First scholarly work devoted to Aztec and Maya papermaking. Chosen by the American Institute of Graphic Arts as one of the fifty best books of 1944, it thoroughly discusses the processes and materials used by these ancient craftsmen. Extensive editorial apparatus. Essential reading for historians, anthropologists, and students.

Papermaking is a fascinating art and technology. The second edition of this successful 2 volume handbook provides a comprehensive view on the technical, economic, ecologic and social background of paper and board. It has been updated, revised and largely extended in depth and width including the further use of paper and board in converting and printing. A wide knowledge basis is a prerequisite in evaluating and optimizing the whole process chain to ensure efficient paper and board production. The same is true in their application and end use. The book covers a wide range of topics: * Raw materials required for paper and board manufacturing such as fibers, chemical additives and fillers * Processes and machinery applied to prepare the stock and to produce the various paper and board grades including automation and trouble shooting * Paper converting and printing processes, book preservation * The different paper and board grades as well as testing and analysing fiber suspensions, paper and board products, and converted or printed matters * Environmental and energy factors as well as safety aspects. The handbook will provide professionals in the field, e. g. papermakers as well as converters and printers, laymen, students, politicians and other interested people with the most up-to-date and comprehensive information on the state-of- the-art techniques and aspects involved in paper making, converting and printing.

This handbook focuses on physical paper testing in the laboratory and online. Divided into five parts, it highlights assays for paper interactions with light, moisture, electricity, and heat. Topics expanded upon include laboratory testing procedures; microscopy analysis and paper surface properties; liquid and gas penetration; electrical and thermal interactions; and methods of surface characterization.

Full text, plus more than 700 precise drawings of basketry, sculpture, painting, pottery, sand paintings, metal, much more. 4 plates in color. Text gives lore and tradition behind the designs.

Named a Library Journal Best Reference of 2023 - From Library Journal's Starred Review: "This ambitious and entertaining update solidifies Berger’s volume as a must-have title for librarians, booksellers, collectors, and students of the book arts and book history." This new edition of The Dictionary of the Book adds more than 700 new entries and many new illustrations and brings the vocabulary and theory of bookselling and collecting into the modern commercial and academic world, which has been forced to adjust to a new reality. The definitive glossary of the book covers all the terms needed for a thorough understanding of how books are made, the materials they are made of, and how they are described in the bookselling, book collecting, and library worlds. Every key term—more than 2,000—that could be used in booksellers’ catalogs, library records, and collectors’ descriptions of their holdings is represented in this dictionary. This authoritative source covers all areas of book knowledge, including: The book as physical object Typeface terminology Paper terminology Printing Book collecting Cataloging Book design Bibliography as a discipline, bibliographies, and bibliographical description Physical Condition and how to describe it Calligraphy Language of manuscripts Writing implements Librarianship Legal issues Parts of a book Book condition terminology Pricing of books Buying and selling Auctions Items one will see an antiquarian book fairs Preservation and conservation issues, and the notion of restoration Key figures, presses / publishers, and libraries in the history of books Book collecting clubs and societies How to read and decipher new and old dealers’ catalogs And much more The Dictionary also contains an extensive bibliography—more than 1,000 key readings in the book world and it gives current (and past) definitions of terms whose meaning has shifted over the centuries. More than 200 images accompany the entries, making the work even more valuable for understanding the terms described.

The Friar and the Maya offers a full study and new translation of the Relación de las Cosas de Yucatán (Account of the Things of Yucatan) by a unique set of eminent scholars, created by them over more than a decade from the original manuscript held by the Real Academia de la Historia in Madrid. This critical and careful reading of the Account is long overdue in Maya studies and will forever change how this seminal text is understood and used. For generations, scholars used (and misused) the Account as the sole eyewitness insight into an ancient civilization. It is credited to the sixteenth-century Spanish Franciscan, monastic inquisitor, and bishop Diego de Landa, whose legacy is complex and contested. His extensive writings on Maya culture and history were lost in the seventeenth century, save for the fragment that is the Account, discovered in the nineteenth century, and accorded near-biblical status in the twentieth as the first “ethnography” of the Maya. However, the Account is not authored by Landa alone; it is a compilation of excerpts, many from writings by other Spaniards—a significant revelation made here for the first time. This new translation accurately reflects the style and vocabulary of the original manuscript. It is augmented by a monograph—comprising an introductory chapter, seven essays, and hundreds of notes—that describes, explains, and analyzes the life and times of Diego de Landa, the Account, and the role it has played in the development of modern Maya studies. The Friar and the Maya is an innovative presentation on an important and previously misunderstood primary source.

Maud (English, Simon Fraser U.) offers a narrative account of the life and work of poet Charles Olson, focusing on the poet's lifelong reading material as a basis for understanding his work. Drawing on an annotated listing of his library, as well as his childhood books and poetry by his contemporaries, he links the books to the poet's intellectual and poetic development at each stage of his career. Annotation copyright by Book News, Inc., Portland, OR

In Houses in a Landscape, Julia A. Hendon examines the connections between social identity and social memory using archaeological research on indigenous societies that existed more than one thousand years ago in what is now Honduras. While these societies left behind monumental buildings, the remains of their dead, remnants of their daily life, intricate works of art, and fine examples of craftsmanship such as pottery and stone tools, they left only a small body of written records. Despite this paucity of written information, Hendon contends that an archaeological study of memory in such societies is possible and worthwhile. It is possible because memory is not just a faculty of the individual mind operating in isolation, but a social process embedded in the materiality of human existence. Intimately bound up in the relations people develop with one another and with the world around them through what they do, where and how they do it, and with whom or what, memory leaves material traces. Hendon conducted research on three contemporaneous Native American civilizations that flourished from the seventh century through the eleventh CE: the Maya kingdom of Copan, the hilltop center of Cerro Palenque, and the dispersed settlement of the Cuyumapa valley. She analyzes domestic life in these societies, from cooking to crafting, as well as public and private ritual events including the ballgame. Combining her findings with a rich body of theory from anthropology, history, and geography, she explores how objects—the things people build, make, use, exchange, and discard—help people remember. In so doing, she demonstrates how everyday life becomes part of the social processes of remembering and forgetting, and how “memory communities” assert connections between the past and the present.