Beginning Of Printing Research Articles

Tiskarski znak (signet) digitalizirane građe u Nacionalnoj i sveučilišnoj knjižnici u Zagrebu

Printer’s mark (signet) is a trademark that the printer printed on books and with which it can be identified. As a typographic feature of a printer’s/individual title, it appears already in the very beginnings of printing. In addition to the role of an identifier, its function was also protection against forgeries, since the printing of books was an expensive and complex process, but also communicative as documents, information, visual representation or messages expressed through symbolic representation. Since the 16th century, when the title page took on its present-day features, typographical element is almost always found in the same place - centered in the middle of the page below the title and author’s name, and above the name of the printer, the place and year of printing, as well as the permission to print ( if it is stated), and the motifs that appear in artistic expression are diverse. The authors of the printer’s mark are mostly unknown, so it is assumed that they were mostly printers. After a historical review of the earliest appearance of printing marks in Croatia and Europe, and a presentation of some of the printing marks of the most important European printers, paper presents research on printer’s marks carried out on digitized Croatica (works by Croatian authors, works printed in Croatia, works that talk about Croatia and Croats) on a sample of 44 units of library materials stored in the fund of the National and University Library in Zagreb printed in Latin letters, from the 16th, 17th and 18th centuries. The aim of the paper is to draw attention to the printer’s mark as a rare or almost non-existent independent subject of research among Croatian scholars, due to its importance in the study of book history. The research brings the names of the printers of works by Croatian authors (Croatica), the systematization of printing marks grouped into 9 groups according to artistic motifs, as well as information on the existence of mottos. The idea of ambiguity of the name of a printing mark, which as such should be associated with a certain book in a situation where printers continuously use the same mark for all works, is also put forward, which indicates that the printing mark assumes the function of a logo.

印刷のはじまり : 百万塔陀羅尼の印刷をめぐる諸問題(芙蓉良順博士古稀記念 密教文化論集)

印刷のはじまり : 百万塔陀羅尼の印刷をめぐる諸問題(芙蓉良順博士古稀記念 密教文化論集)

‘Wandering’ Scholars in the Beginning of Printing

The dissemination of humanism depends on personal contacts between individuals. In the fourteenth and fifteenth centuries there was an intense exchange between Germany and the Italian universities. German princes recruited administrators, counselors, and diplomats among Italian humanists. Italian teachers of rhetoric or art tried to make their fortunes north of the Alps. Apollon himself and with him the studia humanitatis are imagined as crossing the mountains.

Printmaking History, A Survey Techniques and Artists

In this paper, the brief survey of the history of printmaking -beginning of printing in India and its further development as an artistic medium is discussed. The printmaking is the term used for the process of creating prints, in fact printed pictures by the artists. Relatively a new medium compared to painting or sculpture, printmaking has gone through many changes in the course of time. Including various techniques, processes, materials and equipment it is mainly divided in three types- Relief prints, Intaglio and planography depending on the way the matrix or the surface is prepared and prints are taken from it

Tadhg Gaelach Ó Súilleabháin's <em>Pious Miscellany</em>: editions of the Munster bestseller of the early nineteenth century

Tadhg Gaelach Ó Súilleabháin's <em>Pious Miscellany</em>: editions of the Munster bestseller of the early nineteenth century

Recognizing the Art of Nonfiction: Literary Excellence in True Crime

10 WORLD LITERATURE TODAY photo : associated press T he Dashiell Hammett Award presented by the North American branch of the International Association of Crime writers specifies that the award is for “literary excellence in the field of crime writing.” It was created by novelist William Bayer and the IACW executive committee to recognize books that deal with the subjects and structures of traditional crime writing in innovative ways. Bayer, an accomplished and innovative novelist himself, argued that the award was not for popularity but for exceptional writing—writing that “pushes the envelope” in its prose or structure . In order to confirm this commitment to literary excellence, the final selection is taken out of the hands of the nominating jury and granted to a select committee of eminent judges who are not normally considered part of the crime-writing community. Margaret Atwood, for instance, and Frederick Barthelme have served as judges. Others include Lewis Lapham, Kevin Connolly, and Katha Pollitt. Exactly what constitutes “literary excellence” varies from person to person. What seems innovative to one reader may seem like self-indulRecognizing the Art of Nonfiction Literary Excellence in True Crime CRIME&MYSTERY INTERNATIONAL J. MADISON DAVIS Author Truman Capote stands in the living room of the Clutter ranch house where four members of the Kansas family were murdered in 1959. SEPTEMBER–OCTOBER 2012 11 gence or charlatanism to another. Longinus’s description of the sublime said that it demonstrated a certain excellence of expression, which sounds very “I know it when I see it.” However, this is not to say that excellence is entirely subjective. Given the two to three hundred books annually submitted to the reading committee , one would expect widely different favorites. But in my experience in chairing or participating in the process, it is fascinating that writers of widely divergent backgrounds and locations create such similar lists of finalists. Each reader has an oddball favorite or two, but there is a remarkable consistency. Writers know good writing, just as musicians know good music, and the elements of this seemingly intangible quality are much more specific than most people think. Perhaps the most interesting aspect of the Hammett consideration is the fact that nonfiction books are also eligible. Literary excellence is not limited to fiction, of course, but to judge the two together seems to be mixing apples and oranges. Many readers equate “true crime” with journalism, as something apart from literature. Never mind that most of what is written as “literature” turns out to be as ephemeral as an article about a three-car pile-up, and that some journalism is so well written that it comes to be recognized as literature. Tom Wolfe, Addison and Steele, John Hersey, Mark Twain, Lillian Ross, Grantland Rice: since the beginning of printing, innumerable authors have demonstrated the literary possibilities in nonfiction. In 2008 the Library of America recognized the heritage with its volume True Crime: An American Anthology, edited by Harold Schechter, containing pieces by writers as various as Cotton Mather and Dominick Dunne. The Everest of true crime writing is, of course, Truman Capote’s In Cold Blood (1966). It was the primary reason that Bayer and the others allowed nonfiction to compete for the Hammett. The brilliance of its portrayal of murderers Perry Smith and Richard Hickock is still stunning. Despite the monstrous brutality of the murder of the Clutter family, the insights into the character of the killers allow a reader to understand them as deeply damaged human beings, creating the profoundly unsettling feeling that real crime elicits . The Clutters are slaughtered for no reason. The long process of hunting down the killers, convicting, and hanging them cannot undo the crime and provides little comfort. Fiction usually achieves a feeling of resolution . It is what allows most readers to enjoy a good crime novel despite the often-hideous violence and cruelty at its core. Hanging a man is a cruel thing to do, even if what he did to deserve it is even crueler. No book has ever captured these disturbing feelings as well as In Cold Blood. Purists accuse Capote of taking liberties with some of the facts, but few readers do more than shrug at this...

