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Academic literature on the topic 'HE. Print materials'
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Journal articles on the topic "HE. Print materials"
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Herissone, Rebecca. "“Exactly engrav’d by Tho." Journal of Musicology 37, no. 3 (2020): 305–48. http://dx.doi.org/10.1525/jm.2020.37.3.305.
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Thomas Cross Jr. was the first music printer to capitalize on the growth of public musical performances in late seventeenth-century England by producing cheap, single-sheet editions of the newest and most popular songs, especially those from the latest theater productions, for audience members and others in fashionable society to buy. As England’s first specialist music engraver, he was able to produce his simple prints of individual songs unusually quickly and to sell them at a fraction of the price of the larger movable-type anthologies that remained the mainstay of established London music stationers in this period. In the absence of intellectual property laws, Cross was free to print any music he could acquire, and he soon came to be seen as a threat by composers and music stationers alike. He clearly did not enjoy good relationships with contemporary composers, and we can safely assume that they did not supply him with his source materials. Given that his prints were nearly always the first published editions of the theater songs to appear in print, how did he obtain his musical texts? This article examines the hypothesis that Cross’s engravings may have derived directly from the stage performances of the singers he names in the titles of his editions, and that they may reflect the singers’ interpretations of the music “exactly engrav’d,” as Cross claimed. Comparison of the variants in Cross’s editions with readings preserved in sources that have known connections to contemporary performance demonstrates that his prints—despite their not undeserved reputation for inaccuracy—probably preserve contemporary performing practices more closely than has hitherto been acknowledged. Their significance as sources thus needs to be reevaluated, which raises broader questions about the criteria that scholars use when making judgments about the relative authority of sources from this period.
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Kwan, Uganda Sze Pui. "Transferring Sinosphere Knowledge to the Public: James Summers (1828-91) as Printer, Editor and Cataloguer." East Asian Publishing and Society 8, no. 1 (April 5, 2018): 56–84. http://dx.doi.org/10.1163/22106286-12341317.
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Abstract James Summers occupied the professorship of Chinese for two decades at King’s College London. He was also a trailblazer in promoting the study of Japanese culture in Victorian Britain, but he has been an underrated and understudied figure in British history. Summers was an ardent supporter of modern printing. He believed printed media was the most effective medium to transform British perceptions of Asia, which in turn would help support Britain’s foreign political, commercial and missionary enterprise. He also orchestrated the printing of catalogues and journals in his capacity as library assistant to the British Museum and the India Office Library. He even set up his own press to print a newspaper in order to disseminate knowledge of East Asia to a broader readership. Based on primary materials that have rarely been used before, this paper positions Summers in the study of book history, material culture and print mediums in order to reassess his pioneering efforts in Sinological studies.
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Cora, Dominika. "Miniature Painting in Eighteenth-Century England: The Case of William Pether (1739–1821)." Arts 11, no. 3 (May 27, 2022): 61. http://dx.doi.org/10.3390/arts11030061.
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William Pether (1739–1821) was a painter and skilled draftsman, whose abilities led to his becoming a master of engraving in the mezzotint technique—his prints reproducing works not only by the Dutch masters, such as Rembrandt van Rijn and his pupils Gerrard Dou and Willem Drost, but also by English artists such as Joseph Wright of Derby, Edward Penny, and Richard Hurlstone. An eminent British mezzotint engraver, he was also an underrated painter of miniatures. His artistic activity in this domain has been overlooked by scholars, who have focused on his print production; this study considers all extant miniatures produced by the artist during the period 1760–1820. The aim of this article is to present as many as possible known miniatures painted by this artist and to determine their proper attribution and dates through the use of stylistic analysis, the graphical-comparative method and handwriting research using available works of art and archival materials in the form of letters written by Pether.
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Hall, Timothy, Dan Wang, Huong Le, Holly Garich, and Majid Minary. "Electro-Codeposition of Composite Materials for Enhanced Thermal and Electrical Properties." ECS Meeting Abstracts MA2022-02, no. 23 (October 9, 2022): 969. http://dx.doi.org/10.1149/ma2022-0223969mtgabs.
