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1
Bouquet, Olivier. "Un ancien régime typographique: Culture manuscrite, société graphique et ponctuation turque ottomane." Annales. Histoire, Sciences Sociales 76, no. 1 (March 2021): 85–116. http://dx.doi.org/10.1017/ahss.2021.46.
Повний текст джерелаАнотація:
Un ancien régime typographique: Culture manuscrite, société graphique et ponctuation turque ottomaneLa présente étude substitue une analyse technique et graphique des opérations typographiques à l’approche politique et culturelle qui met habituellement l’accent sur les obstacles opposés à l’apparition de l’imprimerie dans l’Empire ottoman. Au-delà d’une démarche historiographique centrée sur les échecs de la modernisation culturelle, un examen combiné des caractères typographiques et des signes de ponctuation invite à proposer une histoire conjuguée de l’imprimé et du manuscrit. Celle-ci, tournée vers l’étude des vitalités textuelles, met au jour des convergences entre les productions calligraphiques, les expérimentations de la typographie et les progrès de la lithographie. Elle relie le travail du typographe aux actions de la main, les activités de l’éditeur aux productions de l’auteur, l’impression des matrices aux inscriptions de la plume. La ponctuation est un terreau d’innovation qui propose, au fil de ses modalisations, de nouvelles insertions, créations et hybridations contribuant au développement de la société graphique ottomane : les gens de l’écrit (scribes, copistes, lettrés, mais aussi éditeurs, typographes et imprimeurs) produisent des textes en fonction d’une culture manuscrite, de contraintes techniques et des caractères propres à la langue turque ottomane. Dès lors, une approche technique de l’ensemble des formes de production écrite permet d’ouvrir un nouveau chantier : celui d’une histoire croisée de la langue et des textes.
2
Mirzorakhimov, A. "HISTORICAL AND RELIGIOUS LITHOGRAPHIC BOOKS ON THE LITERARY HERITAGE OF UZBEKISTAN." CURRENT RESEARCH JOURNAL OF HISTORY 03, no. 11 (November 1, 2022): 24–32. http://dx.doi.org/10.37547/history-crjh-03-11-05.
Повний текст джерелаАнотація:
Although books on the history of Central Asian petroglyphs have been widely published, no scientific research has been carried out in this regard to date. Of course, there are specific reasons for this situation, first of all, the rise of ideas that the people of Central Asia were backward and illiterate in the period before the October coup d'état of 1917, attempts to falsify knowledge about historical periods that educate the population in the spirit of patriotism and freedom, the study of lithographic books about history hindered in a way. Also, the focus on handwritten books in the coverage of historical processes has led to the exclusion of historical lithographic books. However, lithographic books were important not only from a source point of view, but also from a social point of view. It should be noted that the wider spread of manuscript books, as well as the social factor of lithographic books, allowed for the wide distribution of important historical sources among the population. Taking into account the fact that the work “History of Mullozoda” was published several times in lithographs, it is possible to know how widespread it was among the population [1].
3
Lund, Sarah E. "Fossils: Lithography’s Porous Time and Eugène Delacroix’s Faust Marginalia." Nineteenth Century Studies 35 (November 2023): 1–32. http://dx.doi.org/10.5325/ninecentstud.35.0001.
Повний текст джерелаАнотація:
Abstract The new printing technique of lithography, which flourished in the early nineteenth century, has been examined for its connections to Romantic ideals of artistic subjectivity, to the liberal press, and to a boom in visual media. This article centers lithography’s unique materiality to investigate the significance of its new technique—its use of limestone—that establishes compelling connections to natural history and new conceptions of time. Eugène Delacroix’s (1798–1863) unruly marginalia, which populate the borders of the first printer’s proofs of his 1828 lithographic illustrations of Johann von Goethe’s (1749–1832) Faust, serve as a case study. Drawn on and printed from lithographic limestone, the marginalia can be interpreted as fossils. This article examines how lithography facilitated new conceptions of history, time, and memory that provided grounds for a Romantic artist like Delacroix to blur the boundaries between the human and the earthly, the artificial and the natural, the ephemeral and the historic, to find within the liminal the production and reproduction of transgressive forms that persisted throughout his artistic oeuvre.
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Young, Tom. "The ‘Autographic Self’: Facsimile Signatures and Lithographic Portraiture at the Crossroads of Liberalism, Romanticism and Nationalism, c. 1800–60." Cultural History 12, no. 2 (October 2023): 168–200. http://dx.doi.org/10.3366/cult.2023.0286.
Повний текст джерелаАнотація:
This article traces the cultural history of a portrait format popularised through the global expansion of lithographic printing. This format combined a traditional portrait vignette with a lithographic facsimile of the sitter’s signature. Such ‘facsimile-autographed’ portraits evoked the notion that sitters had physically signed their own likenesses – testifying not only to the veracity of the depiction, but displaying an indexical trace of embodied agency. The article argues that this format afforded a particularly cogent way to conceptualise and communicate ideas about selfhood and society in liberal, romantic, and nationalist political programmes. Such lithographic portraits did not simply ‘encode’ or ‘reflect’ these new ideas, however, but were part of a technological revolution that decentralised the production of mass media and thereby reshaped the societies in which such novel ideas flourished. By connecting the various expressions of public selfhood found in facsimile-autographed portraits to the way lithography expanded audiences and reshaped modes of conceptualising public and private life over the course of the nineteenth century, this article argues that established scholarly concepts like the ‘romantic self’ or ‘liberal self’ might be reconsidered through a new, technomaterial heuristic: the ‘lithographic self’.
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Baishya, Amit R. "Postcolonial Lithographies." KronoScope 20, no. 2 (November 16, 2020): 215–38. http://dx.doi.org/10.1163/15685241-12341469.
Повний текст джерелаАнотація:
Abstract This article explores how considerations of deep time—not just deep human histories, but inhuman ones as well—can help us re-evaluate postcolonial literary works in the wake of the Anthropocene. I focus on the representation of “lithic time” through a reading of the Martinican writer Patrick Chamoiseau’s novel Slave Old Man. Chamoiseau’s novel has had some traction in animal studies recently because of his conjoined portrayal of the mutual degradation and eventual enslavement of a human and a dog in a colonial plantation in Martinique. I argue, however, that a consideration of stones and lithic time in the novel facilitates a push beyond the located aspects of interspecies relationships and opens portals to contemplations of the inhuman dimensions of geohistorical time. This article looks at the inhuman temporal dimensions of stone in Chamoiseau’s novel, while simultaneously reflecting on how a deep time perspective can assist us in reconceptualizing postcolonial literary analytical strategies.
