Julie Stone Peters
- Published in print:
- 2003
- Published Online:
- October 2011
- ISBN:
- 9780199262168
- eISBN:
- 9780191698811
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199262168.003.0003
- Subject:
- Literature, Drama
This chapter describes the creation of typographic conventions for the drama and the relations among theatrical troupes, dramatists, and publishers during the period of the establishment of ...
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This chapter describes the creation of typographic conventions for the drama and the relations among theatrical troupes, dramatists, and publishers during the period of the establishment of professional theatre in Europe.Less
This chapter describes the creation of typographic conventions for the drama and the relations among theatrical troupes, dramatists, and publishers during the period of the establishment of professional theatre in Europe.
Joad Raymond
- Published in print:
- 2005
- Published Online:
- October 2011
- ISBN:
- 9780199282340
- eISBN:
- 9780191700194
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199282340.003.0007
- Subject:
- Literature, 17th-century and Restoration Literature
This chapter considers the problems created by newsbooks, which involved speech and authority. With printed speeches, pamphlets, and particularly newsbooks, it was never clear who was saying what to ...
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This chapter considers the problems created by newsbooks, which involved speech and authority. With printed speeches, pamphlets, and particularly newsbooks, it was never clear who was saying what to whom, nor what the precise context and language were. The danger was that the uninformed historian, while fighting for truth, would be deceived by the falsifying imagination of propagandists. The chapter also looks at criticisms of newsbooks, which focused on six more or less equally important attributes: (i) the inferior typography and diminutive stature of newsbooks; (ii) the grand untruths they told; (iii) the greed of their writers, printers, and publishers; (iv) the vulgarity of their readers, who were accordingly prone to believing the lies they read; (v)the disruptive effect they had not only on relations between the king and parliament, but on society in general; and (vi) their poor literary qualities.Less
This chapter considers the problems created by newsbooks, which involved speech and authority. With printed speeches, pamphlets, and particularly newsbooks, it was never clear who was saying what to whom, nor what the precise context and language were. The danger was that the uninformed historian, while fighting for truth, would be deceived by the falsifying imagination of propagandists. The chapter also looks at criticisms of newsbooks, which focused on six more or less equally important attributes: (i) the inferior typography and diminutive stature of newsbooks; (ii) the grand untruths they told; (iii) the greed of their writers, printers, and publishers; (iv) the vulgarity of their readers, who were accordingly prone to believing the lies they read; (v)the disruptive effect they had not only on relations between the king and parliament, but on society in general; and (vi) their poor literary qualities.
Richard Cronin
- Published in print:
- 2010
- Published Online:
- September 2010
- ISBN:
- 9780199582532
- eISBN:
- 9780191722929
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199582532.003.0006
- Subject:
- Literature, 19th-century Literature and Romanticism, 19th-century and Victorian Literature
The chapter contends that this was the first age of print, the age when, as the New Monthly put it, print became ‘like to the air we breathe’, ‘the medium through which we receive every idea and ...
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The chapter contends that this was the first age of print, the age when, as the New Monthly put it, print became ‘like to the air we breathe’, ‘the medium through which we receive every idea and every feeling,—beyond whose influence we cannot get, and could not live’. For writers of the new generation, as for Charles Lamb, the manuscript even of a great writer never seems quite ‘determinate’: ‘print settles it’. The chapter explores the consequences of this new perception, concluding that Don Juan is the primary epic of the age of print.Less
The chapter contends that this was the first age of print, the age when, as the New Monthly put it, print became ‘like to the air we breathe’, ‘the medium through which we receive every idea and every feeling,—beyond whose influence we cannot get, and could not live’. For writers of the new generation, as for Charles Lamb, the manuscript even of a great writer never seems quite ‘determinate’: ‘print settles it’. The chapter explores the consequences of this new perception, concluding that Don Juan is the primary epic of the age of print.
Cynthia Wall
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780226467665
- eISBN:
- 9780226467979
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226467979.001.0001
- Subject:
- Literature, 18th-century Literature
This book explores how changes in eighteenth-century language and its expression on the page also reshaped the British landscape. The term “approach” shifted from verb to noun, creating a new ...
