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The World of Kusazōshi
Part of a formidable publishing industry, cheap yet eye-catching graphic narratives consistently charmed early modern Japanese readers for around two hundred years. These booklets were called kusazōshi (“grass books”).
Graphic Narratives from Early Modern Japan is the first English-language publication of its kind. It enables anyone new to kusazōshi to gain comprehensive knowledge of the field. For the specialist, our edited volume marks a turning point in scholarship, uncovering fresh research avenues.
While exploring the powerful effects of the visual-verbal imagination, this collection opens up bold new vistas on the act of reading and advances provocations around comics and manga.
Contributors are: Jaqueline Berndt, Joseph Bills, Michael Emmerich, Adam L. Kern, Fumiko Kobayashi, Frederick Feilden, Laura Moretti, Matsubara Noriko, Satō Satoru, Satō Yukiko, Satoko Shimazaki, Takagi Gen, Tanahashi Masahiro, Ellis Tinios, Tsuda Mayumi and, Glynne Walley.
Graphic Narratives from Early Modern Japan is the first English-language publication of its kind. It enables anyone new to kusazōshi to gain comprehensive knowledge of the field. For the specialist, our edited volume marks a turning point in scholarship, uncovering fresh research avenues.
While exploring the powerful effects of the visual-verbal imagination, this collection opens up bold new vistas on the act of reading and advances provocations around comics and manga.
Contributors are: Jaqueline Berndt, Joseph Bills, Michael Emmerich, Adam L. Kern, Fumiko Kobayashi, Frederick Feilden, Laura Moretti, Matsubara Noriko, Satō Satoru, Satō Yukiko, Satoko Shimazaki, Takagi Gen, Tanahashi Masahiro, Ellis Tinios, Tsuda Mayumi and, Glynne Walley.
The World of Kusazōshi
Part of a formidable publishing industry, cheap yet eye-catching graphic narratives consistently charmed early modern Japanese readers for around two hundred years. These booklets were called kusazōshi (“grass books”).
Graphic Narratives from Early Modern Japan is the first English-language publication of its kind. It enables anyone new to kusazōshi to gain comprehensive knowledge of the field. For the specialist, our edited volume marks a turning point in scholarship, uncovering fresh research avenues.
While exploring the powerful effects of the visual-verbal imagination, this collection opens up bold new vistas on the act of reading and advances provocations around comics and manga.
Contributors are: Jaqueline Berndt, Joseph Bills, Michael Emmerich, Adam L. Kern, Fumiko Kobayashi, Frederick Feilden, Laura Moretti, Matsubara Noriko, Satō Satoru, Satō Yukiko, Satoko Shimazaki, Takagi Gen, Tanahashi Masahiro, Ellis Tinios, Tsuda Mayumi and, Glynne Walley.
Graphic Narratives from Early Modern Japan is the first English-language publication of its kind. It enables anyone new to kusazōshi to gain comprehensive knowledge of the field. For the specialist, our edited volume marks a turning point in scholarship, uncovering fresh research avenues.
While exploring the powerful effects of the visual-verbal imagination, this collection opens up bold new vistas on the act of reading and advances provocations around comics and manga.
Contributors are: Jaqueline Berndt, Joseph Bills, Michael Emmerich, Adam L. Kern, Fumiko Kobayashi, Frederick Feilden, Laura Moretti, Matsubara Noriko, Satō Satoru, Satō Yukiko, Satoko Shimazaki, Takagi Gen, Tanahashi Masahiro, Ellis Tinios, Tsuda Mayumi and, Glynne Walley.
Editor:
The five hundred years from the 1450s to the 1950s represent an extraordinarily rich quarry for evidence of incunabula sales, collecting and use. What book lists reveal about publishing and reading habits in late 15th-century Venice, how a Scottish librarian went about acquiring incunabula during World War II and the international workshop connections glimpsed through early Hungarian bindings are among the topics explored in this volume. Library professionals train spotlights on French plague tracts, Deventer as a printing place, the use of incunabula in learned societies in the nineteenth-century, and incunabula collecting by monks and universities in England and Scotland.
