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Artykuły w czasopismach na temat "Illustration of books – private collections"
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Pitenina, V. "Artistic and stylistic peculiarities of the graphic work of Petro Lapyn, illustrator of the children's books in the first third of the 20th century". Research and methodological works of the National Academy of Visual Arts and Architecture, nr 27 (27.02.2019): 193–99. http://dx.doi.org/10.33838/naoma.27.2018.193-199.
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The beginning of the 20th century is a period of creative and printing experiments in the Ukrainian art. New generation of Ukrainian books was born in this period. The illustration of the children's books was a significant part of this process. Famous Ukrainian graphic artists, such as H. Narbut, M. Zhuk, O. Sudomora, V. Kononchuk, took part in the creation of a new Ukrainian children's book. Some little-known artists also worked with them, and their creativity was an important part of the artistic process. Petro Lapyn was one of those artists. From 1917 to 1929, he worked with the famous publishing houses, such as Vernyhora, Derzhavne Vydavnytstvo, Proliski, Knyhospilka and Rukh. Children's books, illustrated by P. Lapyn, are kept in the funds of the Pedagogical Museum of Ukraine, the National Library of Ukraine for Children, Ivan Fedorov Book Chamber of Ukraine and private collections. We have found about 30 of his projects. But the information about the artist himself and his life is quite limited. One of the first books he illustrated was the poem of S. Rudanskyi «Vovk, Sobaka ta Kit» («The Wolf, the Dog, and the Cat»), published in black and white in 1918. This early Petro Lapyn's work revealed his artistic outstanding peculiarities: vibrant linear drawing, harmonious combination of text and illustrations, variety of graphic techniques and skills in the representation of characteristic features. The high point of the artist's career is the illustration of «Crows and Owls», I. Franko’s fairy tale, printed in 1926 (Kharkiv, Rukh). It demonstrates the animalistic works of the artist. There are typical structural elements in fairy tale books: vignettes, drop caps. P. Lapyn uses decorative handwritten fonts and silhouette drawings for them. His graphic creations are full of emotions. Specific features of his work are: humour, emotionality, anthropomorphism, careful attitude towards literary material, and consistently high level of drawing.
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Bolotova, Alexandra I. "The Tretyakov Gallery Library". Art Libraries Journal 17, nr 2 (1992): 24–26. http://dx.doi.org/10.1017/s0307472200007781.
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The Library of the Tretyakov Gallery in Moscow contains over 50,000 books on Russian and foreign art. The collections date back to the gift, in 1899, of the library of P. M. Tretyakov. From 1918, the Library and the Gallery received the benefit of State support; the Library gained books from private collections and as a result of the closure of other museums, and it continued to receive donations. From 1931, copies of Russian publications on art were received on legal deposit, and many publications are additionally acquired in exchange for copies of the Gallery’s own publications. As well as books, the Library contains collections of manuscripts, of press-cuttings, and of exhibition invitation cards and posters. The Library maintains several card indexes, on Soviet art and the participation of Soviet artists in exhibitions, and of journal articles, illustrations, illustrators, and exhibition catalogues. The Library has itself published several reference books.
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Regazzi, John J. "Constrained? An Analysis of U.S. Academic Library Shifts in Spending, Staffing, and Utilization, 1998–2008". College & Research Libraries 73, nr 5 (1.09.2012): 449–68. http://dx.doi.org/10.5860/crl-260.
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The study provides an analysis of U.S. academic library spending, staffing and utilization trends from data collected during the period between 1998 and 2008. Data used in this study are part of the NCES biennial survey of approximately 3,700 degree-granting postsecondary institutions. Confirming previous studies, there has been an order of magnitude change in the expenditure of e-books and e-serials; but, contrary to the view of being fiscally restrained, libraries have received investments and increases of approximately 12 percent above inflation over the period with significant increases in nearly every area of library operation. Library staffing is being diversified, while use of physical library assets are in decline for every metric in the study—gate count, reference service, general and reserve circulation. Academic libraries cannot be treated as a homogenous group of institutions, and the study analyzes shifts by type, size, and Carnegie class of institution, illustrating significant difference among these classes of academic libraries, particularly among large doctoral institutions and other academic libraries, with large public and doctoral private institutions driving growth, while small and medium-sized academic libraries have fallen behind in both collections and staff investments.
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Etter, Walter, i Olivier Schmidt. "Gessner’s fossil crab". Journal of the History of Collections 32, nr 3 (18.12.2019): 411–30. http://dx.doi.org/10.1093/jhc/fhz039.
