2009 [review] “The Woman Who Discovered Printing by T. H. Barrett,” SHARP News 18:1 (2009), 10-11.

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2009 [review] “The Woman Who Discovered Printing by T. H. Barrett,” SHARP News 18:1 (2009), 10-11.
  SHARP   N EWS  Volume 18, Number 1 Winter 2009 E XHIBITION  R  EVIEWS 1D  ANKY   F ELLOWSHIP  20092S UMMER   I NSTITUTES 2F ORTHCOMING  E  VENTS 5C ONFERENCE  R  EVIEWS 6C  ALL   FOR   P  APERS 9B OOK   R  EVIEWS 10I N  S HORT 23B IBLIOGRAPHY  24 C ONTENTS E XHIBITION  R  EVIEWS ... / 3 Libros de Emblemas y obrasafines en la BibliotecaUniversitaria de Santiago deCompostela Santiago de Compostela, Spain 7 – 11 July 2008   This exhibition was srcinally conceived toaccompany the Sixth International Conferenceof the Society for Emblem Studies that took place at the Universidad de La Coruña in 2002.For security reasons, the exhibition was only open for three days and lacked a catalogue. Sixyears later, the eighth congress of the Asociación Internacional Siglo de Oro offeredthe opportunity to remount the exhibitionand to prepare a proper catalogue, under thedirection of Sagrario López Poza. The phenomenon to which this exhibitionis devoted traces its srcin to the publicationin 1531 of Andrea Alciato’s  Emblematum liber  , which was widely imitated throughoutEurope through the eighteenth century. In itscanonical form, an emblem contains an inscriptio , a cryptic title; a  pictura  , an engraving that illustrates the title; and a subscriptio , anexplanation that describes the picture andoffers a commentary, generally moralizing, onit. In other words, the emblem book unitesimage and word to transmit a message of agenerally moralizing character.Much has been written about emblems of late, so that it would have been an easy matterfor López Poza simply to have gone into thestacks of the Biblioteca Universitaria inSantiago de Compostela and pulled out theusual suspects. It is much to her credit thatshe resisted this temptation, deciding insteadto devote considerable thought and study tosome of the problems surrounding scholarship on the emblem. Unlike many genres in early modern literature, this oneappeared suddenly and unexpectedly, with thepublication of Alciato’s emblem book. AsLópez Poza shows, however, Renaissanceculture linked word and image in a number of other similar ways. Once born, the emblembook achieved instant popularity, but it in turnaffected the development of several later genresas well. By situating the emblem book withinthe parallel phenomena that gave it life andtracing the influence it had in later culturalactivities, López Poza has created an unusually interesting exhibition. Among the precursors of the emblembook was the group of 3,700 epigrams thatcirculated as the Greek Anthology and thecollections of loci communes (commonplaces)made during the Renaissance, both of whichprovided ready-made titles for emblems.Illustrated books like the Hypnerotomachia Poliphili  , published in 1499 by Aldus Manutius,along with the Imagines of Philostratus theElder and Younger and the Descriptiones of Callistratus, got readers accustomed to a tightlink between word and image. Egyptianhieroglyphs also contributed to the creationof emblems, in that authors like GiovanniPierio Valeriano and Athanasius Kircher saw the hieroglyph as a symbol that also hid aprofound truth in need of decipherment. The Iconologia of Cesare Ripa, along with themythology manuals of Lilio Gregorio Gyraldi,Natale Conti, and Vincenzo Cartari, presentedimages and stories from antiquity that, likeemblems, were understood to havephilosophical and moral content. Coins,perhaps surprisingly, worked in a similar way:Roman coins often presented a portrait of anemperor on one side accompanied by anallegorical or mythological composition on theother, accompanied by an inscription, andbeginning with Pisanello, Renaissancemedallists worked toward an even more unifiedpresentation, linking their medals to the srcinand development of the emblem. Finally, weshould not forget the fable, especially the onesderived from the Corpus fabularum of Aesop, which circulated throughout the Renaissancein illustrated editions that linked word andimage around a moral observation, oftenfocused conveniently on a maxim or sententia.Readers familiar with these genres, asLópez Poza suggests, doubtless found Alciato’s  Emblematum liber less of a shock than we might imagine if we continue to view it inisolation. Alciato began with the epigrams, inthis case taken in part from the Greek  Anthology, and it was actually the printer,Steyner, who proposed adding illustrationsto make the book more saleable. The resulting emblem book proved most useful indeed forpresenting and reinforcing a lesson, but it wasdifficult and expensive to produce, requiring in each case an author who could select andorganize the material, an artist who couldillustrate what the author conceived, anengraver who could make the plates, and aprinter or publisher who could finance theedition. Paris and Lyon became the centers of publication, with Guillaume Rouillé andChristophe Plantin among the most activeprinters. The Jesuits found the new genreespecially useful, as much for combating Protestantism as for teaching, with a goodnumber of school occasions being celebratedby emblems as well. Emblem books alsoproved useful to authors wishing to makepolitical statements, like Diego SaavedraFajardo, whose Idea de un príncipe políticochristiano representada en cien empresas enteredthe seventeenth-century debate about whether a Christian prince could adoptMachiavellian methods. Once established,emblem books proved useful in a numberof allied fields, as López Poza shows. The  SHARP N EWS  V  OL . 18, NO . 