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This book explores how changes in eighteenth-century language and its expression on the page also reshaped the British landscape. The term “approach” shifted from verb to noun, creating a new perceptual experience that visually explains a wider set of changing formal patterns and fundamental principles. The printed page underwent sweeping typographical modernizations: common nouns lost their capitals; proper nouns, their italics. The new uniformity paradoxically allowed more visibility to the "lesser parts" of speech, no longer visibly dominated by nouns. Grammarians began to pay more attention to things like prepositions, and narrative patterns in literature developed more prepositional play. The new linguistic approach inspired new narrative approaches, such as free indirect discourse. Examining the work of landscape theorists alongside travel narratives, topographical views, printers’ manuals, dictionaries, encyclopedias, grammars, and novels, this book reveals a new landscaping across disciplines--new approaches to perceiving and representing the world in word and image.Less
This book explores how changes in eighteenth-century language and its expression on the page also reshaped the British landscape. The term “approach” shifted from verb to noun, creating a new perceptual experience that visually explains a wider set of changing formal patterns and fundamental principles. The printed page underwent sweeping typographical modernizations: common nouns lost their capitals; proper nouns, their italics. The new uniformity paradoxically allowed more visibility to the "lesser parts" of speech, no longer visibly dominated by nouns. Grammarians began to pay more attention to things like prepositions, and narrative patterns in literature developed more prepositional play. The new linguistic approach inspired new narrative approaches, such as free indirect discourse. Examining the work of landscape theorists alongside travel narratives, topographical views, printers’ manuals, dictionaries, encyclopedias, grammars, and novels, this book reveals a new landscaping across disciplines--new approaches to perceiving and representing the world in word and image.
Claire M. L. Bourne
- Published in print:
- 2020
- Published Online:
- July 2020
- ISBN:
- 9780198848790
- eISBN:
- 9780191883149
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198848790.001.0001
- Subject:
- Literature, 16th-century and Renaissance Literature
Typographies of Performance is the first book-length study of early modern English playbook typography. It tells a new history of drama from the period by considering the page designs of plays by ...
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Typographies of Performance is the first book-length study of early modern English playbook typography. It tells a new history of drama from the period by considering the page designs of plays by Shakespeare and others printed between the end of the fourteenth century and the beginning of the eighteenth century. It argues that typography, broadly conceived, was used creatively by printers, publishers, playwrights, and other agents of the book trade to make the effects of theatricality—from the most basic (textually articulating a change in speaker) to the more complex (registering the kinesis of bodies on stage)—intelligible on the page. The coalescence of these experiments into a uniquely dramatic typography that was constantly responsive to performance effects made it possible for “plays” to be marketed, collected, and read in the sixteenth and seventeenth centuries as a print genre distinct from all other genres of imaginative writing. It has been said, “If a play is a book, it is not a play.” Typographies of Performance shows that “play” and “book” were, in fact, mutually constitutive: it was the very bookishness of plays printed in early modern England that allowed them to be recognized by their earliest readers as plays in the first place.Less
Typographies of Performance is the first book-length study of early modern English playbook typography. It tells a new history of drama from the period by considering the page designs of plays by Shakespeare and others printed between the end of the fourteenth century and the beginning of the eighteenth century. It argues that typography, broadly conceived, was used creatively by printers, publishers, playwrights, and other agents of the book trade to make the effects of theatricality—from the most basic (textually articulating a change in speaker) to the more complex (registering the kinesis of bodies on stage)—intelligible on the page. The coalescence of these experiments into a uniquely dramatic typography that was constantly responsive to performance effects made it possible for “plays” to be marketed, collected, and read in the sixteenth and seventeenth centuries as a print genre distinct from all other genres of imaginative writing. It has been said, “If a play is a book, it is not a play.” Typographies of Performance shows that “play” and “book” were, in fact, mutually constitutive: it was the very bookishness of plays printed in early modern England that allowed them to be recognized by their earliest readers as plays in the first place.
Caroline Archer-Parré and Malcolm Dick (eds)
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781786940643
- eISBN:
- 9781786945143
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940643.001.0001
- Subject:
- History, Military History
This book is concerned with the eighteenth-century typographer, printer, industrialist and Enlightenment figure, John Baskerville (1707-75). Baskerville was a Birmingham inventor, entrepreneur and ...
