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Author: International Federation of Library Associations and Institutions. Rare Books and Manuscripts Section
Publisher: Walter de Gruyter
ISBN: 3110253240
Category : Design
Languages : en
Pages : 381
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Book Description
The papers collected in this volume discuss descriptive methods and present conclusions relevant for the history of the book production and reception. Books printed in Europe in the 15th and 16th century still had much in common with manuscripts. They are not mere textual sources, but also material objects whose physical make-up and individual features need to be taken into account in library projects for cataloguing and digitization.
Author: International Federation of Library Associations and Institutions. Rare Books and Manuscripts Section
Publisher: Walter de Gruyter
ISBN: 3110253240
Category : Design
Languages : en
Pages : 381
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Book Description
The papers collected in this volume discuss descriptive methods and present conclusions relevant for the history of the book production and reception. Books printed in Europe in the 15th and 16th century still had much in common with manuscripts. They are not mere textual sources, but also material objects whose physical make-up and individual features need to be taken into account in library projects for cataloguing and digitization.
Author: Sarah Werner
Publisher: John Wiley & Sons
ISBN: 1119049970
Category : Literary Criticism
Languages : en
Pages : 210
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Book Description
A comprehensive resource to understanding the hand-press printing of early books Studying Early Printed Books, 1450 - 1800 offers a guide to the fascinating process of how books were printed in the first centuries of the press and shows how the mechanics of making books shapes how we read and understand them. The author offers an insightful overview of how books were made in the hand-press period and then includes an in-depth review of the specific aspects of the printing process. She addresses questions such as: How was paper made? What were different book formats? How did the press work? In addition, the text is filled with illustrative examples that demonstrate how understanding the early processes can be helpful to today’s researchers. Studying Early Printed Books shows the connections between the material form of a book (what it looks like and how it was made), how a book conveys its meaning and how it is used by readers. The author helps readers navigate books by explaining how to tell which parts of a book are the result of early printing practices and which are a result of later changes. The text also offers guidance on: how to approach a book; how to read a catalog record; the difference between using digital facsimiles and books in-hand. This important guide: Reveals how books were made with the advent of the printing press and how they are understood today Offers information on how to use digital reproductions of early printed books as well as how to work in a rare books library Contains a useful glossary and a detailed list of recommended readings Includes a companion website for further research Written for students of book history, materiality of text and history of information, Studying Early Printed Books explores the many aspects of the early printing process of books and explains how their form is understood today.
Author: Vincent Gillespie
Publisher: Boydell & Brewer Ltd
ISBN: 1843843633
Category : Business & Economics
Languages : en
Pages : 410
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Book Description
First full-scale guide to the origins and development of the early printed book, and the issues associated with it.
Author: JOSEPH A. DANE
Publisher:
ISBN: 9780268204792
Category :
Languages : en
Pages : 294
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Book Description
Joseph A. Dane's What Is a Book? is an introduction to the study of books produced during the period of the hand press, dating from around 1450 through 1800. Using his own bibliographic interests as a guide, Dane selects illustrative examples primarily from fifteenth-century books, books of particular interest to students of English literature, and books central to the development of Anglo-American bibliography. Part I of What Is a Book? covers the basic procedures of printing and the parts of the physical book--size, paper, type, illustration; Part II treats the history of book-copies--from cataloging conventions and provenance to electronic media and their implications for the study of books. Dane begins with the central distinction between a "book-copy"--the particular, individual, physical book--and a "book"--the abstract category that organizes these copies into editions, whereby each copy is interchangeable with any other. Among other issues, Dane addresses such basic questions as: How do students, bibliographers, and collectors discuss these things? And when is it legitimate to generalize on the basis of particular examples? Dane considers each issue in terms of a practical example or question a reader might confront: How do you identify books on the basis of typography? What is the status of paper evidence? How are the various elements on the page defined? What are the implications of the images available in an online database? And, significantly, how does a scholar's personal experience with books challenge or conform to the standard language of book history and bibliography? Dane's accessible and lively tour of the field is a useful guide for all students of book history, from the beginner to the specialist.
Author: Glenn Adamson
Publisher: Bloomsbury Publishing USA
ISBN: 1632869667
Category : Art
Languages : en
Pages : 273
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Book Description
From the former director of the Museum of Arts and Design in New York, a timely and passionate case for the role of the well-designed object in the digital age. Curator and scholar Glenn Adamson opens Fewer, Better Things by contrasting his beloved childhood teddy bear to the smartphones and digital tablets children have today. He laments that many children and adults are losing touch with the material objects that have nurtured human development for thousands of years. The objects are still here, but we seem to care less and know less about them. In his presentations to groups, he often asks an audience member what he or she knows about the chair the person is sitting in. Few people know much more than whether it's made of wood, plastic, or metal. If we know little about how things are made, it's hard to remain connected to the world around us. Fewer, Better Things explores the history of craft in its many forms, explaining how raw materials, tools, design, and technique come together to produce beauty and utility in handmade or manufactured items. Whether describing the implements used in a traditional Japanese tea ceremony, the use of woodworking tools, or the use of new fabrication technologies, Adamson writes expertly and lovingly about the aesthetics of objects, and the care and attention that goes into producing them. Reading this wise and elegant book is a truly transformative experience.
