Printing In Europe Research Articles

Dr. Gopaul Chunder Roy (1844–1887): An extraordinary life dedicated to the cause of medical science

Dr. Gopaul Chunder Roy (1844–1887), MD, FRCS, IMS, was one of the most important and prominent medical scientists of the nineteenth century India, who was a renowned surgeon and made valuable contributions to the understanding of the epidemic ‘Burdwan Fever’ that devastated the lower districts of Bengal province during the latter half of the nineteenth century. A product of the iconic Calcutta Medical College, he obtained an MD from the Glasgow Medical College and became the first native Indian to be awarded an FRCS (by exam) from the Royal College of Surgeons, London. In 1872, he joined the Indian Medical Service and later worked in various districts of Bengal Presidency. Dr. Roy was prolific in scientific publications and between 1866 and 1887, he published more than 70 valuable scientific papers on surgery, cholera, leprosy, filaria, snake venoms etc., but most importantly on Burdwan Fever, a kind of deadly malarial fever. His book on Burdwan Fever (1874, 1876), written based on his extensive personal experience, is still available in print in Europe and the USA. During the epidemic days, Dr. Roy worked tirelessly in Burdwan division and gained important scientific insight about the epidemic. His reputation as a doctor and his contribution to medical sciences were highly appreciated not only in India, but also in Great Britain, the USA and Australia during his lifetime. Unfortunately, Dr. Roy died early at an age of only 43 and today, his name is hardly known outside the academic circle and his contributions are nearly forgotten. Dr. Roy’s name has, of course, frequently featured in contemporary literature on Burdwan Fever, but beyond this, his contributions have hardly been discussed, and no comprehensive biography of Dr. Roy has so far been written. This article is an attempt to explore the importance of the medical works of Dr. Roy in the historical context and to document and compile a comprehensive scientific biography of this important scientific pioneer of the nineteenth century India, lest his contribution fades away from the history of science.

The Prosthetic Tongue: Printing Technology and the Rise of the French Language. By Katie Chenoweth

Katie Chenoweth seeks to understand the mechanics of a widely recognized but little-understood phenomenon foundational to the history of modern French: the effect of print technology on the development of the French language. Starting from the claim that the act of printing changes the language being printed, Chenoweth argues that print technology simultaneously facilitated and encouraged standardization of the vernacular. As a technology of reproduction, print stimulates the latent potential in language towards an ever more accurate self-replication. Thus, for Chenoweth, printing is the ‘engine of modernity itself’ (p. 13) while also constituting a powerful manifestation of the characteristic Renaissance desire to replicate. For, in order to restore the Golden Age of classical antiquity, humanists believed it was necessary to reproduce the shape of that civilization in their language, art, architecture, and even statecraft. Chenoweth brings a demanding intellectual rigour to bear upon this watershed moment for subsequent modernity, in which replication technology appears to take control of language in order to forge the imagined community of the nation. Deploying a formidable command of recent interpretative theoretical frameworks (drawing, for example, on Martin Heidegger, Walter Ong, Benedict Anderson, Terence Cave, and above all on the grammatological philosophy of Jacques Derrida), the author interrogates an impressive range of primary sources in order to uncover the effects of print technology on the early modern French language. Following a dense but necessary introductory chapter in which Chenoweth lays out in greater detail her intellectual points of reference, Chapter 2 prioritizes the idea of the prosthetic in order to broach the emergence of printing in Europe and its spread across France. Chapter 3 homes in on the humanist printer Geoffroy Tory, whose 1529 Champ fleury is a manifesto in favour of using roman letter typography for vernacular printing. Tory is also known for having pioneered the introduction of diacritics in French (the cedilla in particular being attributed to him), leading Chenoweth in Chapter 3 to explore the effect of print technology on the material representation of the sounds of French. Moving from phonography to the invasive grammatization (the spread and imposition of grammatical normativity on the vernacular) characteristic of sixteenth-century vernacular discourse, Chapter 5 explores the transformation of the French language into an object of humanist pedagogy. As schoolchildren began to reproduce the sounds and script of nascent, standardized, and paradoxically manufactured mother tongue, the newly technologized French language was also being co-opted as a tool for projecting monarchical power. Chapter 6 therefore explores the interplay between print, François Ier, and the 1539 Edict of Villers-Cotterêts (which designated French as the language of legal proceedings throughout the kingdom). The book ends with an appraisal of Joachim Du Bellay’s Deffence et illustration de la langue françoyse (1549), exploring its beguiling horticultural rhetoric in light of the mechanized, prosthetic framework within which French was now being forged and thought.

