Quintilian in Northern Europe during the Renaissance, 1479–1620

This chapter discusses the impact of Quintilian’s Institutio oratoria in northern Europe between 1479 and 1620. It discusses the printing history of the text, which began in Italy but was largely northern European after 1520 and which peaked in the years 1520–1550, and the commentaries which were published alongside the text. It analyses the use made of Quintilian by prominent northern humanist writers of textbooks on rhetoric and letter-writing, such as Rudolph Agricola, Erasmus, Philipp Melanchthon, Juan Luis Vives, Peter Ramus, Cyprien Soarez, Gerardus Vossius, and Nicolas Caussin. It considers the use made of Quintilian’s ideas in theories of education by Sir Thomas Elyot and Erasmus and in Montaigne’s Essais.

Colour Printing in the Uttermost Part of the Sea: a Study of the Colour Print Products, Printers, Technology and Markets in New Zealand, 1830-1914

<p>This thesis is an historical study of the development and the relationships between some aspects of colour printing in New Zealand from 1830 to 1914, including the practitioners, the technology and the products, in the context of printing in New Zealand beginning as a largely British inheritance, but within an Australasian setting. A review of the printing history literature has shown that there have been relatively few works in the English language devoted specifically to the history of colour printing. Much of the literature bearing on the topic in relation to British colour printing history deals with specialized aspects such as colour plate books or technical processes. There has been no previous specific scholarly study of New Zealand colour printing history. The research for this aspect of thesis has been in the nature of exploratory work. An historical methodology was employed to approach the gathering and analysis of data from a wide array of sources, both secondary and primary. A theoretical framework suitable to an academic historical study, of which history' of print culture is a part, has been developed using the new model proposed by Thomas R. Adams and Nicolas Barker (1993) as an appropriate foundation framework. This model shows the phases of the 'book cycle', publication, manufacture, distribution, reception and survival, as being central to the whole socio-economic conjuncture. The paradigm developed for the present study is based on the section of the framework relating to the manufacture or production phase, using themes that emerged from the literature to facilitate analysis and explanation of New Zealand patterns and relationships with comparison to British colour printing history. Within this setting more detailed study was made of some of the colour printers. Especially those of the lower North Island, including a case study of the Wanganui firm of A.D. Willis where colour printing was a specialty. A genre study of special numbers from the New Zealand weeklies has also been presented. Rather than attempting to provide a definitive colour printing history the research has provided an interpretive thematic study that has aimed to increase understanding of some aspects of New Zealand colour printing history, and accordingly, responses to research questions have been tentative. It was found that although colour printing practice continued with strong ties to the British craft' from the beginning, new relationships were being forged particularly with the neigbouring Australian colonies whence immigrant printers and lithographers were arriving. After local lithographic colour printing had begun to develop in New Zealand in the eighteen sixties, in the period to 1914 local printers were found to have used colour in diverse ways, especially in the context of jobbing printing, chiefly to produce letterpress and lithographic items. The later New Zealand photomechanical colour methods developed within these styles. By the end of the nineteenth century, New Zealand colour printers were following international trends, and more influence was arriving from America, but such trends were still chiefly coming to New Zealand via Britain and Australia, although in a technical sense, New Zealand was generally in a following position. After the eighteen sixties colour printers were found to have been in business in all the main centres of New Zealand, and in some of the smaller centres. It was apparent that many of the global and technological factors that had driven colour printing were common to both Britain and New Zealand, but that local conditions had also been important. Although print products tailored to local demand and often featuring local images had been produced using a variety of available technologies in each place, limiting factors present in New Zealand, particularly its isolation from the larger markets coupled with a small local population, had dictated that colour was appearing from colonial printers in a more circumscribed way than was the case in Britain. In the main, New Zealand colour printers appear to have responded to marketplace differences by choosing appropriate genre and cutting format costs.</p>

Colour Printing in the Uttermost Part of the Sea: a Study of the Colour Print Products, Printers, Technology and Markets in New Zealand, 1830-1914

