Quarto Kids Non-Fiction Spring 2020
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Lost Incunable Editions: Closing in on an Estimate
chapter 3 Lost Incunable Editions: Closing in on an Estimate Jonathan Green and Frank McIntyre Imagine, if you will, that you are a lepidopterist stationed in the butterfly-rich environment of a tropical Malaysian island. You hope to determine the number of butterfly species that live on the island, and so you resolve to survey an acre- sized patch of it for a month and record the number of individuals of each spe- cies that you find. At the end of the month, you find that a few species of butterfly are represented by a large number of specimens, while many species are repre- sented by only one or a few specimens. These results lead you to suspect that there remain many species of butterfly on the island that your survey has missed, but how many? And how many more species can you expect to discover with additional months of observation? As your opportunity to spend additional months on a tropical island depends on your presenting a convincing argument to your funding agency, these questions are of some urgency for you. This is a brief statement of what is known as the unseen species problem, which has been an area of intense study both within and well outside of the field of ecology for several decades. The example above concerning Malaysian butterflies is drawn from a pathbreaking article published in 1943 by Ronald Fisher, one of the founders of modern biology and statistics, who proposed statistical methods for estimating the number of unseen butterfly species.1 Since then, the development and implementation of these methods has con- tinued, so that several current statistical software packages can provide both an estimate of the number of missing species and determine the confidence interval of that estimation, that is, the range within which one is reasonably certain the actual number lies.2 In an ideal situation, the number of observed butterfly species will rise with each additional month of observation, but the estimate of total species will change only modestly as the confidence interval 1 R.A. -
(1604) In/As Print
Early Theatre 20.1 (2017), 43–76 http://dx.doi.org/10.12745/et.20.1.2830 Heather C. Easterling Reading the Royal Entry (1604) in/as Print King James I’s March 1604 entry into London, many recognize, departs from previ- ous royal entry pageants through its use of triumphal arches, employment of profes- sional dramatists, and emphasis on dialogue. But the 1604 entry also was notable for its essential print identity. Print records of royal entries were common by the time of Elizabeth’s accession, and the 1559 text commemorated the event mainly for the queen and court, listing no author. By contrast, James’s entry, staged and performed over one day, generated four different printed texts, each with a declared author or authors. This article considers how all four entry texts together produce a highly contested portrait of ideas about print, authorship, and authority at the outset of the Jacobean period. Oxford’s monumental Thomas Middleton: The Complete Works, dense not only with plays but also with lord mayor’s shows and essays on the spectacles they scripted, offers vivid evidence of new interest in early modern pageantry. Schol- arly reassessments of long neglected public pageantry have newly considered the significance, in their own time and in ours, of such performances, including royal entries.1 As Richard Dutton has argued: To ignore the civic pageants of the Tudor and Stuart period is to ignore the one form of drama which we know must have been familiar to all the citizens of London, and thus an important key to our understanding of those times and of the place of dramatic spectacle in early modern negotiations of national, civic, and personal identity.2 Dutton signals a critical investment that Tracey Hill further enunciates, arguing that we must assess early modern lord mayor’s shows precisely for their public and complexly collaborative nature as spectacles. -
Global Print and Publishing Service Solutions for International Publishers
GLOBAL PRINT AND PUBLISHING SERVICE SOLUTIONS FOR INTERNATIONAL PUBLISHERS If you ship inventory to a common distribution facility in the United States, it’s time you considered partnering with a U.S. printer that can place your publications in the hands of your readers quickly and economically. The companies of CJK Group, Inc. offer a complete range of services including web, sheetfed, inkjet, and toner printing (all the way down to a single copy), as well as warehousing and fulfillment. CJK Group, Inc., headquartered in Brainerd, MN, is a national portfolio of print and publishing-related BANG PRINTING services, and technologies serving book, magazine, catalog, and journal publishers. All CJK Group companies operate independently, while sharing best practices HESS PRINT SOLUTIONS and core values