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Papers by Lodovica Braida
Introduzione : il piacere del libro : autori, editori e lettori nel Settecento, 2016
The article focuses on the role of institutions, in Italy and in other European countries, which ... more The article focuses on the role of institutions, in Italy and in other European countries, which preserve editorial archives (Deutsches Literaturarchiv di Marbach, imec, Centro per gli studi sulla tradizione manoscritta di autori moderni e contemporanei - University of Pavia, Fondazione Arnoldo e Alberto Mondadori, Centro Apice - University of Milan). The existence of these centres is particulary relevant nowadays when we risk to lose a recent past, perhaps the last heritage of a \u201cculture of paper\u201d. Recent studies have focused on the different typologies of cultural archives and on the the difficulty to let speak those documents that have often been selected by the author or publisher, with a partial and oriented construction, as all self-representations
Springer International Publishing eBooks, 2022
New directions in book history, 2022
Journal of Modern European History, 2005
Censorship and Book Circulation in Eighteenth-Century Italy During the eighteenth century some It... more Censorship and Book Circulation in Eighteenth-Century Italy During the eighteenth century some Italian governments changed the regulations concerning censorship, and asserted the state's role in the control of the production and circulation of books. Paradoxically, the existence of different regulations for censorship in Italy revealed itself to be an instrument of corrosion of the control mechanisms by making the access to forbidden books less difficult than in countries in which there was a centralized control system. In the years comprised between the 1760s and the 1780s there had indeed been transformations similar to those of other European countries, pointing towards that «revolution in readership » which had increased the occasions for having access to books; multipling the number of readers, discovering a new public, which was to have great importance especially in the nineteenth century: women readers, which publishers addressed with fashion journals and almanacs. In so...
Quaerendo, 2017
From 1538, the year of the first publication of Aretino’s collection of Lettere, the Italian book... more From 1538, the year of the first publication of Aretino’s collection of Lettere, the Italian book market was overrun by hundreds of editions of epistolary collections. The reason lays in how well the genre served a variety of purposes; their language, for example, couched as they were in the idiom of high officialdom but still setting examples of the correct usage of the Italian vernacular. Not least, was their function as bearer of chronicles of contemporary events and famous personalities. The publication in 1564 of Sansovino’s Del secretario launched a new genre of epistolary: the book was not only a collection of letters, but also a treatise on the role and function of the court secretary. Subsequently, texts and indexes took to being organized by rhetorical typology which enhanced their relevance. In the end, however, the standardized models that prevailed were bereft of any reference to contemporary events.
Una raccolta di studi di giovani studiosi, che ricostruiscono vari aspetti e varie personalit\ue0... more Una raccolta di studi di giovani studiosi, che ricostruiscono vari aspetti e varie personalit\ue0 dell'editoria dell'Otto e del Novecent
Quaerendo, 2020
The transformation of a play composed for the stage into a text printed to be read is a complex o... more The transformation of a play composed for the stage into a text printed to be read is a complex operation often mentioned by the playwrights themselves in the prefaces to the editions of their works. The printed publication could become the ‘place’ for perfecting what was performed on stage but it could also, for some authors, become a ‘place’ in which they defended their authorship through the control of the editions, even going so far, in the case of Carlo Goldoni (Venice 1707-Paris 1793), as to break the rules of the book trade. The author attempts to show how the construction of Goldoni’s authorship can be analyzed on three different levels: the expression of the author’s will; his claim for the right to publish his works himself and finally the representation of the figure of the author with the use of a different portrait for each edition.