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This book is concerned with the eighteenth-century typographer, printer, industrialist and Enlightenment figure, John Baskerville (1707-75). Baskerville was a Birmingham inventor, entrepreneur and artist with a worldwide reputation who made eighteenth-century Birmingham a city without typographic equal, by changing the course of type design. Baskerville not only designed one of the world’s most historically important typefaces, he also experimented with casting and setting type, improved the construction of the printing-press, developed a new kind of paper and refined the quality of printing inks. His typographic experiments put him ahead of his time, had an international impact and did much to enhance the printing and publishing industries of his day. Yet despite his importance, fame and influence many aspects of Baskerville’s work and life remain unexplored and his contribution to the arts, industry and technology of the Enlightenment are largely unrecognized. Moreover, recent research in archaeology, art and design, history, literary studies and typography, is leading to a fundamental reassessment of many aspects of Baskerville’s life and impact, including his birthplace, his work, the networks which sustained him and the reception of his printing in Britain and overseas. This interdisciplinary approach provides an original contribution to printing history, eighteenth-century studies and the dissemination of ideas.Less
This book is concerned with the eighteenth-century typographer, printer, industrialist and Enlightenment figure, John Baskerville (1707-75). Baskerville was a Birmingham inventor, entrepreneur and artist with a worldwide reputation who made eighteenth-century Birmingham a city without typographic equal, by changing the course of type design. Baskerville not only designed one of the world’s most historically important typefaces, he also experimented with casting and setting type, improved the construction of the printing-press, developed a new kind of paper and refined the quality of printing inks. His typographic experiments put him ahead of his time, had an international impact and did much to enhance the printing and publishing industries of his day. Yet despite his importance, fame and influence many aspects of Baskerville’s work and life remain unexplored and his contribution to the arts, industry and technology of the Enlightenment are largely unrecognized. Moreover, recent research in archaeology, art and design, history, literary studies and typography, is leading to a fundamental reassessment of many aspects of Baskerville’s life and impact, including his birthplace, his work, the networks which sustained him and the reception of his printing in Britain and overseas. This interdisciplinary approach provides an original contribution to printing history, eighteenth-century studies and the dissemination of ideas.
Craig Dworkin
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780226743424
- eISBN:
- 9780226743738
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226743738.001.0001
- Subject:
- Literature, American, 20th Century Literature
This book proposes a methodology for literary analysis. It demonstrates that attending to the material forms of language can reveal significations not otherwise accessible through conventional ...
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This book proposes a methodology for literary analysis. It demonstrates that attending to the material forms of language can reveal significations not otherwise accessible through conventional reading strategies. Linguistic materiality—the specific forms and configurations taken by the signifier—generates its own non-symbolic associations. The physical substance of writing highlights similarities between signifiers, establishes connections that cut across grammatic and rhetorical units, and creates patterns that can be significant without communicating any set or preordained message. Pursuing a radical formalism, in which the structural analysis of literary texts reveals rather than ignores their social and political context, the book returns to themes of onomastics (proper names) and typography. Arguing that avant-garde writing strategies can benefit from avant-garde reading strategies, the book proposes models of accessing works that might otherwise appear to be restive, opaque, nonsensical, or illegible. In the process it illuminates works from a counter-canon of the avant-garde in which well-known figures (such as Gertrude Stein and Andy Warhol) are seen to be in dialogue with less-recognized writers (including P. Inman and N. H. Pritchard) and in which the innovations of African American literature are understood to be integral to the history of experimental poetry.Less
This book proposes a methodology for literary analysis. It demonstrates that attending to the material forms of language can reveal significations not otherwise accessible through conventional reading strategies. Linguistic materiality—the specific forms and configurations taken by the signifier—generates its own non-symbolic associations. The physical substance of writing highlights similarities between signifiers, establishes connections that cut across grammatic and rhetorical units, and creates patterns that can be significant without communicating any set or preordained message. Pursuing a radical formalism, in which the structural analysis of literary texts reveals rather than ignores their social and political context, the book returns to themes of onomastics (proper names) and typography. Arguing that avant-garde writing strategies can benefit from avant-garde reading strategies, the book proposes models of accessing works that might otherwise appear to be restive, opaque, nonsensical, or illegible. In the process it illuminates works from a counter-canon of the avant-garde in which well-known figures (such as Gertrude Stein and Andy Warhol) are seen to be in dialogue with less-recognized writers (including P. Inman and N. H. Pritchard) and in which the innovations of African American literature are understood to be integral to the history of experimental poetry.
Carmel Vaisman
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199795437
- eISBN:
- 9780199919321
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199795437.003.0009
- Subject:
- Linguistics, Sociolinguistics / Anthropological Linguistics
This chapter is concerned with the ways one community of Israeli girls, Fakatsa, employ linguistic repertoires and typographic styles in performing a “girly girl” identity on their blogs. The chapter ...