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State of the art cryocoolers, high powered electronic systems, and space platforms require next generation high conductivity composite materials that can reduce product weight while improving performance. To meet this need, Faraday Technology with the help of Universities, National Labs, and industrial partners is developing a scalable electro-codeposition method to produce high conductivity hybrid graphene/copper composite materials. Specifically, this talk will highlight two activities ongoing at Faraday and demonstrate the feasibility of fabricating either composite or laminated graphene-copper hybrid foils or direct printed composite nanowires via a pulse electro-codeposition approach. These activities indicated these composite materials can achieve a greater than 50% reduction in sheet resistance and a ~50% increase in mechanical strain compared to Cu foils. Additionally, we identified a strong dependance of material surface roughness on the measurement of thermal conductivity when using the 3-ω technique in a Closed Cycle He Cryostat. We will also discuss the opportunity to produce a wide range of material shapes by enabling a direct print apparatus that combines x,y,z control methods with an electro-codeposition printhead. If successful we envision that method to print next generation composite materials like ‘covetics’ that have the potential to meet many of the electronics and space community’s needs by enabling in space structural repairs, fabrication of new electronic components or sensors, or be utilized as heat exchanger composite materials. Finally, this activity also identified commercial partners interested in integrating these next generation into high powered electronics like laser diodes or invertors for electric vehicles.
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Bigg, Charlotte. "Travelling Scientist, Circulating Images and the Making of the Modern Scientific Journal." Nuncius 30, no. 3 (2015): 675–98. http://dx.doi.org/10.1163/18253911-03003002.
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The early astrophysicist Norman Lockyer was both editor of the journal Nature from its creation in 1869 and for the following five decades, and an early practioner of the new astronomy. He frequently used the journal to expound his scientific theories, report on his work and send news home while on expeditions. I look into the particular visual culture of astrophysics developed by Lockyer in Nature, its evolution at a time of rapid development both of the techniques of astrophysical observation and visualization and of the techniques of image reproduction in print. A study of the use and reuse of visual materials in different settings also makes it possible to sketch the circulating economy of Lockyer’s images and the ways in which he put himself forward as a scientist, at a time when he was advocating the State support of research and scientists and helping create the modern scientific journal.
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Stroganova, Evgenija N. "Materials on M.E. Saltykov-Shchedrin’s Descendants from S.A. Makashin’s Archive." Literary Fact, no. 17 (2020): 237–64. http://dx.doi.org/10.22455/2541-8297-2020-17-237-264.
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The publication introduces materials on M.E. Saltykov-Shchedrin’s descendants from S.A. Makashin’s archive. By now there has been available basic biographical information about Konstantin Mikhailovich, the writer’s son and the author of the famous memoir Intimate Shchedrin (1923) negatively assessed by Soviet literary critics. Even less information survived on the writer’s daughter Elizaveta Mikhailovna, Baroness Disterlaut in her first marriage, Countess Da Passano in her second marriage. She hadn’t left memoirs about her father and therefore hasn’t become an object of interest for scholars. Materials from Makashin’s archive specify some biographical data and stir up an interest in the personality of the writer’s daughter. However it is the materials about her children, Tamara Nikolaevna Disterlaut (Gladyrevskaia in her second marriage), and Andrei Evgenievich Da Passano, that are of special interest. A part of the unpublished work by E. Gard, a journalist, appears in print for the first time: in 1934 he came to Kraskovo (Moscow region) and met the writer’s grand-daughter. Further information about T.N. Gladyrevskaia is given in the memoir written by her daughter Elena Aleksandrovna Gladyrevskaia and in the online materials about the victims of Stalinist repressions. Saltykov’s granddaughter was arrested in 1938; later her children were told that their mother had died in 1945; in fact, she was executed at Butovo Shooting Range soon after her arrest. The writer’s grandson left Russia together with his parents in 1917. His letter to G.V. Plekhanov’s daughter is published: he writes about his parents and himself. Information about A. Da Passano is specified thanks to the data available online (websites devoted to Italian comics creators and American esotery scientists). He lived a long life rich in the events, and died in the USA in 1933.