Comparison of the regulatory requirements for custom-made medical devices using 3D printing in Europe, the United States, and Australia.

Additive manufacturing (AM) has continuously grown in recent decades. Enhanced quality, further development of technology, and fall in prices make AM applicable and capable for various industrial applications, also for the manufacture of medical devices. 3D printing offers the possibility for an unprecedented adaptation to the anatomy of each patient, generating medical devices on a case-by-case basis. In many jurisdictions, custom-made devices qualify for anexemption to pre-market approval standards. This regulation is called into question by new technologies, like AM. Therefore, this article compares the current regulatory requirements for custom-made devices in Europe, the United States, and Australia and discusses the impact on 3D printed devices. It concludes that not alljurisdictions have yet adjusted their regulatory framework for custom-made devices to technological advances. Remaining uncertainties must be eliminated in order to help manufacturers comply with the regulatory requirements, emphasizing key aspects of AM.

Letters from Stanislas Aignan Julien (1797–1873) to Baron Paul Ludwig von Canstadt (1786–1837)

Julien was one of the outstanding Sinologists while Schilling von Canstadt is known as an inventor, as an Orientalist, a printer, and a bibliophile. The latter assembled a great many rare books in Chinese, Manchu, Mongol and Tibetan which later enriched the collections of the Russian Academy of Sciences. As a printer he mastered the intricacies of handling Oriental scripts by means of lithography and paved the way for cost effective and aesthetically satisfactory Oriental printing in Europe. The following letters, so far unpublished, give an insight into the relationship of the two scholars.

Significance of Creative Commons Licenses for the Evolution of Copyright in Cross-Border Relationships

The paper analyzes the evolution of copyright and the main events that led to a change in the concept of determining the author’s rights and their protection. The main legal acts regulating copyright relations from the stage of their inception (from the moment of the invention of printing in Europe) to the present time are considered. The creation of the Internet became the starting point for rethinking the foundations of copyright law to adapt it to modern needs. Thus, treaties were adopted, the norms of which extended traditional law to the digital environment, securing the rights of authors on the Internet. Developing a licensing approach under the Creative Commons licensing concept and the “some rights reserved” principle has been an important step in the enforcement and protection of cross-border copyright rights on the Internet. This is a new stage in the development of licensing, due to technological progress and the introduction of artificial intelligence into human life.

Transition from the Gutenberg Galaxy to the Zuckerberg Galaxy

The era of printed books originates from the German city of Mainz, where at the turn of the XIV-XV centuries. Johann Gutenberg was born (according to some scholars, not earlier than 1399, according to others - in 1400; died February 3, 1468). The idea of ​​book printing at that time was quite relevant, and there are different views on the first printers, but it was this German inventor who talentedly solved many technical problems and began mass book printing in Europe. Between 1452 and 1455 he published one of the most famous books of the time, the so-called 42-line Bible, which was called the Gutenberg Bible. It was one of the first incunabula - that's what the books published in the XV century are called, literally "lullabies", ie those that stood near the cradle of book printing.
 The era of electronic books in Europe began in the Ukrainian city of Kiev, where in 1950 Europe's first Small Electronic Computer ("MESM") was developed at the Institute of Electrical Engineering of the Academy of Sciences of Ukraine under the leadership of Academician S. Lebedev. Thus began the era of computers in Europe, which in half a century led to the global spread of new information technologies, as well as e-books (computers) and magazines.

The Queer Archive in Fragments

Review Article| January 01 2021 The Queer Archive in Fragments: Sunil Gupta’s London Gay Switchboard Glyn Davis Glyn Davis Glyn Davis is a reader in screen studies at the University of Edinburgh. His forthcoming publications include “Imagining Queer Europe,” a special issue of Third Text coedited with Fiona Anderson and Nat Raha; Queer Print in Europe (2021), coedited with Laura Guy; The Richard Dyer Reader (2021), coedited with Jaap Kooijman; and The Living End (A Queer Film Classic) (forthcoming 2022). Search for other works by this author on: This Site Google GLQ (2021) 27 (1): 121–140. https://doi.org/10.1215/10642684-8776904 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Glyn Davis; The Queer Archive in Fragments: Sunil Gupta’s London Gay Switchboard. GLQ 1 January 2021; 27 (1): 121–140. doi: https://doi.org/10.1215/10642684-8776904 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsGLQ Search Advanced Search The text of this article is only available as a PDF. Copyright © 2021 Duke University Press2021 Article PDF first page preview Close Modal Issue Section: Moving Image Review You do not currently have access to this content.