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Roozeboom, Fred. "(Gordon E. Moore Medal for Outstanding Achievement in SSS&T) Moore’s Law Sustained by Non-Lithographic Technologies." ECS Meeting Abstracts MA2023-01, no. 29 (August 28, 2023): 1774. http://dx.doi.org/10.1149/ma2023-01291774mtgabs.
Повний текст джерелаАнотація:
Since G. Moore’s historical observation [1] that the functionality per chip (bits, transistors) as well as MPU performance (clock frequency in MHz × instructions per clock = millions of instructions per second) doubles every 1.5 to 2 years, the semiconductor industry has continued to grow to over 600 G$ in 2022 [2]. The IRDS 2022 Roadmap [3] catches the scaling challenges faced for the upcoming decades by the term ‘3D Power Scaling’. This period is the third in a sequence of eras that started early on with straightforward geometrical scaling by continuous shortening of the wavelengths (from regular UV to deep UV/immersion) used in the lithographic patterning of planar transistor structures (Fig. 1a). In the second, almost past ‘equivalent scaling’ era, new superior material properties and critical dimensions nearing single-digit nanometer values could still be realized by cost-effective technology solutions, often in spite of the delay in (EUV) lithography solutions. Ever more complex device architectures requiring extreme edge placement accuracy, layer conformality and shape fidelity in all processing steps (deposition, etching) could be fully 3D-integrated into vertical intra- and inter-chip concepts (Fig. 1b) thus alleviating the need for new capital-intensive lithography tools capable of higher resolution (~ 40% of total tool costs). Figure 2 illustrates the development in the past 65 years of the non-lithographic technologies that have sustained Moore’s Law, as driven by continuous downscaling of CMOS devices. Two extra trends have set in half way (~1993): single-wafer processing and heterogeneous device integration. The latter development, often coined as More than Moore, a term that was introduced in the 2005 ITRS Roadmap, and refers to the silicon-compatible integration of devices with functionalities that do not necessarily scale according to Moore's Law, but provide additional value in different ways. The More-than-Moore approach allows for the incorporation of non-digital functionalities (e.g., RF communication, passive components, power control, sensors, actuators) that can flexibly move from the system board-level into the package (SiP) or onto the chip (SoC). We will discuss a kaleidoscopic view of the author’s activities in Rapid Thermal Processing, RIE etching for TSVs, RF-SIP integration of passives, and Atomic Layer Processing (deposition, etch, and cleaning). In sub-10 nm scaling and fabrication of 3D architectures, especially the techniques of ALD and ALE have manifested to cost-effectively bridge the record incubation time needed to bring EUV technology from prototype to commercial use. More importantly, these unique techniques can be used to create advanced devices in dedicated isotropic (thermal and radical-enhanced) and anisotropic (directional and ion-enhanced) processing modes. Here, energetic species (radicals and/or ions in a plasma) are used in one or two steps, with the ions yielding anisotropic profiles (used in FinFET logic and 3D NAND memory), and neutrals and radicals yielding isotropic profiles used to deposit or etch the features in horizontal nanowires, nanosheets and ‘forksheets’ in GAA-FETs. 1. G. Moore, Cramming more components onto integrated circuits, Electronics 38(8), (1965) 114-118. 2. https://www.semiconductors.org/global-semiconductor-sales-increase-24-year-to-year-in-october-annual-sales-projected-to-increase-26-in-2021-exceed-600-billion-in-2022/ 3. International Roadmap for Devices and Systems (IRDS™) 2022 Edition - IEEE IRDS™. Fig. 1. a) Different scaling ages for device manufacturing; b) the planar-to-GAA transition; after [3]. Fig. 2. Historic and future perspectives of non-lithographic key technologies in IC scaling. Figure 1
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Anikeeva, T. A. "The Sali Bauatdinov's manuscript sub-collection within the manuscript collection from the Karakalpak institute of humanities of the Academy of sciences of the Republic of Uzbekistan / Nukus." Orientalistica 6, no. 2 (September 6, 2023): 239–48. http://dx.doi.org/10.31696/2618-7043-2023-6-2-239-248.
Повний текст джерелаАнотація:
This article is a continuation within a research series, which deals with hand written and early printed books, which constitute a Manuscript Collection housed at the Karakalpak Institute of Humanities of the Karakalpak Branch of the Academy of Sciences of Uzbekistan (City of Nukus, Karakalpakstan). The Collection contains several hundred manuscripts, early printed books and lithographs in Arabic, Turkic and Persian languages from 18th to the middle of the 20th cent. This diverse Collection itself is a clear evidence of the development of the book culture in Karalpakistan. An important part of the whole Collection is a recently acquired subcollection of ca 150 items (handwritten, early printed and lithograph books) mostly from the 19th–20th cent., which did belong to Sali Bauatdinov. The sub-collection comprises tafsirs, works on fiqh, Turkic Sufi literature (Sufi Allah Yar) and Persian poetry, Arabic fiction of the 20th century, etc.Work in progress on this collection, which includes description and attribution of various items was started last year.
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Shackel, Paul A. "The Unchecked Capitalism Behind The Bird’s-Eye View." Pennsylvania History: A Journal of Mid-Atlantic Studies 91, no. 1 (2024): 26–46. http://dx.doi.org/10.5325/pennhistory.91.1.0026.
Повний текст джерелаАнотація:
ABSTRACT By the middle of the nineteenth century, the development of bird’s-eye views, or panoramic lithographic maps, became a popular vehicle for Americans to promote their towns and cities. Today, they are important for understanding late nineteenth-century geography, the spatial layout of towns, and architecture. Examination of one of these maps, “Miner’s Mills and Mill Creek,” in the anthracite region, shows the care and precision of the mapmaker, T. M. Fowler. A deeper reading of the map enables us to reveal a more complicated story of the community’s past. Researching the history of one anthracite town shows how the anthracite industry led to environmental, social, and psychological trauma, which continues today. While coal mining is now almost nonexistent, a social history of anthracite communities represented via panoramic lithographic maps can provide a long-term history of past traumas.
9
Le Men, Ségolène. "Une lithographie de Daumier en 1869, Lanterne magique ! ! !.." Revue d'histoire du XIXe siècle, no. 20/21 (June 1, 2000): 13–37. http://dx.doi.org/10.4000/rh19.207.
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Blum, Ann. ""A Better Style of Art": The Illustrations of the Paleontology of New York." Earth Sciences History 6, no. 1 (January 1, 1987): 72–85. http://dx.doi.org/10.17704/eshi.6.1.5635758n4521384g.
