Book History

Alberto Petrucciani. [Recensione a:] Antonio Iurilli, Quinto Orazio Flacco: annali delle edizioni a stampa, secoli XVXVIII, Genève, Droz, 2017, 2 voll., 1538 pp. (Travaux d’Humanisme et Renaissance, 574). «Nuovi annali della Scuola speciale per archivisti e bibliotecari», 32 (2018), p. 265-267.

The first Armenian Bible published by VoskanYerevantsi is significant in the history of the Armenian typography also for its artistic composition. With its rich illustrations, 159 engravings, beautiful composition, it is the first one among the old-printed Armenian books that is much closer to the European publications of the time. The book is composed based on the illustrational interpretation of the Holy Bible, where the written text is entwined with the artistic illustration. The latter is inextricably intertwined with the former; moreover, the illustrations reveal each volume’s symbolic nature.
The illustration of religious printed books was quite common in the European countries of the time. A part of the woodcuts of Voskanian Bible were obtained by Mateos Tsaretsi, as about 100 engravings can also be found in “Jesus Son” by Nerses Shnorhali and “Sharaknots” (“Liturgical Manuscript”) published before. Interesting information on obtaining the matrixes and lithographs of the book can be found in records of printed books which are significant sources for the study of the history of the book.
Stylistically, the a lot illustrations of the Bible are done based on the European lithographic school. Most of the woodcuts are created by Christoffel van Sichem II and most of the illustrations are signed by the initials of his name. One can also come across replicas of works by outstanding masters, such as Albrecht Dürer, Lucas van Leyden, Hans Holbein, Hendrik Golzius, Maarten van Heemskerck. Some of van Sichem’s engravings are replicas of Jerome Nadal’s (1507-1580) “Illustrated Bible”.
The Bible also strikes the eye for its splendid covers. Only six samples of Voskanian Bible can be found nowadays. It was considered that these red leathered golden-carved covers were made by the Dutch master Albert Magnus, however in recent years this hypothesis was denied by several cover specialists.
Резюме
Первая Библия, напечатанная на армянском языке Восканом Ереванским, в истории армянского книгопечатания значима своей художественной структурой. Это первая книга среди армянских прототипов, которая наиболее близка к европейским издательствам того времени: с богатыми иллюстрациями, 159 гравюрами, изящным переплётом. Книга строится на иллюстрированном толковании Священного писания, где параллельно тексту складывается художественное повествование. Изображения неразрывно связаны с текстом, более того, они в начале каждой главы передают ее буквальный смысл. Иллюстрированное толкование религиозных печатных книг довольно распространено в европейских государствах того времени. По стилю сюжетные изображения Библии следуют европейским гравюрам. Автор большей части гравюр - Кристоффель ван Зихем II, его инициалами подписано большинство изображений. Также встречаются копии гравюр известных мастеров - Альбрехта Дюрера, Авраама Блумарта, Генриха Гольциуса, Мартина ван Хемскерка. Одна часть гравюр ван Зихема непосредственно является копией "Иллюстрированного Евангелия" Жерома Надала. Библия уникальна также благодаря своему изящному переплёту. Из шикарно переплетенной воскановой Библии пока известно только 6 экземпляров. Считалось, что этот переплёт из красной кожи и позолоченными отделками сделан большим мастером в этой области - голландцем Альбертом Магнусом, но в последние годы эта версия опровергается со стороны некоторых исследователей, занимающихся изучением книжных переплётов.

The thesis is divided into two parts and it aims to explain the historical events related to the bibliographical collection of the ancient Jesuit College of Perugia. The first part focuses on the Jesuit librarian history and on the reconstruction of the historical events related to the library of the Perugian college. The institute, founded in 1552, was endowed with a library a few years after its foundation, enriching its collection through different books acquisition channels. The analysis, conducted on unpublished archival documents and published material, reconstructs the events of the library by entering the special case of Perugia in the broader spectrum of the Jesuit librarian history . In this way I tried to provide a model of historical research adaptable to the different librarian realities of the ancient Society of Jesus. The second part of the dissertation consists of the partial reconstruction of the library catalog.