Colour Printing in Europe until 1700, an Overview

Colour Printing in Europe until 1700, an Overview

Concurrence et collaboration dans le monde du livre vénitien, 1469-début duxvie siècle

RésumésLe début de l’imprimerie en Europe est l’histoire non seulement d’un grand succès économique et commercial, mais aussi de risques importants pris par les individus. Le nécessaire approvisionnement en papier est l’occasion de conflits et exige une disponibilité constante en capital ; la rentabilité de l’industrie du livre est soumise à une bonne appréciation du marché de la consommation. À Venise, n’importe qui peut se lancer dans l’industrie du livre et cette concurrence est amèrement décriée par les imprimeurs à la fin duxve et au début duxvie siècle. Cette situation les conduit à formuler les risques économiques qu’ils prennent dans les suppliques de privilèges qu’ils demandent aux autorités vénitiennes et à conceptualiser des réalités de leur milieu, en particulier la concurrence. Ce terme, toujours pris dans un sens négatif, est pourtant extrêmement rare dans les documents de la pratique comme dans les textes théoriques de cette époque. Cette formalisation de la concurrence est contrebalancée par la nécessité de collaborer au sein de cette industrie. Celle-ci peut être abordée par le biais de l’analyse des réseaux sociaux. La confiance est restaurée par les collaborations dans un groupe restreint et se nouent des réseaux de collaborations denses dans lesquels les concurrents deviennent partenaires. Cela permet aussi à certains acteurs de créer autour d’eux de largesconsortia, entraînant la constitution d’une économie oligopolistique, typique des industries sans réglementation étatique.

Competition and Collaboration in the Venetian Book World from 1469 to the Early Sixteenth Century

The early history of printing in Europe is one of great economic and commercial success, but also of significant risks taken by those involved. The supply of paper, essential to the functioning of a press, could cause conflicts and required constantly available capital: the profitability of the book industry depended on the growth of the market. In Venice, anyone could set up as a printer, creating competition that was strongly criticized by printers and booksellers in the late fifteenth and early sixteenth century. This prompted them to formulate the economic risks they faced in supplica addressed to the Venetian authorities, and to conceptualize the realities of their situation, especially in terms of competition. This word, always used in a pejorative sense, is nevertheless rare in both theoretical and practical documents of the time. However competitive this economic milieu was, it was counterbalanced by the necessity of collaboration, a phenomenon that can be studied through social network analysis. Trust was restored through the constitution of dense collaborative networks, in which competitors became partners. Yet this also enabled some actors to establish strong consortia, leading to the kind of oligopolistic economy typical of industries without state regulation.

On Lesbian Acts and Female Pleasures in Juvenal Commentaries from Antiquity to 1500

This article explores the representation of sex between women in an understudied archive: commentaries on Juvenal’s Satires from antiquity to the end of the fifteenth century. By tracking the changes in glosses to a passage in the Sixth Satire that refers to sex between women, it contributes to our understanding of how and when the discourse on sex between women changed with the rise of humanism and the increased availability of classical texts after the advent of print in Europe. The article also addresses the vexed question of “lesbian” sex and female pleasure as understood in early modernity by considering the interpretations offered for Juvenal’s mention of urinating women and their urine—which was sometimes taken to be female sperm generated through sexual contact between women. The article tracks how the implications of this generation are addressed in different commentaries to either emphasize or downplay female pleasure.
 Cet article explore la représentation des pratiques sexuelles entre femmes dans les sources insuffisamment étudiées que sont les commentaires des Satires de Juvénal, de l’Antiquité à la fin du quinzième siècle. L’examen de l’évolution des gloses à un passage de la sixième satire évoquant des rapports sexuels entre femmes permet de mieux comprendre quand et comment les discours à ce sujet se sont transformés, en rapport avec l’émergence de l’humanisme et la disponibilité croissante de textes de l’Antiquité classique avant l’arrivée de l’imprimerie en Europe. Cet article traite également de la question polémique de la sexualité « lesbienne » et du plaisir féminin, tel qu’ils étaient conçus pendant les débuts de la modernité, en examinant les interprétations de la mention que fait Juvénal de femmes urinant et de leur urine, cette dernière étant parfois considérée comme la semence féminine produite pendant le contact sexuel entre femmes. On retrace comment les conséquences de cette production sont traitées dans les différents commentaires qui accentuent ou minimisent le plaisir féminin.

