Book Arts

The #MeTooMovement started with one empathetic organization and crescendoed to a staggering number of victims telling their stories through social media and artistic mediums. The #MeTooMovement is a powerful force, undeniably, after the media blitz of hashtags, after institutions were faced with new ethical questions, and after victims' publicly denounced their alleged abusers. The art sector offers one example of the personal narratives that developed around the #MeTooMovement and the strategies deployed by art activists in order to bring awareness. It also shows how power dynamics were challenged within art institutions in order to empower those in positions of less power. The #MeTooMovement has consciously and organically harnessed the power of art in order to promote change. Several strategies have proven effective in their process of building awareness, demanding institutional reactions, and

introduzione al volume che l'insegnamento del vocabolario della propria disciplina non è sempre la principale preoccupazione di un docente universitario, e che ciò vale anche per chi «insegna la paleografia e le materie correlate, quali in particolare la diplomatica e la codicologia». Se, forse, in passato ci si poteva permettere di presumere che gli studenti possedessero gli attrezzi concettuali e terminologici necessari allo studio di una certa disciplina, nel caso particolare la paleografia, oggi nulla può essere dato per scontato. Evidente dovrebbe quindi risultare, più che l'utilità, la necessità di uno strumento che accompagni i discenti in un ambito tecnico quale la paleografia latina, tanto indispensabile allo studio del nostro passato quanto confinato in un orizzonte quasi esotico -il che potrebbe, in una prospettiva didattica, essere volto in vantaggio, poiché c'è un'inevitabile alterità nel passato e una quota di mistero sempre nuovo da indagare. Del glossario di Adelaide Ricci colpisce innanzitutto la semplicità: una virtù che tuttavia nasconde un lungo e paziente lavoro di chiarificazione, percorso che conduce alla chiarezza. È proprio la chiarezza terminologica a svolgere la funzione di autentica guida dei perplessi -o degli inesperti, quali sono non solo gli studenti, ma anche gran parte degli storici non specialisti della disciplina. Si trovano nel Glossario, per questa ragione, voci che dettagliano aspetti specifici dell'edizione di manoscritti (è il caso delle iniziali decorate e della loro nomenclatura), termini legati alla storia dei testi e alla loro redazione (alcuni, originale o redattore, apparentemente intuitivi, altri, come abitato o rasura, che appartengono al lessico più tecnicamente specifico della materia) e altri più generali ma che potrebbero talvolta causare fraintendimenti (come, nella struttura di un'opera, sommario, indice o intercolùmnio). Un pregio indiretto del Glossario di paleografia risiede nel suo mostrarci, attraverso la terminologia, la ricchezza della storia del libro nel suo farsi oggetto concreto di lettura e di studio; va quindi doppiamente apprezzato il fatto che questo volume si pone consapevolmente all'interno di questa nobile storia, che contiene e dalla quale è contenuto: in tale prospettiva si pone un'eccellente bibliografia ragionata, tanto semplice quanto intelligente, valida guida per gli studenti che opportunamente intendano proseguire nello studio della materia paleografica, una disciplina preziosa e, come tutte le altre, in evoluzione. Ai paleografi esperti, infine, il Glossario di Adelaide Ricci può servire come utile promemoria relativamente a un aspetto che ogni specialista tende paradossalmente a trascurare, per non dire dimenticare: la bellezza della propria terminologia specifica.

Medici patronage in quattrocento Florence plays a pivotal role in the aesthetic articu-lation of the analogy between horticulture and culture. As an acorn fortunately planted may grow to an oak tree, a seed of an idea properly cultivated may grow to wisdom. One may replant branches of ancient wisdom and see them resprout. As one cultivates vines of grapes in the countryside, one may also plant and cultivate learning in a studiolo. Humanist horticulture is most explicit in a no longer extant studiolo-an inner room of valuables in the Medici Palace, Via Larga, Florence. The horticultural decor of the ceiling of Piero de' Medici's study is early evidence of a taste for vegetative imagery and symbolism within the Medici dynasty.

