LEADER 02685nam 2200793Ia 450 001 9910456167003321 005 20200520144314.0 010 $a1-283-33061-X 010 $a9786613330611 010 $a0-7748-5113-9 035 $a(CKB)2430000000000509 035 $a(OCoLC)180703926 035 $a(CaPaEBR)ebrary10134781 035 $a(SSID)ssj0000644177 035 $a(PQKBManifestationID)12295783 035 $a(PQKBTitleCode)TC0000644177 035 $a(PQKBWorkID)10675142 035 $a(PQKB)10253704 035 $a(SSID)ssj0000382325 035 $a(PQKBManifestationID)11311230 035 $a(PQKBTitleCode)TC0000382325 035 $a(PQKBWorkID)10395335 035 $a(PQKB)10945490 035 $a(MiAaPQ)EBC3412251 035 $a(CaPaEBR)404310 035 $a(CaBNvSL)gtp00521819 035 $a(MiAaPQ)EBC3245073 035 $a(Au-PeEL)EBL3412251 035 $a(CaPaEBR)ebr10141391 035 $a(CaONFJC)MIL333061 035 $a(OCoLC)923443694 035 $a(EXLCZ)992430000000000509 100 $a20040511d2004 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aNorthern exposures$b[electronic resource] $ephotographing and filming the Canadian north, 1920-45 /$fPeter Geller 210 $aVancouver $cUBC Press$dc2004 215 $a1 online resource (280 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-7748-0928-0 311 $a0-7748-0927-2 320 $aIncludes bibliography (p. 227-242), filmography (p. 243-246) and index. 606 $aInuit$zCanada$xPictorial works$xHistory 606 $aInuit in motion pictures$xHistory 606 $aVisual communication$xSocial aspects$zCanada$xHistory$y20th century 606 $aDocumentary photography$zCanada, Northern$xHistory 606 $aPhotography$zCanada, Northern$xHistory 606 $aMotion pictures$zCanada, Northern$xHistory 607 $aCanada, Northern$xHistory$vPictorial works 607 $aCanada, Northern$xIn motion pictures$xHistory 608 $aElectronic books. 615 0$aInuit$xPictorial works$xHistory. 615 0$aInuit in motion pictures$xHistory. 615 0$aVisual communication$xSocial aspects$xHistory 615 0$aDocumentary photography$xHistory. 615 0$aPhotography$xHistory. 615 0$aMotion pictures$xHistory. 676 $a971.9 700 $aGeller$b Peter G$g(Peter Geoffrey),$f1963-$01041195 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910456167003321 996 $aNorthern exposures$92464542 997 $aUNINA LEADER 06532 am 22006853u 450 001 9910153561503321 005 20161024011046.0 010 $a1-78374-236-4 010 $a2-8218-8397-8 010 $a1-78374-235-6 035 $a(CKB)3710000000869542 035 $a(EBL)4694636 035 $a(MiAaPQ)EBC4694636 035 $a(FrMaCLE)OB-obp-3269 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/26848 035 $a(PPN)20388955X 035 $a(EXLCZ)993710000000869542 100 $a20200114d2016 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aPiety in pieces $ehow medieval readers customized their manuscripts /$fKathryn M. Rudy 210 $cOpen Book Publishers$d2016 210 1$aCambridge, UK :$cOpen Book Publishers,$d2016. 215 $a1 online resource (416 p.) 300 $aDescription based upon print version of record. 311 $a1-78374-234-8 311 $a1-78374-233-X 320 $aIncludes bibliographical references and index. 327 $aNotes to the reader -- Abbreviations used in this book -- Introduction: A new approach to codicology -- Types of augmentations -- Part I: The modular method -- A. Modular and non-modular, compared -- B. The hierarchy of decoration -- C. Modules and blank space -- D. Precursors of book modules -- E. Implications of the modular method -- F. Adopters of the modular method -- G. Complicated stratigraphy -- Part II: Changes that did not require rebinding -- A. Correcting the text -- B. Adding text to the blank folios and interstices ; 1. Noting who owned, commissioned, and paid for items ; 2. Adding family information ; 3. Adding legal documents ; 4. Adding a gloss ; 5. Adding calendrical data ; 6. Changing a text to reflect updated circumstances ; 7. Adding text to make a book appropriate as a didactic tool ; 8. Adding prayers -- C. Augmenting the existing decoration -- D. Drawing or painting images directly onto bound parchment -- E. Adding physical material superficially ; 1. Attaching parchment sheets to blank areas of the book ; 2. Adding other objects to blank parchment -- Part III: Changes that required rebinding -- Rebinding -- A. Adding leaves bearing