across the organization. CJK Group is comprised of six companies with 11 production locations across the United States. Those companies are: Bang SENTINEL PRINTING COMPANY Printing, Hess Print Solutions, Sentinel Printing Company, Sheridan, Sinclair Printing Company, and Webcrafters, Inc. SHERIDAN When you partner with a CJK Group Company, you will find that our experienced employees are not only committed to delivering a high quality product on time, they ensure SINCLAIR PRINTING COMPANY that you understand the processes too – including the terminology used in the United States – so the product you receive matches your expectations. WEBCRAFTERS, INC Here is a handy guide to understanding printing terms, trim sizes, and text weights in the U.S. -
Quarto Publishing Group USA and Arcadia Publishing Announce a US Distribution Agreement
Quarto Publishing Group USA and Arcadia Publishing announce a US distribution agreement Beverly, MA—Quarto Publishing Group USA, part of The Quarto Group, the leading global illustrated book publisher, and Arcadia Publishing, the largest US publisher of local and regional books, are pleased to announce a US distribution agreement for select Quarto imprints. Arcadia Publishing will be distributing Quarto’s Voyageur Press and Cool Springs Press titles into specialty garden, home improvement and hardware accounts. “I’ve long admired Arcadia’s reach into local markets across the US. Arcadia Publishing has been the shining example of successful distribution into specialty markets. With thousands of active accounts, there is no town too small or too far that their team doesn’t reach,” explained Tara Catogge, VP Sales Director at Quarto Publishing Group USA. “We see a lot of growth opportunity by combining Arcadia’s exceptional field sales force and focused market strategy with Quarto’s expansive regional title list and bestselling garden and branded home- improvement titles.” “As part of our rapid expansion into specialty markets we were looking for a partner to help us reach those small and often remote retailers that are the core market for our garden and home- improvement lists,” said Ken Fund, President and CEO of Quarto Publishing Group, “and we found it in Arcadia. Their publishing and sales team is uniquely skilled at reaching and serving the needs of small business owners in micro markets. Their business model is about immediacy and the art of hand-selling which they do exceptionally well.” Richard Joseph, owner and CEO of Arcadia Publishing, commented, “Arcadia is committed to increasing the availability, depth and breadth of local books, and this distribution partnership with Quarto Publishing Group is a perfect fit with our publishing program. -
Two Unrecorded Incunables: Rouen, Circa 1497, and Lyons, Circa 1500
TWO UNRECORDED INCUNABLES: ROUEN, CIRCA 1497, AND LYONS, CIRCA 1500 DAVID J.SHAW FOR a number of years, I have been re-examining the British Library's books printed in France between 1501 and 1520 for a typographical catalogue of the Library's French post-incunables. This catalogue is a revision of the unpublished manuscript of Col. Frank Isaac's Index to the British [Museum] Library's books printed in France between 1501 and 1520 which remained incomplete at his death in 1943. The Indexes of books printed between 1501 and 1520 were started by Robert Proctor, who pubUshed the volume for Germany in 1903 as an outgrowth from his incunable catalogue, and were continued by Isaac for Italy (published in 1938)^ and for France (unpublished).^ As with the incunable catalogues, these Indexes are arranged according to Proctor's methodology - by place of printing, then by printer, and for each printer the books are hsted in chronological order. The main function of the work is to attribute unsigned books to their printer when possible and to order the production of each workshop chronologically, assigning dates where necessary. As with the incunable catalogues, a large part of this task involves the identification and classification of each printer's typographical material. I have tried to extend this aspect of the work, so that the finished catalogue should present important new evidence on the supply of type in France in the early sixteenth century and on its use in the printing-houses of the time. The undated books pose problems at both ends of the chronological span. -
The Octavo Package Stefan A