The modern coffee-table book genre emerged in the post-war era as a style of book in which to present a wide variety of topics using a visual narrative. They are not limited to any one field or topic, are found under various categories in a bookstore or library and are consumed for purposes other than 'reading'. Imagedriven books have the ability to cross both national and language barriers for the reader. For the publishing industry, international co-editions can make the publication of illustrated books with supporting text economically viable. The coffee-table book genre is also as much about inhabiting a space and occupying a particular place as being a book. The visual design and aesthetic appeal of these books form part of the authority of the printed coffee-table book because of its ability to display large, high-definition images. These qualities are further expressed as statements of status and personal taste when displayed as part of an overall aesthetic concept. The paper will argue that the visual nature and material aesthetics of the genre are key features of a book without boundaries, and that it is the visual and material qualities of the coffee-table book genre that may also challenge the limitations of publishing and consumption of coffee-table books as ebooks. This proposal forms part of a wider doctoral study investigating the role of the coffee-table book genre within the context of the history of the book and publishing, cultural production and aesthetics.

Hélène Domon "Yx" and "or:" in 1868, Stéphane Mallarmé spent several months writing a poem that contained only those two rhymes, with Nothingness as its central theme and "Sonnet Allegorical Of Itself" as a first title 1 . He sent the poem to his friend Henri Cazalis with this curious letter: I"m extracting this sonnet, which I thought about once, from a projected study on the word: it is inverted, by which I mean that its meaning, if there is one (but I"d draw consolation for its lack of meaning from the dose of poetry it contains, at least in my view) is evoked by an internal mirage of the words themselves. If you murmur it to yourself a couple of times, you get a fairly cabbalistic sensation. That amounts to a confession that it is not very "plastic," as you requested, but at least it"s as "black and white" as possible... 2 This letter, among others, reveals that Mallarmé was at least somewhat familiar with the literature of Jewish Kabbalah, from which he borrowed several elements: a belief in the inner power of the murmured word; a "project on speech;" a "black and white" theme used to describe writing; a mystical approach to poetry which was to provide a physical, "kabbalistic sensation;" and above all, a reflection on the possibility of pure, total, "self-allegorical" writing, and a lifelong quest for "the Book." Mallarmé's contact with Jewish Kabbalah was probably minimal; it certainly was not of religious or theological order, but rather of literary order. 3 This element, however, poses the question of a possible post-theological relation of modern écriture, whose origin French critics often associate with Mallarmé, with Jewish Kabbalah. How did certain forms and concepts of Jewish Kabbalah influence, whether directly or indirectly, not just Mallarmé"s writings, but an essential aspect of modern French thought? To what extent has the Kabbalistic formulation of the fundamental concepts of speech and writing influenced the modern definition of parole and écriture by offering a counterpart to the more traditional logocentric formulation of Platonism and Christianity?

n° 37, marzo 2016 Bollettino trimestrale di informazione sulla storia del libro e delle biblioteche in Italia a cura del C.R.E.L.E.B. Per informazioni http://centridiricerca.unicatt.it/creleb Si veda anche qui in "Taccuino" e "Postscriptum" Recensioni 037-A CICERO (MARCUS TULLIUS), De oratore. Subiaco 1465. Ristampa anastatica, a cura del Comitato "Subiaco, la culla della stampa", [Subiaco], Abbazia territoriale di Subiaco, 2015, pp. 47+[218], ISBN 978-88-8177-237-7, s.i.p. Per ricordare l'anniversario dei 550 anni dall'introduzione della stampa in Italia, è stata pubblicata la ristampa anastatica di una delle prime opere stampate a Subiaco dai prototi-037-143 SWEAZY (LARRY D.), See also murder. A Marjorie Trumaine mystery, Amherst (NY), Seventh Street Books, 2015  rec. MEREDITH MURRAY, «The Indexer. The International Journal of Indexing», 33/4, dicembre 2015, p. 152. 037-144 THOMAS (KEITH), How the historians work, «The Indexer. The International Journal of Indexing», 33/4, dicembre 2015, pp. 122-6. L'a. analizza i tradizionali metodi di lavoro di indicizzazione, giungendo alla conclusione che anche nell'era digitale essi non siano ancora del tutto superati. -L.R.

