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Typesetting Old German: Fraktur, Schwabacher, Gotisch and Initials Yannis Haralambous
Typesetting Old German: Fraktur, Schwabacher, Gotisch and Initials Yannis Haralambous To cite this version: Yannis Haralambous. Typesetting Old German: Fraktur, Schwabacher, Gotisch and Initials. Tugboat, TeX Users Group, 1991, Proceedings of TeX90, 12 (1), pp.129-138. hal-02099292 HAL Id: hal-02099292 https://hal.archives-ouvertes.fr/hal-02099292 Submitted on 23 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Typesetting Old German: Fraktur, Schwabacher, Gotisch and Initials Yannis Haralambous U. F. R. de MathCmatiques, UniversitC de Lille - Flandres - Artois, 59655 Villeneuve d'Ascq, France. Abstract Typesetting in the old style, with the corresponding types, besides being an art, is also a real pleasure. METAFONT allows the creation of faithful copies of these types and T&K gives the possibility of using them in the most traditional manner. In this spirit, the necessary fonts and macros to typeset in the Old German types: Gotisch (also called Textur), Schwabacher and F'raktur are presented in this paper, together with an historical introduction to each of them. Also, a set of initials is described. Rules for typesetting in these types are given, together with extracts from the original sources. -
I, Adams. Power Printing Press
3 Sheets-Sheet l. I, ADAMS. POWER PRINTING PRESS, 3 E G e 3. E res e 3 Sheets Sheet 2. I. ADAMS. POWER PRINTING PRESS, Reissued Apr. 20, 1858. 3 Sheets Sheet 3. I, ADAMS. POWER PRINTING PRESS, Reissued Apr, 20, 1858 6 72X UNITED STATES PATENT OFFICE. ISAAC ADAMS, OF BOSTON, MASSACHUSETTS. IMPROVEMENT IN THE PRINTING-MACHINE CALLED A POWER PRNTING-PRESS, Specification forming part of Letters Patent dated October 4, 1830; extended seven years; again extended by ac of Congress from August 16, 1856, to March 2, 1864; Reissue No. 546, dated April 20, 1858, To all whom it may concern. : Be it, known that I, ISAAC ADAMs, of Bos In this figure the notive-power is shown as ton, in the county of Suffolk and State of applied to a horizontal shaft, the main wheel Massachusetts, have invented a new and use. upon the vertical shaft being a level gear (see ful and Improved Printing-Machine, which I also Fig. 20) and put on the shaft just above term a “Power Printing-Press;' and I do the crank, and being driven by a pinion (see hereby declare that thc same is described and Fig. 28) upon the horizontal driving-shaft car. represented in the following specification and rying the fly-wheel B, Fig. 3. Such driving the accompanying drawings, making a part shaft may be turned by any sufficient steady of this specification, in which mechanical power; or it may be moved by Figure 1 denotes a side elevation of such manual power by the use of a winch or land. -
Tv38bigelow.Pdf
Histoire de l’Ecriture´ Typographique — le XXi`eme si`ecle (The History of Typographic Writing—The 20th century). Jacques Andr´e, editorial direction. Atelier Perrousseaux, Gap, France, 2016. http://www.adverbum.fr/atelier-perrousseaux Review and summaries by Charles Bigelow (TUGboat vol.38, 2017). https://tug.org/books/#andre vol.1 TUGboat38:1,pp.18–22 vol.2, ch.1–5 TUGboat 38:2, pp.274–279 vol.2, ch.6–8+ TUGboat 38:3, pp.306–311 The original publication, as reviewed, was in two volumes: Tome I/II, de 1900 `a1950. ISBN 978-2-36765-005-0, tinyurl.com/ja-xxieme. 264 pp. Tome II/II, de 1950 `a2000. ISBN 978-2-36765-006-7, tinyurl.com/ja-xxieme-ii. 364 pp. These are the last two volumes in the series The History of Typographical Writing, comprised of seven volumes in all, from the beginning of printing with Gutenberg through the 20th century. All are in French. The individual volumes and the series as a whole are available in various electronic and print formats; please see the publisher’s web site for current offerings. ❧ ❧ ❧ 18 TUGboat, Volume 38 (2017), No. 1 Review and summaries: The History of phy had begun to supplant print itself, because text Typographic Writing — The 20th century display and reading increasingly shifted from paper Volume 1, from 1900 to 1950 to computer screen, a phenomenon now noticed by nearly all readers and publishers. Charles Bigelow In the 20th century, typography was also trans- Histoire de l’Ecriture´ Typographique — le XXi`eme formed by cultural innovations that were strikingly si`ecle; tome I/II, de 1900 `a1950. -
Medieval Ship of Fools
