Printing Places: Locations of Book Production & Distribution Since 1500. Eds. John Hinks and Catherine Armstrong. New Castle, Del.; London: Oak Knoll; The British Museum (Print Networks), 2005, 208p. $45 (ISBN 1584561652; 0712349065). LC 2006-271247 (original) (raw)
Related papers
Lost Books. Reconstructing the Print World of Pre-Industrial Europe (Leiden: Brill, 2016)
2016
Questions of survival and loss bedevil the study of early printed books. Many early publications are not particularly rare, but others have disappeared altogether. This is clear not only from the improbably large number of books that survive in only one copy, but from many references in contemporary documents to books that cannot now be located. In this volume leading specialists in the field explore different aspects of this poorly understood aspect of book history: classes of texts particularly impacted by poor rates of survival; lost books revealed in contemporary lists or inventories; the collections of now dispersed libraries; deliberate and accidental destruction. A final section describes modern efforts at salvage and restitution following the devastation of the twentieth century.
Imago Mundi, 2018
characters and readers within both map and text. The final two essays in this section offer philosophical and theoretical approaches for mapping texts. In 'Cartographic Tropes', Oliver Simons draws on Immanuel Kant and Michel Foucault, and in 'The Language of Cartography' Bruno Bosteels discusses Jorge Luis Borges's writing about mapping. The second and longest section, 'Histories and Contexts', contains seven essays. Burkhardt Wolf maps quests from Homer to James Joyce through Johann Heinrich's map of the Homeric world (1793) and includes maps and maritime instruments to delineate The Odyssey (800 BCE), Dante Alighieri's The Divine Comedy (1321) and Herman Melville's Moby Dick (1851). Simone Pinet, in writing on medieval literature, convincingly suggests that narrative is implicit in medieval maps illuminating 'the work of diagrammatic thought in literature'. Pinet's examples of medieval maps that demonstrate an integral relationship between maps and narratives include Isidore of Seville's Etymologies of the seventh century, Beatus manuscripts of the eleventh century, the Ebstorf mappamundi of the thirteenth century, and Fra Mauro's mappamundi of the fifteenth century. Pinet remarks, 'The elaborate type of map, which responded to the increasing interest in the accumulation of knowledge in simultaneous presentation, has its most famous examples in Ebstorf, Hereford (both thirteenth century), and Fra Mauro 1459 mappaemundi'. To articulate Spanish imperial expansion during the sixteenth century, Ricardo Padrón compares Hernán Cortés's map of Tenochtitlán ( ) and Giacomo Gastaldi's map of Mexico City (1556), while Tom Conley explores the 'bend in the river' when hydrography is used as a metaphor for movement in mapping and narrative in Oronce Fine's L'esphere du monde (1549), Nicolas de Herberay des Essarts's Amadis de Gaule (1540-1548), Guillaume Postel's map of France (1549), François de la Guillotière's Charte de la France (1613), Nicolas Sanson's Carte des rivières de France curieusement recherchée (1631 and 1641), and Madeleine de Scudéry's La carte de tendre (1660). John K. Noyes considers portrayals of nature in early nineteenth-century mapping and in Johann von Wolfgang Goethe's writing. Patrick M. Bray then examines inscriptions of self in territory and space in novels by Madame de Staël, Jules Verne and Honoré de Balzac and in César-François Cassini de Thury's Carte générale de la France and his États-Majors maps (1756-1815) and Verne's map in Vingt mille lieues sous les mers (1870). Closing this section, Dominic Thomas parallels movement in mapping and narrative in colonial Africa through African writing and European cartographic board games. In the final section 'Genres and Themes', Martin Brückner, continuing the colonial and quest themes, reveals how certain maps of the Americas have reflected narrative mapping tropes in American literature from the Italian Christopher Columbus (1451-1506) to the English, Irish and Osage William Least-Heat Moon (b. 1939). Like Conley and Dominic Thomas, Jörg Dünne and Clara Rowland engage with movement in mapping. Conley reveals the power of the fluvial current and Dünne the marine. Whereas, Thomas focuses on the movement of a board game and Rowland the movement within the paratexts of João Guimarães Rosa's Grande Sertão: Veredas (1956). Rowland analyses Guimarães Rosa's novel as a map: 'Materially, the text enacts what the illustrations
Research Project “Communities of Print in Early Modern Europe”
Actual Problems of Theory and History of Art