TUGboat, Volume 23 (2002), No. 3/4 269 The Octavo Package Stefan A. Revets Abstract The Octavo package is a modification of the standard LATEX book class, written to help produce books of clas- sical design, format and layout. The page sizes made available are the classical octavo sizes and the margins are calculated according to late Gothic precepts. An at- tempt is made to maintain the uniformity of the printing grid, and display is kept unobtrusive. − − ∗ − − 1 Introduction Donald Knuth developed TEX because of his grow- ing dissatisfaction with the commercial typesetting of his books `The Art of Computer Programming' [4]. The program grew into a typesetting system, with a great deal of attention and ingenuity devoted to the calculations of the placement of letters, words and paragraphs on the page. The preface of the TEXbook begins with the words `This is a handbook about TEX, a new typesetting system intended for the creation of beautiful books . ' [3]. More people began to use TEX, and, with the advent of LATEX, ready-made class files became part of the system. The standard style and class files tended to show off the capabilities of the system, rather than con- form to good design. Philip Taylor put it with some humour and considerable precision: `Knuth, in his closing exhortation, wrote: \Go forth now and create masterpieces of the publishing art." Nowhere, so far as I can trace, did he write: \and let every one of them shriek `TEX' from every page". ' [9]. Class files have been proposed and are available from CTAN which give the more fastidious user the means with which to moderate at least some of the excesses of these standard LATEX styles. -
A Leaf from a Gutenberg Bible Illuminated in England
A LEAF FROM A GUTENBERG BIBLE ILLUMINATED IN ENGLAND EBERHARD KONIG OLD libraries, even those with a great tradition in providing information of a high standard, may sometimes benefit from visitors who insist on not confining themselves to what is listed or catalogued, although the outcome will frequently be—to the annoyance of all concerned—that the search was for something that does not necessarily exist. This situation is all too familiar to those art historians who are experts of illumination and who trace special styles of decoration in manuscripts or printed books; moreover, they do not very often meet librarians who take them to the shelves or are willing to waste days looking for one item which cannot be identified by a precise shelf-mark. It has happened several times that I wished to find objects in the British Library which I could not properly identify, and I have encountered the kindest possible help on each occasion, even when in the end we had to conclude that the book we had looked for did not really exist. ^ But the last time this happened the search was successful: to her own astonishment Lotte Hellinga found in the British Library collection of incunabula a forgotten leaf of a Gutenberg Bible which is not listed in its catalogue, BMC^ one of tbe greatest of all catalogues of incunabula.^ It was not by divination that I asked to see this leaf. Seymour de Ricci had listed it in 1911,-^ and Paul Schwenke, perhaps the only scholar to make a thorough study of all the copies of the Gutenberg Bible known during his lifetime, and who was well acquainted with questions of binding and decoration, described the leaf in his Ergdnziingsband (1923) to the first (and brilliant) facsimile of the Berlin copy of the Gutenberg Bible."^ Subsequently the fragment vanished from the Gutenberg literature, and apparently also from the memories of incunabulists. -
Bibliographic Data Science: from Records to Research
Bibliographic Data Science: from records to research Oct 9, 2019, CERL Annual Seminar, Göttingen Mikko Tolonen & Leo Lahti University of Helsinki | University of Turku Openly available bibliographic records: crossing the borders ● Overcoming the nationally delineated perspective. Not a new phenomena: this is how our history has been written since the early modern period. We have to change it. ● We need a genuinely cross-European take on public discourse of the past (metadata work enables this), combined when possible to opportunity for text mining. ● But, we are nowhere near yet that this would be reality. It has to be accepted. To understand public communication covering the early modern Europe Movement of ideas Conceptual change - Metadata work based on - concepts are crucial, but several different library not directly jumping into catalogues this for various reasons - genres (poetry, - Theoretical pamphleteering); underpinning (historians intellectual traditions + linguists) (natural law tradition, - Concepts as linguistic ancient texts objects (linguists + - text reuse: genres historians + CS) (historical works, quoting practices) Research data releases Tools for others - ESTC; Fennica; - UIs, APIs, Kunglica; CERL; shiny apps ECCO text reuse (+ etc. EEBO text reuse); Finnish Newspapers Research potential of library catalogues has been debated for decades. From library catalogues to research & reports Research potential Open bibliographic data science ecosystem Research cases Octavo and the Enlightenment & vernacularization in Europe “I have observed that the Author of a Folio, in all Companies and Conversations, sets himself above the Author of a Quarto; the Author of a Quarto above FOLIO the Author of an Octavo; and so on, by a gradual Descent and Subordination, to an Author in Twenty Fours. -
Robert Darnton, “What Is the History of Books?”
