Author and Printer in Victorian England demonstrates that printing technology shapes texts. The technology involved was a nineteenth-century revolution in printing methods; the texts were classic literary works by Victorian authors. What was at stake was textual control: who would decide how the text would read-author, compositor, printer's reader, or publisher? In a unique fusion of literary history and printing history, Allan C. Dooley explores the interactions between individual authors and their publishers and printers. He takes the reader through each stage of a work's development, illustrating how authors attempted to perfect and protect their writings from compositional manuscript through stereotyped reprints. His analysis includes details of a wide range of technical innovations and changes in practices in the printing of books between the development of printing machines in the 1830s and 1840s and the introduction of the Linotype in the 1890s. Drawing on the experiences of leading Victorian authors, he shows how nineteenth-century printing practices both enhanced and diminished writers' abilities to control texts. He reveals that much more was under their control than has commonly been believed and that many authors took advantage of printing technologies in order to gain and maintain control over the texts of their works. But new kinds of errors and new sources of inaccuracy were introduced by the technology as well.

What do we read when we read a text? The author's words, of course, but is that all? The prevailing publishing ethic has insisted that typography-the selection and arrangement of type and other visual elements on a page-should be an invisible, silent, and deferential servant to the text it conveys. This book contests that conventional point of view. Looking at texts ranging from the King James Bible to contemporary comic strips, the contributors to Illuminating Letters examine the seldom considered but richly revealing relationships between a text's typography and its literary interpretation. The essays assume no previous typographic knowledge or expertise; instead they invite readers primarily concerned with literary and cultural meanings to turn a more curious eye to the visual and physical forms of a specific text or genre. As the contributors show, closer inspection of those forms can yield fresh insights into the significance of a text's material presentation, leading readers to appreciate better how presentation shapes understandings of the text's meanings and values. The case studies included in the volume amplify its two overarching themes: one set explores the roles of printers and publishers in manipulating, willingly or not, the meaning and reception of texts through typographic choices; the other group examines the efforts of authors to circumvent or subvert such mediation by directly controlling the typographic presentation of their texts. Together these essays demonstrate that choices about type selection and arrangement do indeed help to orchestrate textual meaning. In addition to the editors, contributors include Sarah A. Kelen, Beth McCoy, Steven R. Price, Leon Jackson, and Gene Kannenberg Jr.

Richard Pratt was one of Australia's most successful, formidable and charismatic businessmen. Yet for all this he was unfailingly human, his life playing out like a drama even after the final act.

Self-made billionaire, family man, generous philanthropist, patron of the arts and Carlton Football Club saviour were just a few of Pratt's many guises, and in this compelling biography the truth behind the headlines is revealed. The twists and turns of Pratt's life are chronicled with candour -- from humble beginnings in Poland to the heights of global business success tainted by the humiliating price-fixing scandal that earned Visy the largest corporate fine in Australia's history.

Pratt's many achievements and controversies polarised public opinion but made him one of Australia's most enigmatic public figures. Though his legacy is debatable, no-one can deny that Richard Pratt was ... "one out of the box."

This book is full of surprises: packaging to drink, to eat, to listen, to play, to relax and to see.
Packaging Identity is, without doubt, an invaluable reference work for the world of packaging design. Don't miss out

Written with the complete novice in mind, here is the ultimate beginners guide to setting up and running a small sign making business. Starting off with the very basics, this book will guide you through the latest computer aided design and manufacturing process used in modern day sign production.For someone looking around for ideas to start a small business you may find this is the ideal business opportunity for you.

The long decade from the October Revolution to 1930 was the beginning of a great experiment to create a socialist society. Throughout these years, socialist trade unions attempted to transform the Russian worker into a productive and enthusiastic participant in this new order. How did the workers themselves react to these efforts? To what extent were they and their culture transformed into the ideal forms proclaimed in the official ideology? In Republic of Labor, Diane P. Koenker illuminates the lived experience of Russia's printers, workers who differed from their comrades because of their skill and higher wages, but who shared the same challenges of economic hardship and dangerous conditions. Paying close attention to the links between work, politics, and the everyday, the author focuses on workers' efforts to define their place in socialist society. Gender issues are also emphasized, and here we see the persistence of a masculinist working-class culture counterposed to an official culture promoting gender equality. Through this engaging narrative, Koenker develops a highly original discourse about class in Soviet society that will interest all students of Russian history as well as those readers who wish to reinvigorate class as a historical and sociological tool of analysis.