<p>This thesis is an historical study of the development and the relationships between some aspects of colour printing in New Zealand from 1830 to 1914, including the practitioners, the technology and the products, in the context of printing in New Zealand beginning as a largely British inheritance, but within an Australasian setting. A review of the printing history literature has shown that there have been relatively few works in the English language devoted specifically to the history of colour printing. Much of the literature bearing on the topic in relation to British colour printing history deals with specialized aspects such as colour plate books or technical processes. There has been no previous specific scholarly study of New Zealand colour printing history. The research for this aspect of thesis has been in the nature of exploratory work. An historical methodology was employed to approach the gathering and analysis of data from a wide array of sources, both secondary and primary. A theoretical framework suitable to an academic historical study, of which history' of print culture is a part, has been developed using the new model proposed by Thomas R. Adams and Nicolas Barker (1993) as an appropriate foundation framework. This model shows the phases of the 'book cycle', publication, manufacture, distribution, reception and survival, as being central to the whole socio-economic conjuncture. The paradigm developed for the present study is based on the section of the framework relating to the manufacture or production phase, using themes that emerged from the literature to facilitate analysis and explanation of New Zealand patterns and relationships with comparison to British colour printing history. Within this setting more detailed study was made of some of the colour printers. Especially those of the lower North Island, including a case study of the Wanganui firm of A.D. Willis where colour printing was a specialty. A genre study of special numbers from the New Zealand weeklies has also been presented. Rather than attempting to provide a definitive colour printing history the research has provided an interpretive thematic study that has aimed to increase understanding of some aspects of New Zealand colour printing history, and accordingly, responses to research questions have been tentative. It was found that although colour printing practice continued with strong ties to the British craft' from the beginning, new relationships were being forged particularly with the neigbouring Australian colonies whence immigrant printers and lithographers were arriving. After local lithographic colour printing had begun to develop in New Zealand in the eighteen sixties, in the period to 1914 local printers were found to have used colour in diverse ways, especially in the context of jobbing printing, chiefly to produce letterpress and lithographic items. The later New Zealand photomechanical colour methods developed within these styles. By the end of the nineteenth century, New Zealand colour printers were following international trends, and more influence was arriving from America, but such trends were still chiefly coming to New Zealand via Britain and Australia, although in a technical sense, New Zealand was generally in a following position. After the eighteen sixties colour printers were found to have been in business in all the main centres of New Zealand, and in some of the smaller centres. It was apparent that many of the global and technological factors that had driven colour printing were common to both Britain and New Zealand, but that local conditions had also been important. Although print products tailored to local demand and often featuring local images had been produced using a variety of available technologies in each place, limiting factors present in New Zealand, particularly its isolation from the larger markets coupled with a small local population, had dictated that colour was appearing from colonial printers in a more circumscribed way than was the case in Britain. In the main, New Zealand colour printers appear to have responded to marketplace differences by choosing appropriate genre and cutting format costs.</p>

Printing Leibniz's Calculus: Dating and Numbering the Editions of the Nova Methodus pro Maximis et Minimis (October 1684)

The textual history of the first work on infinitesimal calculus and differentiation in print—Gottfried Wilhelm Leibniz’s ‘Nova methodus pro maximis et minimis …’ in the October 1684 instalment of the Leipzig scientific journal Acta Eruditorum—remains unstudied. Consequent to this inattention, extant copies of Leibniz’s article have been assigned to a single edition and a single press, despite evidence of substantive variation among them. This article examines the typographic and bibliographical evidence across multiple copies of the October 1684 instalment of the Acta to demonstrate that these extant copies in fact represent three separate editions printed on multiple presses over many years. This evidence, in turn, casts new light on both the complex printing history of the Acta Eruditorum in its first decade of publication (1682–93) and the distribution of learned periodicals in the seventeenth century.

Early Printing and Palaeography

This chapter examines the oft-neglected connection between the earliest book printing and palaeography. The author discusses how fifteenth-century manuscripts in Gothic hands influenced the font used in Gutenberg’s earliest printed books and maintains that, in turn, new printed fonts and illustrations began to influence the design of handwritten manuscripts, demonstrating the interconnection of the worlds of printing history and palaeography from the second half of the fifteenth century onwards.