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Rehman, Mohammad, Mohamed Abd, Laila Hussein, and Lara Abumuaileq. "Always Read The Fine Print - Cyanide Toxicity From Ingestion Of Vitamin B17 Tablets: A Case Report." South Asian Journal of Emergency Medicine 4, no. 2 (2021): 1. http://dx.doi.org/10.5455/sajem.040209.
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The use of vitamins and minerals as supplements is highly prevalent in most patient populations, owing to their purported long-term benefits and relative lack of harm on continued use. However, similarly marketed supplements may contain ingredients that can harm the user. Our case highlights a 45-year-old male who ingested several tablets of a supplement known as vitamin B17, Amygdalin, with subsequent fatigue, mild lactic acidosis, and worsening shortness of breath. He was treated as a case of cyanide toxicity based on clinical suspicion and improved subsequently. The case describes the potential harm from unregulated substances, particularly those purchased online. Vitamin B17, or Amygdalin, may be present in various anti-cancer supplementation and caution is advised in its use due to its association with cyanide poisoning.
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Rehman, Mohammad, Mohamed Abd, Laila Hussein, and Lara Abumuaileq. "Always Read The Fine Print - Cyanide Toxicity From Ingestion Of Vitamin B17 Tablets: A Case Report." South Asian Journal of Emergency Medicine 4, no. 2 (2021): 1. http://dx.doi.org/10.5455/sajem.040209.
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The use of vitamins and minerals as supplements is highly prevalent in most patient populations, owing to their purported long-term benefits and relative lack of harm on continued use. However, similarly marketed supplements may contain ingredients that can harm the user. Our case highlights a 45-year-old male who ingested several tablets of a supplement known as vitamin B17, Amygdalin, with subsequent fatigue, mild lactic acidosis, and worsening shortness of breath. He was treated as a case of cyanide toxicity based on clinical suspicion and improved subsequently. The case describes the potential harm from unregulated substances, particularly those purchased online. Vitamin B17, or Amygdalin, may be present in various anti-cancer supplementation and caution is advised in its use due to its association with cyanide poisoning.
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Ameri, Azardokht. "Iranian Urban Popular Social Dance and So-Called Classical Dance: A Comparative Investigation in the District of Tehran." Dance Research Journal 38, no. 1-2 (2006): 163–79. http://dx.doi.org/10.1017/s0149767700007439.
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Some readers may find the style and organization of Ms. Ameri's article different from those that they are used to finding in Dance Research Journal. One must keep in mind that in Iran the performance of dance, with the exception of male folk dancing in front of all-male audiences, has been banned for over twenty-five years. Even the performance of solo improvised dance in private parties, such as weddings, can result in severe punishment. Prior to the 1978/79 revolution only one serious, but deeply flawed, article (Zoka' 1979) in Persian had appeared in print. Ms. Ameri's article is a pioneering effort, the first serious scholarly article to appear in print in Iran by an Iranian in a quarter of a century, and one that the reader can more readily appreciate when he or she realizes that the research materials available to dance researchers in the West, Japan, and other parts of the world do not exist in Iran. Thus, the work Ms. Ameri undertook was burdened by a lack of knowledge of trends in contemporary dance research that many of us take as commonplace; the article took great personal courage to write.
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Rybalka, Andrey. "The last years of N. V. Savelyev-Rostislavich." Slavic Almanac, no. 1-2 (2019): 109–33. http://dx.doi.org/10.31168/2073-5731.2019.1-2.1.07.