Visual and cultural analysis of Meiji shōnen kaiko 明治少年懐古 (Reminiscences of a Meiji youth, 1944), an illustrated book that nostalgically recalls Japan's late nineteenth and early twentieth century period of modernization. The book is in the Pulverer Collection of Japanese illustrated books of the Freer Gallery of Art, Smithsonian Institution, Washington, DC and is featured on The World of the Japanese Illustrated Book website. My commentary, along with a complete set of readable images of the book, may be found here: http://pulverer.si.edu/node/440/title/1.

Como lo ha dicho Alberto Ruy Sánchez “La gran mayoría de los libros que caen en nuestras manos actualmente carecen de cualquier preocupación por tener una forma artística o por lo menos interesante.”

Producir un Libro-Arte de forma artesanal ofrece una pluralidad sinfín de posibilidades expresivas que hacen del libro un objeto único. El contenido del libro juega con la forma, las encuadernaciones, las posibilidades de reproducción, la libertad de elegir formatos y lenguajes según la propia creatividad, y es ocasión para practicar los oficios tradicionales del libro.

Producir un Libro-Arte de forma industrial disminuye las posibilidades expresivas pero permite elevar estandares de calidad en la edición haciendo énfasis en los detalles únicos y en los acabados. En el mejor de los casos el equipo de edición se apega al dummy propio del artista, no perdiendo de vista las soluciones obtenidas durante la prueba y error de su hechura artesanal.

Un artista recurre a un diseñador gráfico cuando busca mejorar la reproductibilidad, incrementar tiraje o hacer una segunda edición preocupada en los lectores y el consumo. Por otro lado la editorial llega al artista cuando encuentra un potencial de venta o renombre en la obra, el dialogo entre ellos llevará a un compromiso de no alterar o derivar la propuesta, cuando hay un interés de ambas partes, se gana bastante por convenio.

Tendo como ponto de partida um caso de estudo que compara dois livros de actividades (um livro tradicional no suporte físico, "Wreck this Journal", adaptado para um livro digital, "Wreck this App") da autora Keri Smith, propomo-nos analisar fundamentalmente as possibilidades do desenho de representação em ambos os suportes. Abordaremos ainda outros temas paralelos segundo parâmetros previamente definidos, que irão permitir comparar e analisar as propriedades de cada objecto, enquanto potencial espaço de representação. Este trabalho procura, assim, demonstrar de que forma estes dois suportes se complementam, livro impresso e livro digital, e de que forma podemos beneficiar com a introdução de novas técnicas e da possível transferência de conhecimentos adquiridos num objecto de estudo para o outro. Independentemente de permitirem diferentes experiências de interacção e de registo, torna-se relevante a forma com que estimulam a criatividade e a procura de novas formas de representação.

The Four Fundamental Concepts of Psycho-analysis: A Selection is a typographical artwork inspired by appropriation art, conceptual writing, and visual poetry. In its complete form as a 142-page printed book, the project operates as a “selection” of Jacques Lacan’s classic text (first published in English in 1977) in at least two senses: first, as an editorial selection of approximately half the lectures included in the original volume; second, as a graphical erasure of approximately half the ink used in the original publication of the selected sections, a result achieved by typesetting the volume in a font variation (designed by the artist) which renders visible only part of each printed letter. Thus the scope of the project spans, on one end, the editorial and visual reproduction of Hogarth’s original publication of Lacan’s text and, on the other, the development of the “Manque” font variation, which could be applied to any text.

The project’s methods draw inspiration from several sources. Its use of appropriation and material reproduction is inspired by the work of appropriation artists such as Richard Prince, especially his reproduction of Random House’s first edition of The Catcher in the Rye. Conceptual writing’s focus on the materiality of text, the labour of reproduction, and radical mimesis provides additional context for these techniques. Meanwhile, the design of the “Manque” font variation draws inspiration from the processes of erasure poetry as well as the visual styles of asemic writing and non-Latin scripts.