texts -- B. Adding leaves bearing images ; 1. Images for the most common offices ; 2. Images for indulgences ; 3. Portraits and personalizing details ; 4. Images for adding value ; 5. Images for missals ; 6. Other single-leaf miniatures ; 7. Packages of images ; 8. Images removed from one manuscript and inserted into another -- C. Adding quires ; 1. Adding a bifolium ; 2. Adding one or more full quires -- Part IV: Complicated interventions and complete overhauls -- Building a book out of disparate quires -- A. An atelier in Bruges -- B. Unica -- C. The convent of St. Ursula ; 1. Oxford, Bodleian Library, Ms. Rawl. Liturg. E.9* ; 2. The Hague, Koninklijke Bibliotheek, Ms. 132 G ; 3. Uppsala, Universitetsbiblioteket, Ms. C 517 k -- D. The convent of St. Agnes in Delft -- E. The Masters of the Dark Eyes ; 1. Alongside the Master of Gijsbrecht van Brederode ; 2. Leeds, Brotherton Ms. 7 with an added booklet -- Part V: Patterns of desire -- A. Desire to personalize the book -- B. Desire to commemorate a changed family situation -- C. Desire to store small precious objects -- D. Desire for more embellishment -- E. Recycling and refurbishing -- F. Desire to make foreign-produced manuscripts locally relevant -- G. Desire to incorporate new prayers -- H. Fear of hell -- I. Desire to reflect wealth -- J. Changes, social and codicological -- List of illustrations. 330 $aMedieval manuscripts resisted obsolescence. Made by highly specialised craftspeople (scribes, illuminators, book binders) with labour-intensive processes using exclusive and sometimes exotic materials (parchment made from dozens or hundreds of skins, inks and paints made from prized minerals, animals and plants), books were expensive and built to last. They usually outlived their owners. Rather than discard them when they were superseded, book owners found ways to update, amend and upcycle books or book parts. These activities accelerated in the fifteenth century. Most manuscripts made before 1390 were bespoke and made for a particular client, but those made after 1390 (especially books of hours) were increasingly made for an open market, in which the producer was not in direct contact with the buyer. Increased efficiency led to more generic products, which owners were motivated to personalise. It also led to more blank parchment in the book, for example, the backs of inserted miniatures and the blanks ends of textual components. Book buyers of the late fourteenth and throughout the fifteenth century still held onto the old connotations of manuscripts-that they were custom-made luxury items-even when the production had become impersonal. Owners consequently purchased books made for an open market and then personalised them, filling in the blank spaces, and even adding more components later. This would give them an affordable product, but one that still smacked of luxury and met their individual needs. They kept older books in circulation by amending them, attached items to generic books to make them more relevant and valuable, and added new prayers with escalating indulgences as the culture of salvation shifted. Rudy considers ways in which book owners adjusted the contents of their books from the simplest (add a marginal note, sew in a curtain) to the most complex (take the book apart, embellish the components with painted decoration, add more quires of? 606 $aCivilization, Medieval 606 $aCodicology$xHistory$yTo 1500 610 $abook personalisation 610 $amedieval manuscripts 610 $acodicology 610 $areligion 610 $amaterial culture of the book 610 $acustomization 610 $adevotional 610 $aBook of hours 610 $aDelft 610 $aNetherlands 610 $aParchment 610 $aRoyal Library of the Netherlands 610 $aScribe 610 $aUnits of paper quantity 615 0$aCivilization, Medieval. 615 0$aCodicology$xHistory 676 $a940.1 700 $aRudy$b Kathryn M.$0940624 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910153561503321 996 $aPiety in pieces$92280862 997 $aUNINA