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91 posts categorized "Publishing and printing"

11 September 2017

International Collaboration: a Dutch Polymath and a Czech Printer in 17th-Century Rome

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We do not often realise just how much collaboration took place between foreigners working abroad rather than in their native countries in 17th-century Europe. One interesting example of such a collaboration is that between a Dutchman, Cornelius Meyer, and a Czech printer, Jan Jakub (or Giovanni Giacomo) KomĂĄrek, who worked and collaborated in Rome, a veritable hive of intellectual activity at that time.

Meyer Arte de restituire tp
Title-page of Meyer’s L’arte di restituire a Roma la tralasciata navigatione del suo Tevere (Rome, 1685), 49.h.10 (1).

Little is known of Cornelius Meyer except that he was born in Holland in 1629, was generally accepted to be a polymath and trained as an architect, civil engineer and an engraver. He moved to Rome, one of the most vibrant and active capitals in Europe, in the 1680s and died there in 1701. He is principally remembered for his studies on technology, particularly his masterminding improvements to the navigability of the River Tiber in his L’arte di restituire a Roma la tralasciata navigatione del suo Tevere.

Meyer Nuovi ritrovamenti Dragon
Title-page of Meyer’s Nuovi ritrovamenti, divisi in due parti (Rome, 1689-96) 49.h.10 (2), showing the alleged dragon seen near the Tiber

He is also remembered for his description and detailed account of the sighting of a dragon ‘nelle paludi fuori di Roma’, in December 1691. Despite his detailed and beautiful engravings of the beast’s skeletal remains, Meyer’s account of the dragon was an elaborate hoax not unlike ‘Piltdown man’ but was so skilfully produced and illustrated that he duped many learned men and scientific experts.

Meyer Occhiali
Engraving of three wearers of different kinds of spectacles, from Nuovi ritrovamenti

Meyer’s engraving of spectacles and their wearers for his work on various technologies, Nuovi ritrovamenti, divisi in due parti, printed by Komarek on behalf of the Accademia Fisico-matematica, one of the most important scientific academies in Rome, is extremely finely detailed, recalling similar images by Holbein. It imparts a very human perspective on what could have been a dryish discussion of the important science of optics, which had made very considerable advances since Galileo first used the telescope to study the heavens systematically. Moreover, by depicting the wearers of the spectacles in fine detail, two with fulsome beards, all three wearing caps or bonnets, and two wearing beautifully detailed ruffs, thereby modelling their visual aids, Meyer imparts a sense of scale and proportion to his illustration and is able to show the size of the pince-nez spectacles and their respective lenses he has designed (one set of which is even tinted) to their best advantage and how well they would look and fit on the noses of prospective clients.

Meyer Nuovi Ritrovamenti 1689
Title-page of the 1689 volume of Nuovi ritrovamenti, with Komarek’s imprint ‘all’Angelo custode’.

Despite the Italianization of his forenames to Giovanni Giacomo, the printer Jan Jakub KomĂĄrek was born in Hradec KrĂĄlovĂ©, in Bohemia, in 1648. He moved to Rome between 1669 and 1672 and was originally employed as a technician in the papal print works of the Congregazione della Propaganda della Fede, founded in 1622. He set up his own printing press at ‘all’Angelo custode’ and later, ‘alla fontana di Trevi’ and was active until 1700, publishing several liturgical works by Giovanni Giustino Ciampini, Andrea Pozzo’s celebrated Prospettiva, and works for the Accademia of the Collegio Clementino. The work is an excellent example of very effective networking and of the creation of considerable synergy between author and publisher and of truly international co-operation: a Dutchman having his work printed by a Czech printer in Italy.

This co-operation is also a very timely reminder of the very great debt that the whole continent of Europe, and Italy in particular, owes to Germany. It was a German, Johannes Gutenberg, who invented printing with moveable type in the 1450s, something which played such an important role in disseminating new texts and ideas, and created an ever-increasing demand for the printed word. But we should also not forget the debt owed by Italy to German printers and engravers, from Albrecht DĂŒrer to Lucas Cranach. From the first introduction of printing to Italy in 1465 by Konrad Sweynheym and Arnold Pannartz, who worked in partnership at Subiaco, printing was firmly established in Italy by German printers.

Denis Reidy, former Curator Italian and Modern Greek Collections 

06 August 2017

Belarus Celebrates 500 Years of Printing

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On 6 August, Belarus will celebrate 500 years of printing, and also 500 years of East Slavonic printing. On that day in 1517 Francysk Skaryna (in various traditions his name has also been spelt as Francis Skaryna, Frantsisk Skorina, Franciscus Scorina and more) published the Psalter, one of the books of the Bible.

Skaryna C.36.f.4 f242r Portrait of Skaryna from his translation of the Old Testament Books of Samuel and Kings, Bivliia ruska: Knigi tsarstv (Prague, 1518). C.36.f.4

Skaryna was born in the oldest Belarusian city, Polatsk. He was educated in universities in Kraków and Padua, and started his publishing endeavours in Prague – then one of the main centres of printing – and continued in Vilnius, which remained the most important centre of Belarusian culture and history from medieval times until the 1920s.

In the Belarusian cultural pantheon, Francysk Skaryna has a very special place. He was the most outstanding figure of the Renaissance and its humanist tradition in Belarus. He is also the most important Belarusian writer and translator of the period; an educator, philosopher and theologian, a fascinating entrepreneur and innovator, and an example of passionate patriotism.

Skaryna intended to publish the whole Bible. Between 1517 and 1519/20 he managed to produce more than half of the Old Testament – 23 books. These were translated into the Belarusian version of the Church Slavonic language then widely used in the Orthodox Church. Skaryna’s translation is close to the ‘Benatska Bible’ published in the Czech language in Venice in 1506 (C.18.b.2.); however, he consulted texts in ancient Biblical languages, as well as Church Slavonic manuscripts. The text of his Ruthenian Bible (Bivliia ruska) was supplemented by the translator’s prologues and commentaries in the Old Belarusian language.

Skaryna C.36.f.4 f001rBeginning of Bivliia ruska: Knigi tsarstv

In the prologue to the Psalter Skaryna explained his motives: “Seeing the usefulness of this small book, I decided to print the Psalter in Ruthenian words in Slavonic language for the glory of God in the first place [...] and for the good of everyone, because the merciful God sent me to the world from this people.” Skaryna intended his books for distribution among the common people (pospolityj lud) and other classes of his compatriots, the people of the Grand Duchy of Lithuania (contemporary Belarus, Lithuania and Ukraine). Interestingly, in virtually all prologues to his books, the printer mentioned his birthplace, the glorious city of Polack.

In 1520, Skaryna left Prague for Vilnius, the capital city of the Grand Duchy of Lithuania, to open his own printing house. Printed Cyrillic books were still a novelty there, and the underdeveloped market dictated a different kind of literature. In Vilnius, Skaryna published The Small Travel Book (1522) and Apostol (1525) intended for daily prayer use by the largest possible audience, both clerics and lay people, as well as for use in primary schools.