Editor:
The five hundred years from the 1450s to the 1950s represent an extraordinarily rich quarry for evidence of incunabula sales, collecting and use. What book lists reveal about publishing and reading habits in late 15th-century Venice, how a Scottish librarian went about acquiring incunabula during World War II and the international workshop connections glimpsed through early Hungarian bindings are among the topics explored in this volume. Library professionals train spotlights on French plague tracts, Deventer as a printing place, the use of incunabula in learned societies in the nineteenth-century, and incunabula collecting by monks and universities in England and Scotland.
Moritz Retzsch's Prints in Circulation
Author:
In a new approach to Goethe's Faust I, Evanghelia Stead extensively discusses Moritz Retzsch's twenty-six outline prints (1816) and how their spin-offs made the unfathomable play available to larger reader communities through copying and extensive distribution circuits, including bespoke gifts. The images amply transformed as they travelled throughout Europe and overseas, revealing differences between countries and cultures but also their pliability and resilience whenever remediated.
This interdisciplinary investigation evidences the importance of print culture throughout the nineteenth and early twentieth centuries in nations involved in competition and conflict. Retzsch's foundational set crucially engenders parody, and inspires the stage, literature, and three-dimensional objects, well beyond common perceptions of print culture's influence.
This book is available in open access thanks to an Institut Universitaire de France (IUF) grant.
This interdisciplinary investigation evidences the importance of print culture throughout the nineteenth and early twentieth centuries in nations involved in competition and conflict. Retzsch's foundational set crucially engenders parody, and inspires the stage, literature, and three-dimensional objects, well beyond common perceptions of print culture's influence.
This book is available in open access thanks to an Institut Universitaire de France (IUF) grant.
Moritz Retzsch's Prints in Circulation
Author:
In a new approach to Goethe's Faust I, Evanghelia Stead extensively discusses Moritz Retzsch's twenty-six outline prints (1816) and how their spin-offs made the unfathomable play available to larger reader communities through copying and extensive distribution circuits, including bespoke gifts. The images amply transformed as they travelled throughout Europe and overseas, revealing differences between countries and cultures but also their pliability and resilience whenever remediated.
This interdisciplinary investigation evidences the importance of print culture throughout the nineteenth and early twentieth centuries in nations involved in competition and conflict. Retzsch's foundational set crucially engenders parody, and inspires the stage, literature, and three-dimensional objects, well beyond common perceptions of print culture's influence.
This book is available in open access thanks to an Institut Universitaire de France (IUF) grant.
This interdisciplinary investigation evidences the importance of print culture throughout the nineteenth and early twentieth centuries in nations involved in competition and conflict. Retzsch's foundational set crucially engenders parody, and inspires the stage, literature, and three-dimensional objects, well beyond common perceptions of print culture's influence.
This book is available in open access thanks to an Institut Universitaire de France (IUF) grant.
A Concise History of Paper in Western Europe
Watermarks 1450–1850 offers a concise history of the production of paper in Western Europe from the Middle Ages to the nineteenth century. The research is based on watermarks collected from various sources in combination with other elements from the trade, such as decorated paper and ream wrappers. This book includes reproductions of ca. seven hundred watermarks.
Frans and Theo Laurentius have published two more books on the topic in this same book series: Italian Watermarks 1750–1860 (2016), and Watermarks in Paper from the South-West of France, 1560–1860 (2018). In 2007/2008 they published Watermarks (1600–1650) Found in the Zeeland Archives and Watermarks (1650–1700) Found in the Zeeland Archives.
Frans and Theo Laurentius have published two more books on the topic in this same book series: Italian Watermarks 1750–1860 (2016), and Watermarks in Paper from the South-West of France, 1560–1860 (2018). In 2007/2008 they published Watermarks (1600–1650) Found in the Zeeland Archives and Watermarks (1650–1700) Found in the Zeeland Archives.