欧州での水なしオフセット印刷: ニッチ市場での強いパフォーマンスにより, 印刷産業トレンドに対抗

欧州での水なしオフセット印刷: ニッチ市場での強いパフォーマンスにより, 印刷産業トレンドに対抗

The Design of the Golden Legend: English Printing in a European Context

The first 100 years of printing in Europe was a vibrant period full of innovation and adaptation. Continental printers controlled the production of Latin books, many of which were imported into England. English printers worked hard to create an audience for their editions and achieved,this by adopting specific design features from the Latin editions. Yet despite this connection, English printing is often studied in separation from European printing. This article studies the Golden Legend, a hagiographic text popular throughout England and Europe, and shows that the two traditions were interrelated, especially in book design. On the continent, printers found themselves in a crowded marketplace and some adopted established designs to target a particular audience. In contrast, English printers were inspired by the design of continental books. Design was governed by the intended audience but not restricted to national demarcations. Not only was English printing integrated with European printing, it sustained a distinctive character while remaining part of the European tradition.

Changing Agents

It issomething of atruism in the field of book history that it's easy enough to produce detailed case-studies of books and their makers and readers, but very difficult indeed to synthesise these fragments into any sort of greater whole. This is especially true now that heroic bibliographical work has yielded such wonders as the English Short Title Catalogue (ESTC). Now attention increasingly turns to interpretative questions about how books occupy their place in cultures and societies and how they do the work they do. Consensus emerges slowly from a fog of detail. In recent decades work by historians such as D. F. McKenzie and theorists such as Jerome McGann has shown us how messy the work of making books is. Books are collaborative projects shaped by the actions of many people, amongst which those of authors can be of more or less importance. Meanwhile scholars including David McKitterick and Harold Love have successfully challenged the idea that print and manuscript have always been starkly separate modes of production. We now know that that the invention of printing in Europe wasn't a moment of rupture in which manuscript circulation was rendered obsolete, but the beginning of a complex process of coexistence for printed and hand-written texts. Turning to questions of use rather than production, pioneers in the history of reading like Roger Chartier have been followed by an industrious tribe toiling to piece together the history of how different people at different times have used books in different ways. Their aim is to show us that books depend on branching networks of people and practices and that meaning blossoms from those connections. The growing popularity of e-books makes these questions particularly pressing as all sorts of readers ask whether the end of the physical book is nigh. Those who must publish or perish wonder what publishing will look like in a world of open access.

أثر الرسوم والضرائب على الطباعة في السودان

This study tackles the effect of fees and taxes on Commercial Printing Press Sector In Sudan and different obstacles and problems facing the function of this sector and Printing Industry as a whole in Sudan, then accordingly, how to find remedies and solutions which accelerates solving these obstacles and problems raised as a result of effect of fees and taxes on Printing Sector In Sudan. 
 After dealing with the methodological approach of the research the researcher handles the theoretical approach of the research, the foundation of Printing through out the world since old decades, the foundation of modern Printing in Europe, in Arab Countries and in Sudan. 
 The researcher then points out findings of the field meetings and the results of the research and recommendations.

Leila Avrin. <i>Scribes, Script and Books: The Book Arts from Antiquity to the Renaissance</i>. Ill. by Malla Carl and Noah Ophir. Chicago and London: American Library Association and The British Library, 1991; reprinted 2010. xxxii, 356 pp. ISBN 978-0-8389-1038-2. $50

In Scribes, Script and Books, Leila Avrin has provided the rare book world with a nearly comprehensive review of the history of writing and hand-bookmaking, from the earliest evidence of logographic symbols up to the eve of letterpress printing in Europe. The text is lavishly illustrated with 350 black and white photos, figures, and maps, and has an extensive bibliography. The work was originally published in 1991 and is now available as a reprint.In the introduction, Avrin clearly states that her intent is to synthesize the work of the many historians preceding her, not to present original research. This . . .

Asian knowledge and the development of calico printing in Europe in the seventeenth and eighteenth centuries

AbstractFrom the seventeenth century, the brilliance and permanence of colour and the exotic nature of imported Asian textiles attracted European consumers. The limited knowledge of colouring agents and the general absence of textile printing and dyeing in Europe were, however, major impediments to the development of a cotton textile-printing and -dyeing industry in Europe. This article aims to chart the rise of a European calico-printing industry in the late seventeenth and eighteenth centuries by analysing the knowledge transfer of textile-printing techniques from Asia to Europe.

'Not in My Name': Who Benefits from Copyright?