Skaryna C.51.b.5 f001r

 Opening of  the Psalter (Vilna, 1522-1523). C.51.b.5

Scholars and churches in Belarus continue to debate Skaryna’s religious affiliation. It is likely that he was born into an Orthodox family but educated by Roman Catholics. He served as a secretary to Bishop Jan of Vilnius and may have converted to Roman Catholicism. In his own prayers (Orthodox in form), Skaryna referred to Catholic dogmas which allows us to assume that he might have been a convinced Uniate (or a Greek Catholic, in the contemporary terminology). Skaryna travelled widely throughout Protestant Europe and was at least once accused by a polemicist of being a “heretic Hussite”, a follower of Jan Hus who was one of the forerunners of the Reformation. Church calendars in Skaryna’s books have some elements in common with the Protestant tradition.

After Belarus became part of the Russian Empire at the end of the 18th century, all Skaryna’s books were removed from Belarus. They ended up in state libraries in Moscow, St Petersburg, Vilnius and various private collections. Just over 500 books by the first Belarusian and East Slavonic printer are known to survive today, more than half of them in Russia. A significant number of Skaryna’s publications are found in Ukraine. Skaryna’s books were well known in Ukraine and influenced Ukrainian Biblical translation and printing traditions. In Britain, the British Library, Cambridge University Library  and Trinity College Cambridge have copies of Skaryna’s books. The Belarusian Library in London also has a small fragment of one of the Prague editions. Three digitised books printed by Skaryna from the British Library's collections  (Books of Samuel and Kings C.36.f.4; Psalter C.51.b.5; Acts and Epistles; C.51.b.6) will be donated to the National Library of Belarus in September 2017. 

Skaryna C.36.f.4 f065rOpening of part 2 of  Bivliia ruska: Knigi tsarstv

Skaryna C.36.f.4 f139vOpening of Book 3 of  Bivliia ruska: Knigi tsarstv

In 1925, both the Belarusian Soviet Socialist Republic and the Belarusian community in the western part of the country – then controlled by Poland – celebrated 400 years of Belarusian printing. The date related to the first book Skaryna published in Vilnius. For the occasion, the Belarusian State University Library (now National Library of Belarus) purchased ten of Skaryna’s books from a private collector in Leningrad. Since then, no more of Skaryna’s works were acquired for Belarus until February 2017 when one of the Belarusian banks announced the purchase of a copy of The Small Travel Book for its corporate collection. Currently, this copy is on tour to Lithuania, Poland, the Czech Republic and Italy - countries where Skaryna lived - before returning in September 2017 to Minsk for a grand exhibition, ‘Francis Skaryna and his epoch’.

DSCN5676

The first 17 volumes of the facsimile edition of Skaryna's books (Minsk, 2013- ) donated to the British Library by the National Library of Belarus.  Catalogued and photographed  by Rimma Lough. ZF.9.a.11377

The National Library of Belarus, meanwhile, is about to complete a multi-volume facsimile reproduction of all Skaryna’s books (picture above). Digital copies for this project were offered by many libraries and collections from around the world. The National Library is donating this publication to major libraries in Belarus and abroad, as well as to all institutions preserving Skaryna’s works. On February 27 this year a delegation from the National Library of Belarus presented a copy of the facsimile edition to the British Library in the special event held in the British Library. 

Skaryna Kristian Jensen

Kristian Jensen, Head of Collections and Curation, greeting the audience at the Belarusian event in the British Library. 

Alongside this project, the National Library of Belarus has been acquiring as many digital versions of all known copies of Skaryna’s publications as possible to create a comprehensive collection and make it accessible to researchers. The Library has truly been the driving force in celebrating 500 years of Belarusian and East Slavonic book printing. Hundreds of events have taken place in Belarus and abroad, and more are still ahead, among them an International Congress “500 Years of Belarusian Printing” and the most comprehensive exhibition of Skaryna’s works; both are taking place in Minsk in September 2017. 

Skaryna C.36.f.4 f241v

Colophon of Bivliia ruska: Knigi tsarstv with the imprint information: Ū velikom Starom meste Prazskom, Tyseshta PeÌĄtsot I OsmÊșnadesetÊč 

Ihar Ivanou, Head of Learning Resources, QA Higher Education, London

Further reading:

Ebenezer Henderson, Biblical researches and Travels in Russia, including a tour in the Crimea; and the passage of the Caucasus: with observations on the state of the Rabbinical and Karaite Jews, and the Mohammedan and Pagan tribes, inhabiting the southern provinces of the Russian Empire (London, 1826).  1048.k.28.

Cyrillic books printed before 1701 in British and Irish collections :a union catalogue, compiled by Ralph Cleminson ... [et al.]. (London, 2000). 2708.h.903 and m01/33811

Alexander Nadson,  Skaryna's Prayer Book in: http://belarusjournal.com/article/skaryna%E2%80%99s-prayer-book-89

Arnold McMillin, Francis Skaryna’s Biblical Prefaces and their Place in Early Byelorussian Literature in: http://belarusjournal.com/article/francis-skaryna%E2%80%99s-biblical-prefaces-and-their-place-early-byelorussian-literature-27

P. V. Vladimirov, Doktor Francisk Skorina: ego perevody, pečatnyja izdanija i jazyk (Munich, 1989). X.0909/738(85)

Frantsisk Skorina i ego vremia : entsiklopedicheskiĭ spravochnik  (Minsk, 1990). YA.1994.b.231

V. F. Shmataŭ,  Iskusstvo knigi Frantsiska Skoriny (Moscow, 1990). 2708.h.486

 E. L. Nemirovskiĭ, Frantsisk Skorina : zhiznÊč i deiatelÊčnostÊč belorusskogo prosvetitelia. (Minsk,1990). 2708.e.1972

H. IA. Halenchanka,   Frantsysk Skaryna--belaruski i ŭskhodneslavianski pershadrukar. (Minsk, 1993). YA.1996.a.12908

19 July 2017

A French Revolution Primer for Bastille Day!

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01 Order de Marche

Ordre de marche pour la Confédération. Qui aura lieu le 14 juillet, & dispositions dans le Champ-de-Mars. ([Paris], 1790). R.659.(32.)

Last Friday, 14 July, the Library’s French Collections curators attended the annual celebrations of the “FĂȘte nationale” at the French Embassy in London. While a current exhibition at the British Library is commemorating the anniversary of the 1917 Russian Revolution the national celebration of 14 July in France gives us the opportunity to provide a sweeping summary of the events surrounding the 1789 French revolution, highlighting the presence of a major collection of c. 50,000 French revolutionary books, pamphlets and periodicals in the library collections, along with primary sources originating from the library of King George III, and a collection of items (manuscripts and prints, as well as engravings and paintings) relating to the doctor, journalist and revolutionary Jean-Paul Marat, donated by his bibliographer, François ChĂšvremont, at the end of the 19th century.

08 Te Deum

A political parody, Le nouveau Te Deum français (Paris, 1790) F.R.82.(4.)