Повний текст джерелаАнотація:
James Hall, like other authors and editors of 19th-century American state and federal surveys, learned first hand that publishing illustrations was time-consuming, frustrating and expensive. But illustrations were indispensible, providing the graphic communication of morphology that justified the author's taxonomic decisions. That essential information, however, passed through the hands of an illustrator and either an engraver or lithographer before it reached the scientific audience that would test and judge it. Artists and printers, therefore, needed close supervision; plates required careful proofing and sometimes cancellation. Hall, like his colleagues, vastly underestimated the time and expense that his project would entail. The plates illustrating the Palaeontology reflected changes occurring in American science and printing. Over the decades spanned by the publication, picture printing techniques changed from craft to industry, and converted from engraving to lithography; so did the New York survey. Meanwhile, the scientific profession developed illustration conventions to which publications with professional intent increasingly conformed. These conventions combined standards of "accuracy" with issues of style to reflect both scientific activity and its social context. The early illustrations drawn by Mrs. Hall were no less "accurate" although clearly less polished than the collaborations between R.P. Whitfield and F.J. Swinton, or the later work of J.H. Emerton and E. Emmons, Jr. The artists and printers of the Palaeontology plates emulated and contributed to the emerging national style of zoological and paleontological illustration, and thus helped consolidate the "look" of American science.
11
SHARPE, TOM. "HENRY DE LA BECHE’S 1829–1830 LITHOGRAPH, DURIA ANTIQUIOR." Earth Sciences History 41, no. 1 (January 1, 2022): 47–63. http://dx.doi.org/10.17704/1944-6187-41.1.47.
Повний текст джерелаАнотація:
ABSTRACT Duria antiquior [A more ancient Dorsetshire], the famous reconstruction of life in the early Jurassic seas of southern England by Henry Thomas De la Beche (1796–1855) was prepared in collaboration with William Buckland (1784–1856) as a watercolor and published as a lithograph in late 1829 or early 1830. Sales of the lithograph were intended to provide some financial assistance to the professional fossil collector and dealer Mary Anning (1799–1847) who had discovered many of the fossils it illustrated. The published lithograph differs in several respects from De la Beche’s original watercolor and several states of the lithograph exist: an early state, simply bearing the title, and a later state with the addition of an annotated key. The early state exists in both hand-colored and uncolored variants, while the later annotated state shows several variants identifiable by narrow or wide fonts of the printed text.
12
Riordan, Walter. "Rapid Failure Analysis on Advanced Microprocessors through Unit Level Traceability." EDFA Technical Articles 2, no. 3 (August 1, 2000): 1–10. http://dx.doi.org/10.31399/asm.edfa.2000-3.p001.
Повний текст джерелаАнотація:
Abstract Unit level traceability (ULT) is a powerful tool that allows complete die histories to be accessed in the course of testing and analysis. It is especially useful for identifying the likely causes of microprocessor failures and in cases where failure analysis resources are limited. In the article, the author explains how he used ULT in the investigation of a 0.25-µm CMOS processor. Using the ULT of the die, he discovered a failure signature based on die location on the wafer. One root cause of failure was traced to cross-field variation in the lithography process due to marginal focus control. Another failure, observed after burn-in, was traced to the presence of residual titanium left after metal etch.
13
Kunzle, David. "The Gourary Töpffer Manuscript of Monsieur Jabot." European Comic Art 2, no. 2 (June 1, 2009): 173–203. http://dx.doi.org/10.3828/eca.2009.2.
Повний текст джерелаАнотація:
The purpose of this essay is dual and makes for a two-part division: the first, after a physical description, argues for the authenticity, genesis and dating of the Gourary manuscript album of drawings for Monsieur Jabot. The existence of this manuscript, which I believe to be by the hand of Rodolphe Töpffer, is scarcely known, and its authenticity has been questioned. This first part describes the circumstances and rationale of its making, the intricacies of dating, the delay in distribution, and the very slight (with one or two more significant) improvements made in the printed version of 1833-1835. This latter represents Töpffer's first essay in autolithography of a sequence of humorous drawings, an histoire en images, Töpffer's invention within the controversial genre of caricature. The second part, in a connected account, uses the newly published correspondence to establish and confirm the chronology of the various stages of production of Jabot:1 redrawing (in the Gourary manuscript), transfer to lithographic paper, printing (1833-1834), and, finally, a long-delayed distribution through the author's peculiar private system de proche en proche ['gradually, by degrees']. I explain the delay and the changes made during production, and document the private distribution through friends from October 1835. The whole story has to be fitted together like a jigsaw puzzle in which some pieces are inevitably missing.
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Gamboni, Dario. "Parsifal/Druidess:Unfolding a Lithographic Metamorphosis by Odilon Redon." Art Bulletin 89, no. 4 (December 2007): 766–96. http://dx.doi.org/10.1080/00043079.2007.10786373.
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Ihl, Olivier. "Louis Marie Bosredon et l’entrée dans le « suffrage universel ». Sociogenèse d’une lithographie en 1848." Revue d'histoire du XIXe siècle, no. 50 (July 1, 2015): 139–63. http://dx.doi.org/10.4000/rh19.4829.
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Stead, Evanghelia. "Une lithographie singulière d’Emil Nolde pour le Faust Goethe." Romantisme 184, no. 2 (2019): 33. http://dx.doi.org/10.3917/rom.184.0033.
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De Gendt, Stefan. "(Dielectric Science & Technology Thomas Callinan Award) Materials and Processes As Enablers for Moore Moore and Beyond Moore Technologies." ECS Meeting Abstracts MA2022-01, no. 18 (July 7, 2022): 1036. http://dx.doi.org/10.1149/ma2022-01181036mtgabs.
Повний текст джерелаАнотація:
In this presentation, an overview will be presented of historic and recent developments achieved w.r.t. materials and processes that enabled continued performance scaling of CMOS and beyond CMOS applications. Starting from early high-k work. For decades, thermal oxidation of crystalline Silicon into SiO2 has been the gate oxide material in CMOS technology. Miniaturization for performance improvement, required the gate dielectric to decrease in thickness to support the required increase in capacitance (per unit area) and drive current (per device width). Early 2000, the thickness scaled below 1.5 nm, causing drastically increased leakage currents, high power consumption and reduced device reliability. Replacing the SiO2 gate dielectric with a high-κ (dielectric constant) material allows increased gate capacitance without the associated leakage effects. Activities involved the unit process step development of dielectric and metal deposition processes, advanced interface preparation, electrical and physical characterization and wet and dry etch process development. In a second section, emphasis will be on emerging nanomaterials. Nanotechnology is defined as the manipulation of matter with at least one dimension sized from below 100nm, thus all CMOS activities are functional nanotechnology. The latter concentrated initially on Graphene, but extended further towards Transition Metal Dicalchogenide Materials. Emphasis of the work will be on growth, functionalization, dielectric passivation and doping of these materials. Lastly, expanding on the nanomaterial know-how also progress with regard to low-k dielectrics, area selective deposition processes (for bottom-up lithography) and application of nanochemistry research for photoresist material screening, where chemical interactions at the nanoscale, related to the EUV lithography (radiation chemistry) are hampering the pattern scaling. Throughout the presentation, recognition will be given to people (PhD students) that contributed to this work and the presentation is also in honor of Prof Dolf Landheer and Professor Samares Kar with whom I organized my first ECS symposium.