With the advent of printing in Europe came the era of mechanical reproduction of art. The high capital cost involved meant that the printer/ financier had a mediatory role between the artist and the audience. A combination of factors – the printer/ financier's interests of protecting profits from piracy, the state's suspicion of the spread of seditious material and the authors' campaign against the overbearing monopoly of printers lead to the first legislations on copyright. What began in the 1709 as a fourteen year protection now extends to a good fifty years beyond the death of the author under the 2002 TRIPS agreement. Copyright laws have garnered greater bite and ferocity. This paper discusses the hiatus between the claims and realities of Copyright laws and looks upon the ideas emanating from the Free Software movement as the road to liberating creativity.

Introduction to the Special Issue: The Statistical Analysis of Political Text

Text is arguably the most pervasive—and certainly the most persistent—artifact of political behavior. Extensive collections of texts with clearly recognizable political—as distinct from religious—content go back as far as 2500 BCE in the case of Mesopotamia and 1300 BCE for China, and 2400-year-old political discussions dating back to the likes of Plato, Aristotle, and Thucydides are common fare even in the introductory study of political thought. Political tracts were among the earliest productions following the introduction of low-cost printing in Europe—fueling more than a few revolutions and social upheavals—and continuous printed records of legislative debates, such as the British parliament's Hansard and precursors tracing to 1802, cover centuries of political discussion.

The Printed Dissemination of the Roman Gradual in Italy during the Early Modern Period

In the last few decades, music historians have produced a number of important studies on early modern printing in Europe. Many of these projects have focused on single printing firms, although some also focused, at least in passing, on relationships among printers. (1) My own interest in the transmission of plainchant during this period stems from research that I carried out on the publications of the second generation of Gardano family printers. (2) While information on the locations and contents of sources for their printed instrumental and polyphonic vocal music may be found in the printed catalogs of individual libraries, as well as in the RISM publications and elsewhere, (3) references to books of plainchant sometimes prove rather elusive and diffuse. However, the data available on these plainchant editions has increased substantially with the advent of RELICS--that is, Renaissance Liturgical Imprints: A Census (4)--as well as the work of Marco Gozzi and other scholars who are carrying out research on liturgical books now held at the Feininger Collection in Trent. (5) The publication of Roman gradual choirbooks in Italy flourished during the Renaissance and early modern periods. References to nearly forty such editions, published from 1499 until 1653, appear in the literature, as seen in table 1. Eliminated from consideration here is the small incunabular Gradual, referred to by Duggan and others, printed in 1477 by the Moilli brothers in Parma. (6) The chants of the Ordinary on its pages suggest its character as a Kyriale, although the book also contains the Office and Mass for the Dead--the publishing house itself referred to the book as a canturia. (7) In any case, its lack of affinity to the other liturgical books treated here prompts its omission. A few tiny Franciscan graduals have also been excluded for similar reasons. (8) Finally, the chosen cutoff date of 1653 for the printed books considered here marks the beginning of a period of decline in the frequency of the appearance of graduals published in Italy. (9) This essay follows the transmission of the Roman gradual in both bibliographical and musical terms based on copies of at least a single exemplar of each surviving source in one form or another (some, however, only in fragmentary states). Although still in its initial stages, this research has already clarified certain aspects of the repertoire's transmission as well as solidified for some graduals their publication dates and even their very identities. As seen in table 2, many of the surviving editions of the gradual had formats copied from earlier publications (as determined through concordant line endings and foliation, among other factors). Certainly a printing concern would have saved time and bother by copying the layout of one of its previous editions, as did the house of Giunta in 1527, and again in 1560, 1606, 1611, 1618, and 1626. Since the Giunta firm had previously formed a partnership with Baba, the copy of the 1647 Giunta edition by Baba in 1653 should come as no surprise. (10) Certainly if two publishing firms operated within the city, then such copying must have involved some sort of collaboration or tacit permission. After all, the members of the printing industry in the city, if not friends, were at least acquainted--for instance, documents from late 1580s record meetings of the numerous officers of the Venetian printing guild in the living room of its prior, Angelo Gardano. (11) Such borrowing of format could also have taken place by printers outside of Venice, as in the Porris edition issued in Turin in 1512, apparently copied from the gradual published by Giunta in 1499/1500. Obviously there would be no prosecutable privilege infringement here, since Turin lay outside the jurisdiction of the Venetian Republic. It is possible, of course, that Porris requested permission from Giunta for the reprint, although the production of a new Giunta gradual beginning in the following year, 1513, and continuing for several continuous years might suggest that Giunta was attempting to undercut the sales of a pirated publication from Turin. …