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Abstract Nearly 450 years ago, the Swiss polymath Conrad Gessner was the first to use illustrations in a systematic manner in a book devoted to the subject of fossils. In his treatise De rerum fossilium . . . liber (1565), around 200 single objects are illustrated, of which almost fifty are fossils in the modern sense. Most of the figures were illustrations of pieces from Gessner’s private collection. Against all odds, some of these have survived to the present day in the Natural History Museum in Basel, Switzerland. These remains form the oldest palaeontological reference collection in the world. Among them is the crab that figured prominently in Gessner’s book and became an icon of the early palaeontological literature.
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Hatheway, Holly, Roger Lawson i Charlotte Oertel. "The Digital Cicognara Library: transforming a 19th century resource for the digital age". Art Libraries Journal 45, nr 2 (kwiecień 2020): 47–54. http://dx.doi.org/10.1017/alj.2020.2.
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The Digital Cicognara Library is an international initiative to recreate in digital form the private book collection of Count Leopoldo Cicognara (1767–1834). His collection of five thousand early imprints comprises foundational literature of art and archaeology, and includes a diverse range of publications in all areas of the visual arts. Our partnership's 21st- century effort advances Cicognara's Enlightenment-era ideals by making digital copies of his library available through an open access web application, where they will be fully searchable from a centralized database as well as relevant subject research interfaces. The aggregated images and text offer a potentially transformative opportunity for the discipline of art history and allied disciplines. By offering a new interface for Cicognara's collection, the endeavour allows open access availability to nearly all of the key historical volumes, the illustrations within, and the searchable metadata. The Digital Cicognara Library offers a corpus that will allow scholars to ask and answer new questions in disciplines beyond art history and archaeology, and will offer scholars of early printed books a new access point to study both the individual volumes and their relationship to each other in an accessible digital collection.
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Cox, Justin, i Stephanie Kitchen. "African Books Collective: African Published Books in the North". African Research & Documentation 136 (2019): 4–9. http://dx.doi.org/10.1017/s0305862x00022056.
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This is a presentation about the African Books Collective that for some 30 years has distributed African published academic, literary and children's books around the world. The aim of the paper is to provide some insights into how books published in Africa are making their way to libraries with collections on Africa, and to discuss current and future trends; it being understood that ‘decolonising library collections’, the theme of this conference, would by rights involve acquiring and maintaining materials from outside the global North.Upon its creation in 1990, ABC represented a large number of university presses on the continent and independent publishers, some of which are large firms still trading today. Today few university presses are trading or publishing new books. This work was largely picked-up by private independent publishers and research institutes such as CODESRIA, OSSREA, the Institute of Southern African Studies and others.
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Anikeeva, Tatiana, i Ilona Chmilevskaya. "TURKIC MANUSCRIPTS FROM PRIVATE COLLECTIONS OF ALHAJIKENT (KAYAKENT DISTRICT, REPUBLIC OF DAGESTAN)". History, Archeology and Ethnography of the Caucasus 18, nr 4 (25.12.2022): 899–907. http://dx.doi.org/10.32653/ch184899-907.
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As part of the research project of the RSCF No. 22-18-00295 “Electronic library of Arabographic manuscripts from archival, library, museum and private collections of Russia”, the authors conducted an archeographic expedition in the summer of 2022 to the Kayakent, Akhtynsky and Suleiman-Stalsky districts of the Republic of Dagestan with the aim to identify private and mosque collections of manuscripts and books for their subsequent description and digitization. Two private collections, belonging to K.M. Kamalov and Sh.Yu. Magomedov, were identified in the Kayakent district of Dagestan. They comprise around forty volumes of manuscripts and early printed books, as well as handwritten documents: assembly records, letters, registration of legal transactions, etc. Both collections have a common origin and are fragments of collections belonging to local religious figures: the last pre-revolutionary qadi of the village of Alhajikent, Qadi-Agay and his relatives Abuzar-qadi, local alim of the first half of the 19th century, Abdul Wahab Sheikh and Sheikh Mirza. The part of the collection of Sh.Yu. Magomedov was lost in the 1980s. The content of the collections is mainly represented by works in Arabic in the fields of grammar and stylistics of the Arabic language, Muslim law, dogmatics, occult sciences. Due to the loss of its part, the Sh.Yu. Magomedov’s collection covers the period between 1747-1748 to the first third of the 19th century, while in the collection of Kamalov K.M. there are earlier copies of manuscripts, which, according to paleographic characteristics, can be attributed to the middle of the 17th century. Our paper focuses on the few manuscripts in the Turkic languages, identified in the collections.
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Kawo, Hassen Muhammad. "Islamic Manuscript Collections in Ethiopia". Islamic Africa 6, nr 1-2 (6.07.2015): 192–200. http://dx.doi.org/10.1163/21540993-00602012.