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D'Amico, Amanda. "Philadelphia on Stone: Commercial Lithography in Philadelphia, 1828–1878 (review)." Pennsylvania Magazine of History and Biography 138, no. 4 (2014): 463–64. http://dx.doi.org/10.1353/pmh.2014.a923408.
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Banindro, Baskoro Suryo, Arif Agung Swasono, and Rikhana Widya Ardila. "Socio-Historical Media Tourism Promotion Study during the Dutch East Indies Period of 1930 - 1940." Paramita: Historical Studies Journal 30, no. 2 (September 1, 2020): 157–69. http://dx.doi.org/10.15294/paramita.v30i2.20890.
Повний текст джерелаАнотація:
This study discusses the media of tourism promotion in the Dutch East Indies period, in the form of lithographic print art images. The purpose of this research is to determine the meaning of visual language in the promotional media images. Promotional objects in question are pictures of lodging, photos of exotic cultural and natural products of the colonies insulinde printed between 1930 and 1940. With socio-historical methods consisting of social and historical studies, data obtained from literature studies, literature studies, and field observations will be analyzed using Teun A. van Dijk’s critical discourse approach. Furthermore, the results of the study will be interpreted descriptive qualitatively and presented with a historiographic approach. The findings of this study are there had been a process of Westernization in visual culture in the colonial period. The conclusion of this research is the portrayal of media promotion tourism during the Dutch East Indies of 1930-1940, which has given birth to traces of art deco style lithographic print as an effort of modernization in supporting modernity and developing a modernistic Dutch colonialist tourism aimed at European travelers. Penelitian ini membahas tentang media promosi wisata di masa kolonial Belanda, berupa gambar seni cetak litografi. Tujuan penelitian untuk mengetahui makna bahasa rupa yang ada dalam gambar media promosi tersebut. Objek promosi yang dimaksud adalah gambar penginapan, gambar hasil budaya dan alam eksotik pedalaman tanah jajahan insulinde yang dicetak antara tahun 1930 hingga 1940. Dengan metode sosio historis yang terdiri dari kajian sosial dan sejarah, data yang diperoleh dari studi literatur, kajian pustaka dan observasi lapangan akan dianalisis dengan pendekatan wacana kritis Teun A. van Dijk. Selanjutnya berdasarkan data yang ada, hasil penelitian akan diintepretasikan secara deskriptif kualitatif dan dipaparkan dengan pendekatan historiografi. Hasil temuan dari penelitian ini adalah bahwa telah terjadi proses pembaratan dalam budaya visual di masa kolonial. Adapun kesimpulan penelitian ini yaitu penggambaran media promosi wisata masa Hindia Belanda 1930 - 1940, telah melahirkan jejak seni cetak litografi bergaya art deco sebagai upaya modernisasi dalam mendukung modernitas dan memajukan pariwisata kolonialis Belanda yang modernistik di Hindia Belanda yang ditujukan bagi pelancong orang-orang Eropa.
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Weitze, Karen J. "In the Shadows of Dresden." Journal of the Society of Architectural Historians 72, no. 3 (September 1, 2013): 322–57. http://dx.doi.org/10.1525/jsah.2013.72.3.322.
Повний текст джерелаАнотація:
In the Shadows of Dresden: Modernism and the War Landscape focuses on British-American test complexes and lithographs devised to understand German and Japanese military targets of World War II. Project sites stretched from England and Scotland to Maryland, Massachusetts, New Jersey, Utah, and Florida. Vignettes of Axis-built environments featured only those forms and details that were deemed essential, complemented by the abstracted target maps. Together these models and maps inaugurated a new way of looking at cities and built environments as war landscapes. In this article Karen J. Weitze studies the roles of the participating architects, engineers, artists, and art historians—Marc Peter Jr., John Burchard, Henry Elder, Gerald K. Geerlings, Eric Mendelsohn, Antonin Raymond, Walter Gropius, Konrad Wachsmann, Arthur Korn, Felix James Samuely, E. S. Richter, Paul Zucker, Hans Knoll, Albert Kahn, Ludwig Hilberseimer, George Hartmueller, I. M. Pei, Erwin Panofsky, Paul Frankl, and Kurt Weitzmann—within the setting of the modern movement, and evaluates the historic obscurity of the wartime landscapes against the collective human moment that was Dresden.
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Azarbadegan, Zeinab. "The World-Revealing Goblet: Reading Farhād Mīrzā’s Geographical Treatise Jām-i Jam as a Lithograph." Philological Encounters 5, no. 3-4 (November 24, 2020): 409–49. http://dx.doi.org/10.1163/24519197-bja10011.
Повний текст джерелаАнотація:
Abstract This article examines a copy of Farhād Mīrzā’s Jām-i Jam (the World-Revealing Goblet) published in 1856 in Tehran and kept at Columbia University Library offsite storage. It demonstrates the dual importance of this book in geographic knowledge production and as part of the library of Saʿīd Nafīsī, one of the most prominent Iranian scholars of Persian literature. Methodologically, the paper offers various ways to study a single lithograph to decipher larger historical processes in histories of education, translation, and print. First, it analyzes the paratext to expose scholarly and political networks in order to examine the genealogy of geographic knowledge production in mid-nineteenth century Qajar Iran. Second, it studies the content and translation practices employed by Farhād Mīrzā to offer novel strategies for analyzing dissemination and reception of new ways of production and categorization of geographic knowledge as well as methods utilized in composition of pedagogical geography books. Finally, it discusses how cataloging practices affect current scholarship and lead to rendering certain texts “hidden.” It therefore illustrates how the study of Farhād Mīrzā’s Jām-i Jam, a book aspiring to reveal the world, can expose much about scholarly practices not only in the past but also the present.
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Ahmad, Habib, Zachary Engel, Christopher M. Matthews, Sangho Lee, and W. Alan Doolittle. "Realization of homojunction PN AlN diodes." Journal of Applied Physics 131, no. 17 (May 7, 2022): 175701. http://dx.doi.org/10.1063/5.0086314.