Lacan’s The Four Fundamental Concepts of Psych-analysis emerged as an ideal source text for the project for a variety of reasons; in many ways, in fact, the text seemed to suggest the parameters of the project of its own volition. Superficially, the project mimics the format of Bruce Fink’s first translation of Lacan’s Écrits (also the first work of Lacan’s to be published in English), which included only a selection of Lacan’s original essays and was subtitled as such. The publication history of The Four Fundamental Concepts of Psycho-analysis also offers an excellent case study of the problems of reproduction and translation explored by A Selection. Originally presented by Lacan as an oral seminar, the lectures that constitute The Four Fundamental Concepts were first collected as a printed text (and given their popular title, which was not Lacan’s) under the editorship of Jacques-Alain Miller, who has since been accused of distorting Lacan’s voice and thought. As Alan Sheridan’s translation of the French text puts the 1977 Hogarth publication at yet another level of remove from its supposed origins, the book’s appearance in English carries with it a deep suspicion of the status and value of these origins even before its reproduction in A Selection. That Lacan is often considered fundamental to the line of postmodern thinking obsessed with this suspicion is perhaps no coincidence. Finally, the thematic structure of Lacan’s seminar provided a ripe target for editorial re-imagining: by “selecting” approximately the first half of the book for republication, A Selection redesigns Lacan’s seminar to culminate with his discussions of the image and the gaze, foregrounding his most direct commentaries on the visual effects of the “Manque” font variation. In a sense, the project attempts to prove the relevance of Lacan’s comments on mimicry (as presented on page 99 of the text, the only page rendered in regular type in A Selection) to the relationship between textuality and visuality: concerning the limit beyond which a script ceases to signify and becomes no more than a picture, “It is not a question of harmonizing with the background but, against a mottled background, of becoming mottled—exactly like the technique of camouflage practised in human warfare.”

The name of the font variation “Manque” references Lacan’s famous manque-à-être, a neologism derived from the French word for “to miss” or “to lack” but rendered in English as "want-to-be" by Lacan himself. Alongside its application of manque-à-être to the field of the letter (itself an important agent within the unconscious, according to Lacan’s well-known essay), “Manque” thus also incorporates the problems and history of translating Lacan’s thought into its very identity.

Schutzumschlag: Pieter Bruegel der Ältere (1525/30 -1569), Turmbau zu Babel, 1563. © Kunsthis torisches Museum Wien. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbiblio grafie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abruf bar. Alle Rechte, auch die des auszugsweisen Nachdrucks, der fotomechanischen Wiedergabe und der Übersetzung, vorbehalten. Dies betrifft auch die Vervielfältigung und Übertragung einzelner Text abschnitte, Zeichnungen oder Bilder durch alle Verfahren wie Speicherung und Übertragung auf Papier, Transparente, Filme, Bänder, Platten und andere Medien, soweit es nicht § § 53 und 54 URG ausdrücklich gestatten.

Unhinged:Book Art on the Cutting Edge surveys recent directions in book art through the work of 60 prominent artists from Australia, Canada, Great Britain, and across the United States. It explores the limitless potential of the book as an independent medium, including both intimately scaled pieces and large installations. Book artists present lyrical odes to beauty as well as messages about identity, social justice issues, and environmental concerns. After perusing this publication, viewers will never "read" a book in the same way again.

In the age of the novel, we read fiction sequentially and unselfconsciously. This practice requires us to ignore the materiality and appearance of books, for these factors disrupt narrative absorption. "The Look of the Book" explores specific books from England and America whose visual and material characteristics resist and redefine habitual experiences of reading prose. These specimens connect word and image in the book format, and they therefore resist the theories of critics since Gotthold Lessing that have separated visual and verbal modes.