Review: The Beginnings of Printing in the Near and Middle East: Jews, Christians and Muslims: The Beginnings of Printing in the Near and Middle East: Jews, Christians and Muslims

Review: The Beginnings of Printing in the Near and Middle East: Jews, Christians and Muslims: The Beginnings of Printing in the Near and Middle East: Jews, Christians and Muslims

Printing-houses and printing in the service of the Polish Parliament in the sixteenth century

SUMMARY The date generally taken by historians to mark the beginning of the two-chamber parliament in Poland is 1493. This date coincided with the beginnings of printing in Poland, almost half a century later than in the Holy Roman Empire. However, another quarter century was to pass after the first printed materials appeared in Poland before this new technique of mass communication was applied to work in the Polish parliament. Based on literature to date (including a work by M. Cytowska, Bibliography of Government Publications in the Sixteenth Century (Wroclaw, 1961)) and his own research in the Polish historical documents section in the Stockholm archive, the author tries to show the ancillary function of printing-houses and printing in the work of the Polish parliament in the sixteenth century. He analyses printed materials: invitation forms to the seym, minutes of proceedings, tax bills and so on. The fact that parliamentary publications began to appear not only in Latin but also, from the mid-sixteenth century, in Polish, deserves attention.

The Beginnings of Printing in Anglo-Saxon, 1565–1630

Previous articleNext article No AccessThe Beginnings of Printing in Anglo-Saxon, 1565–1630Richard W. ClementRichard W. Clement Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Papers of the Bibliographical Society of America Volume 91, Number 2JUNE 1997 Published for the Bibliographical Society of America Article DOIhttps://doi.org/10.1086/pbsa.91.2.24304540 Views: 10Total views on this site Citations: 4Citations are reported from Crossref COPYRIGHT © 1997 THE BIBLIOGRAPHICAL SOCIETY OF AMERICAPDF download Crossref reports the following articles citing this article:Siân Echard New Technologies, (Jan 2014): 403–417.https://doi.org/10.1002/9781118827338.ch26John Barnard, D. F. McKenzie, Maureen Bell The Cambridge History of the Book in Britain, (Mar 2008).https://doi.org/10.1017/CHOL9780521661829David Mckitterick University printing at Oxford and Cambridge, (Nov 2002): 189–205.https://doi.org/10.1017/CHOL9780521661829.010James P. Carley Monastic collections and their dispersal, (Nov 2002): 339–348.https://doi.org/10.1017/CHOL9780521661829.017

Caxton in Focus: The Beginning of Printing in England. Lotte Hellinga

Previous articleNext article No AccessBook ReviewsCaxton in Focus: The Beginning of Printing in England. Lotte Hellinga James E. WalshJames E. Walsh Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Papers of the Bibliographical Society of America Volume 79, Number 1First Quarter, 1985 Published for the Bibliographical Society of America Article DOIhttps://doi.org/10.1086/pbsa.79.1.24303891 Views: 1Total views on this site COPYRIGHT 1985 THE BIBLIOGRAPHICAL SOCIETY OF AMERICAPDF download Crossref reports no articles citing this article.

