The Broadview Canterbury Tales is an edition of the complete tales in a text based on the famous Ellesmere Manuscript. Here one may read a Middle English text that is closer to what Chaucer’s scribe, Adam Pinkhurst, actually wrote than that in any other modern edition. Unlike most editions, which draw on a number of manuscripts to recapture Chaucer’s original intention, this edition preserves the text as it was found in one influential manuscript. A sampling of facsimile pages from the original manuscript is also included, along with a selection of other works that give the reader a rich sense of the cultural, political, and literary worlds in which Chaucer lived. The second edition includes a new Middle English glossary, a timeline of Chaucer’s life and times, and detailed page headers showing the fragment and line numbers to assist readers in finding a specific section of the poem.
As its title suggests, Negative/Positive begins with the negative, a foundational element of analog photography that is nonetheless usually ignored, and uses this to tell a representative, rather than comprehensive, history of the medium. The fact that a photograph is split between negative and positive manifestations means that its identity is always simultaneously divided and multiplied. The interaction of these two components was often spread out over time and space and could involve more than one person, giving photography the capacity to produce multiple copies of a given image and for that image to have many different looks, sizes and makers. This book traces these complications for canonical images by such figures as William Henry Fox Talbot, Kusakabe Kimbei, Dorothea Lange, Man Ray, Seydou Keïta, Richard Avedon, and Andreas Gursky. But it also considers a number of related issues crucial to any understanding of photography, from the business practices of professional photographers to the repetition of pose and setting that is so central to certain familiar photographic genres. Ranging from the daguerreotype to the digital image, the end result is a kind of little history of photography, partial and episodic, but no less significant a rendition of the photographic experience for being so. This book represents a summation of Batchen’s work to date, making it be essential reading for students and scholars of photography and for all those interested in the history of the medium
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