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Ethiopian Muslims introduced literary culture and manuscript collection in the mosques after the introduction of Islam in the seventh century. Books stored and preserved in a bookshelves known as taqet (Arabic, tāqat, shelf). This clearly shows African endogenous culture of preserving textual material that before the introduction of European models for archives and museums. This article demonstrates the collection of Islamic manuscripts in Ethiopian state archives and private collections and illustrates their challenges with recommendation to rescue the collections.
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Ng, Ashton. "Bibliophilia: the Passion of Ming Dynasty Private Book Collectors". Ming Qing Yanjiu 24, nr 2 (13.10.2020): 279–300. http://dx.doi.org/10.1163/24684791-12340051.
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Abstract In the Ming dynasty (1368–1644), book collecting evolved from an elite pastime into a widespread obsession. ‘Bibliophilia’—the passionate love for books—drove many book collectors to exhaust their fortunes or even trade their concubines for books. As books became indispensable towards gaining respectability in Chinese society, scholars, merchants, and landowners ensured that their residences were thoroughly infused with the prestigious “fragrance of books”. Some literati even regarded book collecting as a man’s most important undertaking in life. Ming private book collectors broke away from tradition and made their private collections available for others to view, exchange, or copy, greatly promoting the circulation of books. Through their incredible attention to the collection, classification, storage, and proofreading of books, Ming bibliophiles contributed enormously to the preservation and transmission of Chinese culture.
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Sachkova, G. S. "Private Libraries in Russia: A.S. Norov’ Library". Izvestiya of Saratov University. History. International Relations 11, nr 1 (2011): 34–39. http://dx.doi.org/10.18500/1819-4907-2011-11-1-34-39.
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Private book collections – is an integral part of the cultural environment of the Russian educated society of the first half of the XIX century. The library of an outstanding state and political figure, a scholar, an ardent bibliophile A.S. Norov is a book treasury. In the article the process of the collecting his two libraries is considered. The article also considers the manuscripts and books of those libraries, discloses the reasons induced the owner of these magnificent libraries to sell them. It is noted that A.S. Pushkin used A.S. Norov’s library during his work on «The History of Pugachev». A collection of manuscripts by Norov, together with other private collections of the XIX century, made the manuscript stock of Russian state library.
Rozprawy doktorskie na temat "Illustration of books – private collections"
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Mathis, Véronique. "Louis Lafitte : un peintre d'histoire de la Révolution à la Restauration". Thesis, Normandie, 2020. http://www.theses.fr/2020NORMR081.
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Louis Lafitte (1770-1828) a tenu toute sa vie à se présenter, avec fierté, comme peintre d’histoire, ce que sa formation artistique justifie pleinement. Après un apprentissage chez le graveur Gilles-Antoine Demarteau, il entre dans l’atelier de Jean-Baptiste Regnault, concurrent et rival de celui de Jacques Louis David dans les années 1780. Présenté par ce maître, il est inscrit à l’Académie royale de peinture, sculpture et architecture en 1784 ; son cursus y est honorable : première médaille au quartier d’octobre 1788, et surtout grand prix de peinture, lors de sa première participation au concours en 1791. Ce parcours d’excellence lui vaut une place à l’Académie de France à Rome, mais il ne peut guère profiter de ce privilège, la situation politique de la France ne trouvant pas grâce aux yeux du gouvernement romain. La population supporte de plus en plus mal la présence française et en janvier 1793, c’est l’explosion ; le Palais Mancini siège de l’Académie est incendié, les pensionnaires dispersés. Tous rentrent plus ou moins rapidement en France ; certains comme Lafitte iront se réfugier à Florence jusqu’à la rupture de la neutralité de la Toscane en octobre 1793. De retour en France, commence une période paradoxale : pensionnaire de la République sur le papier jusqu’en septembre 1800, il en perçoit les modestes indemnités, compte peut-être sur un nouveau séjour romain qui ne viendra pas, mais ne parvient pas à « faire la peinture » à laquelle il aspire, faute d’obtenir un atelier, malgré des demandes répétées. Il n’entre pas non plus dans le cénacle des artistes sollicités régulièrement par les gouvernements successifs, mais il donne parfois de timides signes d’assentiment au régime en place, de l’an II jusqu’à l’Empire où il bénéficie alors de commandes officielles plus importantes, comme le simulacre de l’Arc de triomphe de l’Etoile pour le mariage de Napoléon et Marie-Louise. Son ralliement enthousiaste à la Restauration montre sans doute le vrai visage de Lafitte quant à ses affinités politiques. Il en résulte une place très officielle de dessinateur du Cabinet du Roi, qui conclut avec panache une carrière dont le parcours est souvent difficile