Lessing's contemporary, Laurence Sterne, uses visual elements in Tristram Shandy (1760–67) to digress from the reading sequence while furthering the overall narrative. Sterne's techniques also establish a taxonomy of the book's constituent variables. In the twentieth century, as bookmaking technologies became more widely accessible, a printing renaissance brought artists into book design. Vanessa Bell creates images and designs page layouts to amplify her sister Virginia Woolf's ekphrastic fiction in the third "decorated" edition of Woolf's Kew Gardens (Hogarth Press, 1927). The illustrations change the pace of reading by integrating word, image and book structure. In Tom Phillips' A Humument: A Treated Victorian Novel and Sheherezade: A Flip Book, by artist Janet Zweig and author Holly Anderson, words are inseparable from the visual layout of the page, and the resulting written texts create temporally fractured narratives. These postmodern artists' books show that narrative fiction and the physical novel are both malleable structures.

In all of these works, the "book composer," who masterminds the visual arrangement of the text, influences the reading experience in ways that have not been explored in the context of literary criticism. As predictions about the 'death of the book' circulate in the academy and popular media, this dissertation suggests that books can make available complex modes of reading that we generally do not expect from novels. This interdisciplinary approach is essential at a time when images pervade the cultural context and are being integrated more thoroughly into print media.

Visual and cultural analysis of Nihon no hana 日本の花(1946), a book pairing pictures and poetry by diverse artists and poets on the theme of flowers. The book is part of the Pulverer Collection of Japanese illustrated books of the Freer Gallery of Art, Smithsonian Institution, Washington, DC and is featured on The World of the Japanese Illustrated Book website. My commentary, along with a complete set of readable images of the book, may be found here: http://pulverer.si.edu/node/462/title/1.

11 MAY 2022,.5 PM CET

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The question of repetition of compositions and motifs in Islamic and especially Persian illustrated manuscripts has given rise to several studies since the 1970s. These studies have mainly focused on so-called "classical Persian painting", and especially on royal manuscripts made for Timurid and Turkmen patrons in the 15th C. In addition to pointing to the similarities and differences between manuscripts, illustrated cycles and individual paintings, several hypotheses have been put forward to explain these phenomena. This presentation will first offer a historiographical overview of these studies and hypotheses, which range from the circulation of artists, manuscripts and paintings to the mechanical reproduction of paintings, for instance using stencils or collage, to aesthetic notions similar to those known in literary theory such as taqlīd, pāyravī, tatabbuʿ, javāb, naẓīrah, etc. The presentation will also propose new avenues of reflection, for example on the very training of the painter, or on why, despite repetitions, each illustrated manuscript remains unique, notably from the point of view of the selection of illustrated topics and text-image relations.

فرشید مثقالی متولد 1322 اصفهان است. او دوران کودکی و نوجوانی را در اصفهان گذراند و دیپلم خود را از دبیرستان سعدی گرفت. در 1339 به تهران مهاجرت کرد و در رشتۀ نقاشی در دانشکده هنرهای زیبای دانشگاه تهران تحصیل کرد. مثقالی در اوایل دهۀ چهل به‌عنوان تصویرگر، همکاری با مجلات را آغاز کرد؛ او طی حدود ده سال فعالیت‌های مختلفی از جمله سرپرستی بخش گرافیک، تصویرگری کتاب کودک و تولید فیلم‌های انیمیشن را با کانون پرورش فکری کودکان و نوجوان برعهده داشت. در 1358 مدت چهار سال در پاریس به کسب تجربه در زمینۀ نقاشی و مجسمه پرداخت. در 1365 به آمریکا رفت و استودیو شخصی‌اش «دسک‌تاپ استودیو» را راه‌اندازی کرد و همچنین کارهای مولتی مدیا و طراحی و ساخت فضاهای ویرچوال ریالیتی را برای فضای اینترنت انجام داد. او در 1376 به ایران بازگشت و تا امروز در تهران به فعالیت مشغول است. طی این سال‌ها جوایز بسیاری از جمله جایزۀ اول بینال بولونیای ایتالیا را به‌خاطر تصویرگری کتاب «ماهی سیاه کوچولو» و جایزۀ «هانس کریستین اندرسن» (1353) معتبرترین جایزۀ جهانی در زمینۀ تصویرسازی کتاب کودک و نوجوان -معروف به نوبل ادبیات کودکان یا نوبل کوچک- را دریافت کرد. در سال‌های اخیر در کنار تدریس، چند کتاب مفید در حوزۀ گرافیک نیز تألیف کرده است. همچنین همکاری در مقام داور یا عضو هیئت ژوری با بینال‌ها و جشنواره‌های هنری مختلف را در کارنامۀ خود دارد. مثقالی را باید به عنوان یکی از پیشروترین هنرمندان عرصۀ طراحی گرافیک، تصویرسازی و هنرهای تصویری ایران دانست که آثار منحصربه‌فردش هم‌چنان جلوتر از زمانۀ ماست.