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Nikolay Vasilyevich Savelyev-Rostislavich (1815-1854) was a well-known in the 1840s Russian political writer, a follower and an accomplice of the Pan-Slavic ideas of Yuri Venelin and Fedor Moroshkin. In his works, he developed these ideas to somewhat grotesque forms. The article is dedicated to the genealogical project of Savelyev-Rostislavich, today forgotten. He considered himself a descendant of Patriarch Joachim and made some effort to present this idea in print under a pseudonym. In spite of the fantasticality of the whole idea and the lack of original evidence, this project somehow influenced Russian and Bulgarian historiography until today. Some researchers are tempted to discuss the “second Turnovo uprising” against the Ottomans in 1686 under the guidance of the boyard Rostislav Stratimirovich, a pretender to the princely throne of Bulgaria, though others describe the version of the Bulgarian royal descent of Savelyev as a “funny fact”. The article provides some less known data on Savelyev’s last years that were kept in the materials of the Bulgarian slavist Ivan Shishmanov. He had collected them during the Civil War in Odessa. These data partially explains why Savelyev so early and unexpectedly quitted his very active publicational activity.
Books on the topic "HE. Print materials"
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Lane, Edward William. Few works about the Middle East have exerted such wide and long-lasting influence as Edward William Lane's An Account of the Manners and Customs of the Modern Egyptians. First published in 1836, this classic book has never gone out of print, continuously providing material and inspiration for generations of scholars, writers, and travelers, who have praised its comprehensiveness, detail, and perception. Yet the editions in print during most of the twentieth century would not have met Lane's approval. Lacking parts of Lane's text and many of his original illustrations (while adding many that were not his), they were based on what should have been ephemeral editions, published long after the author's death. Meanwhile, the definitive fifth edition of 1860, the result of a quarter century of Lane's corrections, reconsiderations, and additions, long ago disappeared from bookstore shelves. Now the 1860 edition of Manners and Customs of the Modern Egyptians is available in paperback, with a useful general introduction by Jason Thompson. Lane's greatest work enters the twenty-first century in precisely the form that he wanted.: The Definitive 1860 Edition. 5th ed. Cairo: American University in Cairo Press, 2003.
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Gruesser, John Cullen. A Literary Life of Sutton E. Griggs. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192856319.001.0001.
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Writing, publishing, and marketing five politically engaged novels that appeared between 1899 and 1908, Sutton E. Griggs (1872‒1933) was among the most prolific African American authors at the turn of the twentieth century. In contrast to his Northern contemporaries Paul Laurence Dunbar and Charles Chesnutt, Griggs, as W. E. B. Du Bois, remarked, “spoke primarily to the Negro race,” using his own Nashville-based publishing company to issue four of his novels. Griggs pastored Baptist churches in three Southern states, and played a leading role in the influential but understudied National Baptist Convention. Until recently little was known about the personal and professional life of this religious and community leader: critics could only contextualize his literary texts to a limited degree and were forced to speculate about how he published them. This literary biography, the first written about the author, draws extensively on primary sources and late-nineteenth- and early-twentieth-century periodicals, local and national, African American and white. A very different Sutton Griggs emerges from these materials—a dynamic figure who devoted himself to literature for a longer period and to a more profound extent than ever previously imagined, but who also frequently found himself embroiled in controversy because of what he said in his writings and the means he used to publish them. The book challenges currently held notions about the audience for, and the content, production, and dissemination of politically engaged US black fiction, thereby altering the perception of the African American literature and print culture of the period.
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Williams, Jay, ed. The Oxford Handbook of Jack London. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199315178.001.0001.
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Robert Scholes and Clifford Wulfman define modernism and modernity this way: “Modernity is a social condition. Modernism was a response to that condition.” Modernity “is an urban condition” “reached in certain parts of the world in the late nineteenth century … a mass phenomenon” characterized by the rise of technology, print culture, and material consumption. Jack London, who is routinely categorized as a naturalist and realist, can also be called a modernist. The word modern appears often in the pages of this handbook, and though it is not new to call London a modernist, the breadth of scholarship in this present volume gives the categorization new meaning. This isn’t to deny London’s status as a realist/naturalist but only a way to recognize he was much more than that. London called his era the Machine Age and created his role of political artist to respond to it. Thus the other emphasis in the handbook is on the intersection of his politics and his art. London was concerned with instigation and shock. He wasn’t a propagandist, he was a troublemaker. In both fiction and nonfiction—a binary he did not recognize—he exposed the fallacies of capitalist society. As both a nationally recognized public figure and a citizen of the world, he chose to instruct his audience in novels, short stories, essays, speeches, and newspaper reports. This handbook ultimately emphasizes the artist Jack London bringing change to the world.