In May 1789, in the context of increasing financial difficulties in the kingdom of France, King Louis XVI summoned the Estates General (les Ă©tats gĂ©nĂ©raux), who met according to their ancient structure of Clergy, Nobility and Commons. An immediate, defining and most contentious issue was how the voting system was to be decided – by head or by Estate. In June, fearing that military manoeuvres around Versailles were intended to disband the Estates General, the Third Estate, together with members of the other two Estates declared itself to be the AssemblĂ©e Nationale and vowed, by means of the Tennis Court Oath, not to separate until a constitution had been written for France. By this act, the AssemblĂ©e Nationale declared itself to be the supreme legislative authority for a unified Nation-State called France (instead of a collection of provinces with different laws and customs) owing loyalty to the same monarch.

03 Prospectus

 Prospectus d’une souscription civique, proposĂ©e aux Amis de la Constitution, pour l’exĂ©cution d’un Tableau... représentant le serment fait Ă  Versailles dans un jeu de Paume, par les DĂ©putĂ©s des Communes, le 20 juin 1789 (Paris, 1790) R.68.(4.)

After the Paris insurrection, which involved the emblematic storming of the Bastille prison, on 14 July 1789, the National Constituent Assembly took a series of measures establishing major legal and administrative changes, promoting liberty, equality and fraternity, abolishing privileges and feudalism, and adopting the Declaration of the Rights of Man and of the Citizen. A first Constitution written by the National Assembly was accepted by the king in September 1791, sealing the end of the absolute monarchy; it was a period of governmental crisis and political discord and upheaval.

04 Adresse

 Pierre Athanase Nicolas PĂ©pin DĂ©grouhette, Adresse aux Français de la SociĂ©tĂ© fraternelle des deux sexes, dĂ©fenseurs de la Constitution sĂ©ante aux Jacobins S. HonorĂ© (Paris, 1791) F.R.82.(17.)

In the summer of 1792, after the invasion of the Tuileries Palace by the Parisian people, Louis XVI and his family were imprisoned in the Temple prison. The monarchy was overthrown and a new constitution and government were needed. Elections led to the creation of the National Convention, which declared France a republic on 22 September 1792. About a year later, a new revolutionary calendar, replacing religious references with seasonal one, was adopted, using this date as its starting point. While France was at war with Austria and Prussia, Louis XVI, who may have hoped a foreign victory against the French army would restore the absolute monarchy, was tried for high treason by the Convention and beheaded on 21 January 1793.

05 Sentinelle

 Revolutionary periodical: no. 73. 21 Novembre. L’An 1er de la RĂ©publique Française. La Sentinelle, sur Louis le Dernier (Paris, 1792) F.902.(15.) ‘Dieu a calculĂ© ton reigne, et l’a mis a fin, tu as Ă©tĂ© mis dans la balance et tu as Ă©tĂ© trouvĂ© trop leger
’

A new Constitution was proclaimed on 24 June 1793, the Constitution of the Year I, but it was not enacted: while counter-revolutionary movements spread, especially in the West of France, Maximilien Robespierre and members of the radical Moutain (Montagnards) party, after having ousted the moderate ‘Girondin’ members of the Convention, started a dictatorial reign of Terror led through the Committee of Public Safety.

06 Constitution

Constitution de la RĂ©publique française, starting with the DĂ©claration des droits et des devoirs de l’homme et du citoyen (Lons-Le-Saunier, [1795/96]). RB.23.a.37642

In autumn 1795, about a year after the fall and execution of Robespierre on 9 thermidor an II (26 July 1794), the new Constitution of the Year III established a new regime, the Directory. It was governed by five individuals, and established two chambers of Parliament (le Conseil des Cinq-Cents and le Conseil des Anciens). It dealt with wars inside and outside of France and lasted until NapolĂ©on Bonaparte’s coup d’Etat in 1799, which was followed by the Consulate and Empire.

07 Robespierre

 L. Duperron, Vie secrette, politique et curieuse de M. I. M. Robespierre... (Paris [1793/94]) R.112.(17.)

The collection of French Revolutionary tracts now in the British Library, the second largest in the world after that of the Bibliothùque Nationale de France, was acquired from the politician and writer John Wilson Croker in three stages in 1817, 1831 and 1856: each set starts with a different shelfmark F, FR and R, and is bound in a different colour, brown, red and blue. Croker was a devoted collector and bibliophile, who enabled the first large scale purchase of revolutionary tracts from a bookseller in Paris. The British Museum later acquired some of Croker’s own collection.


02 Basement

The world of print changed dramatically during and after the French Revolution: the intense political debates leading to the birth of the French republic, and the abolition of the ancien régime corporations removed restrictions on setting up presses. Both in Paris and in different cities, towns and regions of France, small presses were used by groups and individuals eager to share their views in the increasingly public debate, thus contributing to the emergence of a public opinion.

09 Nous mourons

 Alphonse Louis DieudonnĂ© Martainville. Nous mourons de faim, le peuple est las, il faut que ça finisse (Paris, 1794) F.357.(1.)

Pamphlets of various sizes could be printed cheaply and quickly in a standard format and disseminated in relation with current concerns and events. The British Library’s French revolutionary tracts, usually short pieces but occasionally involving longer texts (including the first French translation of Edmund Burke's Reflections on the Revolution in France, 1790, FR.327(5)), cover a variety of subjects, and in our collection are bound thematically, grouping political ideas and reports on the activities of public bodies such as the Ă©tats gĂ©nĂ©raux or the AssemblĂ©e nationale, economic thought and discussion of financial issues, the death penalty, military events, religious matters, revolutionary festivals...

10 Discours

 Louis Claude de Cressy, Discours sur l’abolition de la peine de mort (Paris, 1791) F.R.223.(6.)

They bear witness to the development of new legislation, social change, power transfer and use of violence in this turbulent period. Under the Terror, many tracts were printed in defence of accused citizens trying to reach the committees in charge of their fate. The collection also includes many newspaper issues, such as L’Ami du Peuple (1789-93), written by Jean-Paul Marat, or the Journal des Amis de la Constitution (1790-91).

The three series of Revolutionary tracts are currently undergoing conservation to repair volumes whose bindings have been damaged by time and use. These books, periodicals and pamphlets, which tell the history of French constitutional government at the time it was formed, are a printed testimony to the growth, evolution and activity of a newly created Nation-State which owes its existence to a seminal event of the modern world.

11 Chanson civique

 Derante, Chanson civique au sujet de la FĂ©dĂ©ration du 14 juillet... dĂ©diĂ©e Ă  tous les bons patriotes. [Paris, 1790]) F.296.(4.)

IrĂšne Fabry-Tehranchi, Curator, Romance Collections

References/further reading:

British Library Collection guides, “French Revolutionary Tracts”. 

