In this ingenious study, Kathryn Rudy takes the reader on a journey to trace the birth, life and afterlife of a Netherlandish book of hours made in 1500. Image, Knife, and Gluepot painstakingly reconstructs the process by which this manuscript was created and discusses its significance as a text at the forefront of fifteenth-century book production, when the invention of mechanically-produced images led to the creation of new multimedia objects. Rudy then travels to the nineteenth century to examine the phenomenon of manuscript books being pillaged for their prints and drawings: she has diligently tracked down the dismembered parts of this book of hours for the first time. Image, Knife, and Gluepot also documents Rudy’s twenty-first-century research process, as she hunts through archives while grappling with the logistics and occasionally the limits of academic research. This is a timely volume, focusing on questions of materiality at the forefront of medieval and literary studies. Beautifully illustrated throughout, its use of original material and its striking interdisciplinary approach, combining book and art history, make it a significant academic achievement. Image, Knife, and Gluepot is a valuable text for any scholar in the fields of medieval studies, the history of early books and publishing, cultural history or material culture. Written in Rudy’s inimitable style, it will also be rewarding for any student enrolled in a course on manuscript production, as well as non-specialists interested in the afterlives of manuscripts and prints. The Royal Society of Edinburgh has generously contributed to this Open Access publication. Due to the number and quality of the images in this book, we have provided the option of a more expensive hardback edition, printed on the best quality paper available, in order to present the images as clearly and beautifully as possible. We hope this range of options — the freely available PDF, HTML and XML editions; the economically priced EPUB, MOBI and paperback editions; and the more expensively printed hardback — will satisfy everyone. Furthermore the HTML edition allows readers to magnify the images of the manuscripts displayed in the book.
UNORTHODOX LIFE. In the 1930's, Germany, the most powerful and ruthless nation in the world, decreed that our family was to be exterminated. Rudy Rosenberg, born in Belgium in 1930 found himself and his immediate family locked in Belgium. Rudy, his sister Ruth, Hillel his Poland born father and Frieda his German born mother, Jewish and Stateless were unable to break out of Europe. The family watched the growth of Hitler and his Nazi anti-Semitic policies with increased concernhoping that unlike in the Great War (1914-1918) Belgium's neutrality would be respected by Germany. 1935 Anti-Jewish laws began in Germany (Frieda's family would be murdered and wiped out during (1942-1943) 1938 Hitler marched into Czechoslovakia. Hitler marched into Austria 1939 Hitler invaded Poland (Hillel's family would be murdered and wiped out (1941-1942), we heard of Jews being hunted and killed by the German invaders. 1940 In April, Hitler invaded Denmark and Norway. 1940 in May, Hitler invaded Belgium, Holland and France. Rudy and his family watched and remembered the anti-Jewish vitriol that seeped into occupied Europe and even in previously benign Belgium. Starting in 1941 the first arrests of thousands of Belgian Jews came about. These were released through the personal intervention of Belgium's Queen Elizabeth. (These Belgian Jews would later be arrested and deported again in 1943). In 1942, Rudy, Ruth and countless Jewish students were forbidden to continue their schooling. The family was left with limited choices. We had to either try to flee to unoccupied Switzerland or hide in convents or Christian camps or private homes. A last alternative was to await the German troops for the deadly arrest and deportation to concentration camps mostly in Poland or Germany where swift death would be certain. In June 1942 we purchased fake identity papers so we could flee to Switzerland. Unfortunately we soon learned that this escape route was too dangerous and not practical. Our parents found a safe hiding place in the Ardennes for Ruth and Rudy. For a fee Frieda found a basement to hide in Ixelles, a suburb of Brussels in a private home. Hillel, for a much larger fee, found a hiding place in a private house ini Uccle, another suburb of Brussels. For safety reasons, after about three months Ruth and Rudy left the hotel in the Ardennes.Ruth and Rudy went to hide and joined with father in Uccle. Six months later, in March 1943, Rudy went to hide with Frieda in her Ixelles basement where they remained in hiding until they were finally liberated on the 3rd of September 1944 after hiding in the basement for 17 months. The family spent over two years, 27 months, 823 days in hiding. We then tried to resume our educations, live again and become normal people again. Eventually Rudy left Europe for the USA, joined the US Army during the Korean conflict. Frieda and Ruth joined Rudy three years later. In 1991 Rudy wrote and published "And Somehow We Survive" an account of the struggle of his family to survive. Now Rudy Rosenberg expands his life and the attempts to sort out the early life, survival and his arrival in the USA .There he details his bewildering coming to terms with his ethnic background, a faith he never knew and the religion he ran away from: AN UNORTHODOX LIFE.
