Innovative cover design: an exploration of 19th- and early 20th-century publishers’ cloth bindings designs

2013 ◽  
Vol 38 (1) ◽  
pp. 5-11
Author(s):  
Frances Willis
Keyword(s):  
Social History ◽  
20Th Century ◽  
Early 20Th Century ◽  
Book Production ◽  
Children's Books ◽  
Children’S Books ◽  
Victorian Era ◽  
The Times ◽  
Cover Design ◽  
The Relationship

The Victoria and Albert Museum’s Renier Collection of Children’s Books provides a rich resource for research into book production as well as social history. Publishers’ cloth bindings have developed in a visually vibrant way that provides clues to the production dates of the books, as well as encouraging reflections on how they were marketed across the Victorian era and early 20th century. Questions also arise, such as, what was the relationship between the reader and cover? How did the cover designs reflect the times in which they were created? And, how different are our paperback era designs to those of the period when cloth was used?

FEATURES OF COMPOSITION IN THE ART OF CHILDREN’S BOOKS BY ARTHUR RACKHAM

2020 ◽  
pp. 131-149
Author(s):  
Anna O. Bel'skaya ◽  
Keyword(s):  
20Th Century ◽  
Research Interest ◽  
Early 20Th Century ◽  
Children's Books ◽  
Art Nouveau ◽  
Children’S Books ◽  
Book Design ◽  
Book Illustration ◽  
Medieval Manuscripts

The article studies the book illustration by the English artist Arthur Rackham (1867–1939), the features of his work in the context of time and the experience that can be used in the process of teaching the book design and illustration. Here, research interest is focused on six main techniques that the artist actively used when illustrating in the children’s books in England in the late 19 – early 20th century. The name of A. Rackham and his graphics, are entirely associated with the English Art Nouveau. Having studied the graphic heritage of A. Rackham, on the example of his seven illustrations for children’s books, one can trace how A. Rackham’s creative credo was formed. The artist managed to move away from imitation of the English Victorian style, the Eastern and Western charts, medieval manuscripts and came to his own version of the Neo-Gothic in the art of the English book

scholarly journals Evolucija fiskalnoga suvereniteta u Engleskoj

2020 ◽  
Vol 41 (2) ◽  
pp. 509-527
Author(s):  
Miran Marelja ◽  
Valentino Kuzelj
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
House Of Commons ◽  
Victorian Era ◽  
History Of ◽  
Distribution Of Power

History of parliamentary development is narrowly tied to the development of fiscal prerogatives of the legislature. This is especially pronounced in the origins and development of the English Parliament. Moreover, we can ascertain that the fight of “medieval taxpayers”, i.e. those partaking in the distribution of power in medieval feudal structures, foreshadows the very foundation of the English Parliament and its precursors – the “assemblies of King’s servants”. In that sense, medieval England’s earliest constitutional documents espouse mechanisms limiting Crown’s autocracy. Later on, the invocation of Parliament’s fiscal prerogatives represented the most efficient form of subverting such absolutism, especially regarding the absolutist tendencies of the Stuarts. Upon establishment of Parliament’s supremacy over the Crown, the Victorian era was marked by the struggle between two houses of Parliament, culminating in early 20th century anent the issue of the Lords’ rejection of the budget bill. Parliament Act of 1911 marks the end of a centuries-long development of Parliament’s fiscal sovereignty, affirming the prerogatives of the House of Commons as the holders of democratic electoral legitimacy.

scholarly journals MUZIL AL-MAJNUN FI RADD TASFIYAT AL-ẒUNUN BY MAMA SEMPUR: MOSLEM PURITANISM IN REVIEW

2020 ◽  
Author(s):  
Nurfika Arofah
Keyword(s):  
Social History ◽  
20Th Century ◽  
Early 20Th Century ◽  
Islamic Reform

The development of the purification Islamic teachings idea and the Islamic reform that occurred in the Sundanese level, early 20th century, has always been responded loudly and decisively by traditional ulama. This uncompromising attitude is based on the spirit of maintaining the traditional Islamic doctrine that develops in society from the Moslem puritanism. This concept has two directions, which carry out the idea of purifying Islamic teachings and appear as a reformer movement. This study aims to identify the response of traditional scholars to the Moslem puritanism. This study focuses on the effort of exploring the Islamic intellectual treasures which are contained in Muzīl al-Majnūn fī Radd Taṣfiyat al-Ẓunūn, the Sundanese manuscript by Mama Sempur which contains traditional ulama responses to the development of Islamic puritanism in the Sundanese level. The author uses two approaches: the philological approach and intellectual social history to read and to understand various thought discourses which are contained in the manuscript. This study concludes that Mama Sempur's negative assessment of the Moslem puritanism was feared that it would erode the traditional Islamic doctrine that had developed in the community.

scholarly journals Avant-Garde Children’s Magazines and Newspapers of the 1920s – 1930s in Siberia

