By Roger Chartier
In this provocative paintings, Roger Chartier keeps his terribly influential attention of the sorts of construction, dissemination, and interpretation of discourse in Early sleek Europe. Chartier the following examines the connection among patronage and the industry, and explores how the shape within which a textual content is transmitted not just constrains the creation of which means yet defines and constructs its audience.
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During this provocative paintings, Roger Chartier keeps his terribly influential attention of the sorts of creation, dissemination, and interpretation of discourse in Early smooth Europe. Chartier the following examines the connection among patronage and the industry, and explores how the shape during which a textual content is transmitted not just constrains the construction of that means yet defines and constructs its viewers.
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Extra info for Forms and Meanings: Texts, Performances, and Audiences from Codex to Computer
The April performance of Amphytrion was preceded by the reading of a sonnet written by Moliere celebrating the conquest of Franche-Comte, which concluded: Mais nos chansons, Grand Roi, ne sont pas si tot pretes, Et tu mets moins de temps a faire tes conquetes Qu'il ne faut pour les bien louer. (But our songs, Great King, are not ready so soon, / and you take less time to make your conquests / than [we] need to praise them properly)4 The poems glorified the king's victories; the Fete de Versailles was to celebrate the peace.
The marquise obtained the king's assent without difficulty, and she suggested to Marmontel that he offer his book on the same day to the sovereign, to the royal family, and to the ministers, which was precisely what he determined to do. He set off for Versailles: My copies being very magnificently bound (for I spared no expense), I went one Saturday evening to Versailles with my packets. . The following day, I 34 Chapter 2 was introduced by the due de Duras. The king was at his lever. Never had I seen him so handsome.
28 Authors and translators were not the only persons who presented books to princes. The booksellers often did so as well, which meant that there were times when a dedication put the author of the text and the producer of the book in competition with each other. Antoine Verard, a man who dominated the book-selling scene in Paris between 1485 and 1512, is a case in point. As Mary Beth Winn has shown, Verard's print publications presented a certain number of common traits they inherited directly from the manuscripts that he also produced.