Повний текст джерелаАнотація:
Aluminum nitride (AlN) is an insulator that has shown little promise to be converted to a semiconductor via impurity doping. Some of the historic challenges for successfully doping AlN include a reconfigurable defect formation known as a DX center and subsequent compensation that causes an increase in dopant activation energy resulting in very few carriers of electricity, electrons, or holes, rendering doping inefficient. Using crystal synthesis methods that generate less compensating impurities and less lattice expansion, thus impeding the reconfiguration of dopants, and using new dopants, we demonstrate: (a) well behaved bulk semiconducting functionality in AlN, the largest direct bandgap semiconductor known with (b) substantial bulk p-type conduction (holes = 3.1 × 1018 cm−3, as recently reported in our prior work), (c) dramatic improvement in n-type bulk conduction (electrons = 6 × 1018 cm−3, nearly 6000 times the prior state-of-the-art), and (d) a PN AlN diode with a nearly ideal turn-on voltage of ∼6 V for a 6.1 eV bandgap semiconductor. A wide variety of AlN-based applications are enabled that will impact deep ultraviolet light-based viral and bacterial sterilization, polymer curing, lithography, laser machining, high-temperature, high-voltage, and high-power electronics.
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Storozhuk, Alexander G. "Illustrated edition Liao Zhai Zhiyi Tuyong, published in 1886: reprints and imitations." Vestnik of Saint Petersburg University. Asian and African Studies 15, no. 2 (2023): 345–58. http://dx.doi.org/10.21638/spbu13.2023.208.
Повний текст джерелаАнотація:
Editions of the famous story collection “Liao Zhai zhi yi” (聊齋志異, Strange Tales from a Chinese Studio) by Pu Songling (蒲松齡, 1640–1715) were numerous and various in the 19th century. A special place among them holds the lithograph, printed in 1886 on the funds of tycoon Xu Run (徐潤, 1838–1911); the edition contains an abundant collection of illustrations and specially written poetic inserts. The lithograph was titled “Xiangzhu Liao Zhai zhi yi tuyong” (詳註聊齋誌異圖詠, Illustrated and Commented “Strange Tales from a Chinese Studio”) and begot a great number of imitations and fakes among Chinese editions of the end of the 19th — beginning of the 20th centuries. Sometimes they were done so beautifully that happened to be practically undistinguishable from the original; sometimes they deliberately demonstrated their individuality, having become autonomous works of printing art with aesthetic peculiarities of their own. Along with that beginning of the 20th century generated a number of typographically printed editions, but their design either repeated or stood very close to the original Shanghai publication. The tradition happened to be very tenacious, so that contemporary editions continue copying exterior of the 1886 collection. Purpose of this article is to outline the main features of the original 1886 lithograph and its major later reprints until 1930s and their significant for attribution codicological peculiarities.
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NELSON, E. CHARLES, and J. PARNELL. "An annotated bibliography of the Irish botanist William Henry Harvey (1811–1866)." Archives of Natural History 29, no. 2 (June 2002): 213–44. http://dx.doi.org/10.3366/anh.2002.29.2.213.
Повний текст джерелаАнотація:
The Irish botanist William Henry Harvey (1811–1866), who came of Quaker stock, published more than 130 books, papers and pamphlets during his lifetime. He also drew and lithographed at least one thousand illustrations, mainly of marine algae from North America, the British Isles and Australia, but also flowering plants of southern Africa and California, and mosses from the Indian subcontinent and southern Africa. This annotated bibliography also includes his non-botanical works.
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Weimerskirch, Philip J. "Naturalists and the beginnings of lithography in America." Archives of Natural History 1985, no. 1 (July 1985): 167–77. http://dx.doi.org/10.3366/anh.1985.014.
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Severens, Kenneth, and John W. Reps. "Saint Louis Illustrated: Nineteenth-Century Engravings and Lithographs of a Mississippi River Metropolis." Journal of Southern History 57, no. 1 (February 1991): 98. http://dx.doi.org/10.2307/2209884.
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Guo, Nanyan. "A Flow of Christian Images from the Shanghai Jesuits to the Paris Foreign Missions in Japan: Imitation, Alteration, and Returning to the Roots." Journal of Jesuit Studies 10, no. 4 (August 10, 2023): 605–39. http://dx.doi.org/10.1163/22141332-10040005.
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Abstract The Jesuit Adolphe Vasseur created more than 160 woodblock prints at the orphanage of T’ou-se-we in Shanghai, China, combining Western images of biblical stories with traditional Chinese styles and symbols, aiming to help familiarize the Chinese people with Christian concepts. Vasseur’s images were adopted and transformed through lithographic publications and woodblock prints by the Paris Foreign Missions (mep) in Japan from the 1860s to the 1870s under Fr. Marc Marie de Rotz (1840–1914). Focusing on ten woodblock prints, often referred to as the “De Rotz Prints,” which were made based on Vasseur’s images and altered by adding Japanese symbols, this paper will show how Vasseur’s images were modified from a Chinese to Japanese context, primarily by adapting to the situation of Japanese Christians, who were emerging from more than two centuries of persecution and underground worship. This article is part of the special issue of the Journal of Jesuit Studies, “Jesuits in Modern Far East,” guest edited by Steven Pieragastini.
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Lahiri, Smita. "Rhetorical Indios: Propagandists and Their Publics in the Spanish Philippines." Comparative Studies in Society and History 49, no. 2 (April 2007): 243–75. http://dx.doi.org/10.1017/s0010417507000485.
Повний текст джерелаАнотація:
Censorship notwithstanding, the final half-century of Spanish rule in the Philippines was a time of efflorescence in colonial print culture. Between the advent of typo-lithography in 1858 and the successive occurrence, in 1896 and 1898, of the Filipino revolution and the Spanish-American War, printing presses operating in Manila and beyond issued thousands of books and periodicals, the first public library, the Muséo-Bibliotéca de Filipinas, opened its doors in 1887, and the importation of books from Europe and America could scarcely keep pace with demand.
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McEuen, Paul L. "Small Machines." Daedalus 141, no. 3 (July 2012): 35–44. http://dx.doi.org/10.1162/daed_a_00159.
Повний текст джерелаАнотація:
Over the last fifty years, small has emerged as the new big thing. The reduction of information and electronics to nanometer dimensions has revolutionized science, technology, and society. Now scientists and engineers are creating physical machines that operate at the nanoscale. Using approaches ranging from lithographic patterning to the co-opting of biological machinery, new devices are being built that can navigate, sense, and alter the nanoscale world. In the coming decades, these machines will have enormous impact infields ranging from biotechnology to quantum physics, blurring the boundary between technology and life.
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Green, Nile. "Stones from Bavaria: Iranian Lithography in its Global Contexts." Iranian Studies 43, no. 3 (June 2010): 305–31. http://dx.doi.org/10.1080/00210861003693844.
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XIE, Xin, and May Bo CHING. "Pictures and music from stone: the indigenization of lithography in modern China, 1876–1945." Journal of Modern Chinese History 12, no. 2 (July 3, 2018): 180–202. http://dx.doi.org/10.1080/17535654.2018.1556981.
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Mifflin, Jeffrey. "Philadelphia on stone: commercial lithography in Philadelphia, 1828–1878." Early Popular Visual Culture 12, no. 2 (February 24, 2014): 276–78. http://dx.doi.org/10.1080/17460654.2014.891299.