A Concise History of Paper in Western Europe
Watermarks 1450–1850 offers a concise history of the production of paper in Western Europe from the Middle Ages to the nineteenth century. The research is based on watermarks collected from various sources in combination with other elements from the trade, such as decorated paper and ream wrappers. This book includes reproductions of ca. seven hundred watermarks.
Frans and Theo Laurentius have published two more books on the topic in this same book series: Italian Watermarks 1750–1860 (2016), and Watermarks in Paper from the South-West of France, 1560–1860 (2018). In 2007/2008 they published Watermarks (1600–1650) Found in the Zeeland Archives and Watermarks (1650–1700) Found in the Zeeland Archives.
Frans and Theo Laurentius have published two more books on the topic in this same book series: Italian Watermarks 1750–1860 (2016), and Watermarks in Paper from the South-West of France, 1560–1860 (2018). In 2007/2008 they published Watermarks (1600–1650) Found in the Zeeland Archives and Watermarks (1650–1700) Found in the Zeeland Archives.
Often considered the advent of mass media, the use of books and prints by Protestants has been widely studied and has generated a rich and plentiful bibliography. In contrast, the production and use of the same media by the proponents of the Counter-Reformation have not received the attention they deserve, especially in the context of the Low Countries. The twelve chapters in this volume provide new perspectives on the efficacy of the handpress book industry to support the Catholic strategy in the Spanish Low Countries and underline the mutually beneficial relationship between the Counter-Reformation and the typographic world. This volume represents an important contribution to our understanding of the sociocultural and socioeconomic background of the Catholic Netherlands.
Often considered the advent of mass media, the use of books and prints by Protestants has been widely studied and has generated a rich and plentiful bibliography. In contrast, the production and use of the same media by the proponents of the Counter-Reformation have not received the attention they deserve, especially in the context of the Low Countries. The twelve chapters in this volume provide new perspectives on the efficacy of the handpress book industry to support the Catholic strategy in the Spanish Low Countries and underline the mutually beneficial relationship between the Counter-Reformation and the typographic world. This volume represents an important contribution to our understanding of the sociocultural and socioeconomic background of the Catholic Netherlands.
An Iconological Analysis of the Relationships between Art, Science and Power
Author:
Winner of the 2023 Menno Hertzberger Encouragement Prize (Book History)
In Early Modern Thesis Prints in the Southern Netherlands, Gwendoline de Mûelenaere offers an account of the practice of producing illustrated thesis prints in the seventeenth-century Southern Low Countries. She argues that the evolution of the thesis print genre gave rise to the creation of a specific visual language combining efficiently various figurative registers of a historical and symbolic nature. The book offers a reflection on the representation of knowledge and its public recognition in the context of academic defenses.
Early Modern Thesis Prints makes a timely contribution to our understanding of early modern print culture and more specifically to the expanding field of study concerned with the role of visual materials in early modern thought.
In Early Modern Thesis Prints in the Southern Netherlands, Gwendoline de Mûelenaere offers an account of the practice of producing illustrated thesis prints in the seventeenth-century Southern Low Countries. She argues that the evolution of the thesis print genre gave rise to the creation of a specific visual language combining efficiently various figurative registers of a historical and symbolic nature. The book offers a reflection on the representation of knowledge and its public recognition in the context of academic defenses.
Early Modern Thesis Prints makes a timely contribution to our understanding of early modern print culture and more specifically to the expanding field of study concerned with the role of visual materials in early modern thought.
An Iconological Analysis of the Relationships between Art, Science and Power
Author:
Winner of the 2023 Menno Hertzberger Encouragement Prize (Book History)
In Early Modern Thesis Prints in the Southern Netherlands, Gwendoline de Mûelenaere offers an account of the practice of producing illustrated thesis prints in the seventeenth-century Southern Low Countries. She argues that the evolution of the thesis print genre gave rise to the creation of a specific visual language combining efficiently various figurative registers of a historical and symbolic nature. The book offers a reflection on the representation of knowledge and its public recognition in the context of academic defenses.
Early Modern Thesis Prints makes a timely contribution to our understanding of early modern print culture and more specifically to the expanding field of study concerned with the role of visual materials in early modern thought.
