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Maps in Newspapers

Approaches to Study and Practices in Portraying War since the 19th Century

André Reyes Novaes


Maps in newspapers generated many discussions among cartographers and geographers working from different approaches and theoretical backgrounds. This work examines these maps from a historiographical as well as a historical perspective. It considers three main questions, namely how maps in the press should be conceptualized, how cartographic images in newspapers have been studied, and how these images changed over time. In order to provide a perspective on the origins, development, and impact of war maps in the press, this work will explore maps representing three geopolitical conflicts for Brazilian audiences: The War of the Triple Alliance (1864–1870), World War II (1939–1945) and the War on Drugs in Rio de Janeiro’s favelas (1994–2010). By exploring these war maps, specific cartographic practices used in this genre as well as the connections that this mode has with other types of map production and consumption will be identified.

Vasil Zagorov


The Bulgarian printed book began to develop dynamically only at the beginning of the 19th century. The delay in printing in the Bulgarian language for almost 350 years led to the accumulation of a number of peculiarities related to the material and textual aspects of the Bulgarian book. On the one hand, these peculiarities are related to the strong influence of the contemporary 19th century Bulgarian manuscripts; on the other hand, those peculiarities differ depending on the divergent foreign influence—Austrian, Russian, etc. The article discusses how peculiarities in the Bulgarian books produced during the Revival period (1806-78) are obstructing the creation of the Digital Database and Information Retrieval System.

Paul Begheyn


Between 1615 and 1736 31 Jesuit publications on China appeared in the Dutch Republic, in Dutch, French, German, Latin and Spanish. The most original and important is the Novus atlas Sinensis by Martino Martini, printed for the first time in 1655, in Latin and Dutch.

Karina de la Garza-Gil


What was the relationship between the printing technology available to early printers in Cologne and the printing practices? I can demonstrate that the regular conceptions of setting method and printing practice, printing page-by-page with a one-pull press and setting text seriatim, are contradicted after the evaluation of material evidence of, so far, at least one Cologne: one of the first in-folio format editions in Cologne, printed by the first printer of the city, Ulrich Zell.

Jeremiah Romano Mercurio and Daniel Gabelman


Although scholars have paid increasing attention to textual marginalia and their role in the consumption and production of texts, they have largely overlooked the phenomenon of doodling and its parallel role in reading and writing. Doodles trouble their accompanying texts; they record inattention, whimsical digression, critique, and sometimes outright hostility toward those texts, revealing the complexity of readerly response and exposing authors’ visions as less unified than they seem. By attending to doodles in manuscripts, notebooks, and published literature, scholars can gain insight into the subconscious and occasionally contradictory forces at play in textual genesis and reception. This article examines doodles and closely related drawings by three author-artists from the long nineteenth century: Max Beerbohm, G. K. Chesterton, and an amateur illustrator named E. Cotton. Their work demonstrates the importance of doodling to their respective authorial enterprises and reveals the (sometimes ambiguous) generic boundaries between doodles and related graphic forms.

Enlightening Europe on Islam and the Ottomans

Mouradgea d’Ohsson and His Masterpiece


Carter Vaughn Findley

Mouradgea d’Ohsson’s Tableau général de l’Empire othoman offered the Enlightenment Republic of Letters its most authoritative work on Islam and the Ottomans, also a practical reference work for kings and statesmen. Profusely illustrated and opening deep insights into illustrated book production in this period, this is also the richest collection of visual documentation on the Ottomans in a hundred years. Shaped by the author’s personal struggles, the work yet commands recognition in its own totality as a monument to inter-cultural understanding. In form one of the great taxonomic works of Enlightenment thought, this is a work of advocacy in the cause of reform and amity among France, Sweden, and the Ottoman Empire.