Hace algunos años, en la ciudad de Valdivia, el destacado historiador francés Roger Chartier fue invitado a publicar uno de sus trabajos en la naciente editorial de la Universidad Austral de Chile. Su respuesta fue insólita: no quería escribir ni reeditar un libro al uso, quería materializar un volumen íntegramente «contado» desde su memoria, es decir, oralizar dialógicamente una nueva obra: nada más ni nada menos que un diccionario sobre el libro y la lectura que abordara, para un amplio ...

Reknowned historian Roger Chartier, one of the most brilliant and productive of the younger generation of French writers and scholars now at work refashioning the Annales tradition, attempts in this book to analyze the causes of the French revolution not simply by investigating its “cultural origins” but by pinpointing the conditions that “made is possible because conceivable.”Chartier has set himself two important tasks. First, while acknowledging the seminal contribution ...

Las expediciones por tierras exóticas y el descubrimiento del Nuevo Mundo hicieron que, entre los siglos xiv y xvii, la inclusión de mapas en las obras de ficción fuera cada vez más habitual, a pesar de las dificultades técnicas y económicas que implicaban. La conciencia de la globalidad suscitó el gusto por las cartas geográficas tanto de esos territorios hasta entonces inexplorados como de antiguos países.En este bellísimo ensayo, el eminente historiador Roger Chartier ela...

Bilbo le Hobbit, les Chroniques de Narnia et Le Seigneur des anneaux ont habitué leurs lecteurs à rencontrer dans le livre une ou plusieurs cartes des territoires qu’ils décrivent. En allait-il de même pour les lecteurs des fictions de la première modernité, entre les XVIe et XVIIIe siècles ? L’introduction de cartes n’allait pas de soi. Leur impression augmentait le coût des ouvrages, et la capacité des mots à produire des images mentales les rendait inutiles. Néanmoins, les cartes apparu...

In Early Modern Europe the first readers of a book were not those who bought it. They were the scribes who copied the author’s or translator’s manuscript, the censors who licensed it, the publisher who decided to put this title in his catalogue, the copy editor who prepared the text for the press, divided it and added punctuation, the typesetters who composed the pages of the book, and the proof reader who corrected them. The author’s hand cannot be separated from the printers’ mind.

Tout comme l'histoire, la littérature est attachée à la résurrection des morts. Souffle inspiré de l'épopée, minutie narrative et descriptive du roman historique, ou bien réincarnation des acteurs de l'histoire sur la scène du théâtre – certaines œuvres de fiction donnent au passé une présence souvent plus forte que celle proposée par les livres des historiens. Mais Roger Chartier nous met en garde : lorsqu'il les lit, l'historien ne doit jamais oublier l'historicité de ces œuvres et leur ...

Especialista no estudo da história da escrita, o autor reúne cinco ensaios que mostram como o mundo digital está alterando a relação do leitor com o texto impresso. A ação da comunicação eletrônica sobre as publicações tradicionais é questionada. O próprio conceito de livro, para o pesquisador francês, está sofrendo transformações perante a revolução tecnológica propiciada pela comunicação via Internet e pela leitura cada vez mais comum de textos diretamente na tela do computador. Presente...

Comment lire un texte qui n'existe pas, représenter une pièce dont le manuscrit s'est perdu et dont on ne sait pas avec certitude qui fut son véritable auteur? C'est l'énigme que pose Cardenio – une pièce jouée en Angleterre pour la première fois en 1612 ou 1613 et attribuée quarante ans plus tard à Shakespeare (et Fletcher). Elle a pour trame une 'nouvelle' insérée dans Don Quichotte, œuvre qui circula dans les grands pays européens où elle fut traduite et adaptée pour le théâtre ; en Ang...

In Won in Translation Roger Chartier, one of the world's leading historians of books, publishing, and reading, considers the mobility of the early modern text and the plurality of circulating versions of the same work. The agent for both is translation, for through their lexical, aesthetic, and cultural decisions, translators always assign new meaning or new status to what they translate.Won in Translation proceeds by way of four case studies, three dedicated to w...

France has long attracted the attention of many of America's most accomplished historians. The field of French history has been vastly influential in American thought, both within the academy and beyond, regardless of France's standing among U.S. political and cultural elites. Even though other countries, from Britain to China, may have had a greater impact on American history, none has exerted quite the same hold on the American historical imagination, particularly in the post-1945 era.

In Won in Translation Roger Chartier, one of the world's leading historians of books, publishing, and reading, considers the mobility of the early modern text and the plurality of circulating versions of the same work. The agent for both is translation, for through their lexical, aesthetic, and cultural decisions, translators always assign new meaning or new status to what they translate.Won in Translation proceeds by way of four case studies, three dedicated to w...

Dependendo da época e do lugar, os mapas fictícios desempenharam uma variedade de papéis. Eles representaram mundos virados de cabeça para baixo, satíricos, críticos ou utópicos; eles diluíram a distinção entre o mundo do livro e o do leitor; eles alimentaram a razão e os sonhos, mesmo além da letra do texto. Viajando de obra em obra, Roger Chartier oferece neste ensaio uma nova abordagem da mobilidade das ficções e de suas interpretações.