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Levine, Robert M. "Faces of Brazilian Slavery: The Cartes de Visite of Christiano Júnior." Americas 47, no. 2 (October 1990): 127–59. http://dx.doi.org/10.2307/1007369.
Повний текст джерелаАнотація:
Photographs probably expanded more horizons and redefined more ways of knowing the world than any other product of nineteenth-century technology. The first daguerreotypes appeared in the Western Hemisphere merely months after the triumphal announcement of Daguerre's process by the French Academy in 1839. In the next three decades, millions of photographic images were produced. Three distinct categories predominated: studio portraits, scenic views for collectors and, after the early 1850s, photographic images transferred to woodcuts and, later, lithographs for publication as line sketches in illustrated newspapers and magazines. Photographic “science” complemented neatly the elite's striving for ways to affirm the region's material progress. Photographers played a vital role in presenting to the world a vision rooted in the aspirations of the dominant members of society.
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Parrish, William E., and John W. Reps. "Saint Louis Illustrated: Nineteenth-Century Engravings and Lithographs of a Mississippi River Metropolis." Journal of American History 77, no. 2 (September 1990): 663. http://dx.doi.org/10.2307/2079237.
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Neumann, Christoph K. "Confession of the Secret, Defence of Orthodoxy and Lithographic Printing in the Late Ottoman Empire." Zeitschrift für Religions- und Geistesgeschichte 73, no. 4 (September 27, 2021): 372–78. http://dx.doi.org/10.1163/15700739-07304008.
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Nelson, E. Charles. "“A botanical encampment at the foot of Ben Voirlich June 22d. 1821” by Robert Kaye Greville, and a Scottish beetle." Archives of Natural History 38, no. 1 (April 2011): 96–103. http://dx.doi.org/10.3366/anh.2011.0008.
Повний текст джерелаАнотація:
A lithograph and an “etching” depicting the same botanical excursion into the Scottish Highlands in June 1821 led by Professor William Jackson Hooker are reunited. The encampment depicted was on the west shore of Loch Lomond at the base of Ben Vorlich in Dunbartonshire. The participants probably included John Scouler and David Douglas, but a French entomologist, Charles Nodier, missed the excursion. A few weeks afterwards in the Highlands Nodier found some insects he did not recognize and named one, a beetle, after Hooker.
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Heimer, Željko. "Milan Sunko." Review of Croatian history 18, no. 1 (December 14, 2022): 175–209. http://dx.doi.org/10.22586/review.v18i1.24286.
Повний текст джерелаАнотація:
Milan Sunko (Zidani Most, 5 December 1860 – Zagreb, 9 March 1891) was a heraldic artist, numismatist, and collector, who studied and started his carrer in Vienna working with the most renowned heraldists of the “classical” Austrian heraldic period. He moved to Zagreb where he made number of well received paintings and graphics and was supported by the intelectual elite of the fastly developing city. His brief spectacular carrier was abruptly ended by laryngeal tuberculosis, and he died in his 31st year. His works are preserved in several museums and galleries in Zagreb, and his heraldic lithographs and ex libris bookplates are remembered in specialized bibliography. However, the Croatian heraldic historiography has forgotten all about him and this paper attempts to remedy this. After the establishment of the Brotherhood of Croatian Dragon Society – one of its founders being Emilij Laszowski, notable Croatian heraldist; it took upon a project to preserve Sunko’s grave, exhuming his remains and providing a modest but dignified grave for him at the Zagreb cemetary in 1910. To achieve that, the Draconian Society raised funds in an international action, activating his foreign friends and fans, documenting the project in respectable heraldic periodicals.
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CHING, May Bo. "Rethinking media history in modern China: the cases of lithography, slide shows, the telegraph, and motion pictures." Journal of Modern Chinese History 12, no. 2 (July 3, 2018): 175–79. http://dx.doi.org/10.1080/17535654.2018.1561095.
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SKOKOWSKI, RACHEL. "New Rules for Old Age: Gavarni, the Goncourts and Les Lorettes vieillies." Australian Journal of French Studies 59, no. 1 (January 1, 2022): 73–88. http://dx.doi.org/10.3828/ajfs.2022.07.
Повний текст джерелаАнотація:
This article examines caricaturist Paul Gavarni’s lithographic series Les Lorettes vieillies and Jules and Edmond de Goncourt’s short text La Lorette as two conflicting visions of the lorette, a type of nineteenth-century prostitute celebrated in literary and visual sources. The Goncourts’ text has previously been studied for its explicit aim to break the rules around representing the lorette; this essay argues, however, that Gavarni’s little-known images were in fact more radical. Exploring the ways in which Les Lorettes vieillies humanizes the experience of the ageing lorette, a taboo topic in other sources, this article shows how the series challenges society’s norms around age and gender. Finally, one should consider Les Lorettes vieillies, published at the same time and in the same newspaper as La Lorette, as an important intertext informing the Goncourts’ own presentation of the lorette as a transgressive figure.
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PETTERSON, ANNE. "The monumental landscape from below: public statues, popular interaction and nationalism in late nineteenth-century Amsterdam." Urban History 46, no. 04 (February 20, 2019): 722–46. http://dx.doi.org/10.1017/s0963926819000154.
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ABSTRACT:Public monuments are considered an important tool in the nineteenth-century nation-building project. Yet while the intended (nationalist) message of the monumental landscape is often clear, the popular perception of the statues and memorials has been little problematized. This contribution analyses the popular interaction with public monuments in late nineteenth-century Amsterdam and questions whether ordinary people understood the nationalist meaning. With the help of visual sources – engravings, lithographs and the novel medium of photography – we become aware of the multilayered meanings and usages of the monuments in daily urban life, thus tackling the methodological challenge of studying the monumental landscape from below.
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Anikeeva, Tatiana A. "About Manuscripts, Lithographs and Early Printed Books of the Karakalpak Institute of Humanities." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 4 (2021): 195. http://dx.doi.org/10.31857/s086919080016226-5.
