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Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In post-war Quebec, the fascicle format experienced a meteoric rise in popularity. In order to draw all the heuristic potential from an analysis of this format, our article is based on a detailed study of the editorial peritext of some forty fascicles of sentimental novels published between 1945 and 1963 by the Éditions Police-Journal. On the one hand, these dime novels are comparable to "small books"--each issue generally contains a single story spanning 32 pages. The publisher's branding, ostensibly serves as a guarantee of its quality. On the other hand, these objects with their soft and colourful covers are in constant dialogue with the magazine, often emulating its fundamental mechanisms. Through a detailed analysis of these little-explored romance novels, we hope to inspire a reflection on the popular print formats of the 20th century. [ABSTRACT FROM AUTHOR]

This article investigates how the seminal focus placed on portability as the defining characteristic of the book is erroneous and misguided. Based on Western concepts and early-modern bias that ultimately equates codex to book, the notion of portability is inapplicable to all book cultures and deserves re-examination. By redefining the meaning of the book to be an idea, an idea that can then be transposed textually and/or pictorially onto a substrate, scholars can come to understand how in ancient Egypt wall inscriptions and art were considered books, and how stone was a primary and fundamental book medium. Using Western, modern, and even global examples to explain how the book in its original state is a metaphysical entity, the notion of the book as object is in turn discarded because defining the book by its medium causes numerous restrictions - the object is not the book, merely its carrier. The importance of physical portability therefore becomes replaced in favour of metaphysical portability and its various implications. By using ancient Egyptian tomb walls as a case study, the meaning and boundaries placed on the book in book studies will be reframed and redefined by drawing Egyptian cultural practices, literature, ideologies, and the use of stone to establish examples of non-portable books. Any discussion of ancient book cultures primarily remains focused on papyrus or clay tablets (i.e., portable materials), a focus that skews the reality of ancient book cultures and gives rise to bias due to the neglect of other mediums that were far more important for ideological purposes. Egyptian book culture was, in fact, more than papyrus; a variety of materials were used as substrates, not all of which were portable in the conventional sense, but neither their use nor their significance to ancient Egyptian society should be dismissed. [ABSTRACT FROM AUTHOR]