à reconstituer. La plus grande partie de sa vie, il n’est pas dans la lumière, car faute de clients publics, il s’est tourné très vite vers une clientèle privée, que son titre de peintre d’histoire, inlassablement mis en avant, n’a pas manqué d’attirer et que ses réels talents de dessinateur ont fixé. On lui demande surtout des travaux en rapport avec les goûts du temps, décors intérieurs pompéiens, ou portraits, tous objets qui malheureusement n’ont que très exceptionnellement laissé des traces. Son crayon sûr et incisif travaille pour les graveurs d’estampes, avec des morceaux célèbres comme les figures du calendrier républicain, ainsi que pour les éditeurs de belles éditions illustrées, dont les lecteurs de l’époque sont friands. On pense notamment à la luxueuse édition Didot de Paul et Virginie, orchestré de bout en bout par Bernardin de Saint Pierre lui-même. Il s’est taillé dans ce dernier domaine une réputation telle, qu’il est resté comme un illustrateur de livres pour une part non négligeable d’auteurs du XIXe siècle. Il n’a pas manqué non plus d’être intéressé par les arts appliqués et de fournir des dessins aussi bien pour de l’orfèvrerie que pour des papiers peints ; des objets de luxe, produits en petit nombre certes, mais industriellement quand même, qui montre un artiste ne dédaignant pas les demandes d’une société de consommation exigeante. Comme on le voit, il ne fait pas œuvre de peintre d’histoire ; mais ce parcours très diversifié, faisant feu de tout bois, montre une adaptation originale à la situation nouvelle que rencontrent les artistes dans une période particulièrement troublée. Elle permit à Louis Lafitte, peintre d’histoire, sinon d’atteindre la gloire, au moins de vivre correctement de son artAll his life Louis Lafitte (1770-1828) insisted on introducing himself, with pride, as a history painter, a statement which his artistic training fully justified. After an apprenticeship with the engraver Gilles-Antoine Demarteau, he was the pupil of Jean-Baptiste Regnault, a competitor and rival of Jacques Louis David's in the 1780s. Introduced by his master, he was enrolled at the Royal Academy of Painting, Sculpture and Architecture in 1784; his studies there were honourable: first medal in October 1788, and above all the grand prize in painting, when he first took part in the competition in 1791. This course of excellence earned him a place at the Académie de France in Rome, but he could hardly take advantage of this privilege, as the political situation in France was not acceptable to the Roman authorities. The population could not stand the French presence and in January 1793, it was mayhem; the Mancini Palace, the seat of the Academy, was burnt down and the residents dispersed. All of them returned to France more or less quickly; some, like Lafitte, took refuge in Florence until the neutrality of Tuscany was ruptured in October 1793. On his return to France, a period of uncertainty began: an official resident of the Republic until September 1800, he received modest compensation. His desire to return to Rome was unfulfilled as was his aspiration to become a history painter, as he was unable to obtain a studio, despite repeated requests. Nor did he enter the cenacle of artists regularly solicited by successive governments, but he sometimes gave timid signs of assent to the regime in power, from the year II to the Empire, where he received more important official commissions, such as the simulacrum of the Arc de Triomphe de L'Etoile for the wedding of Napoleon and Marie-Louise. His enthusiastic rallying to the Restoration undoubtedly shows the true face of Lafitte's political affinity. The result was a very official position as draughtsman in the King's Cabinet, which concluded his artistic career which is often difficult to reconstruct. For most of his life, he was not in the limelight, lacking public clients, he very quickly turned to a private clientele, which he obtained by using his title of a history painter. He was mainly asked to paint works in line with the tastes of the time, Pompeian interior decorations, or portraits, which we have little trace of today. A skilled draughtsman, he worked for print engravers, producing famous pieces such as figures from the republican calendar, but also for publishers of refined illustrated editions, very appreciated by the readers of the time. One thinks, in particular, of the luxurious Didot edition of Paul and Virginie, directed from beginning to end by Bernardin de Saint Pierre himself. In the publishing field, he earned such a reputation that he remained a book illustrator for a large number of 19th-century authors. He was also interested in the applied arts and provided drawings for both the goldsmiths and wallpaper trade. These were luxury objects, produced in small numbers but mechanically manufactured. As an artist, Louis Lafitte accepted the demands of consumer society, his eclectic career showed his constant ability to adapt during the revolution and although he is not remembered as a history painter, he succeeded in making a living from his trade
Książki na temat "Illustration of books – private collections"
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1956-, Fridman Boris, Fedorovich Alina i Alexeïeff-Rockwell Svetlana, red. Konstruktor mert͡sai͡ushchikh form: Knizhnai͡a grafika Aleksandra Alekseeva iz sobranii͡a Borisa Fridmana. Sankt-Peterburg: Vita Nova, 2011.
