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In Cyprus the introduction of printing coincided with the beginning of the British occupation. Thereafter, all printed documents had to address a multilingual audience as English, Greek, and Ottoman Turkish were in use. This article focuses on a distinctive characteristic of the local printing history namely the practice of multiscript printing and the visual appearance of multilingual documents that addressed a linguistically multifarious society. For comparative reasons two different kinds of documents are examined: multilingual administrative documents and advertisements. The analysis of the documents provides insights into the practice of multiscript printing, i.e. the technical resources (printing methods and available types), the skills of printers, and the typographic conventions applied on multilingual documents. In conjunction with archival evidence these documents become mirrors of political convictions, social norms, and commercial transactions that linked a peripheral printing trade with the European centres. [ABSTRACT FROM AUTHOR]

Stieber masterfully weaves together an archive of understudied Haitian print sources beginning in 1804 that demonstrate the development of competing Haitian intellectual traditions, Dessalinean and republican. Although this leaves the final chapters on the twentieth century feeling a bit rushed, Stieber notes the importance of the first decades in establishing "the political and ideological divisions that shaped Haiti's long nineteenth century of post-independence writing" (23). Haiti's Paper War: Post-Independence Writing, Civil War, and the Making of the Republic, 1804-1954. [Extracted from the article]

IX & X, Plays 2 & 3 i , 248-51 wilde, oscar: Hamby, James, review of Donohue, I The Complete Works of Oscar Wilde, Vols. IX & X, Plays 2 & 3 i , 248-51 I Early English Books Online i , reviewed, 114-17 edgar, eleazar: Mansky, Joseph, "The Case of Eleazar Edgar: I Leicester's Commonwealth i and the Book Trade in 1604", 233-41 editing: Bouchard, Mathieu D. S., "A Revised Account of the 1714 I Works of Mr. William Shakespear i ", 419-461; Hamby, James, review of Donohue, I The Complete Works of Oscar Wilde, Vols. IX & X, Plays 2 & 3 i , reviewed, 248-51 drama: Hamby, James, review of Donohue, I The Complete Works of Oscar Wilde, Vols. [Extracted from the article]

The Gutenberg-Jahrbuch 2023, published by the Internationale Gutenberg-Gesellschaft, covers a wide range of topics related to the history of printing, book publishing, printers, and incunabula. The volume includes eleven articles and a review of recent research, with contributions in English, German, French, and Italian. Topics covered include the publications of Richard de Bury's Philobiblon, charges of blood libel and host desecration against Jews, the increase in paper products for book printers, illustrated books, German culinary recipes, and the identity of the author of a treatise on logic. The volume is well-regarded for its scholarly quality, but there are some issues with typos and mistakes in grammar and syntax. [Extracted from the article]

This article investigates the flexible boundaries of Early Modern Dutch print media and the practice of Early Modern publishers and collectors who combined printed images and texts to create historical narratives in accordance with their own beliefs. It takes as a case study one seventeenth-century Dutch Sammelband, or composite volume, that conveys an Orangist reading of the past and aspirations for the future through the purposeful arrangement of twenty-one printed images and texts about two statesmen: Johan van Oldenbarnevelt (1547-1619) and Johan de Witt (1625-72). The printed images, pamphlets, and broadsides contained in the Sammelband were published during two periods of intense political upheaval in the Dutch Republic, in 1618-19 and 1663-64. This article argues that the core of this Sammelband was a ready-made set of prints and pamphlets that Amsterdam printmaker and publisher Claes Jansz. Visscher bundled together in 1619 to capitalize on contemporary political conflicts and to shape viewers’ interpretations about the causes, remedies, and future implications of them. The Sammelband, like Visscher’s readymade bundles of prints and pamphlets, reveals how collections of Early Modern printed images and texts worked to control historical accounts, reinforce partisan points of view, and articulate political aspirations. [ABSTRACT FROM AUTHOR]

The article discusses the publication of the book "Hortus Eystettensis," by Basilius Besler. The price of the book at the time of its initial printing, the development of a trade and a deluxe version of the work, and the types of paper on which the books were printed are examined. Explanations for the appearance of deluxe issues printed on inferior paper, trade issues lacking text verso, and patronage during the early 17th century are also discussed.