In celebration of the 500th anniversary of Armenian Printing, 1512-2012, the Bibliothèque Mazarine of the French Academy hosted a major exhibition of a selection of early printed Armenian books dating before 1800 from its own rich collection, which together with that of the Bibliothèque nationale de France have the richest holdings of early Armenian prints in France.  The exhibit was supplemented from holdings in the special collection of the Bibliothèque universitaire des langues et civilisations (BULAC), and a private Paris collection.  This, the second of two groups of descriptive notices, includes  eleven publications from sections III. Imprimeries d’Orient & V. Livres d’orientalistes.

A presente dissertação pretende demonstrar de que forma o livro de actividades que desenvolvemos como objecto de estudo para este trabalho, contribui para fomentar a prática do desenho e contribui para o leitor melhor se conhecer e a melhor conhecer o que o rodeia. Tendo em conta que o livro de actividades apresentado tem como objectivo principal incentivar o leitor a um registo diário do desenho, tivemos como referência, por serem exemplos paradigmáticos, diários gráficos de diferentes artistas que, apesar de distintos, têm em comum o facto de representarem processos artísticos que antecederam e acompanharam determinada obra, vivências e/ou pensamentos intrínsecos ao carácter auto-reflexivo e auto-biográfico deste tipo de registos.

Visual and cultural analysis of Nihon no shiro 日本の城 (Japanese Castles, 1944), a book containing text by architectural historian Kishida Hideto and woodblock print illustrations by artist Hashimoto Okiie. The book is in the Pulverer Collection of Japanese illustrated books of the Freer Gallery of Art, Smithsonian Institution, Washington, DC and is featured on The World of the Japanese Illustrated Book website. My commentary, along with a complete set of readable images of the book, may be found here: http://pulverer.si.edu/node/429/title/1.

This thesis studies the bindings belong to 13th and 14th centuries in İnebey Manuscripts Library, and before the bindings it gives information about short history of paper and leather. Designing styles change according to periods that are researched, and
interactions between the periods are examined with prosperous samples by comparing each other.Islamic bookbinding continued by flourishing since 9th century, gave the best samples firstly between 12 and 15th centuries. Afterwards, with Timurids and Safavids Ottamans reached the golden age of bookbinding.
The first samples of Islamic bookbinding started to be produced in the region of Arabic and Asia Minor. Later, the bookbinding that was seen qualified decoration examples in the regions as Anatolia, Persia, North Africa, North Mezopotamia and Egypt gave unique
samples in Anatolia in 13-15 th centuries in the setting of art under sovereignty of Seljuks, Beyliks and as a short period Ilkhanids. The statesmen supported craftsmen who gave direction to art in this complicated and inextricable political period, enabled to make an
organized production also they founded libraries by having books prepared. When examples of bookbindings that survived until now are examined, tooling, technique, design, also style features on these can be determined. Afterwards, the styles of ornament in Seljuks, Beyliks, Ilkhanids and Mameluks's bookbindings had an affect on Ottomans, Timurids and Safavids. It has been remarked mostly geometric designs in 13- 14th centuries bookbindings that are examined in thesis. On geometric designs, elements of herbal
ornament can be seen in especially edging and shamsa-salbek. On inner covers herbal and even a little geometric ornaments handle on the leather with blocks and by some bookbinders stamps-include prays - or seals (signs) -include their names- are printed on these bindings. The signs (seals) of bookbinders has been a factor that gave characteristic feature to binding designs of the period.