Author: Danielle C. Skeehan
Publisher: Johns Hopkins University Press
ISBN: 1421439689
Category : History
Languages : en
Pages : 201
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Book Description
Revealing the entangled lives of texts and textiles in the early modern Atlantic world. "Textiles are the books that the colony was not able to burn."—Asociación Femenina para el Desarrollo de Sacatepéquez (AFEDES) A history of the book in the Americas, across deep time, would reveal the origins of a literary tradition woven rather than written. It is in what Danielle Skeehan calls material texts that a people's history and culture is preserved, in their embroidery, their needlework, and their woven cloth. In defining textiles as a form of cultural writing, The Fabric of Empire challenges long-held ideas about authorship, textuality, and the making of books. It is impossible to separate text from textiles in the early modern Atlantic: novels, newspapers, broadsides, and pamphlets were printed on paper made from household rags. Yet the untethering of text from textile served a colonial agenda to define authorship as reflected in ink and paper and the pen as an instrument wielded by learned men and women. Skeehan explains that the colonial definition of the book, and what constituted writing and authorship, left colonial regimes blind to nonalphabetic forms of media that preserved cultural knowledge, history, and lived experience. This book shifts how we look at cultural objects such as books and fabric and provides a material and literary history of resistance among the globally dispossessed. Each chapter examines the manufacture and global circulation of a particular type of cloth alongside the complex print networks that ensured the circulation of these textiles, promoted their production, petitioned for or served to curtail the rights of textile workers, facilitated the exchange of textiles for human lives, and were, in turn, printed and written on surfaces manufactured from broken-down linen and cotton fibers. Bringing together methods and materials traditionally belonging to literary studies, book history, and material culture studies, The Fabric of Empire provides a new model for thinking about the different media, languages, literacies, and textualities in the early Atlantic world.
Author: Kathryn M. Rudy
Publisher: Open Book Publishers
ISBN: 1783745193
Category : Literary Criticism
Languages : en
Pages : 254
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Book Description
In this ingenious study, Kathryn Rudy takes the reader on a journey to trace the birth, life and afterlife of a Netherlandish book of hours made in 1500. Image, Knife, and Gluepot painstakingly reconstructs the process by which this manuscript was created and discusses its significance as a text at the forefront of fifteenth-century book production, when the invention of mechanically-produced images led to the creation of new multimedia objects. Rudy then travels to the nineteenth century to examine the phenomenon of manuscript books being pillaged for their prints and drawings: she has diligently tracked down the dismembered parts of this book of hours for the first time. Image, Knife, and Gluepot also documents Rudy’s twenty-first-century research process, as she hunts through archives while grappling with the logistics and occasionally the limits of academic research. This is a timely volume, focusing on questions of materiality at the forefront of medieval and literary studies. Beautifully illustrated throughout, its use of original material and its striking interdisciplinary approach, combining book and art history, make it a significant academic achievement. Image, Knife, and Gluepot is a valuable text for any scholar in the fields of medieval studies, the history of early books and publishing, cultural history or material culture. Written in Rudy’s inimitable style, it will also be rewarding for any student enrolled in a course on manuscript production, as well as non-specialists interested in the afterlives of manuscripts and prints. The Royal Society of Edinburgh has generously contributed to this Open Access publication. Due to the number and quality of the images in this book, we have provided the option of a more expensive hardback edition, printed on the best quality paper available, in order to present the images as clearly and beautifully as possible. We hope this range of options — the freely available PDF, HTML and XML editions; the economically priced EPUB, MOBI and paperback editions; and the more expensively printed hardback — will satisfy everyone. Furthermore the HTML edition allows readers to magnify the images of the manuscripts displayed in the book.
Author: Katherine Acheson
Publisher: Routledge
ISBN: 1351857258
Category : Literary Criticism
Languages : en
Pages : 492
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Book Description
Marginalia in early modern and medieval texts – printed, handwrit- ten, drawn, scratched, colored, and pasted in – offer a glimpse of how people, as individuals and in groups, interacted with books and manu- scripts over often lengthy periods of time. The chapters in this volume build on earlier scholarship that established marginalia as an intellec- tual method (Grafton and Jardine), as records of reading motivated by cultural, social, theological, and personal inclinations (Brayman [Hackel] and Orgel), and as practices inspired by material affordances particular to the book and the pen (Fleming and Sherman). They further the study of the practices of marginalia as a mode – a set of ways in which material opportunities and practices overlap with intellectual, social, and personal motivations to make meaning in the world. They introduce us to a set of idiosyncratic examples such as the trace marks of objects left in books, deliberately or by accident; cut-and-pasted additions to printed volumes; a marriage depicted through shared book ownership. They reveal to us in case studies the unique value of mar- ginalia as evidence of phenomena as important and diverse as religious change, authorial self-invention, and the history of the literary canon. The chapters of this book go beyond the case study, however, and raise broad historical, cultural, and theoretical questions about the strange, marvelous, metamorphic thing we call the book, and the equally mul- tiplicitous, eccentric, and inscrutable beings who accompany them through history: readers and writers.
Author: Michael Johnston
Publisher: Cambridge University Press
ISBN: 1107066190
Category : History
Languages : en
Pages : 319
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Book Description
This book situates the medieval manuscript within its cultural contexts, with chapters by experts in bibliographical and theoretical approaches to manuscript study.
Author: Jean de La Fontaine
Publisher: Palala Press
ISBN: 9781354677063
Category :
Languages : en
Pages : 208
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Book Description
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