Renaissance Quarterly, 2019
2015 was the five hundredth anniversary of the death of Aldus Manutius, which was marked by dozen... more 2015 was the five hundredth anniversary of the death of Aldus Manutius, which was marked by dozens of conferences, lectures, and exhibitions in countries around the world. This remarkable showing spoke to how widely acknowledged Aldus's achievement as scholarly publisher and printing innovator is, but also to the history of diffusion and collection that made these exhibitions possible. At the time, the decision taken by the British Library and the Warburg Institute-which, respectively, hosted an exhibition and the symposium from which this volume emerges at the very start of the anniversary year-to focus on Aldus's heirs and subsequent celebrity among Renaissance and later bibliophiles felt slightly offbeat. Reading these essays now, it seems entirely felicitous. No less than the phenomenon of Aldus, the phenomenon of the "Aldine"-the book less as a conveyor of content than as an object of bibliographical research and, especially, of bibliophilic enthusiasm-deserves to be explored. Indeed, the Aldine has sustained the study of the Aldus. "The theme of this volume," as one of the contributors puts it, "is essentially the history of book collection" (172). After Aldus's death, his name and reputation were his heirs' greatest resource, but they could also be a burden. The chapters in the first section of the volume ("The Aldine Press after Aldus [1515-98]") focus on the later years of the Aldine Press, under the control of Aldus's son Paolo and grandson Aldo the Younger. These two were humanists in their own right, but they struggled with maintaining a printing enterprise famed for its quality but designed with the conditions, tastes, and opportunities of a previous era in mind. Lodovica Braida shows how Paolo Manuzio sought to fashion his own authorship at the center of literary, intellectual, and political networks through the volumes of his own vernacular letters that he published. Shanti Graheli explores the fate of the Accademia Veneziana, a failed publishing venture from the late 1550s, which sought to create a modern literary canon as Aldus had the classical. Angela Nuovo, meanwhile, turns to the younger Aldo, debt-ridden, presiding over a declining press run by others, trying to pursue an independent scholarly career in Rome. The attempt to secure his library for the Venetian Republic after his death intestate demonstrates how he remained in the shadow of his grandfather. The second section, on "Private Aldine Collections in Europe," shifts focus to the books themselves, and, precisely, to their transformation from study books to books to study and cherish for their own sake. Luca Rivali traces this phenomenon in Italian collections, while the other chapters look to France. Here, in another contribution by Graheli, we learn about the precocious association between Aldines-prized already at the court of Francis I-and social status, but also about the way these associations changed: in the fascinating discussion by François Dupuigrenet Desroussilles and Jean Viardot, the quality of rarity (never absolute) becomes the determining factor in RENAISSANCE QUARTERLY 1012 VOLUME LXXII, NO. 3
Annales. Histoire, Sciences Sociales, 2007
Cartas Lettres Lettere Discursos Practicas Y Representaciones Epistolares 2014 Isbn 978 84 16133 14 7 Pags 331 348, 2014
Cinco Siglos De Cartas Historia Y Practicas Epistolares En Las Epocas Moderna Y Contemporanea 2014 Isbn 978 84 16061 13 6 Pags 97 119, 2014
La lettre du Collège de France, 2009
Introduzione : il piacere del libro : autori, editori e lettori nel Settecento, 2016
The article focuses on the role of institutions, in Italy and in other European countries, which ... more The article focuses on the role of institutions, in Italy and in other European countries, which preserve editorial archives (Deutsches Literaturarchiv di Marbach, imec, Centro per gli studi sulla tradizione manoscritta di autori moderni e contemporanei - University of Pavia, Fondazione Arnoldo e Alberto Mondadori, Centro Apice - University of Milan). The existence of these centres is particulary relevant nowadays when we risk to lose a recent past, perhaps the last heritage of a \u201cculture of paper\u201d. Recent studies have focused on the different typologies of cultural archives and on the the difficulty to let speak those documents that have often been selected by the author or publisher, with a partial and oriented construction, as all self-representations
Springer International Publishing eBooks, 2022
New directions in book history, 2022
Journal of Modern European History, 2005
Censorship and Book Circulation in Eighteenth-Century Italy During the eighteenth century some It... more Censorship and Book Circulation in Eighteenth-Century Italy During the eighteenth century some Italian governments changed the regulations concerning censorship, and asserted the state's role in the control of the production and circulation of books. Paradoxically, the existence of different regulations for censorship in Italy revealed itself to be an instrument of corrosion of the control mechanisms by making the access to forbidden books less difficult than in countries in which there was a centralized control system. In the years comprised between the 1760s and the 1780s there had indeed been transformations similar to those of other European countries, pointing towards that «revolution in readership » which had increased the occasions for having access to books; multipling the number of readers, discovering a new public, which was to have great importance especially in the nineteenth century: women readers, which publishers addressed with fashion journals and almanacs. In so...
Quaerendo, 2017
From 1538, the year of the first publication of Aretino’s collection of Lettere, the Italian book... more From 1538, the year of the first publication of Aretino’s collection of Lettere, the Italian book market was overrun by hundreds of editions of epistolary collections. The reason lays in how well the genre served a variety of purposes; their language, for example, couched as they were in the idiom of high officialdom but still setting examples of the correct usage of the Italian vernacular. Not least, was their function as bearer of chronicles of contemporary events and famous personalities. The publication in 1564 of Sansovino’s Del secretario launched a new genre of epistolary: the book was not only a collection of letters, but also a treatise on the role and function of the court secretary. Subsequently, texts and indexes took to being organized by rhetorical typology which enhanced their relevance. In the end, however, the standardized models that prevailed were bereft of any reference to contemporary events.