What is the History of Books? The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Darnton, Robert. 1982. What is the history of books? Daedalus 111(3): 65-83. Published Version http://www.jstor.org/stable/20024803 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:3403038 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA ROBERT DARNTON What Is the History of Books? "Histoire du livre" in France, "Geschichte des Buchwesens" in Germany, "history of books" or "of the book" in English-speaking countries?its name varies from to as an new place place, but everywhere it is being recognized important even discipline. It might be called the social and cultural history of communica were not a to tion by print, if that such mouthful, because its purpose is were understand how ideas transmitted through print and how exposure to the printed word affected the thought and behavior of mankind during the last five hundred years. Some book historians pursue their subject deep into the period on before the invention of movable type. Some students of printing concentrate newspapers, broadsides, and other forms besides the book. The field can be most concerns extended and expanded inmany ways; but for the part, it books an area so since the time of Gutenberg, of research that has developed rapidly seems to a during the last few years, that it likely win place alongside fields like art canon the history of science and the history of in the of scholarly disciplines. -
Folios, Quartos & Publishing Folios, Quartos, and Publishing
The English Renaissance in Context: Folios, Quartos & Publishing Folios, Quartos, and Publishing Publishing & Piracy The quarto shown here is a fake! The title page states that it was printed “I. Roberts” [James Roberts] in 1600. But, it was actually set from a copy of the first quarto edition (Q1,1600) in 1619 by William Jaggard for Thomas Pavier. In fact, the supposed printer, James Roberts, was already dead at the time of this quarto’s printing. This edition of Merchant – called the second quarto (Q2)—is one of nine notorious editions of Shakespeare’s plays printed in an unauthorized and aborted effort to capitalize on Shakespeare’s renown shortly after his death in 1616. University of Pennsylvania Libraries - 1 - Furness Shakespeare Collection The English Renaissance in Context: Folios, Quartos & Publishing Penn’s Horace Howard Furness Library owns two more of the nine “Pavier Quartos,” King Lear and Henry V. Seventeenth-century book buyers often bound Pavier’s texts together, ironically allowing more copies of these forgeries to survive than any other early quarto editions of Shakespeare. What we would today consider a violation of intellectual property rights has given us several irreplaceable Shakespearean texts. These quartos are sources of important alternative readings of words and lines. Pavier and Jaggard had already printed and sold, as Shakespeare’s, plays that modern scholars omit from the canon of Shakespeare’s works. The concept of copyright was not yet established in their day, although the Stationer’s Company maintained a registry for print publications. If a printer-bookseller wanted to publish a text, he had to pay to secure his right to do so via the Stationer’s Register. -
The Boston Edition of the Baskett Bible
24 American Antiquarian Society [April, THE BOSTON EDITION OF THE BASKETT BIBLE BY CHARLES L. NICHOLS. NVESTIGATION in the course of bibliographical I study reveals many facts of great interest, not the least of which are in the field of lost or ghbst books. Lost books are those evidence of the printing of which is reasonably certain; ghost books, those the existence of which depends upon probable rather than exact evidence. In either case the appearance of a single copy is the only proof positive of its existence, a result delayed frequently for many years. One of the most interesting examples of this state- ment, and there are many, is the finding of the first edition of the Massachusetts Bay Colony Laws. Edward Johnson, in his ' ' Wonder-working Provi- dence"^ of 1654, states that a collection of the existing laws was ordered to be made and printed by the General Court and that "in the year 1648 they were printed and to be seen of all men." As no copy turned up it was the general opinion that there was some error in the statement. Two hundred and fifty-five years after this Evans, in his "American Bibliography" expressed the opinion that this edition had been printed as stated but that the price of three shillings per copy^ was prohibitive and that the edition was used as waste paper or burned. Five years later, in 1908, a copy was described in the Church catalogue and today this, the only known copy, after an interval of two "Prince Society Edition, p. -
THE CASE for the FOLIO Jonathan Bate
THE CASE FOR THE FOLIO Jonathan Bate ‘The First Folio remains, as a matter of fact, the text nearest to Shakespeare’s stage, to Shakespeare’s ownership, to Shakespeare’s authority’ (Charlotte Porter and Helen Clarke, preface to their Pembroke Edition, 1903) © Jonathan Bate 2007 THIS ESSAY OFFERS A MORE DETAILED ACCOUNT OF THE EDITORIAL PROBLEM IN SHAKESPEARE THAN THAT PROVIDED ON pp. l-lvii/50-57 OF THE GENERAL INTRODUCTION TO THE RSC SHAKESPEARE: COMPLETE WORKS THE QUARTOS The original manuscripts of Shakespeare’s works do not survive: the sole extant composition in his hand is a single scene from Sir Thomas More, a multi-authored play that cannot really be described as ‘his’. Shakespeare only survives because his works were printed. In his lifetime there appeared the following works (all spellings of titles modernized here, numbering inserted for convenience only, sequence of publication within same year not readily established). They were nearly all printed in the compact and relatively low- priced format, which may be thought of as the equivalent of the modern paperback, known as quarto (the term is derived from the fact that each sheet of paper that came off the press was folded to make four leaves): 1] Venus and Adonis (1593) – poem. 2] Lucrece (1594) – poem. 3] The most lamentable Roman tragedy of Titus Andronicus, as it was played by the right honourable the Earl of Derby, Earl of Pembroke and Earl of Sussex their servants (1594) – without the fly-killing scene that appears in the 1623 First Folio. 4] The first part of the contention betwixt the two famous Houses of York and Lancaster, with the death of the good Duke Humphrey, and the banishment and death of the Duke of Suffolk, and the tragical end of the proud Cardinal of Winchester, with the notable rebellion of Jack Cade, and the Duke of York’s first claim unto the crown (1594) – a variant version of the play that in the 1623 First Folio was called The Second Part of Henry the Sixth.