The Mughal court produced a staggering number of manuscript Paintings During the latter half of the sixteenth century alone, the Mughal emperor Akbar (r. 1556-16o5) commissioned more than twenty-five illustrated manu scripts, some containing in excess of two hundred full-page paintings The get gantuan Hainzanama (Book of Hamza), which reportedly took flfttcn years to complete, from circa 1562 to r577, originally comprised as many as fourteen hundred large-scale folios, each bearing paintings on one or both of its sides.'

This article is a sequel, and update, to a two-part article published in Logos. Journal of the World Publishing Community in 2008/09, which analysed the state of the book industries in sub-Saharan Africa thirty-five years after the major conference on ‘Publishing & Book Development in Africa’ that was held at the University of Ife (now Obafemi Awolowo University), Nigeria, in 1973.

This update seeks to provide a broad round-up of the current situation of the book industry in Africa today (primarily that in English-speaking sub-Saharan Africa), together with a brief review of the work and activities of the various organizations and associations that have been supportive of African publishing over the years.

Part One examines the persistent failure of African governments to support their book industries in a tangible and positive fashion, and their lack of support of public libraries. I review the current status of book development councils in Africa, and the unsatisfactory progress that has been made in establishing national book policies; examine the challenges of generating book industry data; and look at the opportunities now available to African publishers by the new digital environment.

In Part Two I offer a number of reflections and recommendations on the way forward, particularly as it relates to capacity and skills building, training for book industry personnel, strengthening book professional associations, South-South linkages and knowledge sharing, encouraging international collaboration, the need for ongoing research and documentation, as well as issues as they relate to African books in the global market place, and the important but neglected area of publishing in African indigenous languages.

"Writing as Material Practice grapples with the issue of writing as a form of material culture in its ancient and more recent manifestations, and in the contexts of production and consumption. Fifteen case studies explore the artefactual nature of writing — the ways in which materials, techniques, colour, scale, orientation and visibility inform the creation of inscribed objects and spaces, as well as structure subsequent engagement, perception and meaning making.

Covering a temporal span of some 5000 years, from c.3200 BCE to the present day, and ranging in spatial context from the Americas to the Near East, the chapters in this volume bring a variety of perspectives which contribute to both specific and broader questions of writing materialities.

The authors also aim to place past graphical systems in their social contexts so they can be understood in relation to the people who created and attributed meaning to writing and associated symbolic modes through a diverse array of individual and wider social practices."

The publication of my transcription of Paul Kane's field notes in 1989 shed a very different light on Kane as both a traveller and, perhaps more glaringly, an author. Not permitted schooling by his father because he wanted to be a painter, Kane was hamstrung by only phonetic spelling. Nevertheless, his persona in his own writing is much more colourful and less typical than is the first-person persona in "his" book, *Wanderings of an Artist among the Indians of North America* (1859), in which Kane is bumped up to a refined gentleman. Moreover, the field notes show us how Kane recorded his encounters with native people from day to day, not in retrospect.

A 2017 Choice Outstanding Academic Title

In this volume, Elisabeth Fraser shows that artists and the works they created in the Mediterranean during the late eighteenth and early nineteenth centuries were informed by mutual dependence and reciprocity between European nations and the Ottoman Empire. Her rich exploration of this vibrant cross-cultural exchange challenges the dominant interpretation of European relations with the East during the period, revealing a shared world of fluid and long-sustained interactions.

Voyagers to and from the Ottoman Empire documented their journeys in prints, paintings, and lavishly illustrated travelogues; many of these helped define Europe’s self-identified role as heir to Ottoman civilizations and bolstered its presence in the Islamic Mediterranean and beyond. Fraser finds that these works illuminate not only how travelers’ experiences abroad were more nuanced than the expansionist ideology with which they became associated, but also how these narratives depicted the vitality of Ottoman culture and served as extensions of Ottoman diplomacy. Ottomans were aware of and responded to European representations, using them to defend Ottoman culture and sovereignty. In embracing the art of both cultures and setting these works in a broader context, Fraser challenges the dominant historiographical tradition that sees Ottoman artists adopting European modes of art in a one-sided process of “Europeanization.”