In Early Modern Thesis Prints in the Southern Netherlands, Gwendoline de Mûelenaere offers an account of the practice of producing illustrated thesis prints in the seventeenth-century Southern Low Countries. She argues that the evolution of the thesis print genre gave rise to the creation of a specific visual language combining efficiently various figurative registers of a historical and symbolic nature. The book offers a reflection on the representation of knowledge and its public recognition in the context of academic defenses.
Early Modern Thesis Prints makes a timely contribution to our understanding of early modern print culture and more specifically to the expanding field of study concerned with the role of visual materials in early modern thought.
Editor:
In the early modern Iberian book world, as in the European book world more broadly, most works issuing from the presses contained some form of ornamentation. The nineteen contributions presented here cast light on these visual elements—on the production and ownership of printers’ materials, and on the frequency with which these materials were exchanged and shared. A third of all items printed in the early modern Iberian world carried no imprint at all; for these items, woodblocks and engravings can assist scholars seeking to identify their place of origin or their date of publication. As importantly, decoration and illustration in early print can also reveal much about the history of the graphic arts and evolving forms of cultural representation.
Editor:
In the early modern Iberian book world, as in the European book world more broadly, most works issuing from the presses contained some form of ornamentation. The nineteen contributions presented here cast light on these visual elements—on the production and ownership of printers’ materials, and on the frequency with which these materials were exchanged and shared. A third of all items printed in the early modern Iberian world carried no imprint at all; for these items, woodblocks and engravings can assist scholars seeking to identify their place of origin or their date of publication. As importantly, decoration and illustration in early print can also reveal much about the history of the graphic arts and evolving forms of cultural representation.
How has reproduction transformed works of art and literature, their dissemination and their reception? And how does it continue to do so? In what ways have our definitions and practices of reproduction changed over the last centuries thanks to new printing, photographic and digital techniques? These questions are timely. From the medieval copy to contemporary digital culture, including the rise of the printing press and engraving techniques in the Renaissance and the Ancien Régime, myriad modes of reproduction informed both our access to texts and images and our ways of reading, seeing, understanding, discovering and questioning the world.
Dans quelle mesure la reproduction transforme-t-elle les œuvres, leur diffusion et leur réception ? De quelles manières les conceptions et les usages de la reproduction ont-ils subi des transformations majeures au cours des derniers siècles avec la diffusion des pratiques d’impression, de la photographie et des techniques numériques ? Ces questions sont d’une actualité incontournable. De la copie médiévale à la culture numérique contemporaine, en passant par l’essor de l’imprimerie et les techniques de gravure à la Renaissance et sous l’Ancien Régime, les différents modes de reproduction informent non seulement nos accès aux textes et aux images, mais aussi nos manières de lire, de voir, de comprendre, découvrir et d’interroger le monde.
Dans quelle mesure la reproduction transforme-t-elle les œuvres, leur diffusion et leur réception ? De quelles manières les conceptions et les usages de la reproduction ont-ils subi des transformations majeures au cours des derniers siècles avec la diffusion des pratiques d’impression, de la photographie et des techniques numériques ? Ces questions sont d’une actualité incontournable. De la copie médiévale à la culture numérique contemporaine, en passant par l’essor de l’imprimerie et les techniques de gravure à la Renaissance et sous l’Ancien Régime, les différents modes de reproduction informent non seulement nos accès aux textes et aux images, mais aussi nos manières de lire, de voir, de comprendre, découvrir et d’interroger le monde.
How has reproduction transformed works of art and literature, their dissemination and their reception? And how does it continue to do so? In what ways have our definitions and practices of reproduction changed over the last centuries thanks to new printing, photographic and digital techniques? These questions are timely. From the medieval copy to contemporary digital culture, including the rise of the printing press and engraving techniques in the Renaissance and the Ancien Régime, myriad modes of reproduction informed both our access to texts and images and our ways of reading, seeing, understanding, discovering and questioning the world.
