Home to the so-called big five publishers as well as hundreds of smaller presses, renowned literary agents, a vigorous arts scene, and an uncountable number of aspiring and established writers alike, New York City is widely perceived as the publishing capital of the United States and the world. This book traces the origins and early evolution of the city’s rise to literary preeminence. Through five case studies, Steven Carl Smith examines publishing in New York from the post–Revolutionary War period through the Jacksonian era. He discusses the gradual development of local, regional, and national distribution networks, assesses the economic relationships and shared social and cultural practices that connected printers, booksellers, and their customers, and explores the uncharacteristically modern approaches taken by the city’s preindustrial printers and distributors. If the cultural matrix of printed texts served as the primary legitimating vehicle for political debate and literary expression, Smith argues, then deeper understanding of the economic interests and political affiliations of the people who produced these texts gives necessary insight into the emergence of a major American industry. Those involved in New York’s book trade imagined for themselves, like their counterparts in other major seaport cities, a robust business that could satisfy the new nation’s desire for print, and many fulfilled their ambition by cultivating networks that crossed regional boundaries, delivering books to the masses. A fresh interpretation of the market economy in early America, An Empire of Print reveals how New York started on the road to becoming the publishing powerhouse it is today.

This book was first published in 2006. Second only to the Bible and Book of Common Prayer, John Foxe's Acts and Monuments, known as the Book of Martyrs, was the most influential book published in England during the sixteenth and seventeenth centuries. The most complex and best-illustrated English book of its time, it recounted in detail the experiences of hundreds of people who were burned alive for their religious beliefs. John N. King offers the most comprehensive investigation yet of the compilation, printing, publication, illustration, and reception of the Book of Martyrs. He charts its reception across different editions by learned and unlearned, sympathetic and antagonistic readers. The many illustrations included here introduce readers to the visual features of early printed books and general printing practices both in England and continental Europe, and enhance this important contribution to early modern literary studies, cultural and religious history, and the history of the Book.

Color Management and Print Prep in Photoshop CS6 for Windows – Setting up devices and files for color matching Color management can be an intimidating subject for anyone who’s new to working with graphics and professional printing. Achieving the perfect match between onscreen and printed colors every time mixes a good deal of art with science. Photoshop includes tools to improve color matching, and Color Management and Print Prep in Photoshop CS6 for Windows gives you a solid introduction to the color management fundamentals to use those tools effectively. In this book, you’ll learn the technical basics for better color output and how to set up Photoshop CS6 for Windows with appropriate settings for working in color. Tasks You’ll Learn Section 1 • Understand color management and workflow • Understand working spaces and profiles • Change the working space • Proof colors onscreen • Find out of gamut colors Section 2 • Understand file formats and output to PDF • Set color management policies • Assign a color profile to a file • Convert a file to another mode and profile Section 3 • Use the Photoshop Print Settings dialog box • Print a single copy • Learn about printer’s marks • Create a proof • Learn about PMS colors • Create duotones and spot colors

Traditional critical editing, defined by the paper and print limitations of the book, is now considered by many to be inadequate for the expression and interpretation of complex works of literature. At the same time, digital developments are permitting us to extend the range of text objects we can reproduce and investigate critically - not just books, but newspapers, draft manuscripts and inscriptions on stone. Some exponents of the benefits of new information technologies argue that in future all editions should be produced in digital or online form. By contrast, others point to the fact that print, after more than five hundred years of development, continues to set the agenda for how we think about text, even in its non-print forms. This important book brings together leading textual critics, scholarly editors, technical specialists and publishers to discuss whether and how existing paradigms for developing and using critical editions are changing to reflect the increased commitment to and assumed significance of digital tools and methodologies.

Canadian Women in Print, 1750—1918 is the first historical examination of women’s engagement with multiple aspects of print over some two hundred years, from the settlers who wrote diaries and letters to the New Women who argued for ballots and equal rights. Considering women’s published writing as an intervention in the public sphere of national and material print culture, this book uses approaches from book history to address the working and living conditions of women who wrote in many genres and for many reasons. This study situates English Canadian authors within an extensive framework that includes francophone writers as well as women’s work as compositors, bookbinders, and interveners in public access to print. Literary authorship is shown to be one point on a spectrum that ranges from missionary writing, temperance advocacy, and educational texts to journalism and travel accounts by New Woman adventurers. Familiar figures such as Susanna Moodie, L.M. Montgomery, Nellie McClung, Pauline Johnson, and Sara Jeannette Duncan are contextualized by writers whose names are less well known (such as Madge Macbeth and Agnes Laut) and by many others whose writings and biographies have vanished into the recesses of history. Readers will learn of the surprising range of writing and publishing performed by early Canadian women under various ideological, biographical, and cultural motivations and circumstances. Some expressed reluctance while others eagerly sought literary careers. Together they did much more to shape Canada’s cultural history than has heretofore been recognized.

A durable and portable Bible featuring complete KJV text, 11 point type, and giant print concordance; available in black or burgundy bonded and genuine leathers, with or without indexing.

Early modern geographers and compilers of travel narratives drew on a lexicon derived from cartography’s seemingly unchanging coordinates to explain human diversity. Sandra Young’s inquiry into the partisan knowledge practices of early modernity brings to light the emergence of the early modern global south. Young proposes new terms with which to understand the racialized imaginary inscribed in the scholarly texts that presented the peoples of the south as objects of an inquiring gaze from the north.

Here is a book with these pieces: (1) An accelerated and advanced Hebrew primer, (2) materials on spoken Hebrew vocabulary and phrases, and (3) materials on Hebrew blessings. Put it together and you have a perfect second-year primer.Lidro u'Livarekh is also a quick way to get new students up to speed. This is the kind of primer that gives your students a second pass at the alef-bet and teaches them more at the same time.

Inhaltsangabe:Abstract: Today we observe a development in which the role of language is steadily decreasing whereas the impact of pictures is increasing. This goes hand in hand with a development in which information relies more and more on visual concepts. More and more language takes the part of explaining how to read the visual presentations, more and more language takes the part of providing the background information which is necessary to understand the meaning of the visual foreground. Kress and van Leeuwen (1998) argue that Today, we seem to move towards a decrease of control over language (e.g. the greater variety of accents allowed on the public media, the increasing poblems in enforcing normative spelling), and towards an increase in codification and control over the visual (e.g. the use of image banks from which ready-made images can be drawn for the constuction of visual texts, and, generally, the effect of computer imaging technology). Although we may be aware of this tendency, we have not been taught in school how to read visual concepts and so most of us share some degree of illiteracy concerning a critical reading of information presented by images. This is remarkable because we all agree about their influence on our lives but at the same time when we do not develop analytical tools for describing what kinds of strategies, what kinds of concepts are working in visual presentations of information. We tend to overlook the importance of visual concepts simply because we generally do not know enough about their code. This paper analyses photos and language which are parts of ads, which have definitely been designed for transferring messages because they have been made to advertise one specific product. Images and the text of advertisements never are casual products like family pictures. Although the photo in the family album is coded its coding is less elaborated than the coding of pictures in ads. We have to keep in mind that many people, experts in advertising, experts in public relations were involved in the process of designing an ad before we can look at the final result. This is why ads are definitely conceptually designed because they are meant to create a specific meaning in the viewer s mind. It is a truism that no visual concept, no photo of an ad was chosen by chance. Photographs and language of ads are more likely to have been carefully constructed and selected according to the meaning they are supposed to create. This is [...]