University of Edinburgh Postgraduate Journal of Culture and the Arts Issue 17 | Autumn 2013 www.forumjournal.org Title Vessels of Passage: Reading the Ritual of the Late-Medieval Ship of Fools Author Zita Turi Publication FORUM: University of Edinburgh Postgraduate Journal of Culture and the Arts Issue Number 17 Issue Date Autumn 2013 Publication Date 06/12/2013 Editors Victoria Anker & Laura Chapot FORUM claims non-exclusive rights to reproduce this article electronically (in full or in part) and to publish this work in any such media current or later developed. The author retains all rights, including the right to be identified as the author wherever and whenever this article is published, and the right to use all or part of the article and abstracts, with or without revision or modification in compilations or other publications. Any latter publication shall recognise FORUM as the original publisher. FORUM | ISSUE 17 Zita Turi 1 Vessels of Passage: Reading the Ritual of the Late- Medieval Ship of Fools Zita Turi Eötvös Loránd University My paper explores the late-medieval image of the ship of fools. The metaphor originates in the fifteenth-century carnivals of Europe and was depicted in Sebastian Brant’s 1494 compilation, Das Narrenschiff. The paper explores the underlying dynamic of the imagery and its origins in carnivalesque rituals as well as how the motif was exploited by Brant, becoming a literary force at the turn of the sixteenth century. Introduction The ship of fools has long been present in Western art and literature. The image originates in the late- medieval carnivals of Europe and it condenses the allegory of a barge with a seemingly endless number of fools who are unaware of their lack of control over the ship. -
Historical Technological Impacts on the Visual Representation of Language with Reference to South Asian Typeforms
Historical technological impacts on the visual representation of language with reference to South Asian typeforms Article Accepted Version Ross, F. (2018) Historical technological impacts on the visual representation of language with reference to South Asian typeforms. Philological Encounters, 3 (4). ISSN 2451-9189 doi: https://doi.org/10.1163/24519197-12340054 Available at http://centaur.reading.ac.uk/66725/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1163/24519197-12340054 Publisher: Brill All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Fiona Ross Historical technological impacts on the visual representation of language with reference to South-Asian typeforms. The scripts of South Asia, which mainly derive from the Brahmi script, afford a visible voice to the numerous linguistic communities that form over one fifth of the world’s population. However, the transition of these visually diverse scripts from chirographic to typographic form has been determined by historical processes that were rarely conducive to accurately rendering non-Latin scripts. This essay provides a critical evaluation of the historical technological impacts on typographic textual composition in South-Asian languages. It draws on resources from relevant archival collections to consider within a historical context the technological constraints that have been crucial in determining the textural appearance of South-Asian typography. -
42 CRITICS DISCUSS Ship of Fools (1962) Katherine Anne Porter (1890
42 CRITICS DISCUSS Ship of Fools (1962) Katherine Anne Porter (1890-1980) “My book is about the constant endless collusion between good and evil; I believe that human beings are capable of total evil, but no one has ever been totally good: and this gives the edge to evil. I don’t offer any solution, I just want to show this principle at work, and why none of us has any real alibi in this world.” Porter Letter to Caroline Gordon (1946) “The story of the criminal collusion of good people—people who are harmless—with evil. It happens through inertia, lack of seeing what is going on before their eyes. I watched that happen in Germany and in Spain. I saw it with Mussolini. I wanted to write about people in these predicaments.” Porter Interview, Saturday Review (31 March 1962) “This novel has been famous for years. It has been awaited through an entire literary generation. Publishers and foundations, like many once hopeful readers, long ago gave it up. Now it is suddenly, superbly, here. It would have been worth waiting for another thirty years… It is our good fortune that it comes at last still in our time. It will endure, one hardly risks anything in saying, far beyond it, for many literary generations…. Ship of Fools, universal as its reverberating implications are, is a unique imaginative achievement…. If one is to make useful comparisons of Ship of Fools with other work they should be with…the greatest novels of the past hundred years…. There are about fifty important characters, at least half of whom are major…. -
Printing History News 31