Theatre of the Book explores the impact of printing on the European theatre, 1480-1880. Far from being marginal to Renaissance dramatists, the printing press played an essential role in the birth of the modern theatre. Looking at playtexts, engravings, actor portraits, notation systems, and theatrical ephemera as part of the broader history of theatrical ideas, this illustrated book offers both a history of European dramatic publication and an examination of the European theatre's continual refashioning of itself in the world of print.

This book is a spin-off of the author's earlier award-winning Music Printing in Renaissance Venice: The Scotto Press (1539-1572) and is about the commerce of music and its connection to the printing and publishing industry in mid-sixteenth century Venice. While it incorporates much of the material presented in the former study, it presents a broad portrayal of the Venetian music book trade and explores business strategies that music printeres followed in the marketing of musical repertories.

The eleven essays in this volume explore the complex interactions in early modern England between a technologically advanced culture of the printed book and a still powerful traditional culture of the spoken word, spectacle, and manuscript. Scholars who work on manuscript culture, the history of printing, cultural history, historical bibliography, and the institutions of early modern drama and theater have been brought together to address such topics as the social character of texts, historical changes in notions of literary authority and intellectual property, the mutual influence and tensions between the different forms of "publication", and the epistemological and social implications of various communications technologies.

Although canonical literary writers such as Shakespeare, Jonson, and Rochester are discussed, the field of writing examined is a broad one, embracing political speeches, coterie manuscript poetry, popular pamphlets, parochially targeted martyrdom accounts, and news reports. Setting writers, audiences, and texts in their specific historical context, the contributors focus on a period in early modern England, from the late sixteenth through the late seventeenth century, when the shift from orality and manuscript communication to print was part of large-scale cultural change Arthur F. Marotti's and Michael D. Bristol's introduction analyzes some of the sociocultural issues implicit in the collection and relates the essays to contemporary work in textual studies, bibliography, and publication history.

Much recent writing on print culture has focused on the social and political implications of the transition from "elite" to "mass" culture in the 1800s. The essays in this volume add significantly to our understanding of the role of the nineteenth-century French press in producing the commodities, consumers, and ideological frameworks that are the hallmarks of this shift. The book also offers an opportunity for useful comparisons with recent scholarship on the rise of the popular press in the United States, Great Britain, and Germany.

The essays address a wide range of topics, from the emergence of commercial daily newspapers during the July Monarchy to the photographic representation of women in the Paris Commune. Together they demonstrate that the French mass press was far more heterogeneous than previously supposed, tapping into an expanding readership composed of a variety of publics -- from affluent bourgeois to disaffected workers to disenfranchised women. It was also relentlessly innovative, using caricature, argot, advertisements, and other attention-grabbing techniques that blurred the lines separating art, politics, and the news.

Between 1892 and 1920 nearly thirty Arabic periodicals by, for, and about women were produced in Egypt for circulation throughout the Arab world. This flourishing women's press provided a forum for debating such topics as the rights of woman, marriage and divorce, and veiling and seclusion, and also offered a mechanism for disseminating new ideologies and domestic instruction. In this book, Beth Baron presents the first sustained study of this remarkable material, exploring the connections between literary culture and social transformation. Starting with profiles of the female intellectuals who pioneered the women's press in Egypt-the first generation of Arab women to write and publish extensively-Baron traces the women's literary output from production to consumption. She draws on new approaches in cultural history to examine the making of periodicals and to reconstruct their audience, and she suggests that it is impossible to assess the influence of the Arabic press without comprehending the circumstances under which it operated. Turning to specific issues argued in the pages of the women's press, Baron finds that women's views ranged across a wide spectrum. The debates are set in historical context, with elaborations on the conditions of women's education and work. Together with other sources, the journals show significant changes in the activities of urban middle- and upper-class Egyptian women in the decades before the 1919 revolution and underscore the sense that real improvement in women's lives-the women's awakening-was at hand. Baron's discussion of this extraordinary trove of materials highlights the voices of the female intellectuals who championed this awakening and broadens our understanding of the social and cultural history of the period.

Famous Book Titles and How They Got That Way

"An entertaining little book. . . . It is a good thing that writers have to keep struggling for the right title, to judge from Bernard's amusing evidence."--Christopher Lehmann-Haupt, New York Times

André Bernard has researched the stories behind more than one hundred of the most famous titles in the English language to produce a fascinating volume rich in literary anecdote and publishing lore. The Great Gatsby was almost titled Trimalchio in West Egg, while some unknown editor told William L. Shirer, "Please God, don't ask us to publish a book called The Rise and Fall of the Third Reich." It's a wonderful romp among the literary monuments.