Audrey C. Brodhurst ‘The French Revolution Collections in the British Library’, Electronic British Library Journal (1976) 

Jacques de Cock, ‘The ‘collection of Marat's bibliographer’ at the British Library’, Electronic British Library Journal (1993) 

French Revolution Digital Archive (Stanford University Libraries and the BibliothĂšque nationale de France) 

French Revolutionary Collections in the British Library: list of contents of the three special collections of pamphlets, journals and other works in the British Library, relating chiefly to the French Revolution. Compiled by G. K. Fortescue; revised and augmented by A. C. Brodhurst. (London, 1979) X.800/31072.

France Diplomatie, ‘The 14th of July : Bastille Day’ (01/07/2017)

L’ElysĂ©e, ‘La fĂȘte nationale du 14-juillet’ (01/07/2017)

Des McTernan, ‘The printed French Revolution collections in the British Library’, FSLG Annual Review, 6 (2009-10), 31-44 https://frenchstudieslibrarygroup.files.wordpress.com/2012/08/fslg-annual-review-2010.pdf

The Newberry Library's French Revolution Collection digitised on the Internet Archive 

The Oxford handbook of the French Revolution, ed. David Andress (Oxford, 2015) YC.2016.b.1415

 

10 May 2017

A New Path, A New Dawn: Women’s Magazines in 1920s Soviet Uzbekistan

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The status of women in the Soviet Union and their role in the construction of the new Socialist society are issues that spur great enthusiasm and debate. Even for the less-studied regions of the USSR, such as Central Asia and the Steppe, a number of scholars are blazing new trails towards an understanding of gender and its impact on the Soviet experiment. Their research dissects the imbrication of gender, class, ethnicity, religion and political affiliation that went into constructing the identities of Soviet women during this period.

But what exactly did these identities look like? Given the myriad of experiences embodied by Central Asians during this period, we will never know for certain just what it was like to be a woman in Stalin’s Uzbekistan or Tajikistan. We do know, however, what the Communist Party wanted it to be like, thanks to a series of periodicals held at the British Library.

Yangi Yol - Cover of April 1927 Issue

 Cover of the April 1927 issue of Yangi Yo’l 14499.tt.16

Yangi Yo’l  (‘New Way’) was a monthly women’s and girls’ periodical published by the Uzbekistan Communist Party (Bolshevik) Central Committee for Women. The British Library holds only four issues, all from 1926-27: Volume 1, Nos 11-12 and 13-16; and Volume 2 Nos 4-7 and 9. The articles, supplemented heavily by photographs, sketches and diagrams, are all written in the old Perso-Arabic script. The new Latin alphabet  proposed for the Turkic languages in 1926 made only sporadic appearances, never in a form meant to teach readers how to use it.

While the magazine might not have been used to keep women and girls up to date with pedagogical innovations, it did seek to broaden their horizons far beyond the traditional domestic arena. An article on ‘Women-Girls’ Services in World Production’, which appeared in Nos 10 and 11-12, provides ample evidence of women’s participation in professions previously reserved for men. Photographs illustrate unveiled, smiling women operating machinery, lugging barrels, laying bricks and making horseshoes over a large anvil.

Yangi Yol - Women Workers of the World 2  Yangi Yol - Women Workers of the World

These pictures all show white women at work, rather than “emancipated” Uzbek or Central Asian women. They form part of a complicated and checkered history in which cultural imperialism and feminism intersected in a concerted effort to change the status of non-Western women. The images raise the question of how exactly the readers of these periodicals would have identified the new modern Soviet woman. Was she healthy, happy and productive on her own, participating in the construction of a Socialist paradise; or were light skin and large eyes a necessary component of that portrait too?

Indeed, Uzbek women workers strike a stark contrast with their Russian counterparts when we consider their representation in other articles. A photograph in No. 15 shows Uzbek silk makers at work: a group of middle-aged women, all but one with her hair covered, and none using machinery. Similar to this is the picture of a group of Samarqandi female artisans, also deprived of modern labour-saving devices.

Yangi Yol - Samarqandi Female Artisans

This is a far cry from the smiling, independent woman of the earlier piece, but it is likely a truer depiction of Uzbek women in the 1920s. Compare these with the images of veiled women attending a new school or the Turkmen village women watching children at a communal crĂšche.

Yangi Yol - Veiled Female Students at a New School in Uzbekistan

Yangi Yol - Peasant Women and a Cr+Âżche in Turkmenistan

The reality of Central Asian women was evidently less rosy and progressive than the image promoted by Moscow and local Communist Party cadres. That utopia, apparently, belonged to the generations yet to come, as in the scene of new graduates observing a science experiment. These girls are dressed as their Russian counterparts in Moscow or Leningrad would have been, and they demonstrate the manner in which the construction of a new Soviet society would involve the importation of social and cultural norms from the centres of Soviet power, rather than a liberalization of local contexts and restraints.

Yangi Yol - This Years New Graduates observe an Experiment at the Uzbek Peoples Science Village

 Yangi Yol :  This Years New Graduates observe an Experiment at the Uzbek Peoples Science Village

Foreign Asian women were also featured in articles about liberation, albeit in a different context. The piece from No. 11-12 that follows the exposition of women’s participation in the workforce looks at ‘The Family Question in Tibet (Mongolia)’ . The work contains information that surely would have shocked many conservative women in Central Asia, including socially sanctioned pre-marital sexual relations and fornication, and female as well as male polygamy. It also recounts in detail marriage customs, education patterns and inheritance laws among the peoples of Tibet, as if to acquaint the girls and women of Central Asia with their sisters abroad. Similar articles about the women of China and Java and the girls of India would lead us to believe that Yangi Yo’l replicated a common Soviet strategy: building class-based solidarity among the dominated peoples of the world with Moscow, or at least the USSR, as the lynchpin of resistance.

Yangi Yol - The Women and Girls of China along with sketch of bound foot

The Women and Girls of China along with sketch of bound foot

Yangi Yol - The Women and Girls of Java

 The Women and Girls of Java.

In general, there is not much in Yangi Yo’l that we would identify as typical of a contemporary women’s magazine. There are articles about women’s social status, the education of girls, the eradication of child marriage, domestic issues and hygiene, but these are not the core of the publication. Much of the content is taken up with standard class warfare writing tinged with gender issues: the working woman fighting the faceless bourgeoisie and beys; elegiac poetry about Lenin and his importance for proletarian and peasant women; and the meaning of land reform for women workers. They fight for space with articles that might be classified more as general knowledge than women’s issues. These include pieces on the indigenous peoples of the Indian Ocean and an explanation of solar eclipses; an account of the Paris Commune; an exposĂ© on climate and its science; and the wonders of Tutankhamen’s tomb. As much as the periodical was intended to educate and elevate women, it was also a means of broadening their horizons, introducing them to a common (largely Western) culture, and to entertain them with stories of the fabulous and awe-inspiring.

The Library’s collections of Yangi Yo’l do not extend past 1927. Indeed, it is unclear if the periodical continued to be published past this date. This dearth of information deprives us of knowing how the presentation of women and their role within the new Soviet society changed once Joseph Stalin cemented his grip on the reins of the Communist Party. What we do have, however, is a window onto the tail-end of a grand – and perhaps naïve – experiment that sought to remodel Central Asian women according to the prototype of the ideal revolutionary proletariat.