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Zieger, Susan. The Mediated Mind. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279821.001.0001.
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The latter half of the nineteenth century witnessed a mass media revolution in the widespread explosion of print; this book shows how the habits of consuming printed ephemera are still with us, even as pixels supersede paper. Trivial, disposable printed items, from temperance medals and cigarette cards to cartoons and even novels tell us much about nineteenth-century mediated experience, and our own. For a fresh perspective on media consumption, the book examines affect, a dynamic quality of human mind and body that links emotion to cognition, self to other, and self to environment. Affect shows how mass-mediated material began to dwell in the mind – less so the rational mind of egoistic cognition, than the embodied mind of daydreaming, reverie, and feeling. In such fugitive spaces, the sovereign individual gives way to community and inter-subjectivity as he or she recreates the social body. The book makes visible an array of positions, habitable by people of different classes, genders, ages, and sexualities, such as the mass live audience member, the enchanted viewer, the information “addict,” the self-fashioner, the collector, and the re-player of experience. These positions characterize an earlier moment in a genealogy of media consumption that endures today. The book describes them by putting disposable print forms into conversation with performance, visual culture, literary fantasy, and media theories. Demonstrating the recursive relations between affects and mass media, it reveals the cultural and psychological contours of ephemeral experience.
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Covington, Sarah. The Devil from over the Sea. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198848318.001.0001.
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Of all the historical figures who have haunted the Irish imagination, none have generated more compelling and malignant power than Oliver Cromwell. The Devil from over the Sea: Remembering and Forgetting Oliver Cromwell in Ireland explores the many circuitous channels through which Cromwell’s afterlife was shaped by social memories or acts of forgetting that grappled with the momentous ways in which he affected the country’s history. Remembrances of Cromwell pervaded religious, historical, literary, political, and folkloric narratives, just as they entered into material culture or migrated across the Irish diaspora in the centuries that followed. This book attempts to examine all of these manifestations of memory and forgetting, and the ways in which they affected the course of Irish history in turn. Working from new methodologies and neglected sources, and utilizing recent theoretical approaches, The Devil from Over the Sea presents the first interdisciplinary book-length study of Cromwell’s memory in Ireland, revealing the sometimes surprising and dizzying ways in which he was deployed as a villain or hero by different social communities across time. Cromwell’s absence in some historical accounts is as revealing as his presence in others, including those which extended across oral, print, elite, and popular cultures. As this book argues, it is only by investigating all these dimensions of Cromwell’s posthumous fame that one may come closer to fully understanding the true extent and depth of what he came to mean in Ireland.
Book chapters on the topic "HE. Print materials"
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Zieger, Susan. "“A Form of Reverie, a Malady of Dreaming”: Dorian Gray, Personality, and Mass Culture." In The Mediated Mind, 166–206. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279821.003.0006.
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How does one fashion an authentic self out of mass-produced ideas, styles, and materials? Chapter five assesses a tremendously influential, extended answer to this question, Oscar Wilde’s novel The Picture of Dorian Gray (1891). Building on recent work linking the novel to new nineteenth-century media such as photography and cinema, the chapter interprets Dorian Gray as caught in the mass media consumer’s dilemma. Two key terms govern this dilemma, reverie and personality. Wilde represented Dorian’s reverie as an embodied, material activity of self-fashioning through mass print culture. Dorian then re-circulates the cultural information he has consumed in the form of his personality, a signature term in Wilde’s writings, a revitalized concept in mass culture and psychology at the century’s end, and a word tied to the novel’s textual history of gay censorship. Prevented from representing gay desire as clearly in the book edition as he had in the Lippincott’s version, Wilde published a novel full of queerly coded signs that nevertheless assembled a new community within its mass readership.
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Capp, Bernard. "Prologue." In British Slaves and Barbary Corsairs, 1580-1750, 1–6. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192857378.003.0001.