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Daniel, Kendra. Flights into fantasy: The Kendra and Allan Daniel collection of children's illustration. Chadds Ford, Pa: Brandywine River Museum, 2007.
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von, Kritter Ulrich, i Kritter Inge von, red. Literatur und Zeiterlebnis im Spiegel der Buchillustration 1900-1945: Bücher aus der Sammlung v. Kritter : Illustration als Anregung zum Lesen : der Illustrator ein Partner des Autors : eine Dokumentation des Sammlerehepaares. Bad Homburg vdH: U. von Kritter, 1989.
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Stadtmuseum, Oldenburger, red. Mythos Aeneis: Vergil-Illustrationen der Sammlung Ulrich Wilke. Oldenburg: Stadtmuseum Oldenburg, 2016.
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Bock, Sybille. Französische Malerbücher von Bonnard bis Picasso: Aus der Sammlung Christa und Wolfgang Classen. Freiburg: Augustinermuseum, 1999.
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John, Windle, red. The Blake Collection of Joseph Holland & Vincent Newton.: With additions from our inventory. San Francisco: J. Windle, 1995.
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Dalí, Salvador. Salvador Dalí: Das goldene Zeitalter : Illustrationen 1930-1980 : aus der Sammlung Richard H. Mayer, Bamberg. Bamberg: Kunstkontor, 2003.
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Fridman, Boris, 1956- author, compiler, Tolstoĭ, A. V. (Andreĭ V.), author i Gosudarstvennyĭ muzeĭ izobrazitelʹnykh iskusstv imeni A.S. Pushkina, red. Kniga khudozhnika: Livre d'artiste : ispanskai︠a︡ kollekt︠s︡ii︠a︡ : Pikasso, Dali, Miro, Gris, Klave, Tapʹes : iz sobraniĭ Georgii︠a︡ Gensa i Borisa Fridmana. Moskva: Izdatelʹstvo "Rost Media", 2012.
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1881-1968, Hirezaki Eihō, i Ōta Kinen Bijutsukan, red. Kaburaki Kiyokata to Hirezaki Eihō: Kindai bungaku o irodoru kuchie--Asahi Tomoo korekushon = Kaburaki Kiyokata and Hirazaki Eiho : illustrations bringing color to modern literature. Tōkyō: Ōta Kinen Bijutsukan, 2020.
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V, Rat͡s︡ M., Kravchenko L. P, Molok I͡U︡ A, Vologodskiĭ oblispolkom Upravlenie kulʹtury i Vologodskai͡a︡ oblastnai͡a︡ kartinnai͡a︡ galerei͡a︡, red. Izdatelʹstvo "Academia," 1922-1937: Knizhnai͡a︡ grafika : iz sobranii͡a︡ M.V. Rat͡s︡a : katalog vystavki. Vologda: [s.n.], 1985.
Znajdź pełny tekst źródłaCzęści książek na temat "Illustration of books – private collections"
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Weis, Joëlle. "“Fait à mes heures de loisir”: Women’s Private Libraries as Spaces of Learning and Knowledge Production". W Women’s Private Practices of Knowledge Production in Early Modern Europe, 105–28. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-44731-0_5.
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AbstractThe Duchesses Elisabeth Sophie Marie (1683–1767) and Philippine Charlotte of Brunswick- Wolfenbüttel (1716–1801) both owned substantial collections of several thousand books. Elisabeth’s library primarily contained theological literature, including 1200 Bibles and a unique collection of texts by Martin Luther, which she used to compose theological pamphlets. In addition, she granted access to her collection to selected scholars who, in turn, used the holdings for their research. Although more diversified, Philippine Charlotte’s library functioned as a similar meeting place for scholars of the region and beyond. Moreover, her papers offer an insight into the interaction between her book use and the writing that she did in her free time. In contrast to the usage practices of the neighbouring ducal library, Philippine Charlotte was free to consult the books she wanted in the privacy of her chambers for as long as she wanted to and, most importantly, without fear of being judged. It is certain that, in both cases, the privacy of the library gave the women the freedom to pursue intellectual interests, which were hard to combine with their public role as Duchesses. The fact that both women expanded their libraries considerably after becoming widows only supports the observation that private and “leisure” time could take more space. Based on these findings, this chapter argues that women’s learning and knowledge production in the early modern period both benefitted from and, in many cases, needed privacy.
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Bowen, Karen Lee. "Collections". W Christopher Plantin's Books of Hours: Illustration and Production, 287–88. BRILL, 1997. http://dx.doi.org/10.1163/9789004616318_020.
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Harconiţa, Elena. "The Second Life of Books from Private Collections". W Book Power in Communication, Sociology and Technology. Trivent Publishing, 2018. http://dx.doi.org/10.22618/tp.pcms.20181.156015.