Michael Erdman, Turkish and Turkic Curator

Contemporary Soviet Turkic Periodicals of Interest:

Yer Yuzu (Uzbekistan) 
Bezneng Yol (Tatarstan) 
Maorif va O’qutg’uchu (Uzbekistan) 
Maarif ve Medeniyet (Azerbaijan) 

 

08 May 2017

Seminar on Textual Bibliography for Modern Foreign Languages 2017

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The annual Seminar on Textual Bibliography for Modern Foreign Languages will take place at the British Library on Monday 5 June in the Eliot Room of the Library’s Conference Centre, with the usual varied range of speakers and topics. The programme is as follows.

11.00     Registration and Coffee

11.30     David Shaw (Canterbury): The impact of the Aldine octavos on sixteenth-century paper for printing the classics.

12.15     Lunch (Own arrangements).

1.30     Pardaad Chamsaz (London): A murky business: the composition of HonorĂ© de Balzac’s Une TĂ©nĂ©breuse Affaire.

2.15     Rhiannon Daniels (Bristol): Where does the Decameron begin? The editorial ‘problem’ of the paratext and the question of rubrics.

3.00     Tea

3.30     W. A. Kelly (Strathclyde): The Book trade in Moravia.

4.30     Barry Taylor (London): Allegorical title pages.

The Seminar will end at 5.15 pm.

The seminar is open to all and attendance is free, but please let Barry Taylor (barry.taylor@bl.uk) or Susan Reed (susan.reed@bl.uk) know if you would like to attend.

Narrenschiff 1499 Unnutzen BĂŒcher

25 April 2017

French Medieval Tales in the 19th Century

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A two-volume copy of the Cent Nouvelles Nouvelles, a collection of tales delivered by different historical characters, has recently been acquired for the British Library French collections. 

Robida Fig 1
Cover of the Cent Nouvelles Nouvelles illustrated by Albert Robida, (Paris, 1888) RB.23.a.37261

This collection of 100 entertaining and often licentious short stories was written at the court of Philip the Good, Duke of Burgundy, who was presented with a now-lost manuscript copy of the text in the 1460s. The main surviving manuscript copy of the work is in Glasgow University Library, (Hunter, 252 (U. 4. 10)), also produced in the 1460s at the court of Burgundy. The collection is anonymous, though it was (wrongly) attributed to Antoine de la Salle, author of the late medieval chivalric novel Jean de Saintré, by Antoine Vérard, who published the first (illustrated) edition of the Cent Nouvelles Nouvelles in 1486. The text was reprinted by Vérard in 1498-99, and led to new editions throughout the 16th century.

Robida Fig 2
Antoine VĂ©rard’s 1499 Paris edition of the Cent Nouvelles Nouvelles, IB.41194

In the first half of the 20th century, the Cent Nouvelles Nouvelles have been attributed by their editor Pierre Champion to ‘Mgr de la Roche’, Philippe Pot, Chamberlain to the Duke of Burgundy, who is responsible for the highest number of short stories in the compilation (15 in total). The text, which bears the influence of the medieval genre of the fabliau, is modelled on Boccaccio’s highly influential Decameron, which was disseminated in French through its translation by Laurent de Premierfait in the 1410s, published by VĂ©rard in 1485, and reprinted c. 1499-1503.

The newly acquired copy of Cent Nouvelles Nouvelles is a merger of two items: 50 leaves of colour illustrations by LĂ©on LebĂšgue, dating from 1900, have been inserted into the 1888 first edition of the Cent Nouvelles Nouvelles originally illustrated with over 300 black and white engravings by Albert Robida.

Robida Fig 3
Illustrations in Cent Nouvelles Nouvelles, by. A. Robida (left) and L. LebĂšgue (right)

Robida was a well-known caricaturist. He wrote and illustrated a science fiction trilogy imagining life in the 20th century, featuring modern warfare and scientific inventions (Le VingtiĂšme SiĂšcle, La Guerre au vingtiĂšme siĂšcle, Le VingtiĂšme SiĂšcle: La vie Ă©lectrique, 1883-1890).

Robida Fig 4
Cent Nouvelles Nouvelles
, ill. A. Robida, 1888

Robida had a particular interest in the Middle Ages and contributed to several works relating to the period. He engaged in illustrated youth fiction, authoring Le roi des jongleurs (1896) and Les AssiĂ©gĂ©s de Compiègne, 1430 set around the story of Joan of Arc, and illustrating Georges TrĂ©misot’s Le bon roi Dagobert  (1918).  He also illustrated the collection Contes et Fabliaux du Moyen Age (1908), as well as the works of the 15th century poet François Villon (1897;  12237.k.5.). In Les escholiers du temps jadis (1907), Robida tells the story of students in Parisian and provincial universities from the Middle Ages to his own time.

Robida Fig 5
Cover of A. Robida, Les AssiĂ©gĂ©s de Compiègne, 1430 (Paris, 1906) 12518.p.1.

Robida illustrated the very successful play by FrĂ©dĂ©ric Gaillardet and Alexandre Dumas, La Tour de Nesle, first performed in 1832, which tells the scandalous story of the daughters-in-law of Philip IV of France (the plot reappears in Maurice Druon’s 1955 bestseller Les Rois Maudits, 011306.gg.15.). The British Library holds a copy of the play, printed for the SociĂ©tĂ© des Amis des Livres, donated and signed by its president, Henri Beraldi.

Robida Fig 6
F. Gaillardet / A. Dumas, La Tour de Nesle (Paris, 1901) 11739.g.106.

Robida also produced several series of books encompassing the history and architecture of old European cities (Les Vieilles Villes 1878-1880, 10129.ee.1.) and regions of France (La Vieille France) as well as of Paris, about which he was particularly prolific. He was the instigator of the monumental and hugely successful ‘Vieux Paris’ reconstituted historical quarter at the International Exhibition of 1900.

Robida fig 7
Cover of A. Robida, La Vieille France: La Bretagne (Paris, 1890-1893) 2362.dd.1.

Our copy of the LebĂšgue plates for the Cent Nouvelles Nouvelles, issued by Charles Carrington, is number 104 of an edition of 120 copies. A folded advertisement for this edition is bound at the end of the second volume, along with its preface by Jules de Marthold.

Robida Fig 8
Advertisement for Lebùgue’s 50 illustrations of the Cent Nouvelles Nouvelles

The pages of the LebĂšgue volume fit within four red lines which delimitate a central space, a feature which is strongly reminiscent of the rulings on the folios of medieval manuscripts.

Robida Fig 9
Cover of Lebùgue’s illustrations of the Cent Nouvelles Nouvelles

This concerted medievalism, which agrees with the content and setting of the Cent Nouvelles Nouvelles is immediately apparent on the book cover, with a Gothicising script printed in red ink, framed by two tournament spears and a scroll at the bottom. At the centre of the page are depicted a lady with a distinctive headdress and a knight in armour jointly reading a book in between two rose windows. On top of the illustration, the title is printed in a vegetal frame and ornamented by two lilies, and under the image feature the names of the artist, the writer of the preface and the printer, as well as the date of publication. Despite the anonymity of the author of the Cent Nouvelles Nouvelles, the front cover designed by LebĂšgue contains a wealth of information, which contrasts with the paucity of bibliographic information provided in medieval manuscripts.