An essay is presented in which the author discusses the history of paper making in the 18th century in Great Britain, focusing on the papers used to print the works of poet and illustrator William Blake, such as the illuminated book "Songs of Innocence." Countermarks and watermarks are mentioned, as well as paper makers such as James Whatman Jr., Robert Edmeads, and Thomas Pine. Paper mills, books versus pamphlets, and makers such as Charles Ball are also mentioned.

Abstract / The Chinese used paper for two or three centuries before CE 105, when Cai Lun, director of imperial arsenals under Emperor He of the later Han dynasty (25-220), officially reported the 'invention' of paper. The Chinese began the first printed newspaper, Jing Bao (originally Di Bao), in 713 under the Tang dynasty (618-907); and it continued until the collapse of the Manchu dynasty in 1911. In 868, Wang Jie printed the famous Diamond Sutra (Kumarajiva's Vajracchedika Prajna Paramita), the earliest printed book in existence. Xylography (block printing) was known in China for at least four centuries before 932, when Prime Minister Feng Dao supposedly 'invented' it by directing the printing of the 11 Confucian classics filling 130 volumes - a task that took 20 years. Alchemist Bi Sheng experimented with movable type for eight years from1041, four cen-turies before Gutenberg. In 1313, Wang Zheng traced the development of movable type in his Nong shu, a treatise on agriculture. Chinese also made typography a fine art and produced numerous books. Printing from movable type reached its highest development in Korea from 1403 onwards. If the invention of printing ushered in the second communication revolution, then the celebration of Gutenberg as the inventor of printing represents a distortion of human history by those trying to document a so-called European 'exceptionalism' of the 15th century. The horizontally integra-tive macrohistory approach should set the record straight. [ABSTRACT FROM AUTHOR]

Attempts to identify the paper used and printing process of manuscript of the play Sejanus by Ben Jonson. Examination of 26 extant copies; Paper sources; Royal watermark on paper; Textual and editorial comparison.

The article discusses modern medical case histories published between 1600 and 1900, focusing on the use of seriality by the hospital system and its use of tables. The condensing of narrative patient information into tabular form allowed for the creation of quantitive data reporting which would support rhetorical arguments. Other subjects considered include the impact of the history of printing technologies on the history of science, the development of scientific specialization, and the creation of indexes to access knowledge and information in books.

The article discusses the role of books in the transmission of knowledge as social capital in India during the Mughal Empire. The author comments on the delayed adoption of printing in India and suggests that Muslim religious groups focused on the preservation of knowledge in individuals rather than through books. He comments on the memorization of the Quran in Islamic education by Muslim scholars known as Ulamā. The work of printer Bartholomaeus Ziegenbalg in Aurangbad, India and the use of his books in the takiyya, a form of dervish lodge, of Shāh Muhammad Musāfir are discussed.

The article informs that the British House of Lords has proposed to abandon vellum and instead to authorise the printing of all public statutes on high quality sturdy durable archival paper. It reports that Those wishing to preserve vellum condemned 'heritage vandalism', and praised the traditional practice, symbolic of the constitution and the rule of law.

In 1482, Erhard Ratdolt, a prominent German printer in Venice, issued the editio princeps of Euclid's Elements. Ratdolt experimented with the new technology of printing to overcome the difficulty in arranging geometric diagrams alongside the text. This article examines the materials and techniques that Ratdolt used in his edition of Elements including his use of vellum, gold printing, and illumination for special copies as well as his use of woodcuts, movable type, and metal-cast diagrams. Significantly, the legacy of Ratdolt's innovations continued almost one hundred years later in subsequent editions of Elements. In 1572, Camillo Francischini printed Federico Commandino's Latin translation and commentary, and today, there are at least two surviving copies of this edition printed on blue paper. Both printers, Ratdolt and Francischini, used the printing press to produce unique and bespoke books using material and visual cues from luxury objects like illuminated manuscripts. These case studies of Euclid's Elements brings together the fields of art history, history of the book, and the history of geometry, and analyzes the myriad ways that printers employed the printing press in the early modern period to elevate and modernize ancient, mathematical texts. [ABSTRACT FROM AUTHOR]