In the age of the novel, we read fiction sequentially and unselfconsciously. This practice requires us to ignore the materiality and appearance of books, for these factors disrupt narrative absorption. "The Look of the Book" explores specific books from England and America whose visual and material characteristics resist and redefine habitual experiences of reading prose. These specimens connect word and image in the book format, and they therefore resist the theories of critics since Gotthold Lessing that have separated visual and verbal modes. Lessing's contemporary, Laurence Sterne, uses visual elements in Tristram Shandy (1760–67) to digress from the reading sequence while furthering the overall narrative. Sterne's techniques also establish a taxonomy of the book's constituent variables. In the twentieth century, as bookmaking technologies became more widely accessible, a printing renaissance brought artists into book design. Vanessa Bell creates images and...

The depiction of Appalachia’s children has long been part of the framing and social construction of the region’s people and culture. The precursors of the poignant black and white photographs of poor Appalachian children prevalent in the 1960’s and ‘70’s dramatically portrayed on the covers of books descend directly from book cover art on local color and other Appalachian regional literature originating in 19th century. The initial appearance of children on book covers created an image of the Appalachian child that would remain little changed for over a hundred years.

In recent decades, the image of the Appalachian child has been used to convey a single idea, one of poverty, coupled with isolation. The images of Appalachian children from the nineteenth and early twentieth century, while maintaining this sense of otherness, were more diversified. Incorporating a variety of ideas to portray the Appalachian child, or from another perspective, the child in the Appalachians, these images captured the struggles that Appalachia as a region encountered during that time. While both these perspectives come from the outside looking in, the use of images focusing on native Appalachian children versus that of urban children confronting the Appalachians brings into focus an inherent tension between the rural and the urban life of the child in the 19th and early 20th century.

This paper is part of a larger research project aimed at exploring book cover art and the Appalachian region. Primary source material for this presentation comes from the author’s extensive investigation of original book bindings found in rare book and other library collections in the Appalachian region.

There are various factors which can affect the preservation of books, documents, and other paper artefacts, and they can be related to either the environment, their use, or even the very material from which these are made. Conservation, either preventive or remedial, aims to precisely stop and when possible reverse the damages generated by these factors, keeping always in mind that, eventually, decay is inevitable and it is in fact part of the circle of life. In that context images of decay and damage on books and documents can also be understood as visual comments on the transience of things and can have an allure similar to that we feel when looking at ruins. They are similar to the pictorial genres of vanitas and memento mori, reminders that all things sooner, or later, die.

Visual and cultural analysis of Maekawa Senpan's Shitōchō  偲糖帖 (Remembered Sweets, 1945), a woodblock-printed compendium of sweets that was conceived of and executed during a period of severe wartime food shortage. The book is in the Pulverer Collection of Japanese illustrated books of the Freer Gallery of Art, Smithsonian Institution, Washington, DC and is featured on The World of the Japanese Illustrated Book website. My commentary, along with a complete set of readable images of the book,  may be found here: http://pulverer.si.edu/node/455/title/1.

L'articolo ricostruisce su base documentaria i rapporti fra l'editore e scrittore d'arte italiano residente a Parigi Gualtieri di San Lazzaro (1904-1974) con il gallerista veneziano Carlo Cardazzo. Questo scambio dà come risultato una serie di mostre presso le galleria del Naviglio (Milano), del Cavallino (Venezia) e Selcta (Roma), riguardanti l'opera grafica di Kandinsky, la pittura di Serge Poliakoff, Atlan, Hartung, Michaux, Jean Arp e Sonia Delaunay (esito fallimentare, invece, avrà il tentativo di fare una mostra di Fautrier), oltre a rnedere possibili le mostre di Fontana e Capogrossi a Parigi presso la sede della rivista "XXeme Siècle", diretta da San Lazzaro. Ma questo rapporto consente anche altre operazioni, coem la vendita del sipario dipinto da Picasso nel 1917 per Parade. L'articolo è anche un primo sondaggio sulla biografia di questo personaggio, di cui il Centro APICE dell'Università degli Studi di Milano conserva un fondo archivistico e librario.