IrĂšne Fabry-Tehranchi, Curator Romance Collections.

References:

Les Cent Nouvelles Nouvelles, ed. Pierre Champion (Paris, 1928) W.P.8406/5.

Les Cent Nouvelles Nouvelles, ed. Franklin P. Sweetser (Geneva, 1966) W.P.2063/127.

Philippe Brun, Albert Robida, 1848-1926: sa vie, son Ɠuvre: suivi d'une bibliographie complĂšte de ses Ă©crits et dessins (Paris, 1984) YV.1986.a.430.

Daniel CompĂšre (dir.), Albert Robida du passĂ© au futur : un auteur-illustrateur sous la IIIe RĂ©publique (Amiens, 2006) Awaiting shelfmark.

Albert Robida et son blog
 http://albert-robida.blogspot.co.uk

31 March 2017

Wagenseil, Wagner and the Mastersingers of Nuremberg

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By a neat coincidence, an enquiry about a work by Johann Christoph Wagenseil arrived in the same week that I attended a performance of Richard Wagner’s Die Meistersinger von NĂŒrnberg at the Royal Opera. Why a neat coincidence? Because an important source for Wagner’s opera was another work by Wagenseil, a history of Nuremberg with an appended study of the Meistersinger, or Mastersingers, and their art, especially as it developed in the city.

Wagenseil tp
Title-page and frontispiece portrait of the author from Johann Christoph Wagenseil, De Sacri Rom. Imperii Libera Civitate Noribergensi Commentatio ... (Altdorf, 1697) 794.f.6.(1.)

The precise origins of the historical Mastersingers are not entirely clear, but their schools or guilds developed in the late middle ages and their heyday was in the early 16th century. Wagenseil reports the tradition that the Mastersingers looked back to ‘Twelve Old Masters’, including the mediaeval poets Wolfram von Eschenbach and Walther von der Vogelweide – although in the opera the pedantic town clerk Beckmesser dismisses the latter as a master because he is ‘long since dead’ and would have known nothing of the guild’s rules.

In Wagner’s story, the knight Walther von Stolzing seeks admission to Nuremberg’s guild of Mastersingers in the hope of winning the hand of his beloved Eva Pogner at the St John’s Day singing contest. Among the masters he is opposed by rival suitor Beckmesser and assisted by the shoemaker Hans Sachs, who has to set aside his own feelings for Eva. In the first act Walther auditions for the guild and the Masters are shocked by his untutored efforts, which break all their rules and are especially condemned by Beckmesser, who judges the song in his official role as ‘Marker’.

Wagner took many details of the Mastersingers’ rules and ceremonies from Wagenseil. The list of sometimes bizarre names for the guild’s approved tones, which Sachs’s apprentice David reels off to the baffled Walther, all come from Wagenseil, and the rules of the ‘Tabulatur’ which the master Fritz Kothner recites before Walther’s audition for the guild cleverly reflect in verse the rules described by Wagenseil in prose.

Wagenseil Tones
A selection of the Mastersingers’ tones, from Wagenseil’s book

Walther’s experience of the ‘Singschule’ also follows Wagenseil’s description, including the time and place: following a service at St Catherine’s Church. One key difference, however, is that where Wagenseil describes four Markers, each with a specific task, Wagner has only one, in order to highlight the contrast and rivalry between Walther and Beckmesser.

Even the Masters’ names come from Wagenseil, who lists 12 ‘old masters’ of the Nuremberg guild. Wagner uses all of these (with some minor changes), but attributes a selection of trades to them which are not mentioned by Wagenseil. As Wagner also needed to add Hans Sachs to his list and presumably wanted to avoid the odd and unlucky number of 13 masters on stage, one of Wagenseil’s line-up, Niclaus (In Wagner’s libretto Niklaus) Vogel, is absent from the action, reported sick by his apprentice during the roll-call.

Wagenseil Masters
Wagenseil’s list of the 12 ‘old masters’ of the Nuremberg guild

For all its basis in Wagenseil’s work, Wagner’s opera presents a romantic and idealised view of the Mastersingers as a core part of a community where art and work go hand in hand, and where the townspeople share an instinctive appreciation of true art. The guilds actually had little public or popular resonance, but were more of a closed circle. Those who did become popular writers, such as the real Hans Sachs, tended to be known for other works, not least because their Meistergesang was performed only at the guild’s meetings and preserved only in manuscript among the members.

In fact one of the historical Sachs’s works features in the opera: the opening lines of his poem in praise of Martin Luther, Die Wittenbergisch Nachtigall, are sung in act 3 by an admiring chorus in praise of Sachs himself. But its poetic form is not that of authentic Meistergesang, and nor is the musical setting of the chorus.

Nachtigall  

Nachtigall Wach auf
Title-page and opening lines (as set by Wagner) of Hans Sachs, Die Wittembergisch Nachtigall  ([Augsburg, 1523]) 11515.c.18.(4).

Indeed, it seems that Wagner took little inspiration for the actual music of the opera from Wagenseil’s work: according to the musicologist Annalise Smith, it is only the songs of the rule-obsessed Beckmesser that closely follow the guidelines cited by Wagenseil. But since Wagner’s plot is concerned in part with the importance of change and innovation in artistic practice, and since he gently mocks many of the rules quoted from Wagenseil, perhaps this is only fitting.

Wagenseil Melody
An example of Meistergesang with music from Wagenseil’s history

Susan Reed, Lead Curator Germanic Collections

References/further reading

Herbert Thompson, Wagner & Wagenseil: a Source of Wagner’s Opera ‘Die Meistersinger’ (London, 1927) 07896.f.36.

John Flood, ‘Mastersingers’, in Matthias Konzett, ed., Encyclopedia of German literature (Chicago, 2000) pp. 687-689. YC.2000.b.1167

Annalise Smith, ‘Honour Thy German Masters: Wagner’s Depiction of “Meistergesang” in Die Meistersinger von NĂŒrnberg.’ Musicological Explorations, 11 (2010)

05 December 2016

The Brothers Jovanović National Library

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In 1920 the Serbian Legation in London donated 250 small size unbound fascicles of Serbian literature to the British Museum Library. This donation was a welcome addition to the Library Serbian collections, which then consisted hardly of a few hundreds Serbian literary works.

These issues were part of a collection of Serbian literature published in Pančevo, a small town in the then Austro-Hungarian Monarchy, from 1871 to 1912. The works were published by the Brothers Jovanović, Kamenko (1843-1916) and Pavle (1847-1914), printers and booksellers from Pančevo. In 1870 the Brothers Jovanović established a Serbian printing-press, and in 1872 a bookshop in their hometown. Their aim was to publish and sell Serbian school textbooks and literature, the long awaited educational and cultural needs of the Serbian people in Austro-Hungary.