We present a systematic non-invasive investigation of a large corpus of early printed books, exploiting multiple techniques. This work is part of a broader project – Argeia – aiming to study early printing technologies, their evolution and, potentially, the identification of physical/chemical fingerprints of different manufactures and/or printing dates. We analyzed sixty volumes, part of the important collection of the Ateneo Veneto in Venice (Italy), printed between the 15th and the 17th centuries in the main European manufacturing centers. We present here the results of the imaging analysis of the entire corpus and the X-ray fluorescence (XRF) investigation performed, focusing on the XRF data and their statistical treatment using a combination of Principal Component Analysis (PCA) and Logistic Regression. Thanks to the broad XRF investigation – more than 200 data points – and to the multidisciplinary approach, we were able to discriminate the provenances of the paper – in particular for the German and Venetian volumes – and we potentially identified a chemical fingerprint of Venetian papers. [ABSTRACT FROM AUTHOR]

The article focuses on fine printing of medieval French texts. Topics discussed include vernacular literature, history of printing and proof copies of the texts. Other topics which includes Belgian and French editions of the texts are also discussed. In addition, type setting and typography are also discussed.

Modern media are characterized by extraordinary diversification and derivatisation. Multimodality has become central to all factors of the communication process – sources, codes, messages, channels and networks, intermediaries and agents, as well as end recipients. The most serious collisions occur in the field of publishing and books. Object of the research: A formal reason for this article is the 550th anniversary from the death of Johannes Gutenberg (ca. 1400–1468) used to re–examine and re–define the book as the oldest and, at the same time, most promising media in the world of publishing. Purpose of the research: To revise the periodisation of the publishing evolution outside the four phases of the 560–year biography of the print format of the book: incunables or early– printed books, post– incunables or first–printed books, old–printed books, and new–printed books or contemporary printed books. Methodology/approach: The archaeological approach to the study of media reveals larger–scale reasoning behind the evolution of the book as a medium: Pre–Gutenberg, Gutenberg and Post–Gutenberg book. Results: Each of the three phases is governed by five principles that also pre–empt the future of the print medium in the 21st century: the principle of bureaucracy, the principle of antagonism, the principle of fanaticism, the principle of emancipation and the principle of “form follows function”. The perspective of media archaeology helps to correct the historical place and the evolutionary stance of the inventions pertaining to the Gutenberg Galaxy – the print medium, the printing press, the printed book, and paper as a printing resource. Implications: The conclusions may prove important for outlining the technological and ideological patterns affecting the invention and decline not only of the printed book but of every publication format before and after Gutenberg. [ABSTRACT FROM AUTHOR]

The article focuses on the physical properties of books printed in the Ottoman Empire during the early 19th century and considers why such properties may be historically important. The three books considered in this study are: "ed-Dürerü'l-müntihabâti'l-mensûre fi islâhi'l-galat'l-meşhûre," by Mehmed Hafid, published in 1806; "Usûl-i Hendese," by John Bonnycastle, translated by Hüseyn Rιfkι at the request of Sultan Selim III, published 1806; and "Üss-i Zafer," by Esad Efendi, published 1828. The author considers how diplomatic relations between the Ottoman Empire and several European countries and Russia during the Napoleonic Wars created changes in the paper used in book publishing as well as affecting the choice of texts translated into Turkish.