2019 ◽  
Vol 14 (2) ◽  
pp. 84-105
Author(s):  
Ksenia V. Abramova
Keyword(s):  
20Th Century ◽  
Children And Youth ◽  
Children's Books ◽  
Self Presentation ◽  
Avant Garde ◽  
Black And White ◽  
Children's Magazines ◽  
New Type ◽  
The Times ◽  
Design Techniques

The purpose of this article is to analyze the magazines and newspapers for children and youth issued on the territory of Siberia in 1920s – 1930s. A great many children’s books were issued that years, moreover, the approach to design of that books and to the contents of writings for children changed significantly: the topics had to be actual, associated with the construction of the new society. At the same time, exactly in children’s press in 1920s, the new principles of book graphics were formed. There are a large number of magazines and newspapers aimed at youth audiences were published in Siberia in the 1920s and 1930s, but they did not have a long history. Some of them appeared only once or twice, after that they closed. But all the more interesting is the study of these rare publications as experiments that influenced how the Soviet children’s and youth magazine was formed. Viewing magazines and newspapers allows you to observe how the rubrication and the genre system of Soviet publications for children evolved, as well as identify trends that have become a definite “sign of the times”. The article explores archive materials and examines the contents of printed issues, peculiarities of the approaches to the inner composition of the material and design techniques, discovers the features of the “Soviet avant-garde” development in children’s and youth periodicals. It indicates that the majority of the Siberian Children’s and youth magazines issued within that period has demonstrated a strongly demonstrated ideological overtone, claiming its purpose raising the new type of human and orientation on the “iterature of fact”. The article covers the peculiarities of the illustration techniques in Siberian post-revolutionary magazines. The article marks that up to the mid – late 1920s, the children’s and youth periodicals design became composed of such elements as insets, plane drawings based on a contrast combination of black and white, photography and photographic compilation. Furthermore, it describes a number of self-presentation techniques, developed exactly by the avant-garde art. As can be seen from the above, it can be stated that Siberian children’s and youth journalism acquired the avant-garde trends of the first third of the 20th century, however, they haven’t been gradually and fully realized.

Publishers’ Spring

2018 ◽  
pp. 43-58
Author(s):  
Sophie Heywood
Keyword(s):  
Case Studies ◽  
Book Production ◽  
Children's Books ◽  
Children’S Books ◽  
Avant Garde ◽  
The Social ◽  
Publishing Houses ◽  
May 68

The years around May ’68 (c. 1965 – c. late-1970s) are widely understood to represent a watershed moment for children’s books in France. An important factor was the influence of a new fringe of avant-garde publishers that attracted attention across their trade in and beyond France. Using archives and interviews and accounts of some of the books produced and their reception, this article presents case studies of the most influential publishing houses as a series of three snapshots of the areas of movement in the field. At the same time, it evaluates the extent to which the social, cultural and political upheavals in France in the wake of May ’68 helped to alter the shape of book production for children and to bring about a ›radical revolution‹ in the children’s publishing trade.

Russian Empire’s Religious Institutions in the 18th - Early 20th Century: The Evolution of “Friend - Alien - Foe” Relations

2021 ◽  
Vol 20 (1) ◽  
pp. 8-31
Author(s):  
Alexandre Yu. Bendin
Keyword(s):  
20Th Century ◽  
Legal Status ◽  
18Th Century ◽  
Early 20Th Century ◽  
Religious Institutions ◽  
Religious Tolerance ◽  
Religious Discrimination ◽  
Old Believers ◽  
Institutional Relations ◽  
The Relationship

The Russian governments three principal institutions to regulate the empires diverse religions from the 18th to the early 20th century are examined. Its author describes the evolution of these bodies, their features and purpose, as well as defining the concept of religious security by analyzing its specific historical content. The author also discusses the relationship between the institutions of the official Russian Church, religious tolerance for foreign confessions, and discrimination against the Old Believers through the prism of friend - alien - foe relations. This approach helps us understand the hierarchical nature of the relations and contradictions that existed between the institutions, whose activities regulated the religious life of the Russian Empires subjects until 1905. The article goes on to analyze the relationship between the official legal status of the Russian Church, imperial tolerance, and religious discrimination. It concludes that the formation of the three state-religious institutions that began in the 18th century ended during the reign of Emperor Nicholas I. That time saw the beginning of the gradual evolution of friend - alien - foe inter-institutional relations, which peaked under Emperor Nicholas in 1904-1906. The author also considers the changes in the governments policy towards the Russian schism of the 17th century, which ultimately removed the friend-or-foe opposition in the relations between the Russian state, the Russian Church and the schismatic Old Believers. In accordance with the modernized legislation on religious tolerance, lawful Old Believers and sectarians moved from the category of religious and political foes to that of aliens, to which foreign confessions traditionally belonged. Under the new legal and political conditions, intolerance and religious discrimination against the schism ceased to be an instrument of state policy.