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The Prologue opens with the story of John Rawlins, who was captured and sold into slavery at Algiers in 1621, and led a successful and bloody mutiny the following year to free himself and his companions. It uses the account he later published to introduce the themes of this book, including English attitudes towards Barbary and the Islamic world, Rawlins’ pamphlet belongs to the genre known as ‘captivity naratives’, and the Prologue discusses the different motives of Rawlins and other former captives in choosing to tell their stories in print. These narratives provide key source material for the book, though they are inevitably highly subjective, and the Prologue assesses their character, value, and limitations. It also introduces the other materials on which the book is based, including unpublished correspondence from consuls, merchants, and slaves in Barbary, government records, and petitions from slaves’ wives and families. The Prologue ends by identifying the themes addressed in each of the follfowing chapters.
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Trettien, Whitney Anne. "Leaves." In Paid, edited by Bill Maurer and Lana Swartz. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035750.003.0013.
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In the early 18th century, the American colonials were awash with both paper currency and its twin: counterfeit bills. Benjamin Franklin became a proponent of using leafs prints in currency as an anti-counterfeiting measure. Duplicating a leaf print is difficult not just because the resulting patterns are so complex, but because the original leaf is destroyed in the process. Franklin’s innovation, then, is that he shifts the burden of counterfeiting from copying the content of a note to discerning and iterating the process of its reproduction—even as that very process prevents the thing, the leaf, from ever being reproduced in the same way again. In this, we can see a kind of environmental nationalism: authority inheres not in the material substance of the paper itself but rather in the land that prints it and it printed upon it.
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Sutherland, Kathryn. "Samuel Johnson and the Origins of Writing." In Why Modern Manuscripts Matter, 59–84. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780192856517.003.0003.
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Samuel Johnson reassessed the work of writing in the age of print. He saw that the material conditions for literary production mattered; the writing process fascinated him, opening a line of enquiry between the man, the writer who composes, and the work itself. He attributed value to something previously regarded as ephemeral and disposable—writers’ drafts—now made interesting by the decisive separation mass printing represented. At the same time, his critical philosophy was fascinatingly at odds with his own apparently careless declared writing practice. With James Boswell he helped set the terms of our modern investment in working manuscripts: for Johnson, the processes of composition as clues to the writer’s psychology; for Boswell, a kind of relic veneration.
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Teplitsky, Joshua. "“To Make Books Without End”." In Prince of the Press, 130–61. Yale University Press, 2019. http://dx.doi.org/10.12987/yale/9780300234909.003.0005.
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This chapter addresses David Oppenheim's will to “make books without end” and how he promoted that mission in a variety of material and cultural ways. Much as the circulation of books permitted a vantage point for discovering relationships of power and prestige, the production of books represented an equally fraught political field. To print a Jewish book required the cooperation of Jews and Christians, authors and printers, artisans and wealthy sponsors, censors and endorsers. Oppenheim stood at the meeting place of such concerted action: while his library offered a source of discovery for unpublished manuscripts, he also was personally involved in the publication process on account of his familial wealth to sponsor publications and the cachet he possessed, as a bibliophile and scholar, to discriminate between works that deserved publication and those that did not.
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Hart, D. G. "Striving." In Benjamin Franklin, 54–70. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198788997.003.0004.
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Chapter 3 traces Benjamin Franklin’s early development—purchasing equipment to open his own print shop and editing a Philadelphia newspaper. His work provided him with an outlet for advice about living a moral life. Sometimes he wrote under pseudonyms, such as Silence Dogood, and reprinted material that reinforced his own efforts to live a good life, creating a Plan for Attaining Moral Perfection. The chapter discusses Jonathan Edwards, whose views were substantially in agreement with Franklin’s, though much of Franklin’s moralism attracted criticism from twentieth-century writers such as D. H. Lawrence. Franklin’s thoughts about virtue emerged from similar concerns that Puritans had for the Christian life as one of sanctity.