Along with the popularization of digital technology, artists began to use digital technology as a technological means to make more attempts in the creation of print art, thereby breaking through the formal constraints. The diversity of information technology inspires artists' creative inspiration and makes the development of art move in a more varied and diversified direction. The new vision brought by digital technology, digital printmaking, comprehensive printmaking, and digital technology in the creation of comprehensive printmaking and its positive influence on the future development of printmaking provide favorable conditions for the development of diversified art. This paper takes the application of digital technology in the creation of comprehensive prints as a research point and separately expounds the development and application background of digital computer technology and the development history of traditional prints, thereby extending to the modern combination of these two techniques and then transitioning to today's synthesis print. Based on the background of modernity and history, this article analyzes the classical language forms and characteristics of traditional printmaking to comprehensive printmaking from the theory and practice. And based on the techniques of software plate-making technology, it has been expanded to a series of specific measures such as materials and mechanisms. The research in this paper shows that artists can use digital prints to create high-impact works of art with higher quality and more artistic content. [ABSTRACT FROM AUTHOR]

This article discusses a discovery made by the author involving the wrong manuscript of calligrapher Şekerzâde being printed by the Ottoman Empire. It was initially illegal to sell printed copies of the Qurʾan in Ottoman lands, as cutting letters of the verses was deemed disrespectful. After foreign-printed copies began circulating, the position of the Ottoman government was forced to change. Thereby, the Ministry of Education, led by Ahmed Cevdet Pasha, was commissioned to produce a printed Qurʾan. However, the governmental body accidentally printed a manuscript that Şekerzâde wrote in Istanbul, while indicating it was the Qurʾan he wrote in Medina. Through careful examination, including translations of the inscriptions, this error was noticed for the first time. This paper presents an introduction to Ottoman reverence for the Qurʾan, a history of the printing process, background information of Ahmed Cevdet Pasha, and evidence regarding the mistake made when printing the manuscript. [ABSTRACT FROM AUTHOR]

The volume itself is an impressive example of bibliophile publications; the era of book printing is certainly not over, although it is changing rapidly, as this yearbook also indicates. Falk Eisermann offers a bibliography of recent publications concerning recent research on incunabula, and Ralf de Jong discusses the new print font, the Comma Base by Martin Majoor. Every second year, a new print font is used, and the present volume has appeared in the Comma Base font developed by Martin Majoor. [Extracted from the article]

In 1920 Catherine Latimer was the first Black librarian hired by the New York Public Library (NYPL). At the 135th Street Branch Latimer supported and collected the works of young Black writers and thinkers, helping to usher in the Harlem Renaissance. An archive of letters from that era demonstrates how closely she worked with the likes of Alain Locke and Claude McKay. Latimer also conferred with Black bibliophiles and librarians, including the library's head curator, Arturo Schomburg, under whose leadership she managed the Division of Negro Literature, History and Prints. Over her twenty-six-year career at NYPL, Latimer worked with leaders in the Black community to fight racism within the library profession. Together with Schomburg and the dedicated staff of the Negro Division, Latimer helped organize and provide public access to one of the greatest collections covering the Black diaspora. [ABSTRACT FROM AUTHOR]

The article considers the history of printing formats for books, using the example of the history of digital mp3 technology by Jonathan Sterne as a basis for the study. Topics considered include the use of format by bibliographers such as quarto or octavo to describe printed publications, the use of signature marks by printers to facilitate assembly of printed sheets, and the processes used in creating a book.

At a time of sociocultural changes that started questioning established Islamic learning traditions (independence years, post-Cold War/book market liberalization), printing diasporas exerted influence on the circulation of Islamic texts in East Africa: published overseas (Cairo, Beirut, and the Indian subcontinent) and/or locally reprinted on the Swahili-speaking Islamic coast, they came to play a seminal role in negotiating Swahili Muslim literary culture. How have transoceanic religious and intellectual networks operating beyond national borders become intertwined? In this paper, the beginnings of Swahili Muslim book publishing—and the entities underpinning it, such as Nairobi's Islamic Foundation Center, a Pakistani-oriented charitable foundation—will be outlined. I will then delve into the history of Indian-and-Swahili family-run publishers Adam Traders based in Mombasa in order to tackle hitherto neglected transoceanic connections and patterns of influence across the sea. [ABSTRACT FROM AUTHOR]

