My Life - Volume 3 of 4. Este artículo no está disponible.My Life - Volume 3 of 4

My Life - Liftable Edition, Volume 3 of 4 by Richard Wagner, originally published 2006. Dictated to Cosima Wagner beginning in the 1860s and initially printed only for a private circle, the autobiography was withheld from general publication until after Wagner's death. Wagner's account of his progress from theatrical childhood through operatic struggle, revolutionary Dresden, and flight into exile exposes the ambition and self-dramatizing temperament behind his early works. The volume remains a major firsthand-if deliberately self-fashioned-record of nineteenth-century European music, theater, and revolutionary politics.

Volume 3 of 4. Each volume in this set is separately bound and separately catalogued, with its own ISBN, and carries the full front matter and table of contents for its own volume. This is a Liftable Edition: Clearview caps paper-plus-binding weight at 1 kilogram (2.2 pounds) for every Liftable title, so it stays comfortable to hold and read for extended periods -- a physical accessibility standard most large-print publishers do not set at all. The complete work was too long for a single volume, so it was divided at natural seams into 4 volumes.

For collection development: this is a large-print edition intended for low-vision and aging patrons, and for any reader who finds standard trade print tiring over a long sitting. It suits large-print and accessibility collections, adult and young-adult general collections where the text is a standard, and reading-room copies where a durable case binding matters. Each volume is held under 1 kilogram (2.2 pounds) of paper and binding, so it can be read at a table or in a lap without a stand. The text is unabridged and reproduced from a public-domain source without modernisation. Cataloguers should note that the volumes of this set are acquired individually and each carries its own ISBN.

Algorithmic Quality Assurance: this edition was checked by 123 deterministic tests covering typography, pagination, colour, cover geometry and metadata, then read by frontier language models for semantic review and holistic evaluation. What was checked, and what those results do and do not mean, is explained in the back of the book.

This Clearview Editions hardcover is built on a production standard that significantly exceeds the industry norm for large-print publishing. The body text is set at 18-point Atkinson Hyperlegible Next on 27-point leading, 1.5 line spacing --- the minimum WCAG 2.2 Level AAA Success Criterion 1.4.8 sets for a block of text, and the figure UKAAF's large-print guidance gives as well. The leading North American large-print hardcover imprints typically set their body text at 16 point, and most large-print trade paperbacks release at 14 to 16 point. At 18 point, Clearview Editions offers text that is measurably larger than every other major large-print publisher, specifically for readers with low vision, macular degeneration, glaucoma, diabetic retinopathy, or any visual condition that makes standard trade print frustrating or impossible to read for long stretches. The trim size is equally generous. Clearview Editions is printed on a 7x10-inch page, substantially larger than the 6x9 hardcover that is standard in the large-print industry and roughly 50 percent larger by area than the 5x8 trade paperback trim most legacy large-print paperback imprints use.

The extra page area is deliberate: it allows the 18-point body to set at the 50-to-55 character line length that reading-fatigue research identifies as optimal, without the narrow text columns and cramped margins that plague smaller-trim large-print books. The body font, Atkinson Hyperlegible Next, was developed by the Braille Institute of America specifically to maximize letter recognition for readers with low vision, macular degeneration, and visual processing differences.

Richard Wagner (1813-1883) is canonical as a composer rather than as a prose writer: the creator of Der Ring des Nibelungen, Tristan und Isolde, and the concept of the Gesamtkunstwerk, and one of the most consequential figures in the history of Western music, whose harmonic innovations reshaped opera and influenced composers for generations after him. My Life (Mein Leben), his autobiography, is a different kind of document - not a musical score but Wagner's own account of his formation, dictated in the 1860s to Cosima von Bülow (later his wife) and originally printed only in a small private edition for friends and patrons before its public release. This Clearview edition covers his early life, the years before the operas that made him famous. A library shelving Wagner honestly cannot set his biography aside from his antisemitism, which is extensively documented in his own essays (notably "Das Judenthum in der Musik") and which later made him a figure claimed and distorted by the Nazi regime, decades after his death. That history does not appear at length in this excerpt of his early memoirs, but any collection holding Wagner's own account of himself should hold it alongside that context, not in place of it - an autobiography is precisely the kind of text where an author's self-presentation and the documented record need to be read together. For readers of music history, My Life is primary-source testimony from inside one of the most transformative careers in opera: apprenticeships, debts, failed productions, and the slow emergence of an artistic vision, told in Wagner's own often self-mythologizing voice, useful to read critically rather than credulously. This Clearview Editions large-print printing - 18-point Atkinson Hyperlegible Next, ragged-right, undivided words - makes that primary source accessible to low-vision readers and researchers who would otherwise need a magnifier for a standard edition.