Caxton in Focus: The Beginning of Printing in England. Lotte Hellinga

<i>Caxton in Focus: The Beginning of Printing in England</i>. Lotte Hellinga

Reviews

Reviews LOTTE HELLINGA , Caxton in Focus: The Beginning of Printing in England. British Library Publications, London, 1982. 109 pp., 4 colour plates, 52 figs. £6.95. HOWARD M. NIXON HOWARD M. NIXON Westminster Search for other works by this author on: Oxford Academic Google Scholar The Library, Volume s6-5, Issue 4, December 1983, Pages 411–413, https://doi.org/10.1093/library/s6-5.4.411 Published: 01 December 1983

The Beginning of Printing for the House of Commons, 1640–42

The Beginning of Printing for the House of Commons, 1640–42

A Press in Paradise: The Beginnings of Printing in Micronesia

Next article No AccessA Press in Paradise: The Beginnings of Printing in MicronesiaJohn Eliot AldenJohn Eliot Alden Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by The Papers of the Bibliographical Society of America Volume 38, Number 31944 Published for the Bibliographical Society of America Article DOIhttps://doi.org/10.1086/pbsa.38.3.24298759 Views: 3Total views on this site PDF download Crossref reports no articles citing this article.

Some Continuing Traditions in English Devotional Literature

One of the things that most surprises the student of the sixteenth century is the place held by religious literature even in the realm of vernacular publication. The product of the early English presses is religious to an extent that the modern reader finds quite outside his experience. It has been estimated that more than forty per cent of all English books published between the beginning of printing in England and 1640 belong to the various types of religious literature. That preponderance is easy to explain in the light of the ecclesiastical traditions of learning, and there is no doubt that certain aspects of the earlier body of publication as compared with that of more recent times are to be explained in terms of those origins, but the fact is that even when the machinery of religious life had been gravely disturbed, the relative predominance of the genre persisted.

The Beginning of Printing in America

The Beginning of Printing in America

The Beginning of Printing in America

The Beginning of Printing in America

&lt;italic&gt;The Beginnings of Printing in Arizona with an Account of the Early Newspapers and a Bibliography of Books, Pamphlets, and Broadsides printed in Arizona, 1860–1875.&lt;/italic&gt; By Douglas C. McMurtrie. (Chicago: Black Cat Press. 1937. Pp. 44, facsims. 2. $2.50.), &lt;italic&gt;Indiana Imprints, 1804–1849: A Supplement to Mary Alden Walter's “Beginnings of Printing in the State of Indiana”, published in 1934&lt;/italic&gt;. By

Journal Article The Beginnings of Printing in Arizona with an Account of the Early Newspapers and a Bibliography of Books, Pamphlets, and Broadsides printed in Arizona, 1860–1875. By Douglas C. McMurtrie. (Chicago: Black Cat Press. 1937. Pp. 44, facsims. 2. $2.50.), Indiana Imprints, 1804–1849: A Supplement to Mary Alden Walter's “Beginnings of Printing in the State of Indiana”, published in 1934. By Douglas C. McMurtrie. (Indianapolis: Indiana Historical Society. 1937. Pp. [4], 307–93. 75 cents.), Montana Imprints, 1864–1880: Bibliography of Books, Pamphlets, and Broadsides printed within the Area now constituting the State of Montana. By Douglas C. McMurtrie. (Chicago: Black Cat Press. 1937. Pp. 82. $5.00.) and Vermont Imprints before 1800: An Introductory Essay on the History of Printing in Vermont, with a List of Imprints, 1779–1799. By Elizabeth F. Cooley. (Montpelier: Vermont Historical Society. 1937. Pp. xxxii, 133. $2.00.) Get access The Beginnings of Printing in Arizona with an Account of the Early Newspapers and a Bibliography of Books, Pamphlets, and Broadsides printed in Arizona, 1860–1875. By McMurtrie Douglas C.. (Chicago: Black Cat Press. 1937. Pp. 44, facsims. 2. $2.50.)Indiana Imprints, 1804–1849: A Supplement to Mary Alden Walter's “Beginnings of Printing in the State of Indiana”, published in 1934. By McMurtrie Douglas C.. (Indianapolis: Indiana Historical Society. 1937. Pp. [4], 307–93. 75 cents.)Montana Imprints, 1864–1880: Bibliography of Books, Pamphlets, and Broadsides printed within the Area now constituting the State of Montana. By McMurtrie Douglas C.. (Chicago: Black Cat Press. 1937. Pp. 82. $5.00.)Vermont Imprints before 1800: An Introductory Essay on the History of Printing in Vermont, with a List of Imprints, 1779–1799. By Cooley Elizabeth F.. (Montpelier: Vermont Historical Society. 1937. Pp. xxxii, 133. $2.00.) R. W. G. Vail R. W. G. Vail The American Antiquarian Society Search for other works by this author on: Oxford Academic Google Scholar The American Historical Review, Volume 44, Issue 2, January 1939, Pages 407–408, https://doi.org/10.1086/ahr/44.2.407 Published: 01 January 1939

Montana Imprints, 1864-1880: Bibliography of Books, Pamphlets, and Broadsides printed within the Area now constituting the State of Montana

Montana Imprints, 1864-1880: Bibliography of Books, Pamphlets, and Broadsides printed within the Area now constituting the State of Montana

The Beginnings of Printing in Virginia

The Beginnings of Printing in Virginia