Huizhou print is a regional print genre based on ancient print, which flourished in the Ming and Qing dynasties. The reasons for its prosperity include geography, cultural and economic development, etc., and by virtue of the influence of Huizhou merchants, it has had a significant impact on the style of local prints. This paper systematically introduces the general history of Huizhou print from its birth to the present age from three perspectives: the origin and development, the reasons for its prosperity in the Ming and Qing dynasties, and the decline and rebirth in modern times. [ABSTRACT FROM AUTHOR]

Jeongsoo Shin shows that stele rubbings acquire distinctive meaning from their material origin, circulating as works of art, collectibles, and historical sources in the nineteenth century networks of China-Korea literati friendship. Studies of Textual Materiality in East Asia Studies of textual materialities opened multiple avenues for rethinking the coordinates of writing, signification, and culture in East Asia, premodern, modern, and postmodern. "Textual Materiality in Korea, Premodern to Postmodern", a special issue of the I Journal of Korean Studies i , seeks to ground the study of Korea, past and present, in the materiality of texts, while refining its theorization and historicization. Olga Fedorenko considers South Korea's large wall posters ( I taejabo i ), a staple of protest culture on university campuses, to track their metamorphosis with the advent of digital media technologies. [Extracted from the article]

This paper presents some biographical information concerning Aldus Manutius and his publishing venture, which joined the interests of Venetian scholars in classical works, especially those in Greek, with the power of the Venetian presses to print and disseminate them. The early works of the Aldine Press all reflect important innovations in typography, especially Greek, for which Aldus created four fonts. The paper considers the publishing histories of the 1499 and 1545 editions of theHypnerotomachia Poliphili, the former under the control of Aldus, while the latter under that of his son Paolo, working to resuscitate the Aldine Press with the Sons of Aldus imprint. Aldus clearly played an important role in the design of theHypnerotomachia Poliphili, which integrates text and image in the layout of the individual pages to produce visually appealing results. The 1499 edition represents what is now widely regarded as the most harmonious union of typography and illustration in the Renaissance. The two editions are then compared to determine how closely the 1545 edition reproduces the 1499, given the common assumption that they are essentially the same, apart from the lack of woodcut initial letters and a handful of woodcut illustrations. The appendix consists of a short overview of the editions of theHypnerotomachia Poliphiliin other languages through 1600. [ABSTRACT FROM AUTHOR]

Printer's manuals seldom discuss aspects of graphic design. A well-known example of a manual which pays attention to them is a French manual by Fertel from 1723. In a more ample way such consideration was given in a less known manual written and published by Bertrand-Quinquet in Paris in 1799: Traité de L'imprimerie. In this paper aspects of typographical design mentioned by the author are discussed. The conclusion is that Bertrand-Quinquet follows the lines of the neoclassical style, set by the Didots at the end of the Ancien Régime. [ABSTRACT FROM AUTHOR]

This essay centers on a rare and unknown version of the revolutionary sound poem, the Ursonate, which the German avant-garde artist Kurt Schwitters composed between 1922 and 1932. Schwitters took the poem's first line from the opening of a poster poem by the Dadaist Raoul Hausmann and, over a ten-year period, expanded it and developed different notations. He published his complete phonetic score, with typography by the German graphic designer Jan Tschichold, in the 1932 issue of his innovative magazine, Merz. The essay considers the intriguing implications of the unknown version of Schwitters’ sound poem—recently discovered in the Getty Research Institute's collections and referred to here as the ‘Getty booklet’—for the evolving form, design, and performance concept of the Ursonate. The only existing bibliographic citation of the booklet (Hans Bolliger in Werner Schmalenbach, 1967) attributes it to a W. Jöhl and a group of students working in Zurich in 1953. Since Schwitters’ visual and poetic work fell into a state of neglect during his exile years and following his death in 1948, the 1953 publication date marks a very early recognition of Schwitters as the inventor of a new form of verbo-vocal poetry. A comparison between the sewn, handmade, coloured-paper design of the booklet and the pure black-on-white, sans-serif of the original Merz publication suggests that Jöhl and students recognized central aspects underlying Schwitters’ conception of the Ursonate, such as his interest in variable formats and in a host of performed interpretations. [ABSTRACT FROM PUBLISHER]