iva Castleman points out in the publication acdrflpanying the L995 New York Museum of Modern Art exhibit, A Century of Anists Books, that artists throughout history have recognized that pictures can tell a story without words.l A unique form of storytelling without words that falls within this structure was called the woodcut novel, or the "novel in pictures." The woodcut novel was first developed by the Belgian Frans Masereel and the American Lynd \Vard in the early years of the twentieth century. In addition to Masereel, \Vard, and the handful of other male artists who experimented with this form was the Czechoslovakian Helena Bochor6kovl, who explored the life of a middle class family in Cbild-bood; a cycle of woodcuts (1931). Three contemporary women artists who have successfully presented narratives in linocuts within the structure of the wordless book include Each of these artists uses the format of the book to present wordless narratives, the visual literature recognized today as artists' books.

This is a bibliophile reproduction of the German translation of Harper Lee’s “To Kill a Mockingbird” (Aufbau Verlag, 1969), found in a former Stasi prison, now the Gedenkstätte Berlin-Hohenschönhausen.

In the original, inmates used their fingernails to underline certain passages. Pencil markings in the margins indicate the Stasi monitors’ oversight of the prisoners’ subtle messages.

The exact reproduction is a collaboration between the artist Elizabeth Hoak-Doering and the publisher Argobooks (Berlin), along with the 30 or more inmates who marked the book (1982-1989), the Stasi monitors, and people at institutions who repaired and stamped the original.

A limited edition of 200 is available from Argobooks (argobooks.de)

Printed with permission from the Estate of Harper Lee and the Gedenkstätte Berlin Hohenschönhausen.

In celebration of the 500th anniversary of Armenian Printing, 1512-2012, the Bibliothèque Mazarine of the French Academy hosted a major exhibition of a selection of early printed Armenian books dating before 1800 from its own rich collection, which together with that of the Bibliothèque nationale de France have the richest holdings of early Armenian prints in France.  The exhibit was supplemented from holdings in the special collection of the Bibliothèque universitaire des langues et civilisations (BULAC), and a private Paris collection.  This, the first of two groups of descriptive notices, included six publications from sections I. Venise & II. d’Amsterdam à Marseille.

This dissertation uses the precedents of the medieval illuminated manuscript and the mechanically produced, post-Gutenberg book to explore the massive, limited edition Ulysses created in 1988 by San Francisco-based publishers Arion Press. These traditions will inform an understanding of how the material reality of the Arion Press Ulysses remakes the novel by influencing the way that the readers confront both the text and the specter of James Joyce. Contained within massive leather-bound covers and written across decadently soft paper that evokes the magnificence of the Christian illuminated Gospels, the actual
text and images of the Arion Press Ulysses are created through mechanized printing methods that disarticulate the notion of the author. Thus, while the object's form encourages an authorial presence, the mechanical processes that generate the text disrupt the line between the unique and the banal, causing the voice of the text to fall apart into a
cacophony of quotations and gestures.
The Book of Kells, the famous ninth-century Irish manuscript, is used as a framework with which to discuss how glorified books become surrogate bodies for the voice of the author. Just as the Book of Kells manifested the incarnation of Christ to the medieval mind, so the creation of a metaphorical body for Joyce reiterates the notions of a
discretely bounded subject capable of agency. In comparison, the two publications of Marcel Duchamp's Green Box (from 1934 and 1961, with Richard Hamilton) provide a window through which to interrogate how the intersection of the gestural with the mass produced undermines the sense of aura and fractures the author.