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Parker, Polly, i Michael B. Arthur. "Careers, Organizing, and Community". W Career Frontiers: New Conceptions of Working Lives, 99–122. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198296911.003.0005.
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Abstract In Fritjof Capra’s book The Web of Life (1996) there is an illustration. On the left-hand side of the illustration are several circles, meant to represent life’s phenomena as we usually understand them. The phenomena may be any commonly recognized units: parts of the human anatomy, collectives of people, members of other biological species, rivers, forests, oceans, and so on. From each circle, and connecting it to other circles, flow multiple lines. The representation concurs with how we usually think in social science, in viewing the world as relationships among similar phenomena or units of anallysis. For instance, individuals, groups, social classes, institutions, governments, countries, and —not least —private or public companies, are popular units of analysis in psychology, social psychology, sociology, political science, economics, and organizational and management science.
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"Dispersed Collections of Scientific Books: The Case of the Private Library of Federico Cesi (1585–1630)". W Lost Books, 386–99. BRILL, 2016. http://dx.doi.org/10.1163/9789004311824_019.
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Schmidt, Michał. "Zabytki piśmiennictwa mieszczańskiego do końca XVI wieku w krakowskich bibliotekach naukowych". W Pisarze i księgi miejskie z Królestwa Polskiego doby jagiellońskiej: Studia i materiały, 9–25. Ksiegarnia Akademicka Publishing, 2024. http://dx.doi.org/10.12797/9788383680774.01.
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The article presents the city books from the Kingdom of Poland until the end of the 16th century collected in Kraków’s scientific libraries. The search was not limited to manuscripts written by municipal authorities, but also included books of municipal institutions and private individuals. Over 70 books and their fragments were found, coming from 30 different cities. Although the described collections of city books are not numerous, they fully show the cross-section of the literacy activities of municipal authorities and institutions. The largest group is the documentation of municipal authorities (council, jury, advocate): court books, accounting and administrative books, as well as cartularies. Another category are guild books, mostly including lists of craftsmen, court cases and accounts. The books of fraternities and hospitals are less numerous and contain mainly financial entries and lists of fraternity members. The last group are rare files of private persons: their notes and legal or financial records.
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Hadjimichael, Theodora A. "Towards a Written Text". W The Emergence of the Lyric Canon, 171–212. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198810865.003.0006.
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Chapter 5 considers the materiality of lyric poems, and discusses the coexistence of lyric song with the availability and circulation of lyric texts both within and outside Athens. The analysis presents the fifth-century literary and archaeological evidence on the existence of various kinds of books in everyday life, and distinguishes between public availability of (lyric) texts in Athenian book markets and copies owned by individuals in private book collections. No reference is ever made to book-rolls with lyric poetry in the market in our sources, and it is difficult to argue that lyric texts circulated widely in Athens. It is, however, possible that they were part of Athenian private collections. The discussion also concentrates on the sociology of lyric reception and transmission in democratic Athens. Our sources suggest that canonical sixth- and fifth-century lyric remained a favourite of the ‘elite’ and intellectuals, who would have preserved these poems as both text and song.
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Wieacker, Franz, Tony Weir i Reinhard Zimmermann. "Legal Literature at the Time of the Reception". W A History Of Private Law In Europe, 127–31. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198258612.003.0009.
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Abstract The circulation of Romanistic legal literature in Germany from the pre reception of canon and secular law in the High and late Middle Ages onwards was surprisingly wide, as recent research has shown. Its libraries already held rich manuscript collections of works by Italian and French legists as well as canonists, but Germany quite soon produced its own literature-scholarly glosses on the Corpus’ and native law, primers, vocabularies, books of forms, admittedly of a somewhat provincial cast, and even some original studies of the law books of Justinian. Such production continued smoothly into the Reception proper, the only difference being that there was much more of it, particularly of popular writing in German; this was in response to the demand stimulated by the rapid increase in secular courtwork and commercial law as the Reception progressed, a demand which could be met only by printed books. So whereas the pre-reception had to depend on manuscripts, which provide us with the evidence for it, the Reception itself was dominated by print, which helped it on its way. Just as printing paved the way for the revolutions in religion, politics, and literature from the late fifteenth century onwards, so it was critical for the full effect of the Reception. Printing rendered the written word accessible to the people, and formed public opinion in the bourgeoisie, artisanate, and even peasantry, no less ready then than now to believe whatever they saw in print. Only scholars and the elite attended lectures or read manuscripts-almost invariably couched in the hallowed language of Western learning, as they continued to be for a long time-but the medium of printed books in the vernacular allowed the broad middle classes to acquire some little knowledge of Roman law.