The present paper is a preliminary study endeavouring to find some possible interpretations, both cultural and historical, for the 17th century decline in publishing popular literature. The basis of this preliminary study is those few extant copies of popular books published by the Heltai press in the 17th century which are housed by the Special Collections Department of the Lucian Blaga Central University Library in Cluj. This outline has the purpose of putting forward a problem, namely that something happened after the turn of the 16th-17th centuries which radically cut down the number of such works. The paper concludes that, besides economic reasons, this process was rather explained by a complex set of social-historical reasons (religious wars and disputes, influencing both the general "mood" and interest of readers and writers alike), an assumption which indicates the direction of further research. [ABSTRACT FROM AUTHOR]

The paper focuses on the Greek mythographic tradition, by investigating the fortuna of Palaephatus' On unbelievable tales. In the early Renaissance, this collection met a great reception already in its original language, as the wide number of Greek manuscripts written between the fourteenth and the fifteenth centuries (well studied by Vitelli and Festa) witnesses. It was translated into Latin just at the beginning of the sixteenth century by three different scholars: Angelo Cospi, Filippo Fasanini, and by another interpres, still unknown. Special attention is given to the Bononiense gymnasium at the end of Quattrocento, with which almost all the translations are connected; to the reception of the Suidae lexicon, that determined the fortuna of Palaephatus; and to the Soncino edition (Pesaro 1511), which provided the first, anonymous, Latin translation. Synoptic schemas on Palaephatus' reception and two of Filippo Fasanini's texts are published in the Appendices. [ABSTRACT FROM AUTHOR]

The article discusses the travel of priest-monk Nicodemos Metaxas to London, England to acquire the necessary experience and skills in typography to print books in Greek and the transfer of this printing technology to Constantinople, capital of the Ottoman empire in the seventeenth century. Topics include the printing technology Metaxas transferred to Constantinople like woodcuts, printing press and printing paper, and the several Greek books published by him.

The remarkable theatrical history of Joseph Addison's 1713 tragedy Cato is well known, but the play is also an exceptional case in book history. This essay looks in detail at its two entirely distinct "first" editions. It resolves the relationship between these two editions and considers the quite different problems they raise for the bibliographer: the one of how we distinguish between edition and issue in a context of frenzied publication, standing type, and incremental resetting; the other, of how a manifestly substandard and suspicious edition came to carry the self-proclaimed hallmark of the play's true publisher, Jacob Tonson. The early print history of Addison's Cato , this essay shows, both puts pressure on the language of bibliography and also marks an important and revealing episode in a number of larger histories: those of the Tonson house, of book piracy and copyright protection, and of the bestseller. Appendices provide bibliographical descriptions of the 1713 Qα and Qβ editions, press variants of the earliest three issues of Qα, and uncorrected errors in Qβ. [ABSTRACT FROM AUTHOR]

Korea owns the real Jikji printed about 70 years before Gutenberg's 42-line Bible in 1377. In contrast to how printing originated in Europe, the invention of Korean printing was born through social and cultural demand. In Europe, copying technology, or transcription, was used before printing. In the early Middle Ages, demand for transcription immediately increased in parallel to the creation and development of the urban area and construction of universities. The development from transcription to printing was inevitable due to increase in demand for texts as well as the need for financial profit, and the sharp increase in the circulation of information broke the monopoly of the literate clergy on learning. During the time in which metal movable type was invented in Korea, society did not demand a massive spread of information. Therefore, rapid and revolutionary social change did not occur. However, the sociocultural role of printing was still significant. Despite the long distance between Europe and Korea, printing in the two societies successfully fulfilled required demand through a technology that sufficiently performed its role. [ABSTRACT FROM AUTHOR]