Una raccolta di studi di giovani studiosi, che ricostruiscono vari aspetti e varie personalit\ue0... more Una raccolta di studi di giovani studiosi, che ricostruiscono vari aspetti e varie personalit\ue0 dell'editoria dell'Otto e del Novecent
Quaerendo, 2020
The transformation of a play composed for the stage into a text printed to be read is a complex o... more The transformation of a play composed for the stage into a text printed to be read is a complex operation often mentioned by the playwrights themselves in the prefaces to the editions of their works. The printed publication could become the ‘place’ for perfecting what was performed on stage but it could also, for some authors, become a ‘place’ in which they defended their authorship through the control of the editions, even going so far, in the case of Carlo Goldoni (Venice 1707-Paris 1793), as to break the rules of the book trade. The author attempts to show how the construction of Goldoni’s authorship can be analyzed on three different levels: the expression of the author’s will; his claim for the right to publish his works himself and finally the representation of the figure of the author with the use of a different portrait for each edition.
Renaissance Quarterly, 2019
2015 was the five hundredth anniversary of the death of Aldus Manutius, which was marked by dozen... more 2015 was the five hundredth anniversary of the death of Aldus Manutius, which was marked by dozens of conferences, lectures, and exhibitions in countries around the world. This remarkable showing spoke to how widely acknowledged Aldus's achievement as scholarly publisher and printing innovator is, but also to the history of diffusion and collection that made these exhibitions possible. At the time, the decision taken by the British Library and the Warburg Institute-which, respectively, hosted an exhibition and the symposium from which this volume emerges at the very start of the anniversary year-to focus on Aldus's heirs and subsequent celebrity among Renaissance and later bibliophiles felt slightly offbeat. Reading these essays now, it seems entirely felicitous. No less than the phenomenon of Aldus, the phenomenon of the "Aldine"-the book less as a conveyor of content than as an object of bibliographical research and, especially, of bibliophilic enthusiasm-deserves to be explored. Indeed, the Aldine has sustained the study of the Aldus. "The theme of this volume," as one of the contributors puts it, "is essentially the history of book collection" (172). After Aldus's death, his name and reputation were his heirs' greatest resource, but they could also be a burden. The chapters in the first section of the volume ("The Aldine Press after Aldus [1515-98]") focus on the later years of the Aldine Press, under the control of Aldus's son Paolo and grandson Aldo the Younger. These two were humanists in their own right, but they struggled with maintaining a printing enterprise famed for its quality but designed with the conditions, tastes, and opportunities of a previous era in mind. Lodovica Braida shows how Paolo Manuzio sought to fashion his own authorship at the center of literary, intellectual, and political networks through the volumes of his own vernacular letters that he published. Shanti Graheli explores the fate of the Accademia Veneziana, a failed publishing venture from the late 1550s, which sought to create a modern literary canon as Aldus had the classical. Angela Nuovo, meanwhile, turns to the younger Aldo, debt-ridden, presiding over a declining press run by others, trying to pursue an independent scholarly career in Rome. The attempt to secure his library for the Venetian Republic after his death intestate demonstrates how he remained in the shadow of his grandfather. The second section, on "Private Aldine Collections in Europe," shifts focus to the books themselves, and, precisely, to their transformation from study books to books to study and cherish for their own sake. Luca Rivali traces this phenomenon in Italian collections, while the other chapters look to France. Here, in another contribution by Graheli, we learn about the precocious association between Aldines-prized already at the court of Francis I-and social status, but also about the way these associations changed: in the fascinating discussion by François Dupuigrenet Desroussilles and Jean Viardot, the quality of rarity (never absolute) becomes the determining factor in RENAISSANCE QUARTERLY 1012 VOLUME LXXII, NO. 3
Annales. Histoire, Sciences Sociales, 2007
Cartas Lettres Lettere Discursos Practicas Y Representaciones Epistolares 2014 Isbn 978 84 16133 14 7 Pags 331 348, 2014
Cinco Siglos De Cartas Historia Y Practicas Epistolares En Las Epocas Moderna Y Contemporanea 2014 Isbn 978 84 16061 13 6 Pags 97 119, 2014
La lettre du Collège de France, 2009