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This chapter is concerned with the ways one community of Israeli girls, Fakatsa, employ linguistic repertoires and typographic styles in performing a “girly girl” identity on their blogs. The chapter emerges from a larger ethnography of girls' engagement with new media literacies in the Hebrew-language blogosphere. Fakatsa girls have developed a vernacular Hebrew literation and typographic system in which the aesthetic form of writing is as important as content. It is through this particular style that they are also able to negotiate (or resist) popular stereotypes about them. The chapter contributes to an understanding of the reciprocity between gender identity performance, globalization, language, and new media.Less
This chapter is concerned with the ways one community of Israeli girls, Fakatsa, employ linguistic repertoires and typographic styles in performing a “girly girl” identity on their blogs. The chapter emerges from a larger ethnography of girls' engagement with new media literacies in the Hebrew-language blogosphere. Fakatsa girls have developed a vernacular Hebrew literation and typographic system in which the aesthetic form of writing is as important as content. It is through this particular style that they are also able to negotiate (or resist) popular stereotypes about them. The chapter contributes to an understanding of the reciprocity between gender identity performance, globalization, language, and new media.
Stanley Boorman
- Published in print:
- 2005
- Published Online:
- September 2011
- ISBN:
- 9780195142075
- eISBN:
- 9780199850549
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195142075.001.0001
- Subject:
- Music, History, Western
The innovative work in design, typography, and content of music printer and publisher Ottaviano Petrucci (1446–1539) became the standard by which all following printers measured themselves. This book ...
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The innovative work in design, typography, and content of music printer and publisher Ottaviano Petrucci (1446–1539) became the standard by which all following printers measured themselves. This book is a bibliographic study of the output of the Petrucci presses. It includes a detailed study of technique and house-style, and provides a catalogue of editions and copies.Less
The innovative work in design, typography, and content of music printer and publisher Ottaviano Petrucci (1446–1539) became the standard by which all following printers measured themselves. This book is a bibliographic study of the output of the Petrucci presses. It includes a detailed study of technique and house-style, and provides a catalogue of editions and copies.
Jane A. Bernstein
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780195102314
- eISBN:
- 9780199853113
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195102314.003.0009
- Subject:
- Music, History, Western
The 1540s must have been a heady time for the two Venetian music presses. Practically overnight the single-impression method of music typography transformed the Venetian music-printing industry into ...
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The 1540s must have been a heady time for the two Venetian music presses. Practically overnight the single-impression method of music typography transformed the Venetian music-printing industry into an international enterprise. The size and type of repertory issued by Scotto and Gardano increased dramatically as the decade progressed. During their first years of operation, the two firms turned out about twenty music editions per year, representing about four times the total output of the Venetian printers from the preceding decade, and nearly ten times the number of editions Petrucci issued at the beginning of the century. In order to keep up production, Scotto and Gardano had to implement a variety of schemes in the marketing of their music books.Less
The 1540s must have been a heady time for the two Venetian music presses. Practically overnight the single-impression method of music typography transformed the Venetian music-printing industry into an international enterprise. The size and type of repertory issued by Scotto and Gardano increased dramatically as the decade progressed. During their first years of operation, the two firms turned out about twenty music editions per year, representing about four times the total output of the Venetian printers from the preceding decade, and nearly ten times the number of editions Petrucci issued at the beginning of the century. In order to keep up production, Scotto and Gardano had to implement a variety of schemes in the marketing of their music books.
Anne Billson
- Published in print:
- 2011
- Published Online:
- February 2021
- ISBN:
- 9781906733506
- eISBN:
- 9781800342514
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781906733506.003.0005
- Subject:
- Film, Television and Radio, Film
This chapter recounts how Tomas Alfredson's Let the Right One In begins with a black screen with simple white credits and the title of the film in red, which are colors that are predominant in the ...
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This chapter recounts how Tomas Alfredson's Let the Right One In begins with a black screen with simple white credits and the title of the film in red, which are colors that are predominant in the film. The chapter probes the typography of the title that was arranged in a configuration reminiscent of 1950s modernism, the era in which the housing estate that provides the film with its central setting was constructed. It also talks about the black of night and the darkness of Eli's hair and eyes that contrast with the light of Oskar's blondness and the snow, which reflect the light and dark within their own personalities. The chapter discusses the color red as the red of blood that was used sparingly but effectively throughout Let the Right One In. It mentions falling snow followed by snow stained with red blood as the first moving image in Let the Right One In.Less
This chapter recounts how Tomas Alfredson's Let the Right One In begins with a black screen with simple white credits and the title of the film in red, which are colors that are predominant in the film. The chapter probes the typography of the title that was arranged in a configuration reminiscent of 1950s modernism, the era in which the housing estate that provides the film with its central setting was constructed. It also talks about the black of night and the darkness of Eli's hair and eyes that contrast with the light of Oskar's blondness and the snow, which reflect the light and dark within their own personalities. The chapter discusses the color red as the red of blood that was used sparingly but effectively throughout Let the Right One In. It mentions falling snow followed by snow stained with red blood as the first moving image in Let the Right One In.