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Dubey, Benu Sagar, Gopakumar K i Mukesh Singh. "Analysis of the Outsourcing Models and Recommendation". W Interdisciplinary Perspectives on Business Convergence, Computing, and Legality, 74–90. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-4209-6.ch008.
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This chapter presents the trends in IT services, outsourcing, and vendor management in Indian IT industry. It includes a study of IT services, vendor management, and business model of Outworks Solution India Private Limited, NOIDA. Major findings are in the field of Cloud Computing, mobile applications, and digital illustrations. Digital illustration can be the next big thing that replaces the traditional study thorough books to digitally created cartoons and creatures for the kids. Mobile has become a necessity of life; in such an environment, mobile applications are in high demand. Each organization launches their mobile applications, WAP, so that they can reach to the greater audience in this competitive atmosphere. Cloud Computing proved a boon for SMEs in India because of value for money solutions. Near future in the field of IT is dedicated to Cloud Computing, mobile applications, and digital illustration technologies.
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Fulkerson, Diane M. "Technology for Remote Access". W Advances in Library and Information Science, 79–93. IGI Global, 2012. http://dx.doi.org/10.4018/978-1-4666-0234-2.ch006.
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Technology to access materials remotely has gone from document delivery via snail mail to documents received electronically. No longer do users have to come into the library to find articles in scholarly journals, magazines, and newspapers. Books are not always available electronically, but users can search the library’s online catalog to find print and e-books without going to the library. The primary technologies used to access materials off-campus are virtual private networks (VPN) and EZproxy. These technologies authenticate users through a password. Once they are authenticated they can access the library collections for their research.
Streszczenia konferencji na temat "Illustration of books – private collections"
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Moldovanu, Anastasia. "The Scientific Value of the Collection of “Tudor Arghezi” art Library. Heritage Documents". W Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.01.
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The written culture of a people is impressive in terms of heritage documents. These include books, the press, old prints and manuscripts, maps. According to their scientific importance, the Library’s collection includes current books, old books, books that, regardless of the year of publication, have special graphic qualities of the cover, title page, valuable content, atypical format, illustrations by well-known artists, and books with special bibliophile value with the signature or autograph of the author/donor. In libraries, such documents come from private donations and libraries; they are collected by professional people who activated in a certain period of time. These donations are managed in the form of special collections at the Arts Branch. In this context, the question of managing this special fund appears, i.e. the inventory, cataloging and preservation of the fund, the elaboration of a common Bibliography for all branches of “B. P. Hasdeu” Municipal Library, which would be permanently completed and therefore become everybody’s common good.
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Melnikov, Ilya A. "Collections of Old Believers Books of the Novgorod eological Seminary and the “Brotherhood of St. Sophia” in the Context of “Internal Mission”". W Лихудовские чтения — 2022. НовГУ им. Ярослава Мудрого, 2023. http://dx.doi.org/10.34680/978-5-89896-832-8/2023.readings.11.
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e article introduces the history of the formation of collections of handwritten and old printed books that were kept among the Old Believers, which then were transferred in the libraries of the Novgorod eological Seminary and the missionary Brotherhood of St. Sophia. As in other regions, these collections arose in the second half of the XIX century due to the need to conduct polemics with representatives of the Old Believers and sectarianism, which was an important part of the so-called “internal mission” of the Greek-Russian Church. ey were based on manuscripts con scated in the Old Believers communities of the Novgorod province, as well as from private collections in the course of government persecution of religious dissidents. At present, some of the books have been preserved in the funds of the National Library of Russia, as well as the Novgorod State Museum-Reservation. ese collections, which include manuscripts and early printed books of the XVI–XIX centuries, are an important source base characterizing the book culture of the Old Believers in the Novgorod region, which in many respects was a continuation of the traditions of Medieval Russia.
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Polak, Yuri Еvgenievich. "Digital Libraries as Information Source on the Evolution of Telegraph". W 23rd Scientific Conference “Scientific Services & Internet – 2021”. Keldysh Institute of Applied Mathematics, 2021. http://dx.doi.org/10.20948/abrau-2021-4.
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The century before last saw revolutionary changes in the transmission of information. For the functioning of the optical telegraph, which appeared at the end of the 18th century, cumbersome towers were necessary for the line of sight of the semaphore signals. One hundred years later, telegraph lines were hundreds of thousands of kilometers long; at the turn of the century, the first experiments with the use of a wireless telegraph began. This is reflected in numerous brochures, books, periodicals of that time. A hundred years later, many of these materials became publicly available thanks to the development of the Internet and electronic libraries, which made the appearance of this work possible. Its goal is to trace the evolution of technologies and processes of information transfer in the 19th century using a wide variety of electronic libraries - from the grandiose projects of the Library of Congress and Google Books with their millions of digitized books to modest private collections dedicated to local topics. Used materials from 20+ electronic libraries.