Dans quelle mesure la reproduction transforme-t-elle les œuvres, leur diffusion et leur réception ? De quelles manières les conceptions et les usages de la reproduction ont-ils subi des transformations majeures au cours des derniers siècles avec la diffusion des pratiques d’impression, de la photographie et des techniques numériques ? Ces questions sont d’une actualité incontournable. De la copie médiévale à la culture numérique contemporaine, en passant par l’essor de l’imprimerie et les techniques de gravure à la Renaissance et sous l’Ancien Régime, les différents modes de reproduction informent non seulement nos accès aux textes et aux images, mais aussi nos manières de lire, de voir, de comprendre, découvrir et d’interroger le monde.
Dans quelle mesure la reproduction transforme-t-elle les œuvres, leur diffusion et leur réception ? De quelles manières les conceptions et les usages de la reproduction ont-ils subi des transformations majeures au cours des derniers siècles avec la diffusion des pratiques d’impression, de la photographie et des techniques numériques ? Ces questions sont d’une actualité incontournable. De la copie médiévale à la culture numérique contemporaine, en passant par l’essor de l’imprimerie et les techniques de gravure à la Renaissance et sous l’Ancien Régime, les différents modes de reproduction informent non seulement nos accès aux textes et aux images, mais aussi nos manières de lire, de voir, de comprendre, découvrir et d’interroger le monde.
In the early modern period, images of revolts and violence became increasingly important tools to legitimize or contest political structures. This volume offers the first in-depth analysis of how early modern people produced and consumed violent imagery, and assesses its role in memory practices, political mobilization, and the negotiation of cruelty and justice.
Critically evaluating the traditional focus on Western European imagery, the case studies in this book draw on evidence from Russia, China, Hungary, Portugal, Germany, North America, and other regions. The contributors highlight the distinctions among visual cultures of violence, as well as their entanglements in networks of intensive transregional communication, early globalization, and European colonization.
Contributors: Monika Barget, David de Boer, Nóra G. Etényi, Fabian Fechner, Joana Fraga, Malte Griesse, Alain Hugon, Gleb Kazakov, Nancy Kollmann, Ya-Chen Ma, Galina Tirnanić, and Ramon Voges.
Critically evaluating the traditional focus on Western European imagery, the case studies in this book draw on evidence from Russia, China, Hungary, Portugal, Germany, North America, and other regions. The contributors highlight the distinctions among visual cultures of violence, as well as their entanglements in networks of intensive transregional communication, early globalization, and European colonization.
Contributors: Monika Barget, David de Boer, Nóra G. Etényi, Fabian Fechner, Joana Fraga, Malte Griesse, Alain Hugon, Gleb Kazakov, Nancy Kollmann, Ya-Chen Ma, Galina Tirnanić, and Ramon Voges.
In the early modern period, images of revolts and violence became increasingly important tools to legitimize or contest political structures. This volume offers the first in-depth analysis of how early modern people produced and consumed violent imagery, and assesses its role in memory practices, political mobilization, and the negotiation of cruelty and justice.
Critically evaluating the traditional focus on Western European imagery, the case studies in this book draw on evidence from Russia, China, Hungary, Portugal, Germany, North America, and other regions. The contributors highlight the distinctions among visual cultures of violence, as well as their entanglements in networks of intensive transregional communication, early globalization, and European colonization.
Contributors: Monika Barget, David de Boer, Nóra G. Etényi, Fabian Fechner, Joana Fraga, Malte Griesse, Alain Hugon, Gleb Kazakov, Nancy Kollmann, Ya-Chen Ma, Galina Tirnanić, and Ramon Voges.
Critically evaluating the traditional focus on Western European imagery, the case studies in this book draw on evidence from Russia, China, Hungary, Portugal, Germany, North America, and other regions. The contributors highlight the distinctions among visual cultures of violence, as well as their entanglements in networks of intensive transregional communication, early globalization, and European colonization.
Contributors: Monika Barget, David de Boer, Nóra G. Etényi, Fabian Fechner, Joana Fraga, Malte Griesse, Alain Hugon, Gleb Kazakov, Nancy Kollmann, Ya-Chen Ma, Galina Tirnanić, and Ramon Voges.