Krzysztof Pilarczyk
- Published in print:
- 2002
- Published Online:
- February 2021
- ISBN:
- 9781874774716
- eISBN:
- 9781800340725
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781874774716.003.0002
- Subject:
- Religion, Judaism
This chapter explores Jewish religious print culture in Poland during the second half of the sixteenth century and the first half of the seventeenth centuries. During this period, Jewish printers in ...
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This chapter explores Jewish religious print culture in Poland during the second half of the sixteenth century and the first half of the seventeenth centuries. During this period, Jewish printers in Poland established their printing houses in Kraków and Lublin. Jews in the Polish diaspora in the second half of the sixteenth and the first half of the seventeenth century saw the development of Jewish typography as essential to the normal functioning of Jewish communities everywhere. The members of the communities needed books to study the Torah, and in particular they needed the Talmud — the fundamental work on which rabbinic Judaism is based. The printers in Kraków and Lublin in this period satisfied the needs of the Jewish book market in Poland to a considerable degree while also competing with foreign printers. Jewish typography in Poland, managed by a few families over two or three generations, could not equal that of Venetian printers or later of Dutch printers, who had a much greater influence on culture and economy and served many European communities. Nevertheless, printers in Poland played a significant role in printing the Talmud.Less
This chapter explores Jewish religious print culture in Poland during the second half of the sixteenth century and the first half of the seventeenth centuries. During this period, Jewish printers in Poland established their printing houses in Kraków and Lublin. Jews in the Polish diaspora in the second half of the sixteenth and the first half of the seventeenth century saw the development of Jewish typography as essential to the normal functioning of Jewish communities everywhere. The members of the communities needed books to study the Torah, and in particular they needed the Talmud — the fundamental work on which rabbinic Judaism is based. The printers in Kraków and Lublin in this period satisfied the needs of the Jewish book market in Poland to a considerable degree while also competing with foreign printers. Jewish typography in Poland, managed by a few families over two or three generations, could not equal that of Venetian printers or later of Dutch printers, who had a much greater influence on culture and economy and served many European communities. Nevertheless, printers in Poland played a significant role in printing the Talmud.
- Published in print:
- 2008
- Published Online:
- March 2013
- ISBN:
- 9780226388700
- eISBN:
- 9780226388724
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226388724.003.0012
- Subject:
- Religion, History of Christianity
The remarkably successful career of the Slavic amulet of seventy two divine names hinges on one central event in its history: its initial printed publication. The text first appeared in 1520 as part ...
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The remarkably successful career of the Slavic amulet of seventy two divine names hinges on one central event in its history: its initial printed publication. The text first appeared in 1520 as part of a pioneering work of Cyrillic typography. The book, known as the Miscellany for Travelers, came out of the Venetian printing house of the Montenegrin entrepreneur Božidar Vuković —a central figure in the earliest chapter of modern Cyrillic bookmaking. Cyrillic typography appeared on the cultural map of Europe relatively late, however, early in the next century, the production of Cyrillic books moved almost entirely to Venice, which had established itself as perhaps the most important typographic center in Europe at the time. The publishing house of Vuković had much to do with the success of Cyrillic printing in Venice.Less
The remarkably successful career of the Slavic amulet of seventy two divine names hinges on one central event in its history: its initial printed publication. The text first appeared in 1520 as part of a pioneering work of Cyrillic typography. The book, known as the Miscellany for Travelers, came out of the Venetian printing house of the Montenegrin entrepreneur Božidar Vuković —a central figure in the earliest chapter of modern Cyrillic bookmaking. Cyrillic typography appeared on the cultural map of Europe relatively late, however, early in the next century, the production of Cyrillic books moved almost entirely to Venice, which had established itself as perhaps the most important typographic center in Europe at the time. The publishing house of Vuković had much to do with the success of Cyrillic printing in Venice.
Jad Smith
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780252040634
- eISBN:
- 9780252099076
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040634.003.0005
- Subject:
- Literature, 20th-century Literature and Modernism
In the early 1950s, working closely with Galaxy magazine editor Horace L. Gold, Bester wrote a highly experimental novel, The Demolished Man. In addition to hybridizing the SF and detective novel, a ...