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Becker, Marshall Joseph. "Fort New Gothenburg and the Printzhof." In The Archaeology of New Netherland, 189–98. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9780813066882.003.0012.
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Johann Printz arrived in the Delaware Valley in 1643 as the third colonial governor of the tiny Swedish colony. Printz located his own home some 23 km (14 miles) upstream from modern Wilmington, on Great Tinicum Island. We now know that his first activity was to erect a small palisaded fort which he named Nya Göteborg; the name that became the official title for his administrative post. Subsequently he erected a small log structure, identified as the Printzhof, and other structures related to his farmstead. The fort served as the seat of government for New Sweden while Printz’s complex of buildings was both a private residence and an Indian trading station. The various lines of evidence identifying this important historical building are here summarized. Emphasis had been placed on the evidence from the rich mid-seventeenth-century material culture recovered during excavations. Here the focus is on the records for the previously unrecorded palisaded fort that was found during the second of three field seasons; a fortification that had not been clearly identified in the documentary record.
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McDonagh, Josephine. "John Galt’s ‘Whole Art of Colonization’." In Literature in a Time of Migration, 70–111. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192895752.003.0003.
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The Scottish novelist John Galt provides the clearest example of a writer in whose works fiction, literary technique, and settler colonization overlap. Famous for his regional novels about communities on Scotland’s western seaboard, he also had careers as parliamentary lobbyist, entrepreneur, and colonist in Upper Canada. In the 1820s, he spent a period working for the Canada Land Company, a colonization company he helped to establish in London, and through which he travelled to Canada to participate in the development of colonial settlements, including the city of Guelph. This provided copious material for writings in the final years of his life. Although Galt, and subsequently critics and biographers, have tended to represent the two periods of his life separately, they both are part of a single colonial project, connected by the extensive print networks of which he was a part. The connections are evident principally in his preoccupation with voice and dialect, sound and hearing. In the Scottish works he emphasizes phonological aspects of Scottish regional voices, and ways in which literature trains the ear. Sound operates as a mode of organizing and producing space. In the Canadian works, he explores the themes of sound and acoustic management in the context of colonial space. Together his works present an archive of colonial sound management, and an exploration of the auditory elements of his colonial project.
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Haywood, Ian. "The Sounds of Peterloo." In Commemorating Peterloo, 57–83. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474428569.003.0003.
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This chapter focuses on an overlooked aspect of the Peterloo massacre: its soundscape. While much critical attention has been given to radical discourse and print culture in early nineteenth-century Britain, there has been less focus on the material question of how the 'voice' of the people was projected, heard, and contested, both in reality and in representations. Not only was Peterloo a cacophony of politically symbolic sounds ranging from marching bands and alternative patriotic songs to the 'bad' sublime of the screaming multitude, it was also an aural earthquake that generated noisy aftershocks throughout the cultural sphere - in P. B. Shelley's words (as he lay asleep in Italy), it was an 'eloquent' volcano. The paper will look at range of verbal and visual texts, including caricature, to investigate the soundscape and 'soundtrack' of one of the later Romantic period's loudest and most resonant events.
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Maguire, Laurie. "‘This Page Intentionally Left Blank’; or, the Apophatic Page." In The Rhetoric of the Page, 27–108. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198862109.003.0002.
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Chapter 1 explores how readers interact with and interpret blank space and blank spaces on the early modern page. This is the beginning of this chapter’s enquiry into the ways in which practical typography came to be seen as creative opportunity, for writers as well as readers, and how modern editorial treatment elides that creativity. Part I focuses on the interactive reader generally as he/she is faced with items that invite filling in: incomplete rubrication in incunabula, errata lists, blanks for topical and personal references, initials for names, censorship. Part II covers literary works that exploit gaps and incompletion from the disingenuous ‘desunt nonnulla’ through metrical half-lines, incomplete quotations and gaps in collaborative manuscripts to direct addresses to the reader to fill in blank space left for their use. This section also reviews blanks in different media such as sculpture and cartography. Part III shows how editors treat blanks in print editions and digital books, exploring literary material from the medieval to the early modern.