Printingprinting History history news 31 News 1 The Newsletter of the National Printing Heritage Trust, Printing Historical Society and Friends of St Bride Library Number 31 Summer 2011 PHS Journal Editor and ST BRIDE EVENTS OTHER EVENTS Web-Editor Book History Research John Trevitt will retire as Editor of the Printing Historical Society Journal at Network the next AGM. Catherine Armstrong, who has been reviews editor of the The Book History Research Network Journal since 2007, will also retire will hold twice yearly events. There is shortly. John has edited the journal for information about these and a register four years, and Catherine the reviews of interests on their new website at: for five, and the Society is very grateful Print workshops www.bookhistory.org.uk. Please visit for their excellent work during this the website to register and to sign up St Bride Foundation is bringing letter- for the next free event. period. The PHS is delighted to wel- press printing back to Fleet Street. The come Dr Victoria Gardner as the new exhibition room has been transformed reviews editor to replace Catherine. into a printing workshop, where prac- PRINT NETWORKS However, we are still seeking an Editor tical teaching and hands-on experience for the Journal, and would be most can take place. A series of courses and CONFERENCES grateful for any suggestions or, better workshops is now on offer. Through- still, volunteers. If you would like to out 2011 the range of classes will be Religion and the book trade discuss the role with the current Editor, developed and expanded to include do please contact John Trevitt on kindred trades and techniques, in This, the twenty-ninth Print Networks [email protected]. -
The Bookseller 1861 a AB (16 High Street, Tunstall, Staffordshire)
The Bookseller 1861 A A.B. (16 High Street, Tunstall, Staffordshire), books wanted 150 A'Beckett, T.T., article on Punch and his progenitors 397 Abel & Sons (Northampton), books wanted 87, 384 Aberdeen, Adam, John, books wanted 384, 466 Aberdeen, Duffus, John, books wanted 151, 263, 327, 514 Aberdeen, King, G. & R., publications advertised 576 Aberdeen, Milne, A. & R., books wanted 566, 653, 936 Aberdeen, Smith, John, new and forthcoming publications 476 Aberdeen, Walker, J. (34 Upper Kirkgate Street), books wanted 567 Aberdeen, Wilson, R. & Son (Schoolhill), books wanted 467, 654 Aberdeen, Wyllie, D. & Son, books announced 163 Aberdeen, Wyllie, D. & Son, books wanted 88, 467, 515 Aberdeen, Wyllie, D. & Son, James Wyllie gives share of business to assistant 664 Abergavenny, Hancocks, George, bookseller, stationer and printer, assignment 392 Abergavenny, Hancocks, George, bookseller, stationer and printer, business sold to Mr. Meredith 472 Abergavenny, Meredith, J.S. (formerly of Burford, Oxfordshire), commences business at Abergavenny 521 Accrington, Bowker, E., bookseller, etc., business for sale advertised 864 Accrington, Maysh, Nathan, stationer, insolvency 520 Acts of Parliament, collections, William Salt seeks information on collections to help him improve list he is compiling 136 Acts of Parliament, collections, Salt asks person who bought Acts at sale to communicate with him 535 Acts of Parliament, see also Bankruptcy Act 1861 Adam, John (Aberdeen), books wanted 384, 466 Adams, Frederick, stationer, etc. (Peterborough), bankruptcy -
1 Thomas Hvid Kromann “Montages Wrapped in Flong: a Material–Archaeological Investigation of Asger Jorn and Guy Debord'
Thomas Hvid Kromann “Montages wrapped in flong: a material–archaeological investigation of Asger Jorn and Guy Debord’s Fin de Copenhague” (2015) Extended English summary "Montager svøbt i matricepap. En materialearkæologisk undersøgelse af Asger Jorn og Guy Debords Fin de Copenhague" was published in the Danish peer-reviewed journal Fund & Forskning, no. 54, 2015, pp. 587–625. Published by The Royal Library in Copenhagen. Thomas Hvid Kromann (b. 1974), PhD Researcher at the Center for Manuscripts and Rare Books, The Royal Library, Copenhagen, Denmark. [email protected] and [email protected] Aim of the article The making of Fin de Copenhague took place a couple of months before the foundation of the Situationist International movement (1957–72) and is closely linked to it. In an increasingly politicized situationist movement, Fin de Copenhague and its sequel, Mémoires, were instrumentalized as“documents” – not as art works in a book format, but rather as anti- art works. As was stated in the first issue of the bulletin Internationale Situationniste, no situationist art form could exist, only a situationist use of artistic methods. This self- perception, primarily influenced by Debord, has subsequently influenced the way the two books have been critically received. In the decades that followed their creation, relatively little attention was paid to them in the increasing amount of research into the art of Jorn, the political-avantgardist activism of Debord and the situationist movement. The “concept” behind the books was reduced to the theoretical framework of the situationist movement (corresponding to key situationist strategies such as “détournement”), while the material dimension of the concrete artefacts themselves was neglected. -
Ships of Church and State in the Sixteenth-Century Reformation and Counterreformation: Setting Sail for the Modern State