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In the early 1950s, working closely with Galaxy magazine editor Horace L. Gold, Bester wrote a highly experimental novel, The Demolished Man. In addition to hybridizing the SF and detective novel, a feat Campbell had declared impossible, The Demolished Man also reimagined telepathy via sociolinguistics, thinking of it in terms of language change. Bester’s telepaths, which he calls “espers,” develop their own idioms, metaphors, and in-jokes, all of which Bester captures through nonstandard orthography, extra-coding, and other forms of innovative, modernist-style language play. This chapter also chronicles Boucher’s continuing influence on Bester’s development as a writer and examines Bester’s preoccupation with the wish fulfillment theme in short stories such as “Hobson’s Choice” and “5,271,009.”Less
In the early 1950s, working closely with Galaxy magazine editor Horace L. Gold, Bester wrote a highly experimental novel, The Demolished Man. In addition to hybridizing the SF and detective novel, a feat Campbell had declared impossible, The Demolished Man also reimagined telepathy via sociolinguistics, thinking of it in terms of language change. Bester’s telepaths, which he calls “espers,” develop their own idioms, metaphors, and in-jokes, all of which Bester captures through nonstandard orthography, extra-coding, and other forms of innovative, modernist-style language play. This chapter also chronicles Boucher’s continuing influence on Bester’s development as a writer and examines Bester’s preoccupation with the wish fulfillment theme in short stories such as “Hobson’s Choice” and “5,271,009.”
Claire M. L. Bourne
- Published in print:
- 2020
- Published Online:
- July 2020
- ISBN:
- 9780198848790
- eISBN:
- 9780191883149
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198848790.003.0001
- Subject:
- Literature, 16th-century and Renaissance Literature
The introduction describes the original survey of sixteenth- and seventeenth-century playbook typography on which the book’s arguments are based. It makes a case for typography as worthy of study by ...
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The introduction describes the original survey of sixteenth- and seventeenth-century playbook typography on which the book’s arguments are based. It makes a case for typography as worthy of study by showing that printed plays were considered viable and profitable reading matter in their own time. It engages with recent field-shaping scholarship in book history and theatre studies to explain why playbook typography has not yet been taken up on its own terms. The introduction contends that early modern playbook typography yields a new way of understanding the surviving corpus of early modern playbooks: as reading texts that permitted readerly access to contemporary forms of theatricality rather than foreclosing the chance to experience their effects. In other words, the idiosyncrasies of early modern playbook mise-en-page offer a wealth of untapped evidence about the active—and necessary—creativity involved in the tricky business of making plays into books and books into plays.Less
The introduction describes the original survey of sixteenth- and seventeenth-century playbook typography on which the book’s arguments are based. It makes a case for typography as worthy of study by showing that printed plays were considered viable and profitable reading matter in their own time. It engages with recent field-shaping scholarship in book history and theatre studies to explain why playbook typography has not yet been taken up on its own terms. The introduction contends that early modern playbook typography yields a new way of understanding the surviving corpus of early modern playbooks: as reading texts that permitted readerly access to contemporary forms of theatricality rather than foreclosing the chance to experience their effects. In other words, the idiosyncrasies of early modern playbook mise-en-page offer a wealth of untapped evidence about the active—and necessary—creativity involved in the tricky business of making plays into books and books into plays.
David Jhave Johnston
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780262034517
- eISBN:
- 9780262334396
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034517.003.0003
- Subject:
- Philosophy, Aesthetics
Digital poetry case-studies. The chapter begins with precedents, typographic explorers, and parallel practitioners. The bulk of the chapter offers numerous case-studies of contemporary (1995-2015) ...
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Digital poetry case-studies. The chapter begins with precedents, typographic explorers, and parallel practitioners. The bulk of the chapter offers numerous case-studies of contemporary (1995-2015) digital poetry (and/or language-art in mediated contexts) grouped by thematics.
Authors analysed include (among others): Christian Bök, Zuzana Husárová, Joe Davis, Eduardo Kac, S. S. Prasad, Jason Lewis, Erik Loyer, Andy Campbell, Ben Fry, Amaranth Borsuk, Christophe Bruno, Talan Memmott, Jaap Blonk, Daniel Howe, Karsten Schmidt, Brad Troemel, TRAUMAWIEN, Darius Kazemi, Ray Kurzweil, John Cayley, Nick Montfort, Stephanie Strickland, Antonio Roque, Håkan Jonson, Johannes Heldén, Danny Cannizzaro, Samantha Gorman, and Camille Henrot.Less
Digital poetry case-studies. The chapter begins with precedents, typographic explorers, and parallel practitioners. The bulk of the chapter offers numerous case-studies of contemporary (1995-2015) digital poetry (and/or language-art in mediated contexts) grouped by thematics.