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Rocaciuc, Victoria. "Book graphics in the creation of the plastic artist Liudmyla Kozhokar". W Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.11.
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The fine arts artist Liudmyla Kozhokar had professional studies in Ukraine: the Arts Studio in Kherson (1975–1978) and the Ukrainian Polygraphic Institute „I. Fyodorov” in Lvov (1978–1983). Since 1984, Liudmyla Kozhokar participates in fine art exhibitions in Chisinau and abroad. Since then, the artist has collaborated with various Moldovan publishing houses, combining publishing with teaching in the field of fine arts. Since 1999 Liudmyla Kozhokar is a full member of the UAP of the Republic of Moldova, and since 2001 – a member of the A.I.A.P. UNESCO, Paris, France. Liudmyla Kozhokar’s works are in the collections of the National Art Museum of Moldova and in private ones in Romania, the Republic of Moldova, France, USA, Iraq, Italy, Germany, Japan, England, etc. The graphic designer illustrated books of different kinds: ABC books, textbooks, children’s stories, encyclopedic literature, etc. Liudmyla Kozhokar perceives each graphic book separately, finding new plastic formulas and stylistic methods, delving into the text and studying it to the last sentence.
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Vladetić, Srđan. "Biblioteka Asinija Poliona (bibliotheca asini pollionis): prva javna biblioteka u starom Rimu". W XVI Majsko savetovanje. University of Kragujevac, Faculty of Law, 2020. http://dx.doi.org/10.46793/upk20.367v.
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Thanks to Greek influence, firstly through some individuals, and after that through conquests, Romans have come to contact with books and libraries. The first Roman libraries were private collections that belong to the military commanders and to the members of higher social class. Development of public libraries starts at the end of the 1st century BC with founding of Library of Asinius Pollio. In this work it would be pointed out on when, how and where this particular library was found. In addition, it would present overview of library collection and library staff. At the end in the article services that library has provided to its clients will be presented, as well as its influence and importance for the work of other public libraries in Ancient Rome.
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Vladetić, Srđan. "Biblioteka Asinija Poliona (bibliotheca asini pollionis): prva javna biblioteka u starom Rimu". W XVI Majsko savetovanje. University of Kragujevac, Faculty of Law, 2020. http://dx.doi.org/10.46793/upk20.367v.
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Thanks to Greek influence, firstly through some individuals, and after that through conquests, Romans have come to contact with books and libraries. The first Roman libraries were private collections that belong to the military commanders and to the members of higher social class. Development of public libraries starts at the end of the 1st century BC with founding of Library of Asinius Pollio. In this work it would be pointed out on when, how and where this particular library was found. In addition, it would present overview of library collection and library staff. At the end in the article services that library has provided to its clients will be presented, as well as its influence and importance for the work of other public libraries in Ancient Rome.
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Lendvay, Miklós. "Országos Könyvtári Platform – központi könyvtári szolgáltatások együttműködő rendszere". W Networkshop. HUNGARNET Egyesület, 2020. http://dx.doi.org/10.31915/nws.2020.10.
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In 2020/21, the collaborative distributed Hungarian library platform will be completed and introduced, revolutionizing library services with state-of-the-art IT solutions. The Hungarian National Library Platform (HNLP) puts the national library services, the common catalog and interlibrary loan, the services of the ISBN office, the digitization cooperation on a new foundation, and integrates the Hungarian National Namespace and opens up entity-based data connections beyond the library world. It expands the range of services provided to readers, providing legitimate digital content to both library visitors and remotely logged in online users. It provides modern interfaces for publishers and authors to expand the range of information about their publications with relevant data. It is open to libraries to replace, in part or in full, their existing IT solutions and, moving into the cloud-based system, use it as their own integrated library platform. The parameterdriven HNLP allows connected libraries to create a unique brand image, deliver their collections in the most diverse way, while becoming an integral part of an entity-based data model-based metadata repository and digital object repository. The collaboration between libraries, which began in 2016 with the design of the new platform, has now entered a new phase: our partners review the specifications, the libraries provide their data for the developed modules, test the system elements, and then the entire platform in an integrated way. The first module of the HNLP, the “old and rare books” module, was launched in October 2019, followed by the launch of the Library Science Library in 2020, and in 2021 the operation of the National Széchényi Library in this modern environment will follow. What are the main pillars of this platform? What secures the required flexibility? What makes it capable of accommodating any type of metadata and serving any type of library? How can all types of libraries be connected, small and large libraries, university and church, public and private libraries alike? How is the system open to the processing of archival and museum materials? What has been achieved so far and what are the next steps until the full transition?