MWP – 2014/05 Max Weber Programme Ships of Church and State in the Sixteenth-Century Reformation and Counterreformation: Setting Sail for the Modern State AuthorStephan Author Leibfried and and Author Wolfgang Author Winter European University Institute Max Weber Programme Ships of Church and State in the Sixteenth-Century Reformation and Counterreformation: Setting Sail for the Modern State Stephan Leibfried and Wolfgang Winter Max Weber Lecture No. 2014/05 This text may be downloaded for personal research purposes only. Any additional reproduction for other purposes, whether in hard copy or electronically, requires the consent of the author(s), editor(s). If cited or quoted, reference should be made to the full name of the author(s), editor(s), the title, the working paper or other series, the year, and the publisher. ISSN 1830-7736 © Stephan Leibfried and Wolfgang Winter, 2014 Printed in Italy European University Institute Badia Fiesolana I – 50014 San Domenico di Fiesole (FI) Italy www.eui.eu cadmus.eui.eu Abstract Depictions of ships of church and state have a long-standing religious and political tradition. Noah’s Ark or the Barque of St. Peter represent the community of the saved and redeemed. However, since Plato at least, the ship also symbolizes the Greek polis and later the Roman Empire. From the fourth century ‒ the Constantinian era ‒ on, these traditions merged. Christianity was made the state religion. Over the course of a millennium, church and state united in a religiously homogeneous, yet not always harmonious, Corpus Christianum. In the sixteenth century, the Reformation led to disenchantment with the sacred character of both church and state as mediators indispensible for religious and secular salvation. -
Principles of Typesetting
h e H T a p p y T PREPARE y p e s e t t 1. Determine the longest line to be set. Keep in mind that if lines are staggered left e r or right, your line must run the entire length from most left to most right. 2. To determine the length of leading to use: add at least 48pts to the line length (to give room for large spacing on the ends of each line) and round up to the nearest convenient furniture length. 3. Set up your work area. Pull your type tray out carefully and set it on one of the work counters. Set a good amount of the leading length and thickness that you’ve chosen next to the type tray. Check your leading to make sure it is all the same length (no oddballs). 4. Clear out the spacing compartments in your tray. The spacing in these trays are often a bit jumbled. Sort them out before you begin. 5. Retrieve some word-spacers, ems, and quads from the appropriate spacing drawer, and sort them into the appropriate compartments in your type tray. If necessary, you may want to pull out the spacing drawer and set it along-side your type tray. 6. Hold the composing stick so that your wrist is as straight and relaxed as possible. Have your thumb or forefinger poised to hold type as you set it in the stick. BEGIN SETTING 1. Lay in a piece of leading. If the leading is too long to fit easily, check the leading length and check the placement of the “stop” on the composing stick. -
Catalog 296.Indd
Books About Books 1. (Alwil Press) Stevens, Thomas Wood and Alden Charles Nobel. HOLD RED- MERE, A TALE. Ridgewood, NJ: Alwil Press, 1901, 12mo., later cloth-backed boards, paper cover label. Not paginated. $ 150.00 Limited to 450 numbered copies printed on hand-made paper and initialed by the designer, Frank B. Rae, Jr. A handsome press book in the Arts & Crafts style, with hand-colored title-page and decorative initials by Elgie F. Bowen. Some offset from hand-coloring. [105380] Item 1 2. Amory, Hugh (Editor). A HISTORY OF THE BOOK IN AMERICA VOLUME 1: THE COLONIAL BOOK IN THE ATLANTIC WORLD. Cambridge: Cambridge University Press, (2000), 8vo., cloth, dust jacket. xxiv, 638 pages. $ 100.00 First edition. The first volume is organized around three major themes: the persisting colonial relationship between European settlements and the Old World; the gradual emergence of a pluralistic book trade that differentiated printers from booksellers; and the transition from a “culture of the Word” to the culture of republicanism. A History of the Book in America a five-volume, interdisciplinary series, is a collaborative history of the book in American culture from the earliest days of European settlement to modern times sponsored by The American Antiquarian Society. With 53 black and white illustrations, 16 line diagrams, 2 tables, bibliography and index. [63135] [ 1 ] 3. Annenberg, Maurice. A TYPOGRAPHICAL JOURNEY THROUGH THE INLAND PRINTER, 1883–1900. Baltimore: Maran Press, (1977), 4to., cloth, dust jacket. xx, 731 pages. $ 130.00 First edition. An excellent anthology of the early issues of America’s greatest magazine devoted to printing.