"This small book is truly delightful and will appeal to every prospective writer and anyone interested in the creation of ideas."--Karen Glendinning, Chattanooga Free Press

Raymond Chandler to Alfred A. Knopf: "I'm trying to think of a good title for you to want me to change."

André Bernard is an executive editor at the Book-of-the-Month Club and the author of Rotten Rejections: A Literary Companion. He lives in Hastings-on-Hudson, New York.

With the increasing use and penetration of digital information technologies throughout its processes and products, the publishing industry is undergoing a fundamental and irreversible transformation. Provided here is a comprehensive single-volume study of that transformation which demonstrates how publishing managers can best take advantage of the opportunities the profound changes will bring. In 15 clearly-written chapters, the seven key elements of publishing, the 7M's, are detailed. An enumeration of critical core concepts and over 30 figures and tables assist in this timely analysis that is essential reading for all stakeholders in the future of publishing.

This eloquent and masterful book details how the recent advancements in digital information technology mark a fundamental and irreversible transformation in the publishing industry. The clearly presented and highly readable text provides a much-needed, concise, easy-to-grasp introduction to this new world of digital publishing, the opportunities it presents, and what it means for managers in the industry, including the fundamental shift from format-based enterprises (e.g., book publishers) to firms that are developers and managers of intellectual properties in multiple forms which best meet their customers' information needs. Throughout the study, the author, a media executive who has held managerial positions in major book publishing, cable television, and software firms, focuses on the business strategies that both traditional print-based and new media publishing firms must implement to adapt and thrive in this rapidly evolving and complex environment.

After an introductory chapter that reviews the major symptoms of change in the current publishing industry environment, the author examines the Information Age and the new information industry as the foundation for his analysis. He then presents his new framework, the seven Ms of publishing, that serves both as the structural backbone and main thesis of the study. The central 11 chapters of the book detail these seven Ms: the five value-added Ms of "Material, Mode, Media, Means," and "Market"; and the two infrastructural Ms of "Management" and "Money." The author supports his analysis with over 30 figures and tables that vividly depict the key points of the study. He also delineates 45 core concepts of publishing in the Information Age within the seven Ms. The final chapter of the book presents the author's vision of the digital publishing enterprise and the paradigm of promise for managers and other stakeholders in the future of publishing.

Cynthia Cockburn's classic work began as a study on the human impact of technological change, but ended as an exploratiion in the making and remaking of men, showing how work and technology are used by men in maintaining their control over women. It continues to offer an unparalled insight into men and trade unionism from a feminist point of view.

The world of work is tightly entwined with the world of things. Hot metal illuminates connections between design, material culture and labour between the 1960s and the 1980s, when the traditional crafts of hot-metal typesetting and letterpress were finally made obsolete with the introduction of computerised technologies. This multidisciplinary history provides an evocative rendering of design culture by exploring an intriguing case: a doggedly traditional Government Printing Office in Australia. It explores the struggles experienced by printers as they engaged in technological retraining, shortly before facing factory closure. Topics explored include spatial memory within oral history, gender-labour tensions, the rise of neoliberalism and the secret making of objects 'on the side'. This book will appeal to researchers in design and social history, labour history, material culture and gender studies. It is an accessible, richly argued text that will benefit students seeking to learn about the nature and erosion of blue-collar work and the history of printing as a craft. -- .

In this book, Carl Goldstein examines the print culture of seventeenth-century France through a study of the career of Abraham Bosse, a well-known printmaker, book illustrator, and author of books and pamphlets on a variety of technical subjects. The consummate print professional, Bosse persistently explored the endless possibilities of print - single-sheet prints combining text and image, book illustration, broadsides, placards, almanacs, theses, and pamphlets. Bosse had a profound understanding of print technology as a fundamental agent of change. Unlike previous studies, which have largely focused on the printed word, this book demonstrates the extent to which the contributions of an individual printmaker and the visual image are fundamental to understanding the nature and development of early modern print culture.

What do reading a book, smoking a cigarette, throwing confetti and voting in an election have in common? The answer, of course, is paper. Paper serves nearly every function of our lives. It is the technology with which we have made sense of the world. Yet the age of paper is ending. Ebooks now outsell their physical counterparts. Still, there are some uses of paper that seem unlikely to change - Christmas won't be Christmas without wrapped presents or crackers. And the language of paper - documents, files and folders - has survived digitisation. In Paper: An Elegy Ian Sansom builds a museum of paper and explores its paradox - its vulnerability and durability. This book is a timely meditation on the very paper it's printed on.