Повний текст джерелаАнотація:
In the course of work in the manuscript collection of the Karakalpak Institute of Humanities (Branch of the Academy of Sciences of the Republic of Uzbekistan), a collection of manuscripts, lithographs and old-printed books was identified. It consists mainly of new arrivals (the so-called “Chimbay collection” at the place of origin of most of the manuscripts, from the city of Chimbay, formerly Shakhtemir, now in the Republic of Karakalpakstan). According to the information of the Institute's employees, Uzak Rakhmatullayev (born in 1920 in the territory of the modern Chimbay district of Karakalpakstan) collected more than 300 manuscripts and printed publications in Arabic, Persian and Turkic languages and subsequently transferred the collection to the Institute. We started its scientific description. A preliminary list of manuscripts, lithographs, and old-printed books was compiled, and they were distributed by language, chronology and subject. Among these manuscripts are works on Muslim dogmatics, Korans, poetic works (poems by Ajiniyaz, Berdakh, Suleyman Bakyrghani, Ahmad Yasavi, various destans, etc.), treatises on the grammar of the Arabic language (“Tarkib al-Awamil”), historical works, samples of calligraphy on separate folios, etc., in Arabic, Persian and Turkic languages (Chagatai, Tatar, Karakalpak). Together, they represent the area of reading of a Muslim of that era (19-first half of the 20th century) and are one of the illustrations of the close literary and cultural ties between the Aral Sea region (then the Khanate of Khiva), the Volga region, and the Ottoman Empire (where a number of manuscripts were copied).
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Janssens, Jules. "AVICENNA, FῙ AL-ʾUMŪR AL-KULLIYYA MIN ʿILM AL-ṬIBB, ED. NAJAFGHOLI HABIBI (HAMADAN, 2018)". Arabic Sciences and Philosophy 31, № 2 (23 серпня 2021): 269–75. http://dx.doi.org/10.1017/s0957423921000102.
Повний текст джерелаАнотація:
That Ibn Sīnā’s “Canon of medicine” figures among the major classics of the history of medicine is doubted by no serious historian of medicine, eastern or western, Islamic or non-Islamic alike. It is therefore all the more surprising that so far no serious critical edition of this text was available. Certainly, a first, very timid step toward a really critical edition (published during the years 1982-1996) was made at the Institute of the History of Medicine and Medical Research (New Delhi), under the direction of Hakeem Abdul Hameed (1908-1999). It compared the four existing editions: Rome 1593; Būlāq (Cairo) 1877; Tehran (lithograph) 1878; and Lucknow 1905. In addition it used (a photocopy of) an ancient manuscript of Aya Sophia, dated 618, i. e. MS Aya Sophia 3686. With this new edition a further important step toward a full critical edition is made. Even if it is obvious that it does not yet present a “critical edition” in the full sense of the word, it has important merits.
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Girón Sierra, Álvaro, and María José Betancor Gómez. "The Canary Museum: from transnational trade of human remains to the visual representations of race (1879-1900)." Culture & History Digital Journal 12, no. 1 (May 11, 2023): e006. http://dx.doi.org/10.3989/chdj.2023.006.
Повний текст джерелаАнотація:
“El Museo Canario” (Canary Museum) was founded in Las Palmas de Gran Canaria in 1879. It holds an impressive collection of the pre-Hispanic past of the Canaries. El Museo Canario built an important transnational network of exchange. This was facilitated by the widespread interest in the human remains of the pre-Hispanic inhabitants of the Canaries. His founder Gregorio Chil, and the Museum Board, were interested in building a regional race to represent the trans-historical essence of the archipelago’s population. This was scientifically grounded on different racial classification projects with colonial connotations. Speculation on the possible links between the archipelago’s extinct race, the Amazigh (Berbers), and hypothetical primitive European populations became popular. These debates had a material side: racial similarities and differences were exhibited, visualized, illustrated, and thus demonstrated. Lithographs of human remains circulated in Europe and beyond. These supposedly objective representations of race were published in authoritative books and scientific articles. In addition, individuals were drawn and photographed, often with the idea of showing the continuity between the aboriginal population and the current inhabitants of the archipelago. Visual representations of the dead (skulls, mummies) entered a sort of dialectic relationship with representations of the living.
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Anikeeva, Tatiana A., and Ilona A. Chmilevskaya. "Arabographic Manuscripts of the Akhty and Rutul Regions of the Republic of Dagestan." Written Monuments of the Orient 9, no. 2 (December 15, 2023): 114–21. http://dx.doi.org/10.55512/wmo623300.
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The paper presents the results of two field expeditions in 2022–2023 to Southern Dagestan: within the framework of these archaeographic expeditions, the manuscript collection of the Akhty State Museum of Local Lore (village of Akhty, the Akhty district of the Republic of Dagestan), including manuscripts, documents, lithographs and early printed books in Arabic, Turkic and Persian languages, as well as a small private manuscript collection in the village of Khlyut (the Rutul district of the Republic of Dagestan) have been fully described and digitized. Materials of these collections allow us to draw a number of conclusions about the specifics of the transformation of intellectual tradition in Southern Dagestan, its differences and similarities compared with other regions of Dagestan, and the peculiarities of the distribution of manuscripts from the Middle East, Shirvan and the Ural-Volga region in this area.
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Ibrahim, Illyani, Shireen Jahn Kassim, and Alias Abdullah. "Historical Intimacy in Malay Urban Core Configurations: A Comparative Analysis." Culture & History Digital Journal 9, no. 2 (December 30, 2020): e020. http://dx.doi.org/10.3989/chdj.2020.020.
Повний текст джерелаАнотація:
This paper analyses the historical pre-Colonial configurations of a series of urban cores in Malay sites along the Straits of Melaka. The objective of this research is to identify the pattern and variations of each pre-Colonial royal urban core from the perspective of urban design principle such as “intimacy” and “walkability,” which can affect in a long term sustainable parameters such as the reduction of “urban heat island”. This traditional character is increasingly disappearing due to urbanisation. There is a difficulty to reconstruct the urban core of these case studies because of their past layouts’ degree of organic character, particularly in terms of randomness. This paper argues that such configurations reflect the degree of “intimacy,” which was ruptured during the Colonial eras. Patterns were identified using available maps and lithography related to the case studies. The findings indicate that the Malay royal urban core does obey the urban design principles of intimacy and walkability. The “intimacy indices” for a historical Malay city are as follow: distance from palace to mosque (170 metre), padang/open spaces (130 metre), settlement (310 metre), market (195 metre), and aristocrat houses (60 metre). This finding can be used to inform the baseline for the preparation of the Malay principles guidelines.
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Larson, Barbara. "Odilon Redon and the Pasteurian Revolution: Health, Illness, and le monde invisible." Science in Context 17, no. 4 (December 2004): 503–24. http://dx.doi.org/10.1017/s0269889704000249.
Повний текст джерелаАнотація:
ArgumentOdilon Redon's dark-spirited charcoals and lithographs of the last quarter of the nineteenth century responded to developments in science, including the Pasteurian revolution. Rather than celebrating the progressive potential of science, Redon's noirs engaged national anxieties that attended scientific advances. His position was close to the Decadents of the 1880s who dwelled on themes of illness and decay. While the artist's original biographer André Mellerio referred to the artist's fascination with Pasteur and his microbial world, where in a single drop of water “there arises the spectacle of giants of a gripping horror and a frightful, predatory nature,” the topic has virtually disappeared from Redon literature. By recovering the scientific/medical issues that stimulated Redon's creation, this article restores the subjects of pathogenic organisms and contagious illness to their rightful place in Redon's oeuvre. Further, it provides the reader with a discussion of the cultural context in which Redon's interest was generated.