Marigolds Not Manufacturing

This chapter considers the printed plant catalogues of eighteenth-century Birmingham nurseryman, John Brunton. More than lists of plants for the horticulturally acquisitive, their pages reflect the exploration, colonisation and commercialisation that brought a flood of new plants into Britain from around the world. Approached as cultural and material objects, the catalogues draw attention to the fruitful connection to be made between garden history and printing history and culture. This exploration illuminates new aspects of Birmingham’s society and culture in the eighteenth century that challenge our perception of a town more readily noted for its manufacturing than its marigolds.

ENTREVISTA COM ROGER CHARTIER AS REVOLUÇÕES DO LIVRO E DA LEITURA:

A publicação desta breve entrevista, realizada há exatamente 10 anos, neste número temático da REVELLI, visa não apenas relembrar as reflexões de um dos mais importantes historiadores europeus da atualidade, Roger Chartier[1], acerca do impacto das novas formas de produção e circulação virtuais dos textos para as práticas de escrita e de leitura. Sua publicação visa também, diante das mudanças velozes e significativas ocorridas desde então, reiterar a importância de se refletir sobre as “contradições que atravessam a cultura escrita atualmente”, relativas à dimensão técnica mas também ética que se impõe ao mundo da escrita hoje. Apesar das dúvidas e desafios evocados nesta entrevista já serem outros em relação aos da atualidade imediata, eles guardam em comum com as de nosso presente atual a importância de uma melhor compreensão do passado, das relações entre as mudanças técnicas e as práticas, das apropriações diversas, da questão ética de uma produção constante, em larga escala, ubíqua e segmentada, baseada e alimentada nos dados que fornecemos dia-a-dia com nossa produção e recepção virtuais de textos. [1] Roger Chartier (Lyon, 1945) é professor emérito no Collège de France, junto à cátedra Écrit et cultures dans l’Europe moderne, na EHESS - École des Hautes Études en Sciences Sociales e, na condição de professor visitante, na University of Pennsylvania, nos EUA, e orienta estudos na Escola de Altos Estudos em Ciências Sociais (EHESS) em Paris. Presidiu o Conselho Científico da Biblioteca Nacional da França. Entre os prêmios recebidos, destaca-se o Annual Award de la American Printing History Association, em 1990, o grande prêmio de História da Academia Francesa (Prêmio Gobert), em 1992. Foi-lhe outorgado o título de Doutor honoris causa na Universidad Carlos III, em Madrid, e o título de Fellow da British Academy, entre outros prêmios e reconhecimentos. É um dos historiadores mais reconhecidos na atualidade. Seu trabalho se concentra na História Cultural da escrita e da leitura. Foi responsável, junto com Henri-Jean Martin, pela organização da obra magna História da Edição Francesa, assim como do terceiro volume de História da Vida Privada, projeto dirigido por Georges Duby e Phillipe Ariès. É autor de uma obra cujo impacto se faz reconhecer pelas numerosas traduções em diversas línguas. Em português já conta com 15 livros traduzidos e vários artigos publicados em livros e revistas, cuja repercussão o traz ao Brasil várias vezes ao ano a convite de pesquisadores de diferentes áreas das Ciências Humanas. Entre os livros publicados no Brasil, destacamos: Práticas da Leitura (1996); A ordem dos livros: leitores, autores e bibliotecas na Europa entre os séculos XIV e XVIII (1994); A Aventura do livro: do leitor ao navegador (1998); À Beira da Falésia: a história entre certezas e inquietude (2002); Leitura e Leitores na França do Antigo Regime (2003); Inscrever e Apagar: cultura escrita e literatura (2007); Origens culturais da Revolução Francesa (2008). “O que é um autor”: Revisão de uma genealogia (2012); A mão do autor e a mente do editor (2014); Do palco à página (2017).

The book collection of Jan Kuglin as a source for research on the aesthetics of print in the 20th century

The paper describes a somewhat forgotten book collection of the outstanding Wrocław editor Jan Kuglin, in terms of the editions on print aesthetics contained therein. The collection, which is a reflection of Kuglin’s scientific passions, contains many valuable books in German, English, Polish, Russian and Czech in the field of book and printing history, editing, book design, typography, writing, graphic techniques, polygraphy, paper industry, bookbinding, etc. In the book collection of Kuglin one can find editions being examples of a perfect typography. Thus, the collection stored in the Library of the Institute of Information and Library Science of the University of Wrocław is an excellent source for research on the aesthetics of printing in the 20th century.