Authors analysed include (among others): Christian Bök, Zuzana Husárová, Joe Davis, Eduardo Kac, S. S. Prasad, Jason Lewis, Erik Loyer, Andy Campbell, Ben Fry, Amaranth Borsuk, Christophe Bruno, Talan Memmott, Jaap Blonk, Daniel Howe, Karsten Schmidt, Brad Troemel, TRAUMAWIEN, Darius Kazemi, Ray Kurzweil, John Cayley, Nick Montfort, Stephanie Strickland, Antonio Roque, Håkan Jonson, Johannes Heldén, Danny Cannizzaro, Samantha Gorman, and Camille Henrot.
Craig Dworkin
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780226743424
- eISBN:
- 9780226743738
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226743738.003.0002
- Subject:
- Literature, American, 20th Century Literature
This chapter argues that the familiar typography of the prose page might be understood as a form, rather than a mere format, through the affordances of the new lexical relationships it orchestrates ...
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This chapter argues that the familiar typography of the prose page might be understood as a form, rather than a mere format, through the affordances of the new lexical relationships it orchestrates with an inherent logic of chance and determinism, dispersion and consolidation, fixity and flow. This perspective explains some of the difficult works of twentieth-century poetry, including works by Lyn Hejinian and Clark Coolidge. Furthermore, attending to the form of prose in narrative fiction can reveal moments at which discursive descriptions figure their own format of print, short-circuiting conventional distinctions between noise and message, or signifier and signified. Examples include William Carlos Williams’s "Kora in Hell," Joseph Roth’s "The Radetzky March," Eugène Ionesco’s "The Hermit," Andrei Bely’s "Petersburg," Stephen Crane’s "Maggie: A Girl of the Streets," and William Faulkner’s "As I Lay Dying."Less
This chapter argues that the familiar typography of the prose page might be understood as a form, rather than a mere format, through the affordances of the new lexical relationships it orchestrates with an inherent logic of chance and determinism, dispersion and consolidation, fixity and flow. This perspective explains some of the difficult works of twentieth-century poetry, including works by Lyn Hejinian and Clark Coolidge. Furthermore, attending to the form of prose in narrative fiction can reveal moments at which discursive descriptions figure their own format of print, short-circuiting conventional distinctions between noise and message, or signifier and signified. Examples include William Carlos Williams’s "Kora in Hell," Joseph Roth’s "The Radetzky March," Eugène Ionesco’s "The Hermit," Andrei Bely’s "Petersburg," Stephen Crane’s "Maggie: A Girl of the Streets," and William Faulkner’s "As I Lay Dying."
Craig Dworkin
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780226743424
- eISBN:
- 9780226743738
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226743738.003.0005
- Subject:
- Literature, American, 20th Century Literature
This chapter focuses on the representational potential of various modes of printing, including mimeograph, Ditto, letterpress, and silkscreen. In practical terms, it asks whether one mode of ...
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This chapter focuses on the representational potential of various modes of printing, including mimeograph, Ditto, letterpress, and silkscreen. In practical terms, it asks whether one mode of production can meaningfully quote another, so that format becomes content. In theoretical terms, it asks what it means to quote a quotation. The chapter focuses on the work of Russell Atkins, who served as a hinge between the Black Nationalist poets of Cleveland’s Muntu workshop and the counterculture poets of the city’s concrete poetry scene in the 1960s, exemplified by D. A. Levy’s experimental printing at the forefront of the mimeo revolution. Specifically, the chapter explicates Atkins’s chapbook poem “Spyrytual” in order to understand the most minimal set of typographic marks as a comment on the contemporaneous Hough Riots.Less
This chapter focuses on the representational potential of various modes of printing, including mimeograph, Ditto, letterpress, and silkscreen. In practical terms, it asks whether one mode of production can meaningfully quote another, so that format becomes content. In theoretical terms, it asks what it means to quote a quotation. The chapter focuses on the work of Russell Atkins, who served as a hinge between the Black Nationalist poets of Cleveland’s Muntu workshop and the counterculture poets of the city’s concrete poetry scene in the 1960s, exemplified by D. A. Levy’s experimental printing at the forefront of the mimeo revolution. Specifically, the chapter explicates Atkins’s chapbook poem “Spyrytual” in order to understand the most minimal set of typographic marks as a comment on the contemporaneous Hough Riots.