The emergence of the book was not merely an event of world historical importance, but the dawn of modernity. In this much praised work, Lucien Febvre and Henri-Jean Martin mesh together economic and technological history, sociology and anthropology, with the study of consciousness itself to root the development of printing in the changing social relations and ideological struggles of Western Europe. Now that the printed page may become a thing of the past, "The Coming of the Book" is more pertinent than ever.

Kilgour's study is a concise history of the book as we know it in all its forms, starting from the very beginning with the invention of writing and concluding at the present time with the electronic revolution and what it may hold for the future. Kilgour himself is a highly respected figure among the bibliophile set. He brings a lifetime's accumulation of knowledge and an historian's curiosity to the writing of this book, which should be picked up enthusiastically by libraries as a tribute and indespensable guide to the object whose legacy they are dedicated to preserving.

A commercial company established in 1600 to monopolize trade between England and the Far East, the East India Company grew to govern an Indian empire. Exploring the relationship between power and knowledge in European engagement with Asia, "Indian Ink "examines the Company at work and reveals how writing and print shaped authority on a global scale in the seventeenth and eighteenth centuries.
Tracing the history of the Company from its first tentative trading voyages in the early seventeenth century to the foundation of an empire in Bengal in the late eighteenth century, Miles Ogborn takes readers into the scriptoria, ships, offices, print shops, coffeehouses, and palaces to investigate the forms of writing needed to exert power and extract profit in the mercantile and imperial worlds. Interpreting the making and use of a variety of forms of writing in script and print, Ogborn argues that material and political circumstances always undermined attempts at domination through the power of the written word.
Navigating the juncture of imperial history and the history of the book, "Indian Ink "uncovers the intellectual and political legacies of early modern trade and empire and charts a new understanding of the geography of print culture.

This fully revised edition includes over 8,000 words, expressions and terminology relating to the publishing and printing industries and allied trades. Topics covered are papermaking, ink, printing and binding machinery, bookselling, typesetting, desktop publishing and design, copyright, editing, commissioning, contracts, rights and electronic publishing. Definitions are given in clear, simple English, meaning that this dictionary is perfect for anyone wanting comprehensive information at their fingertips.

The business of Stephenson Blake and Company grew from modest beginnings in 1818 into a business that dominated the typefounding industry in Britain. Roy Millington charts the history of this typefoundery, with particular focus on the changing technical and social milieu in which the company operated. Illustrated with examples of typefaces, display specimens and the machinery of personalities of the company, this thorough account of a traditional manufacturing business should appeal to anyone interested in typographical or printing history.

Mass-produced images have long been produced and used in India by religious and nationalist movements - the emergence of Indian-run chromolithograph presses in the late 1870s initiated a vast outpouring that have come to dominate many of India's public and domestic spaces.
Drawing on years of archival research, interviews with artists and publishers, and the ethnographic study of their rural consumers, Christopher Pinney traces the intimate connections between the production and consumption of these images and the struggle against colonial rule. The detailed output of individual presses and artists is set against the intensification of the nationalist struggle, the constraints imposed by colonial state censorship, and fifty years of Indian independence. The reader is introduced to artists who trained within colonial art schools, others whose skills reflect their membership of traditional painting castes, and yet others who are self-taught former sign painters.
"Photos of the Gods" is the first comprehensive history of India's popular visual culture. Combining anthropology, political and cultural history, and the study of aesthetic systems, and using many intriguing and unfamiliar images, the book shows that the current predicament of India cannot be understood without taking into account this complex, fascinating, and until now virtually unseen, visual history.

This study offers a rare perspective on the social and political crisis in late Imperial Russia. Mark D. Steinberg focuses on employers, supervisors and workers in the printing industry as it evolved from a state-dependent handicraft to a capitalist industry. He explores class relations and the values, norms and perceptions with which they were made meaningful. Using archival and printed sources, Steinberg examines economic changes, workplace relations, professional organizations, unions, strikes and political activism, as well as shop customs, trade festivals and everyday life. He describes efforts to build a community of masters and men united by shared interests and moral norms. The collapse of this ideal in the face of growing class conflict is also explored, giving a full view of an important moment in Russian history.