Theoretically informed and rigorously researched, this cross-cultural approach to European and Ottoman art sheds much-needed critical light on the widely disseminated travel images of the era—important cultural artifacts in their own right—and provides a fresh and inviting understanding of the relationships among cultures in the Mediterranean during an era of increasing European expansionism.
ISBN: 978-0-271-07320-0

Contents:

Part I: Power in Question

- Chapter 1 Reading Choiseul in the Gaps of the Orientalist Archive

- Chapter 2 In the Shadow of les Grands: Cassas’s Orientalist Self-Fashioning

Part II: Ottoman Culture Abroad

- Chapter 3 The Translator’s Art: Mouradgea d’Ohsson, Ottoman Dragoman in Paris

- Chapter 4 Miniatures in Black and White: Melling’s Istanbul

Part III: Contradictory Contact

- Chapter 5 Skin of Nation, Body of Empire: Louis Dupré in Ottoman Greece

- Chapter 6 A Painter’s Renunciation: Delacroix in North Africa

The legend of Adam and Lilith is uttered by only a few who dare to speak the whispers about the Lilith story. A story in Lilith book is shrouded in death, angst and mystery, her path from helpless child to powerful foe is a dangerous one.
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Expertly combining the true story of Lilith with the little-known tale of the world’s best-known figure of death, the Grim Reaper, The Epic of Lilith book educates and entertains all in one thrilling read.
The Epic of Adam and Lilith is re-imagined, as a true fantasy Lilith story, based on ancient myths, epic legends, and stories, told in the ancient world long ago.

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Scholars have generally depicted kabbalists within an air of exclusivity. During the second quarter of the eighteenth century, however, a handful of Jewish mystics in Padua, led by Moses Hayim Luzzatto, opened their secret society to others interested but not adept in Kabbalah in an attempt to establish a "perfected community" and attain the long-awaited messianic redemption. This article explores the social factors and intentions that drove the group's activity, specifically how Luzzatto's thoughts of the unity of creation played out in life and community.

déinitif. Même si on aimerait l'interroger ici ou là, F. Marxer domine son sujet. Il a surtout un mérite essentiel : sortir la mystique ou le « mysticisme » (comme on dit souvent) des images pieuses, désincarnées, vaporeuses qui l'accompagnent aujourd'hui -pour la restituer comme ce qu'elle est : une expérience exceptionnelle des limites, en lien avec cette altérité absolue qu'on nomme « Dieu ».

Якимович Надія Олександрівна, аспірантка Національної академії керівних кадрів культури і мистецтв Науковий керівник -канд. іст. наук, доцент Збанацька О. М. ДО ПИТАННЯ ПРО ОЦИФРУВАННЯ КНИГ ЗАДЛЯ ЗБЕРЕЖЕНОСТІ: ЗАРУБІЖНИЙ І ВІТЧИЗНЯНИЙ ДОСВІД Розкривається питання важливості оцифрування книг у бібліотеках, як основний спосіб їх збереженості. Розглядається зарубіжний і вітчизняний досвід оцифрування книг. Ключові слова: оцифрування, збереження, книга, проект.

Questo volume intende celebrare, col ricostruirne le vicende, i cento anni dalla fondazione della SEI; un secolo trascorso al servizio della “Buona stampa”, esplicata innanzitutto nelle pubblicazioni scolastiche ed educative, ma anche attraverso i più tradizionali canali dell’apologetica, dell’editoria religiosa, dell’alta cultura e della saggistica.
La ricerca prende avvio dalla ricostruzione delle origini dell’editoria salesiana, valorizzando la ricca eredità lasciata in dote dalla Tipografia dell’Oratorio fondata da don Bosco nel lontano 1862, per poi enucleare, attraverso le principali tappe, lo sviluppo ad un assetto imprenditoriale, prima, ed industriale, poi.
Seguendo la progressione temporale di tale evoluzione, si è tentato di cogliere, nella ricerca dei collaboratori e nell’avvio di nuove collane, le connessioni con il più ampio contesto culturale nazionale. Non solo. La storia di una Casa editrice come la SEI ci rimanda, di riflesso, alla complessa storia sociale, politica, scolastica, ed economica del nostro Paese.
L’obiettivo della ricerca è stato pertanto quello di ancorare profondamente lo sviluppo dell’editrice ai processi storici, sociali ed industriali del Novecento, nella convinzione che solo palesando questi stretti rapporti fosse realmente possibile dimostrare il ruolo di prim’ordine esercitato nella storia pedagogica e culturale italiana.