The paper discusses the international multidisciplinary research project "Communities of Print: Using Books in Early Modern Europe", launched by Manchester Metropolitan University (UK) in 2016. The project united the leading scholars specialising in art history, early modern history and literary studies, as well as librarians and archivists. The project "Communities of Print" explores early modern books not just as a medium for distributing information, but as material objects of Renaissance visual culture and art. It focuses on the visual and social impact of the books on various communities and examines their usage in communal settings. The paper also briefly outlines the presentations made at the first conference organised within the project in June 2016 in Manchester. They concerned such topics as the public availability of monastic and private libraries in early modern culture, book trading networks in Europe, the attribution of ownership marks and annotations, usage of medieval manuscripts and their role in early modern book collections, reading practices and access to printed material, and the evolution of anti-Catholic imagery in the early modern Protestant print. Finally, the paper observes some implications of the project, which stem from the close cooperation of researchers of art, history, literature and practitioners-librarians and archivists,-such as refining the knowledge and understanding of early modern books as the objects of visual culture.
The Perils of Print Culture: Book, Print and Publishing History in Theory and Practice
2014
As a vital field of scholarship, book history has now reached a stage of maturity where its early work can be reassessed and built upon. That is the goal of New Directions in Book History. This series will publish monographs in English that employ advanced methods and open up new frontiers in research, written by younger, mid-career, and senior scholars. Its scope is global, extending to the Western and non-Western worlds and to all historical periods from antiquity to the 21st century, including studies of script, print, and post-print cultures. New Directions in Book History, then, will be broadly inclusive but always in the vanguard. It will experiment with inventive methodologies, explore unexplored archives, debate overlooked issues, challenge prevailing theories, study neglected subjects, and demonstrate the relevance of book history to other academic fields. Every title in this series will address the evolution of the historiography of the book, and every one will point to new directions in book scholarship. New Directions in Book History will be published in three formats: single-author monographs; edited collections of essays in single or multiple volumes; and shorter works produced through Palgrave's e-book (EPUB2) 'Pivot' stream. Book proposals should emphasize the innovative aspects of the work, and should be sent to either of the two series editors:
The prints and accompanying ephemera (trade cards, flyers and proposals for subscription) displayed serve to stress the all-important role of publishers in commissioning and disseminating prints of every sort. Copper Impressions aims to illustrate what might have been printed on Michael Phillips's working replica of a wooden intaglio rolling press, at present here in the Library and so very like the one in Abraham Bosse's Traicté des Manieres de Graver en Taille Douce....& d'en Construire la Presse... (Dean Aldrich's copy of the book was on display); constructions of its type were still current in the 18th-century (though it must be admitted that this particular press is too small to have accommodated the large plates by Sharp and Simon, published by Macklin and Boydell). William Hogarth was an artist who jealously published his own works; Boydell and Macklin were entrepreneurs. A fourth display case gave a glimpse of those who inhabited the milieu in which painters, printmakers and publishers plied their wares. This exhibition, curated by Nicholas Stogdon and Cristina Neagu, was punctuated by several printing workshops conducted by Michael Phillips. It opened with talks on aspects of 18th century engraving, followed by a workshop on printing from relief-etched copper plates.
Colin CLAIR, A History of European Printing, New York, Academic Press, 1976, ISBN: 0121748502
1976
Finally 44 years after publication, the file reproduction of Colin Clair's fundamental work reappears here. This lavishly illustrated book is a detailed account of the story of printing from moveable type from the 15th century, the time of Gutenberg, to the present day. The author describes the development of the craft in a variety of European countries, and all the major innovations and printers are considered chronologically and in detail. Particular emphasis is given to the 15th and 16th centuries, the period when early difficulties were being overcome and technical knowledge was rapidly increasing.