The Brothers Jovanović’s bookshop was the first major Serbian publishing bookshop in the Monarchy, and with the bookshops funded earlier in Belgrade, in the neighbouring Princedom of Serbia, were the first to establish modern Serbian publishing and book trade.

Between 1871 and 1912 the Brothers Jovanović published about 400 Serbian titles of which about 100 were school textbooks.
The collection of works donated to the Library had been published in the series called: “The Brothers Jovanović National Library” from 1880 to 1890.

NBBJCover

 Front cover of a volume in the series. The Brothers Jovanović National Library. Jovan Rajić, Battle of Dragon and Eagles. (Pančevo, 1884). British Library 012265.e.5/44.

Above is the layout of the cover of the Brothers Jovanović National Library series: their bookshop was shown here as a cultural edifice built on the pantheon of Serbian and world literature presented and promoted in this series. Front of their national library are the Corinthian columns adorned in ribbons bearing the names of the greats of Serbian and world literature (the text in Cyrillic on the left column reads: Dositej, Kraszewski, Hugo, the right column bear the names of: Njegoơ, Gogol and Goethe. The name of the series is inscribed across the arc which sits on the columns. In the left-hand corner is a roundel portrait of Dositej Obradović (1739-1811), a Serbian philosopher and writer, and in the right-hand corner is a roundel portrait of Prince Bishop of Montenegro Petar II Petrović Njegoơ (1813-51).

The Brothers Jovanović published literature in affordable paper-back issues in small octavo format, printed in a small font. The majority of works in the series were made up of separately published issues. These were published in non-consecutive instalments usually over a several-month period. Up to 24 issues were produced per year and in total the series comprises 216 such issues published from 1880 to 1890.

The set of 250 issues donated to the Library also includes issues published by the Brothers Jovanović’s bookshop from 1871 to 1912, which were subsequently added to the Brothers Jovanović National Library series (they are numbered in the series from 217 to 348), when the bookshop was sold to the new owners in 1913. This set of 250 issues is incomplete as 11 issues are missing.

The Library’s set was bound in 124 volumes placed at shelfmarks 012265.e.5/1-149 and a number of works are bound together. It is the only single set held in a British public collection, and one of the most complete in Britain and Serbia. The Library’s set holds 158 separate works. The whole collection is described in 168 catalogue records

This collection has a historical significance for the British Library as the donation notably boosted its existing collections of Serbian literature. Today this collection is relevant for the study and research into the development of modern Serbian literacy, language and literature. It is a very useful survey of primary sources for the development of Serbian literature.

Radicevic

Frontispiece and title page with the author’s portrait and his autograph. Branko Radičević, Poems. (Pančevo, 1880). British Library 012265.e.5/95.

The collection contains works of the major Serbian writers of the Enlightment, Classicism and Romanticism who, in their lexical and stylistic innovation, contributed greatly to the development and promotion of modern Serbian literary language. This new literary form was based on the principles of Vuk Stefanović KaradĆŸić’s language reform.

Pucic
Frontispiece and title page with the author’s portrait. Medo Pucić, Poems. (Pančevo, 1879 [reissued in the series 1913]). British Library 012265.e.5/101.

Đorđe Popović-Daničar, editor of the Brothers Jovanović National Library series,  saw that the modern writers of all periods and those who wrote in Russo-Slavonic and in Slavonic-Serbian were represented in the series thus showing the continuity in Serbian literature. He contributed greatly to the series by writing introductory texts, compiling works of lesser known writers, translating and transliterating from Russo-Slavonic and in Slavonic-Serbian into the contemporary Serbian language and the new orthography, and by translating from a number of major European languages. Popović-Daničar was remembered as the first translator of Don Quijote from Spanish into Serbian.

The presentation of Serbian national poetry is another strong feature of this collection.

Boj na Kosovu

 Frontispiece. From Battle of Kosovo. (Pančevo, 1880 [reissued in the series 1913]). British Library 012265.e.5/121.

A great prominence of Serbian national poetry in the series pointed not only to the significance and influence of spoken national language for the creation of the new literary language, but it also reflected the contemporary national and political aspirations and struggles in the Balkans and the rest of Europe of that period, leading up to the First World War.

Hajduci
Frontispiece. From Serbian Outlaws in National Poems. (Pančevo, 1882 [reissued in the series 1913]). British Library 012265.e.5/110.

The fact that in this series the Brothers Jovanović ventured to showcase Serbian literature, together with other works of world literature in Serbian translation, was surely a sign of confidence and trust they had for the future of the Serbian literature and its readers.

Milan Grba, Lead Curator South-East European Collections

Reference:

Ćœarko Vojnović, Iz Sparte svetlost, to jest, Ćœivot i podvizi Kamenka i Pavla braće Jovanovića: ujedno i bibliografija izdanja. (Pančevo, 2010). YF.2014.a.12874

 

01 December 2016

Ukrainians Mark 70 Years of AUGB

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To mark the 70th anniversary of the Association of Ukrainians in Great Britain (AUGB), an academic conference was held earlier this month at the Association’s Central Office in London. Academics from both the UK and Ukraine considered various historical aspects ranging from prominent personalities to Ă©migrĂ© publications to highlighting a rich array of data and source archival documents.

AUGBConferenceBLOG

Speakers at the conference (Photo by Ihor Polataiko, reproduced by kind permission of the AUGB)

The origins of the AUGB go back to 1945 when Ukrainians serving in the Polish Armed Forces under British command came up with the idea of creating an official body to cater for their ethnic and spiritual needs. With the help of the Ukrainian Canadian Servicemen’s Association, based in London’s Sussex Gardens, they coordinated activities from late August 1945 up to the AUGB’s inaugural General Meeting in Edinburgh in January 1946. A Central Office was purchased in March 1947 which provided a base from which to help incoming Ukrainians settle in Britain.

In early 1949 an Invalids Fund was also established after the British Government decided (December 1948) to transport some 300 sick and injured Ukrainian former prisoners of war to Germany (and from there back to the USSR to face almost certain death). The decision was ultimately reversed in the face of Ukrainians threatening all-out strike action in protest, though the London Times of 30 December 1948 suggested that it was the hunger strike of the individuals concerned, coupled with the ‘repugnant’ nature of the government’s decision, that ‘naturally’ aroused objections among ‘ordinary Englishmen’. During that year alone, AUGB members donated a shilling a week to raise over ÂŁ17,000 - the equivalent of well over ÂŁ1.3 million today. This enabled the purchase of a property in Chiddingfold, Surrey, to provide care for those who were unable/unfit to work, or who simply required respite care. The property also accommodated summer youth camps until the 1960s and subsequently became a residential care home until its closure in 2012.

Over 300 Branches of the Association were created in the late 1940s but this number became substantially reduced by the mid-1950s as Ukrainians settled in closer proximity to each other in major towns and cities. Within these clusters they formed amateur cultural groups – choirs, dance ensembles, orchestras, theatre groups  - and also collected funds to purchase community centres.