Studie představuje knihovnu Ferdinanda II. Tyrolského v širším kontextu dobových českých a rakouských šlechtických knihoven z konce 16. století; detailně byla srovnávána především s knihovnou pánů z Rožmberka. Studie se soustředí na běžné srovnávací parametry (velikost knihoven, jazyková skladba a obsah), i na některé speciální otázky. Jednou z nich je například funkce a zastoupení rukopisů v dobových šlechtických knihovnách, dále problematika postavení knihoven v rámci ostatních dvorských sbírek. Zvláštní pozornost pak byla věnována úrovni knihovnického uspořádání jednotlivých knižních sbírek, zejména pak zvolenému oborovému třídění a jejich srovnání.

The study presents a library of Ferdinand II of Tyrol in the broader context of period Czech and Austrian aristocratic libraries of the late 16th century; in detail was compared especially with the library of Lords of Rosenberg. The study is aimed at terms of common comparative parameters (size of the library, languages and content) or in terms of certain special issues. One of them is for instance the function and representation of manuscripts in period aristocratic libraries, as well as the issue of status of libraries in the context of other court collections. A special attention will be paid to the standard of librarian organization of the individual book collections, in particular the sectional arrangement chosen, and their comparison.

Na příkladu historických vojenských řádů konkrétních armád je možné charakterizovat některé aspekty života tehdejších vojáků, běžné dobové problémy vojsk a případné vnitřní konfliktní situace, ke kterým v nich často docházelo. Cílem tohoto příspěvku je komparace řádů římského císaře Maxmiliána II. a švédského krále Gustava II. Adolfa, a na jejich základě nastínění některých prvků vojenského práva, uplatňovaného ve vojenských táborech třicetileté války.

Néhány éve egy grafi kai árverés katalógusának a borítóján, ahogy az általában lenni szokott, az egyik árverési tétel volt látható. Amikor először megláttam a katalógust, a borítója egyáltalán nem keltette fel az érdeklődésemet. Egy ex libris volt rajta a két világháború közötti időszakból, első pillantásra semmi különös, ehhez hasonlóból akad bőven. Ráadásul fametszet, jó sok feketével, ami miatt ez a műfaj sosem vonzott különösebben. Jó pár nappal az árverés után újra kezembe került a katalógus. Egyszerre megakadt a szemem a borítóképen. Még most sem tetszett különösebben, de hirtelen megragadott, miközben egyáltalán nem tudtam megmagyarázni, pontosan mi az, ami éppen most véletlenül megfogott benne. Bár azóta is sajnálom, hogy nem licitáltam rá, most már tudom: ha egyből megtetszik, és sikerül megszereznem, talán sosem kezd el foglalkoztatni a könyvek és az irodalom területén a tulajdonlás és az esztétikum, a birtoklás és az esztétikai tapasztalat közötti viszony.

Daniel Bellingradt: Review of Jan Löhdefink: Zeiten des Teufels. Teufelsvorstellungen und Geschichtszeit in frühreformatorischen Flugschriften (1520-1526), Tübingen: Mohr Siebeck 2016, in: sehepunkte 17 (2017), Nr. 1 [15.01.2017], URL: http://www.sehepunkte.de
/2017/01/29391.html

