of its days, and was well known even in the West. Some of its content is presented in my text, including its various catalogues; the scholars who worked on these compilations will also be mentioned. A project similar in its scope – the reconstitution of a library – has accomplished in the library of Peter Mohyla in Kiev.
{"title":"The Library of Mavrocordatos Family","authors":"Elena Ene Drăghici-Vasilescu","doi":"10.33993/eb.2021.04","DOIUrl":"https://doi.org/10.33993/eb.2021.04","url":null,"abstract":"This article is about the library set up by the Mavrocordatos family. It refers to all three of its branches: Constantinople, Chios and Văcăreşti, but focuses especially on the latter. The library in the monastery near Bucharest was one of the most complete of its days, and was well known even in the West. Some of its content is presented in my text, including its various catalogues; the scholars who worked on these compilations will also be mentioned. A project similar in its scope – the reconstitution of a library – has accomplished in the library of Peter Mohyla in Kiev.","PeriodicalId":380509,"journal":{"name":"Études bibliologiques/Library Research Studies","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116201361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Table ronde/Round Table: Les sources du savoir : De la culture de l’ écrit à la culture « Post- vérité » / The Sources of Knowledge : from Written Culture to the Post-Truth Culture","authors":"Sorin Crișan, Virgil Ciomoș","doi":"10.33993/eb.2019.09","DOIUrl":"https://doi.org/10.33993/eb.2019.09","url":null,"abstract":"","PeriodicalId":380509,"journal":{"name":"Études bibliologiques/Library Research Studies","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121769563","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Our paper aims at a brief survey of the part played by cultural posters within the framework of a wider project dedicated to the art, structure, and function of the theater poster.
{"title":"The Poster and the Lure of Imagination / L’ affiche et la séduction del’ imaginaire","authors":"Tiberius Vasiniuc","doi":"10.33993/eb.2019.08","DOIUrl":"https://doi.org/10.33993/eb.2019.08","url":null,"abstract":"Our paper aims at a brief survey of the part played by cultural posters within the framework of a wider project dedicated to the art, structure, and function of the theater poster.","PeriodicalId":380509,"journal":{"name":"Études bibliologiques/Library Research Studies","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131637021","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The image of the coat of arms of Brasov in seals, ancient books and architecture was studied in many works, old and new ones. Regarding the shape of this coat of arms on Brasov prints, there were two models, created by Johannes Honterus during the 16th century. These patterns circulated for a long time and they were used constantly, with small changes, by the printers and by the owners of the printing of the town until the 18th century. Our paper researches and analyzes the shape of the coat of arms, on the basis of Brasov prints, from the first images until the first half of the 18th century.
{"title":"Les armoiries de la ville de Brașov dans les ouvrages imprimes jusqu'a la premiere moitie du XVIIIe siecle","authors":"Ruxandra Moașa-Nazare","doi":"10.33993/eb.2021.06","DOIUrl":"https://doi.org/10.33993/eb.2021.06","url":null,"abstract":"The image of the coat of arms of Brasov in seals, ancient books and architecture was studied in many works, old and new ones. Regarding the shape of this coat of arms on Brasov prints, there were two models, created by Johannes Honterus during the 16th century. These patterns circulated for a long time and they were used constantly, with small changes, by the printers and by the owners of the printing of the town until the 18th century. Our paper researches and analyzes the shape of the coat of arms, on the basis of Brasov prints, from the first images until the first half of the 18th century.","PeriodicalId":380509,"journal":{"name":"Études bibliologiques/Library Research Studies","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133397761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Based on the detailed iconographic analysis of a set of black and white tonal designs intended to illustrate an excerpt from Victor Hugo’s novel Les Misérables focused on the story of Cosette, this study attempts to explore the reasons why this book was deemed suitable for children and, at the same time, discuss the means deployed in order to render it accessible to a young readership. The study thus explores the role of the visual in communication strategies, but also the relationship between text and image, focusing on the more emotional and perhaps more complex messages conveyed by the ‘illustrations’, particularly through postures, gestures and the gaze, bestowing on the image an autonomous status and perhaps even a hegemonic position in relation to the text. A second layer of the analysis deals with the stylistic options of the artist who produced the graphics for the book. Although Iacob Desideriu’s biography is difficult to reconstruct, the essay attempts to place the artist’s work within the Expressionist paradigm, which may have travelled from Germany, Dresden and Berlin, to Bessarabia and, eventually Bucharest. The study aims to consider the function of these images, as they seem to transcend didactic and straightforwardly propagandistic purposes and engage in a complex and strongly affective dialogue with the young recipient. It is the contention of this essay that stylistic choices, the abandonment of Socialist Realism in favour of an adapted version of Expressionism redefined the purpose of the images, distancing it from the purely didactic and rendering it more accommodating to the affective and interpelative. Taking into account their interpelative function, the present study attempts to go beyond an analysis of images as mere illustrations, completely subordinate or, at best, complementary to the text, and approach them as a different way to render meaning and elicit responses from the target audience. Ultimately, besides illustrating the difficulties encountered by artists in a totalitarian regime by examining an individual and the designs he produced for one specific book, this study may contribute to the debates on the suitability and/or usefulness of iconography as a method beyond the borders of the early modern times, argue for the importance of the visual as a means of communication and perhaps bring images in children’s books to the fore of discussions concerning art during the communist period.
{"title":"Text and Image in Children’s Literature in Communist Romania","authors":"Maria Crǎciun","doi":"10.33993/eb.2021.08","DOIUrl":"https://doi.org/10.33993/eb.2021.08","url":null,"abstract":"Based on the detailed iconographic analysis of a set of black and white tonal designs intended to illustrate an excerpt from Victor Hugo’s novel Les Misérables focused on the story of Cosette, this study attempts to explore the reasons why this book was deemed suitable for children and, at the same time, discuss the means deployed in order to render it accessible to a young readership. The study thus explores the role of the visual in communication strategies, but also the relationship between text and image, focusing on the more emotional and perhaps more complex messages conveyed by the ‘illustrations’, particularly through postures, gestures and the gaze, bestowing on the image an autonomous status and perhaps even a hegemonic position in relation to the text. A second layer of the analysis deals with the stylistic options of the artist who produced the graphics for the book. Although Iacob Desideriu’s biography is difficult to reconstruct, the essay attempts to place the artist’s work within the Expressionist paradigm, which may have travelled from Germany, Dresden and Berlin, to Bessarabia and, eventually Bucharest. The study aims to consider the function of these images, as they seem to transcend didactic and straightforwardly propagandistic purposes and engage in a complex and strongly affective dialogue with the young recipient. It is the contention of this essay that stylistic choices, the abandonment of Socialist Realism in favour of an adapted version of Expressionism redefined the purpose of the images, distancing it from the purely didactic and rendering it more accommodating to the affective and interpelative. Taking into account their interpelative function, the present study attempts to go beyond an analysis of images as mere illustrations, completely subordinate or, at best, complementary to the text, and approach them as a different way to render meaning and elicit responses from the target audience. Ultimately, besides illustrating the difficulties encountered by artists in a totalitarian regime by examining an individual and the designs he produced for one specific book, this study may contribute to the debates on the suitability and/or usefulness of iconography as a method beyond the borders of the early modern times, argue for the importance of the visual as a means of communication and perhaps bring images in children’s books to the fore of discussions concerning art during the communist period.","PeriodicalId":380509,"journal":{"name":"Études bibliologiques/Library Research Studies","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131378578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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