UkrainianSongsBlogKurliak

 From the collection of 40 postcards Ukrains’ka Pisnia (Ukrainian Song; London, 1969)

As AUGB activities expanded, the AUGB Library (1947), the Association of Ukrainian Women (1948) and the Association of Ukrainian Teachers and Educators (1955) were established. The last coordinated community nurseries and language schools for a growing second generation. To facilitate consistency the AUGB published practical guidelines (in 1955) on methods of education, notably in four volumes of Materiialy Vykhovannia i Navchannia (Educational and Teaching Materials) dedicated to different aspects of Sunday school teaching.

I am often asked what drove that first generation of Ukrainians to be so generous with their time and the little money that they earned. The answer lies among the many resolutions adopted during the Association’s Annual General Meetings, illustrated by this example from 1948: “The AUGB, as a non-party generally-national organisation, calls on all Ukrainians to work together, irrespective of faith and political persuasion, to attain our ultimate goal – a Free, Independent and Sovereign State of the Ukrainian Nation”.

This love of Ukraine made the preservation of language, culture, and devotion to the homeland an important goal. Amongst other things it inspired regular publications of: a newspaper from November 1945 to the present, initially Nash Klych (‘Our call’) and then from spring 1947 Ukrains'ka Dumka (‘The Ukrainian Thought’; LOU.1165 [1994]); an annual calendar booklet, Kalendarets' ukraintsia u Velykii Brytanii (1947-2004; P.P.2458.lo.); a satirical magazine, Osa (‘Wasp’) (1947-1948); an English-language quarterly The Ukrainian Review (1954-2000; P.P.4842.dns.) and a school children’s magazine, Iuni Druzi (‘Young Friends’; 1955-1984; P.P.5992.gan.).

OSABLOGKURLIAKBi-weekly Osa (Wasp),  issue 1/46 1947

The latter was supplemented by the publication of children’s books, such as the alphabet and early reading text-book Bukvar (1958), or popular national tales, such as ‘Grandad’s Turnip’ (1954-55), or indeed the delightful narrative poems of the exceptional Leonid Poltava – Zhuchok-Shcherbachok (‘The little beetle Shcherbachok’; W.P.9391/3.), Slon po Afrytsi khodyv (‘The elephant walked through Africa’; 1955; W.P.9391/2) and others.

PoltavaBooksBlogBooks by Leonid Poltava from the British Library’s Collections

The books were published predominantly in Ukrainian but there were exceptions. Perhaps of particular note was the publication of Song out of Darkness, a collection of poems by the national poet, Taras Shevchenko translated by Vera Rich  to mark the centenary of the poet’s death, which we are now working on to update and republish.

SongOutOfDArknessTitlepage Frontispiece and title-page of Song out of Darkness (London, 1961)11303.bb.3.

The AUGB’s Library and Archive was also named after the Ukrainian bard. Today it works closely with the British Library and its collection of over 35,000 books is open to all students, academics and casual visitors interested in studying Ukrainian diaspora publications.

HOLODOMORCOVERBLOGCover of the catalogue Holodomor 1932-33 movoiu dokumentiv (London, 2003; YF.2012.a.16782) published for the exhibition commemorating 70 years of the Great Famine in Ukraine

As Ukrainians celebrate the 25th anniversary of the independence referendum vote of 1 December 1991 and simultaneously focus on events in Ukraine over the past three years (notably the annexation of the Crimea and the ongoing war in Eastern Ukraine), we continue to face fresh challenges, adapt and seek new ways of developing, communicating and working with our members and the wider community. Our newspaper, website and social media aim to bring news and events to wider audiences and promote a greater understanding, not only of our heritage, but the contribution that we can make to academic research and cultural diversity.

Fedir Kurlak, AUGB CEO

26 October 2016

Studying migration and diaspora through Russian language publishing

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Dear Sir,
I take the liberty of sending you our catalogue of Russian books and pamphlets forbidden by the Russian censorship. Should you wish to order anything from us for the Russian department of the British Museum Library, we could give a discount of 10 per cent on all prices. We have also some new works of Leo Tolstoy, also forbidden in Russia.

This letter was registered in the British Museum as incoming post on 10 October 1892. It was written on Russian Free Press Fund headed paper and signed by one J. Kelchevsky, the pseudonym of a Polish revolutionary and bibliophile, Wilfrid Voynich, probably now better known not for his revolutionary activities, but for the famous mysterious manuscript formerly in his possession. The Keeper of the Department of Printed Books, Richard Garnett, replied expressing interest, and so “some orders [were] given”. These books, periodicals and brochures, mostly published outside the Russian Imperial borders, contributed to the British Library’s now considerable collection of Russian Ă©migrĂ© and Diaspora publications.

Publicatrions-1

Publications-2
A selection of uncensored brochures published by the Russians abroad

The output of printing activities by the first wave of Russian post-revolutionary Ă©migrĂ©s is also well represented in the collections, from rare book art items and newspapers, such as, Novaia Rossiia (‘New Russia’), started in 1936 by Alexander Kerensky, a key political figure in the Russian Revolution of 1917, to popular periodicals.

Zvorykin's Boris Godunov
Title-page of an an art book edition of Pushkin’s drama Boris Godunov, with plates by Plates by Boris Zvorykin, published in Paris. RB.23.b.5893

Kerensky's Novaia Rossiia
 Kerensky’s periodical Novaia Rossiia; NEWS 15932

Zaria Kharbina
An advertisement in Russian from Zaria Kharbina (‘The Dawn of Harbin’), a popular newspaper published by the Russian community in China (PP.7611.ccd)

In the 1980s and 1990s the British Library continued building its collection of Russian Ă©migrĂ© publications from various sources, including donations, and several commercial vendors, one of whom – AndrĂ© Savine – was a dedicated bibliophile who created a personal database of Russian publications abroad.

We actively continue collecting material produced by Russians abroad.

New batch

 New Russian books just arrived from North America.

Whether uncensored or banned by political regimes in Russia and the Soviet Union, or produced for the local Russian language community by various Russian language publishing enterprises aboard, the British Library’s collections of such material have never formed a discrete unit. The materials were not acquired at any single point in time and they have no name that one can refer to (such as ‘free Russian press, ‘Russian underground collection’, etc.). The materials are not stored together in one place but scattered among the Library’s general collections. Moreover, since the material was not always easy for cataloguers to deal with, it is sometimes not obvious under what headings to look for relevant items in the catalogue. Research into these collections can bring to life many interesting stories, change our understanding of the mechanisms of publishing (including new media and digital formats) in the diaspora and by local communities, and help in formulating new challenges in the world of digital media.

Collaboration is important for us. We have invited academics at UK universities to submit proposals for AHRC Collaborative Doctoral Partnerships with the Library. One of the topics this year is ‘Studying migration and diaspora through Russian language publishing’, a project which will help to meet some of the challenges described above. Please visit our website for more information and application form or contact details


Katya Rogatchevskaia, Lead Curator of East European Collections