Cette étude trouve son origine dans un double étonnement. En effet, les années 1680-1740 sont marquées par la publication aux Provinces-Unies de nombreux ouvrages en français qualifiés d’« historiques » et consacrés à l’actualité politique européenne immédiate et à son analyse. Ce phénomène trouve sa plus belle illustration dans la parution en juillet 1686, à Leyde, de l’Histoire abrégée de l’Europe, premier mensuel d’analyse politique en langue française. L’apparition de cette nouvelle forme éditoriale vouée à un bel avenir, que je désigne sous le qualificatif de « mercures historiques et politiques », s’accompagne par ailleurs de l’impression d’Histoires consacrées aux événements les plus récents mais aussi de collections diplomatiques, recueils qui compilent des documents ayant trait aux relations internationales. Or, ces trois sortes d’ouvrages consacrés aux événements politiques récents sont rédigées par les mêmes auteurs : une douzaine d’exilés français, installés en Hollande, qui n’avaient rien publié avant leur départ de France.
Analyser ce corpus – appréhendé comme une « histoire du temps présent européen » – permet de saisir comment, dans la Hollande des années 1680-1740, publier l’actualité politique est devenu une profession. Celle-ci se caractérise par des pratiques d’écriture et par des compétences valorisables auprès du public grâce à une diversification des supports éditoriaux, et auprès des autorités politiques par l’exercice de fonctions d’informateur, d’historiographe et plus largement, d’expert en écriture politique. En observant comment ces hommes ont participé à la constitution d’un marché européen de l’information politique, cette étude analyse non seulement les procédés grâce auxquels ces journalistes ont contribué à rendre publics la politique et ses instruments, mais elle interroge aussi les implications qu’un tel phénomène éditorial peut induire sur le rapport des lecteurs à l’action des gouvernements.

introduzione al volume che l'insegnamento del vocabolario della propria disciplina non è sempre la principale preoccupazione di un docente universitario, e che ciò vale anche per chi «insegna la paleografia e le materie correlate, quali in particolare la diplomatica e la codicologia». Se, forse, in passato ci si poteva permettere di presumere che gli studenti possedessero gli attrezzi concettuali e terminologici necessari allo studio di una certa disciplina, nel caso particolare la paleografia, oggi nulla può essere dato per scontato. Evidente dovrebbe quindi risultare, più che l'utilità, la necessità di uno strumento che accompagni i discenti in un ambito tecnico quale la paleografia latina, tanto indispensabile allo studio del nostro passato quanto confinato in un orizzonte quasi esotico -il che potrebbe, in una prospettiva didattica, essere volto in vantaggio, poiché c'è un'inevitabile alterità nel passato e una quota di mistero sempre nuovo da indagare. Del glossario di Adelaide Ricci colpisce innanzitutto la semplicità: una virtù che tuttavia nasconde un lungo e paziente lavoro di chiarificazione, percorso che conduce alla chiarezza. È proprio la chiarezza terminologica a svolgere la funzione di autentica guida dei perplessi -o degli inesperti, quali sono non solo gli studenti, ma anche gran parte degli storici non specialisti della disciplina. Si trovano nel Glossario, per questa ragione, voci che dettagliano aspetti specifici dell'edizione di manoscritti (è il caso delle iniziali decorate e della loro nomenclatura), termini legati alla storia dei testi e alla loro redazione (alcuni, originale o redattore, apparentemente intuitivi, altri, come abitato o rasura, che appartengono al lessico più tecnicamente specifico della materia) e altri più generali ma che potrebbero talvolta causare fraintendimenti (come, nella struttura di un'opera, sommario, indice o intercolùmnio). Un pregio indiretto del Glossario di paleografia risiede nel suo mostrarci, attraverso la terminologia, la ricchezza della storia del libro nel suo farsi oggetto concreto di lettura e di studio; va quindi doppiamente apprezzato il fatto che questo volume si pone consapevolmente all'interno di questa nobile storia, che contiene e dalla quale è contenuto: in tale prospettiva si pone un'eccellente bibliografia ragionata, tanto semplice quanto intelligente, valida guida per gli studenti che opportunamente intendano proseguire nello studio della materia paleografica, una disciplina preziosa e, come tutte le altre, in evoluzione. Ai paleografi esperti, infine, il Glossario di Adelaide Ricci può servire come utile promemoria relativamente a un aspetto che ogni specialista tende paradossalmente a trascurare, per non dire dimenticare: la bellezza della propria terminologia specifica.