This article presents a brief history and poses questions about traditional Chinese movable type printing. This is a technology that developed in the pre-modern period and never underwent in the mechanization in the ways that Western movable type printing did. Nevertheless, even today, Chinese traditional movable types continue to be used in some places in China. The authors not only describe the chronology of but also analyse significant cultural, political, and social factors affecting the development traditional Chinese typography. The first part of this article discusses the movable type made of earthenware and of wood, which are described in various sources written by scholar-officials. In the case of movable type for the Tangut script, however, the main evidence come from chiefly religious imprints which provide information about material evidence as well as a few about printers, typesetters, etc. The second section describes the long hiatus from the Yuan until the second half of the fifteenth century in the utilization of metallic typography in the private circles in Wuxi in Jiangnan, whose publications still survive, and how during the last dynasty, the movable type production reflects some trends in book publishing in general, with the important engagement of some of the Manchu emperors. In the last section of the paper, the authors explain why although wooden types existed in the Kingdom of Xixia (1032-1227) and in the Yuan dynasty (1279-1368), it was only in the Ming (1368-1644) to Qing (1644-1911) periods that their use became more widespread in China. Wooden movable type played a key role in the printing of genealogies in various areas (e.g. Zhejiang, Anhui, Jiangsu, Hunan, and Fujian). That all also indicates that wood is the "material medium" of traditional Chinese printing, never mind if employed in blocks or types. [ABSTRACT FROM AUTHOR]

Much research work has been committed to establishing the literary and textual history, evolution and cultural background of Burns's texts, and many sustained studies and editions now stand as landmarks of scholarly endeavour. This paper proposes that there is an important sociological and economic element of the book history of the posthumous writings of Burns and to a lesser extent, Tannahill, that has yet to receive its deserved attention. The essay addresses the question as to how the compositions of Burns and (other poets) became available to those of limited income, particularly during the first third of the nineteenth century. This availability is elucidated and traced through their appearances in a major form of popular print in Britain – the chapbook. Quite how the chapbook printers addressed matters of authorship are considered, as are the problems associated with the publication of variant titles and textual content of the Scottish poets' works. The ambiguities and challenges caused by the very song titles adopted by the printers are delineated: some material that may appear to have been by Burns is not his work at all. The falling away of the chapbook form from (roughly) the 1830s, and the absorption of Burns's work into the 'cheap reprint' movement from the mid-nineteenth century is outlined. [ABSTRACT FROM AUTHOR]

This article discusses the effects the new technology of printing had on the rich and multilingual textual culture of late medieval Britain. Before setting up his press in Westminster, William Caxton had books published in Latin, French and English. As soon as he relocated to England, however, he abandoned this multilingual business model and devoted all his energies to print books in English, as did his successors Richard Pynson and Wynkyn de Worde. Not only did they favour English over all other British languages, but promoted a London-based variety of English at the expense of other dialects. Hence, before giving to the press the Scots Contemplacioun of Synnaris by William Touris, Wynkyn de Worde chose to have it Anglicized. When Walter Chepman and Andrew Myllar established a printing press in Edinburgh in 1508, they replicated the choices of their English counterparts, promoting the standard form of Scots and even Scotticizing Middle English texts, such as Sir Eglamour of Artois. I conclude by arguing that the introduction of the printing press in Britain enhanced the prestige of the language variety used by the elite and became instrumental in eroding the balances existing in the British language ecosystem. [ABSTRACT FROM AUTHOR]

There has been debate about the claim that Henry James's first American edition of Daisy Miller sold twenty thousand copies in a matter of weeks. This note aims to settle that debate by providing evidence in favor of the work's popularity through an analysis of Harper and Sons' printing and royalty records, James's letters, contemporary printing practices, and copies of the books themselves. I identify seven separate distinct impressions of this title printed in the period between its initial publication on September 9, 1878, and October 1881, and I conclude that because of a seven-month gap in the Harper records after the initial print order, there were undoubtedly one or more impressions printed in this period, copies of which have not yet been found. In addition, I show that a $200 check from Harpers to James (a check that has clouded the conversation over the novel's popularity) was not a royalty payment on Daisy Miller , but payment for the purchase by Harpers of the copyright of James's story An International Episode. Attached as appendices are details of each of the seven impressions and abstracts from the royalty records. [ABSTRACT FROM AUTHOR]