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Türker, Deni̇z. "Hakky-Bey and His Journal Le Miroir de l’Art Musulman, or, Mirʾāt-ı ṣanāyiʿ-i islāmiye (1898)". Muqarnas Online 31, № 1 (19 жовтня 2014): 277–306. http://dx.doi.org/10.1163/22118993-00311p11.
Повний текст джерелаАнотація:
A bilingual periodical published in 1898, titled Le Miroir de l’Art Musulman for its French audience and Mirʾāt-ı ṣanāyiʿ-i islāmiye for the Ottoman one, introduced its readership to the world of Islamic art in two idiosyncratic issues. A certain Hakky-Bey, the sole author behind these issues and a well-regarded antiques dealer in Paris, intended to introduce his vast collection to readers through meticulously arranged lithographs of his objects. In other words, he told the story of Islamic art through exemplary items from his collection. In parsing the contents of the journal, this article attempts to construct Hakky-Bey’s biography and reveal the sociopolitical and cultural routes, as well as the cosmopolitan networks, that shaped the unexpected trajectory of his career. As an independent Ottoman scholar, Hakky-Bey played a crucial role in the emerging field of Islamic art at the end of the nineteenth century, for which scholarship has given undue credit to European “Islamophiles.”
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Leskinen, Maria Voittovna. "Ethnic stereotypes of the Ukrainians (Little Russians) and Belarusians (Belorussians) in the visual texts in Russian culture in the second half of the 19th century: Issues of interpretations." Studia Slavica et Balcanica Petropolitana 2(32) (2022): 15–34. http://dx.doi.org/10.21638/spbu19.2022.202.
Повний текст джерелаАнотація:
The article analyzes a number of visual representations of «Little Russians» / «Malorusy» (Ukrainians) and Belarusians («Belorussians» / «White Russians»), which were addressed to a wide range of Russian society in the 1860s – 1900s and which were formed under the influence of literature, scientific and popular ethnographies descriptions and text-books. These visual texts were creating the stereotypical images of peoples / nations (so as of the Russian people) in mass consciousness the Russian Empire. The works that are accessible primarily by the mass audience (genre canvases, book illustrations, magazine lithographs, advertisements, posters, postcards etc) are analyzed in context of ethnic stereotypes (of «Little Russians» / «Malorusy» (Ukrainians) and of «Belorussians» / «White Russians» (Belarusians)) reflections. The author is considered some methodological problems deals with stereotypes’ researching in the field of the identification of «the Russian people» as the unity of Great Russians, Little Russians and White Russians during imperial nation-building. Complications of interpreting visual ethnic images are also due to the differences of discourse of the Ukrainian and Belarusian identities history and national movements in the Russian Empire of the 19th century. In particular, Ukrainian Soviet and modern historiography considers many artists to the pantheon of national culture. But if we accept such attributions, it turns out that stereotypes of the «others» (the heterostereotypes of Little Russians / Ukrainians) turns out to be their auto stereotypes. If we proceed from the assumptions that the creators of the images belonged to the Russian («all-Russian») culture, the questions arise did they interpret them as specifically ethnic, or as the embodiment of regional / gender or only the social (the peasant) variations?
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Larcher, Pierre. "Mortimer Sloper Howell (1841–1925), lecteur de Raḍī al-dīn al-Astarābāḏī (VIIe/XIIIe siècle), et deux lithographies indiennes". Historiographia Linguistica 46, № 1-2 (2 вересня 2019): 105–32. http://dx.doi.org/10.1075/hl.00040.lar.
Повний текст джерелаАнотація:
Résumé Cet article présente deux lithographies indiennes du Šarḥ al-Kāfiya et du Šarḥ al-Šāfiya de Raḍī al-dīn al-Astarābāḏī (m. en ou après 688/1289), faites à Delhi, respectivement en 1282/1866 et 1283/1866. Elles ont appartenu à Mortimer Sloper Howell (1841–1925), magistrat britannique en Inde et auteur d’une grammaire arabe en sept volumes parus à Allahabad entre 1880 et 1911. La grammaire de Howell suit le plan du Mufaṣṣal de Zamaḫšarī (m. 538/1144) en quatre parties : nom, verbe, particule, ce qui est commun aux trois parties précédentes ou à deux d’entre elles. Le Šarḥ al-Šāfiya est couvert d’annotations, très certainement de la main même de Howell, mais le Šarḥ al-Kāfiya en est vierge. Cela semble devoir être mis en relation avec le développement que Howell donne, dans la lignée du Šarḥ al-Šāfiya, à la quatrième partie du Mufaṣṣal, qui traite essentiellement de phonologie. C’est ce développement qui a attiré l’attention sur la grammaire de Howell et, à travers elle, le Šarḥ al-Šāfiya de Raḍī al-dīn al-Astarābāḏī de linguistes arabisants comme Jean Cantineau (1899–1956) et Henri Fleisch (1904–1985). Une enquête dans la grammaire de Howell montre que l’autre partie du Šarḥ al-Šāfiya, qui traite de morphologie, et le Šarḥ al-Kāfiya, qui traite de syntaxe, en sont des sources tout aussi importantes et, par suite, que Howell peut encore servir de médiateur entre Raḍī al-dīn al-Astarābāḏī et les arabisants.
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Marzolph, Ulrich. "From Mecca to Mashhad: The Narrative of an Illustrated Shiʿi Pilgrimage Scroll from the Qajar Period". Muqarnas Online 31, № 1 (19 жовтня 2014): 207–42. http://dx.doi.org/10.1163/22118993-00311p09.
Повний текст джерелаАнотація:
Hajj certificates are stylized legal documents testifying to the fact that a certain individual has participated in the pilgrimage to Mecca and has executed the required rituals. While most previous studies of hajj certificates and related phenomena are concerned with specimens that are either very old or particularly attractive in terms of their execution, fairly recent items, and particularly printed ones, have not received much attention. Moreover, hajj certificates have so far mostly been studied as a Sunni or general Muslim phenomenon, and items with a specific Shiʿi agenda have largely been neglected. The present essay discusses in detail an illustrated Shiʿi pilgrimage scroll from the Qajar period that is currently preserved in a private collection in Hawai‘i. Preceded by the Niebuhr scroll, an illustrated manuscript copy dating from the middle of the eighteenth century, and followed by modern printed posters, the lithographed Qajar-period scroll presents a distinct Shiʿi perspective in that the pilgrim’s ultimate goal is the sanctuary of the Eighth Shiʿi Imam, ʿAli ibn Musa al-Rida (d. 818), in Mashhad.