miscellany

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The distinction noted earlier between fiction miscellanies and fiction almanacs is a case in point.
The three miscellanies were different books from the almanac, which was never designed to be book four.
their works] not in detached and avowed standard publications, but in periodical miscellanies.
This model produced a proliferation of printed miscellanies of verse in the early Elizabethan period, both single-author collections and anthologies, in which male courtly behaviour is defined in terms of the potentially contradictory ideals of elegant amorousness and well-framed virtue.
Elizabeth Heale draws on recent scholarship of manuscript and print cultures to argue persuasively that authored miscellanies of the mid-sixteenth century "constructed a new kind of autobiog raphical voice, telling a new and significantly different narrative of social aspiration and threatening failure" (66).
Volume 11 on the Typological Writings would doubtless be the most relevant, but these themes should appear also in Volume 13, covering through Number 500 of his Miscellanies.
Printed miscellanies were small, octavo or duodecimo publications, the products of a bundling together of writing from diverse sources--manuscript commonplace books, plays, song books, other printed miscellanies.
It contains essays on corporal terminology in Golden Age germania or thieves' jargon (Monique Joly); the metaphor of the body in Golden Age esoterical literature and in literary works that bear the trace of esoteric influence (Francisco Javier Blasco); the metaphorical value of various body parts in sermon literature and in miscellanies (Lina Rodriguez Cacho); metaphorical body parts in the passage "Armeria del Valor" in Gracian's Criticon; and the varying connotations of corporal metaphors in the poetry of Diego Hurtado de Mendoza (Ines Rada), the poetry of Francisco de Quevedo (Pablo Jauralde Pou), the theater of Diego Sanchez de Badajoz (Fernando Copello), and "El maestro de danzar" by Lope de Vega (Milagros Torres).
The number for 2003 will be on 'Medieval and Early Modern Miscellanies and Anthologies in Manuscript and Print'.
For those who are unfamiliar with the manuscript circulation of sixteenth- and seventeenth-century lyric in commonplace books, miscellanies, and anthologies, it offers a wide-ranging survey of the phenomenon.
Love describes examples, such as Donne's allowing a few friends to see his manuscript Biathanatos, the familiar verse miscellanies, and the less familiar controlled transmission of manuscripts for consorts of viols.