Craig Dworkin
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780226743424
- eISBN:
- 9780226743738
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226743738.003.0007
- Subject:
- Literature, American, 20th Century Literature
The final chapter reads the wildly irregular, typographically idiosyncratic prose pages of Andy Warhol’s notorious a: a novel. Ostensibly the direct, unartificed transcript of a day in the life of ...
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The final chapter reads the wildly irregular, typographically idiosyncratic prose pages of Andy Warhol’s notorious a: a novel. Ostensibly the direct, unartificed transcript of a day in the life of Factory regulars, the text was in fact roughly spliced and subjected to various stages of intentional irregularities. The resulting book, a radically indeterminate, unstable work, again allows for a revealing glimpse of the moments when material substrate and narrated description short-circuit, as the various technologies of inscription record their own act of recording as well as the loquacious banter of the protagonists, culminating unexpectedly in an evocation of precisely the same instance in one of John Cage’s texts. At the same time, the novel’s radical artifice and semiotic indeterminacy highlight the ways in which common words can engage in acts of nomination and, conversely, proper nouns must enter into the play of the signifier. In addition to Warhol’s own name, the name of Maria Callas plays a leading role in the themes and vocabulary of the novel, making her not only a leading character but also suggesting that she may be the encrypted subject of Warhol’s electric chair paintings, making them lost portraits in his extensive celebrity oeuvre.Less
The final chapter reads the wildly irregular, typographically idiosyncratic prose pages of Andy Warhol’s notorious a: a novel. Ostensibly the direct, unartificed transcript of a day in the life of Factory regulars, the text was in fact roughly spliced and subjected to various stages of intentional irregularities. The resulting book, a radically indeterminate, unstable work, again allows for a revealing glimpse of the moments when material substrate and narrated description short-circuit, as the various technologies of inscription record their own act of recording as well as the loquacious banter of the protagonists, culminating unexpectedly in an evocation of precisely the same instance in one of John Cage’s texts. At the same time, the novel’s radical artifice and semiotic indeterminacy highlight the ways in which common words can engage in acts of nomination and, conversely, proper nouns must enter into the play of the signifier. In addition to Warhol’s own name, the name of Maria Callas plays a leading role in the themes and vocabulary of the novel, making her not only a leading character but also suggesting that she may be the encrypted subject of Warhol’s electric chair paintings, making them lost portraits in his extensive celebrity oeuvre.
Jan-Christopher Horak
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780813147185
- eISBN:
- 9780813154787
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813147185.003.0002
- Subject:
- Film, Television and Radio, Film
Like many designers, Saul Bass was loath to discuss his work in a theoretical framework. He spent almost fifteen years working in studio publicity before founding his own design studio. In the ...
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Like many designers, Saul Bass was loath to discuss his work in a theoretical framework. He spent almost fifteen years working in studio publicity before founding his own design studio. In the mid-1940s Bass came under the spell of Bauhaus design aesthetics through books by Laszlo Moholy-Nagy and Gyorgy Kepes, translating their work into an American idiom for corporate design. Bass jettisoned much of Gestalt theory and adopted Bauhaus principles of clean, uncluttered design based on sans serif type and basic geometric shapes to communicate modernity to post–World War II consumers. Prior to Bass, Hollywood film advertising was no more than sophisticated ballyhoo. Bass pared down the cluttered look of most movie ads and created a distinct brand consisting of strong graphic elements, modern typography, geometric ordering of the two-dimensional space, a limited color palette (mostly primary colors or coordinated pastels), a simple iconographic element at the center, and a catalog of “house” images.Less
Like many designers, Saul Bass was loath to discuss his work in a theoretical framework. He spent almost fifteen years working in studio publicity before founding his own design studio. In the mid-1940s Bass came under the spell of Bauhaus design aesthetics through books by Laszlo Moholy-Nagy and Gyorgy Kepes, translating their work into an American idiom for corporate design. Bass jettisoned much of Gestalt theory and adopted Bauhaus principles of clean, uncluttered design based on sans serif type and basic geometric shapes to communicate modernity to post–World War II consumers. Prior to Bass, Hollywood film advertising was no more than sophisticated ballyhoo. Bass pared down the cluttered look of most movie ads and created a distinct brand consisting of strong graphic elements, modern typography, geometric ordering of the two-dimensional space, a limited color palette (mostly primary colors or coordinated pastels), a simple iconographic element at the center, and a catalog of “house” images.