“We have passed through the eye of the needle!” my father was fond of saying. And indeed we had. Now, after four years and four months of German occupation, we had survived. Neither morality nor faith had anything to do with our survival but survive we did. Money, sex and luck all had a hand in it. Germany, the most powerful nation in Europe, had decreed that all Jews were to be exterminated, not only the adults but especially the children. Once the children had been murdered, the “Jewish Question” would have been resolved once and for all. The Allied armies had finally swept through Belgium and liberated us after we had spent twenty-seven months in hiding. Our parents, Hilaire and Frieda Rosenberg went about trying to resume some semblance of family life; my sister Ruth and I would be going back to school after nearly three years of interrupted studies. It would take years for me to fathom the enormity of what we had been through, to understand why we did survive. Our parents were gamblers and people they knew through the Casinos hid us. Hilaire made large amounts of money in black-market dealings with the Germans so we could pay for the cupidity of those who would hide us. Frieda had an affair with an SS officer who warned us when we had to go into hiding. After attending the 1991 Conference of Hidden Children in New York City I knew that this unusual story of survival had to be written. Thus began a journey to a second liberation, an understanding that although they had been less than perfect parents, Hilaire and Frieda did all they humanly could do to ensure the survival of this nucleus of our family.
Whether you are a meeting professional or new to event planning, a corporate or association executive, or independent consultant, the book synthesizes what you need to know to achieve professionalism in the management of conferences, exhibitions, and conventions.
Process poetics is about radical poetry — poetry that challenges dominant world views, values, and aesthetic practices with its use of unconventional punctuation, interrupted syntax, variable subject positions, repetition, fragmentation, and disjunction. To trace the aesthetically and politically radical poetries in English Canada since the 1960s, Pauline Butling and Susan Rudy begin with the “upstart” poets published in Vancouver’s TISH: A Poetry Newsletter, and follow the trajectory of process poetics in its national and international manifestations through the 1980s and ’90s. The poetics explored include the works of Nicole Brossard, Daphne Martlatt, bpNichol, George Bowering, Roy Kiyooka, and Frank Davey in the 1960s and ’70s. For the 1980-2000 period, the authors include essays on Jeff Derksen, Clare Harris, Erin Mour, and Lisa Robertson. They also look at books by older authors published after 1979, including Robin Blaser, Robert Kroetsch, and Fred Wah. A historiography of the radical poets, and a roster of the little magazines, small press publishers, literary festivals, and other such sites that have sustained poetic experimentation, provide context.
The Medieval book, both religious and secular, was regarded as a most precious item. The traces of its use through touching and handling during different rituals such as oath-taking, is the subject of Kathryn Rudy’s research in Touching Parchment. Rudy presents numerous and fascinating case studies that relate to the evidence of use and damage through touching and or kissing. She also puts each study within a category of different ways of handling books, mainly liturgical, legal or choral practice, and in turn connects each practice to the horizontal or vertical behavioural patterns of users within a public or private environment. With her keen eye for observation in being able to identify various characteristics of inadvertent and targeted ware, the author adds a new dimension to the Medieval book. She gives the reader the opportunity to reflect on the social, anthropological and historical value of the use of the book by sharpening our senses to the way users handled books in different situations. Rudy has amassed an incredible amount of material for this research and the way in which she presents each manuscript conveys an approach that scholars on Medieval history and book materiality should keep in mind when carrying out their own research. What perhaps is most striking in her articulate text, is how she expresses that the touching of books was not without emotion, and the accumulated effects of these emotions are worthy of preservation, study and further reflection.
This text constructs a framework in which to examine the subject of German collective memory, which for more than half a century has been shaped by the experience of Nazism, World War II and the Holocaust. Beginning with national unification in 1870-71 it follows through to reunification in 1990.
In seventeenth-century Brussels, the careers of painters were shaped not only by their artistic talents but also by the communities to which they belonged. This book explores the intricate relationship between the social structures and artistic production of the 353 painters who became masters in the Brussels Guild of Painters, Goldbeaters, and Stained-Glass Makers between 1599 and 1706. This innovative study combines quantitative digital analysis with detailed qualitative case studies, offering a novel approach to the social history of art. By examining the various communities in which these artists operated, this book provides new insights into how early modern painters — both in Brussels and beyond — created their art, earned a living, and navigated the complexities of urban life. Painters and Communities in Seventeenth-Century Brussels also presents the first overview of the Brussels Baroque, with extensive biographical lists of the city’s master painters.
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