Djalkiri

2021 ◽  
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Philosophical Foundations ◽  
Collaborative Community ◽  
Arnhem Land ◽  
New Type ◽  
The University ◽  
The Relationship ◽  
Over Time

Djalkiri are “footprints" – ancestral imprints on the landscape that provide the Yolŋu people of eastern Arnhem Land with their philosophical foundations. This book describes how Yolŋu artists and communities keep these foundations strong, and how they have worked with museums to develop a collaborative, community-led approach to the collection and display of their artwork. It includes contributions from Yolŋu elders and artists as well as Indigenous and non-Indigenous historians and curators. Together they explore how the relationship between communities and museums has changed over time. From the early 20th century, anthropologists and other collectors acquired artworks and objects and took photographs in Arnhem Land that became part of collections at the University of Sydney. Later generations of Yolŋu have sought out these materials and, with museum curators, proposed a new type of relationship, based on a deeper respect for Yolŋu intellectual frameworks and a commitment to their central role in curation. This book tells some of their stories.

Folklorism and the Chronotope in the Works of Komitas

10.34690/03 ◽  
2019 ◽  
pp. 166-175
Author(s):  
А.И. Демченко
Keyword(s):  
20Th Century ◽  
National Character ◽  
Early 20Th Century ◽  
Deep Insight ◽  
Time And Space ◽  
Artistic Value ◽  
Perception Of Time ◽  
The Times ◽  
Insight Into

Будучи одним из самых самобытных музыкантов начала ХХ века, Комитас претворил в своем искусстве ряд характерных для этого времени художественных идей, наиболее примечательные из которых связаны с музыкальным фольклоризмом и с понятием хронотопа. Блистательное композиторское мастерство Комитаса выводило его очень далеко за пределы привычных представлений о жанре фольклорной обработки. Глубокое проникновение в дух и законы родной музыкальной речи позволяло ему широко применять методы полифонической обработки народных мелодий, активно развивать фактуру сопровождения, которая в ряде случае приобретала самостоятельную художественную ценность. Самобытность песен и хоров Комитаса в ряде случаев определяется связью с восточным миросозерцанием, для которого в сравнении с европейским менталитетом характерно особое восприятие времени и пространства. При этом наибольший интерес представляют те образцы, где раскрывается сопричастность к категориям всеобщей материи и вечности. Особенно широко представлено в творчестве Комитаса погружение в природную сферу с растворением в ней человеческого начала. Восхождение к надвременным категориям композитор чаще всего совершает, когда делает основой сочинений фольклорные мелодии, пришедшие из толщи времен и запечатлевшие в себе устойчивые, коренные черты народного характера. Особым достижением Комитаса является то, что он не ограничивается претворением пантеистического и надвременного как отдельных сущностей. В ряде сочинений композитор дает их в соединении, чему опять-таки способствовали особенности восточного понимания хронотопа. Being one of the most original musicians of the early 20th century, Komitas has put into his art a number of typical for this time of artistic ideas, the most notable of which are associated with the musical folklorism and with the concept of the chronotope. His brilliant compositional skills took him far beyond the usual ideas about the genre of folklore processing. A deep insight into the spirit and laws of his native musical speech allowed him to widely apply the methods of polyphonic processing of folk melodies, actively develop the texture of accompaniment, which in some cases acquired an independent artistic value. The identity of Komitass songs and choirs is in some cases determined by the connection with the Eastern worldview, which is characterized by a special perception of time and space in comparison with the European mentality. At the same time, the most interesting are the samples, which reveal participation in the categories of universal matter and eternity. Especially widely represented in the works of Komitas deep immersion in the natural sphere with the dissolution of the human principle in it. The ascent to supra-temporal categories the composer often does, when making the basis of the works of folk tunes, came from strata of the times and depicting in a sustainable, indigenous features of the national character. A special achievement of Komitas is that it is not limited to the implementation of the pantheistic and supra-temporal as separate entities. In a number of works the composer gives them in conjunction, which again contributed to the features of the Eastern understanding of the chronotope.

The Sound of India In Maurice Delage’s Quatre Poèmes Hindous

2020 ◽  
Vol 65 (2) ◽  
pp. 277-296
Author(s):  
Noémi Karácsony
Keyword(s):  
20Th Century ◽  
Point Of View ◽  
The Other ◽  
Western Music ◽  
Personal Contact ◽  
Early 20Th Century ◽  
French Music ◽  
Sound Effects ◽  
Instrumental Technique ◽  
The Relationship

"French composer and pianist Maurice Delage wrote several significant works inspired by his personal contact with the Orient. His travels to India inspired Delage to use innovative sound effects in his compositions, as well as to require his performers to adapt their vocal or instrumental technique to obtain the sound desired by the composer. His representation of the Orient is not a mere evocation of the Other, as is the case with most orientalist works, rather it reflects the composer’s desire to endow Western music with the purity, strength, and vivid colors which he discovered and admired in Indian music. The present paper presents the historical and artistic background which inspired and influenced Delage, the relationship between France and India in the early 20th century and reveals the composer’s idealistic point of view regarding India, its culture, and its music. The analysis focuses on the mélodie cycle Quatre poèmes hindous, composed between 1912 and 1913, striving to reveal the Indian influences in the work of Delage and the way orientalism is represented in French music from the first decades of the 20th century. Keywords: orientalism, France, India, 20th century, Maurice Delage"

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