Recently, typography has increasingly become a field explored by scholars of various disciplines, not all of them philologists. Although co-operation and mutual exchange are on the rise in the field, there are still deficits in this area. The aim of this article is a review primarily of the German-speaking academic discussion since 2000, but also of the long-existing field of 'bibliography'. It is in the form of a critique of an article published in Orbis Litterarum in 2009 (vol. 64, no. 2), and takes the opportunity to complement the original paper in discussing the relation between typography and literature in three subject areas: historicity of print technology and typographical convention, differences between analogue and digital print production, and the scope of the term 'typography'. The main methodological argument put forward is a claim for context-oriented approaches taking into account historical depth and technology, but also the latter's application by workers in the printing trade and authors from the literary field alike. Despite its relatively small scope as a reaction to a single article, the paper is written to spark further discussion. [ABSTRACT FROM AUTHOR]

Scholars of the history of literature and printing in the 16 century agree that the most prolific printing press of 16th century Hungary was the Heltai-Hoffgreff print in Cluj (Kolozsvár, Klausenburg, present-day Romania). After Gáspár Heltai's death in 1574, his widow took over the print, becoming the only effective woman publisher of the 16th century in Hungary. Her presence as the owner of the Heltai print is attested by 47 publications between 1575 and 1582 (the year of her death). This period of eight years of the Heltai print is very laconically reflected in the scholarship. The generally accepted view is that Mrs Heltai was a talented businesswoman, who continued to publish the profitable penny-books, in even larger number than previously her husband. This paper argues that Mrs Heltai developed a publishing policy of her own, different from her husband's, and investigates two aspects of this argument. On the one hand, it traces Mrs Heltai's financial interest in her enterprise as a business woman, ensured by the publication of a very popular secular genre of early modern Hungarian literature, the history in verse. On the other hand, it sketches the importance of women's particular education and literary preferences in an attempt to suggest the possible gendered nature of Mrs Heltai's printing policy. [ABSTRACT FROM AUTHOR]

In this article the author discusses issues surrounding graphic design, with an emphasis on design education, research and practice. The article notes that graphic design has its basis in four distinct activities: typography, illustration, photography, and the medium of print. A number of topics are addressed including the history of graphic design, the theoretical model that links graphic design with researchers and educators, and information contained in the book "Dictionary of Graphic Design and Designers."

The article discusses printed catalogues produced by the Oxford University Press between 1677 and 1720 when the publisher was located at the Sheldonian Theater in Oxford, England. Historical sources for some of the catalogues, first printed as broadsides, were created by scholars including Anthony Wood, John Bagford, and Arthur Charlett, Master of University College. Booksellers located in Oxford during the period discussed include Moses Pitt, Peter Parker, and Thomas Guy. A compiled list of publications printed by the Oxford University Press during the period is presented.

In the 19th century, printing methods made significant advances that allowed mass production of illustrated texts; prior to that time, illustrated texts were expensive and rare. The number of illustrated texts thus rose exponentially, increasing the rate of information transfer among scientists, engineers and the general public. The early American state geological reports, funded by the state legislatures, were among the pioneering volumes that used the new graphic capabilities in the improved printing processes for the advancement of science. They contain thousands of illustrations--woodcuts, etchings, lithographs and hand-painted maps--that may be of interest to historians of science, technology, art and culture. [ABSTRACT FROM AUTHOR]

This paper examines some distinctive uses of typefaces by Caxton's compositors in his early products at Westminster and illustrates how useful such examples are in revealing the chronology of actual book production, as well as in identifying the compositors at work on individual volumes. An exhaustive analysis of early printed books can provide us with information about compositors at work in England's earliest printing house. This paper therefore argues that it is most definitely worth considering such 'mechanical' aspects of book design as typography when editing any printed text, and introduces most recent research results contributed by a project at Keio University, which aims to establish a semi-automatic system that can transcribe every feature of the printed text including even minute differences in types. [ABSTRACT FROM AUTHOR]