12   W INTER   2009 SHARP N EWS E DITOR  Sydney Shep, Wai-te-ata Press   Victoria University of WellingtonPO Box 600, Wellington, New Zealandeditor@sharpweb.org  B IBLIOGRAPHER  Robert N. Matuozzi   Washington State University LibrariesPullman, WA 99164-5610 USAmatuozzi@wsu.edu R  EVIEW  E DITORS Fritz Levy, Book Reviews  –   Europe  University of Washington, WA, USAreviews_europe@sharpweb.org  Gail Shivel, Book Reviews  –   Americas  University of Miami, FL, USAreviews_usa@sharpweb.org  Simone Murray, Book Reviews  –   Asia/Pacific  Monash University, Melbourne, AUSsimone.murray@arts.monash.edu.au Lisa Pon, Exhibition Reviews  Southern Methodist University Dallas, TX, USAreviews_exhibs@sharpweb.org  Katherine D. Harris, E-Resources Reviews  San José State University, CA, USAkharris@email.sjsu.edu S UBSCRIPTIONS  The Johns Hopkins University Press  Journals Publishing Division  PO Box 19966, Baltimore, MD 21211–0966membership@sharpweb.org  SHARP News  [ISSN 1073-1725] is thequarterly newsletter of the Society for the His- tory of Authorship, Reading and Publishing, Inc..  The Society takes no responsibility for the views asserted in these pages. Copyright of content rests with contributors; design copy-right rests with the Society. Set in AdobeGaramond with Wingdings. COPY DEADLINES: 1 March, 1 June,1 September, 1 December SHARP WEB: http://sharpweb.org   S UMMER   I NSTITUTES D  ANKY   F ELLOWSHIP  2009 In honor of James P. Danky's long serviceto print culture scholarship, the Center for theHistory of Print Culture in Modern America,in conjunction with the Wisconsin HistoricalSociety, is again offering its annual short-termresearch fellowship. The Danky Fellowship provides $1000 infunds for one individual planning a trip tocarry out research using the collections of the  Wisconsin Historical Society (http:// www.wisconsinhistory.org). Grant money may be used for travel to the WHS, costs of copying pertinent archival resources, and living expenses while pursuing research here. If inresidence during the semester, the recipient willbe expected to give a presentation as part of the colloquium series of the Center for theHistory of Print Culture in Modern America(http://slisweb.lis.wisc.edu/~printcul/).Preference will be given to: proposalsundertaking research in print culture history;researchers from outside Madison; researchlikely to lead to publication. We strongly encourage applicants to speak with the WHSReference Archivist ph: 608-264-6460; email: askarchives@wisconsinhistory.org beforeapplying for a grant. We are happy to helpidentify potential collections of which you may not otherwise be aware. There is noapplication form. Applicants must submit:1) A cover sheet with name, telephone,permanent address and e-mail, currentemployer/affiliation, title of project, andproposed dates of residency.2) A letter of two single-spaced pagesmaximum describing the project and itsrelation to specifically cited collections at the society and to previous work on the sametheme, and describing the projected outcomeof the work, including publication plans. If residents of the Madison area are applying,they must explain their financial need for thestipend.3) Curriculum vitae.4) Two confidential letters of reference.Graduate students must include their thesisadvisor. Applications are due by 1 May . Therecipient will be notified by 31 May.Please mail applications to:Christine Pawley, School of Library andInformation Studies, University of Wisconsin-Madison, 4234 Helen C. White Hall, 600 N.Park St., Madison, WI 53706 USA. Book History & Media History  American Antiquarian Society  22 – 26 June 2009   What does it means to ‘do’ book history in the digital age? Does it matter thatnineteenth-century printed texts are today increasingly encountered as digital images andsearchable data? This seminar will explorepoints of contact between book history andmedia history. Focusing on the efflorescenceof popular print in the period from 1830 to1870, our aim will be to better understandthe circulation of culture under conditionsof social and technological change. Theseminar will be led by Lisa Gitelman andMeredith McGill. Gitelman is Visiting  Associate Professor of the History of Scienceat Harvard University and author of  Always  Already New: Media, History, and the Data of Culture  . McGill is Director of the Center forCultural Analysis at Rutgers, the StateUniversity of New Jersey, and author of   American Literature and the Culture of Reprinting, 1834-53 . Further informationabout the seminar is available from http:// www.americanantiquarian.org/sumsem09.htm.  America Engages Russia, 1880-1930: Studies in CulturalInteraction 14 June – 3 July 2009   This NEH Institute will bring togethertwenty-five university teaching faculty,curators, and senior bibliographers withnationally-recognized session leaders toconsider, investigate, and reflect upon theimplications of the various forms of culturalengagement between the United States andthe Russian Empire/Soviet Union from thelate nineteenth   century to the beginning of the 1930s. During the Institute, participants will have the opportunity to work with many of North America greatest repositories of  Americana and Slavic and East Europeanmaterials, among them the NYPL andColumbia University Libraries plus museumsand archives in the Greater New York Metropolitan area. A full description of theprogram, and details of the applicationprocess are available at: www.nypl.org/research/chss/slv/2009_neh.pdf.   W INTER   2008    3SHARP N EWS  V  OL . 18, NO . 1  Mondo simbolico (1653) of Philippo Picinelli,for example, was the most popular of a seriesof compilations or encyclopedias that wereorganized and indexed as aids for rhetoricalinvention and widely used by speakers,preachers, academics, and poets. Printers’marks did not generally have all the parts of an emblem, but as Aldus Manutius’s anchorand dolphin with its accompanying motto semper festina lente shows, they functionedaccording to the same basic logic. And publicfestivities of the early modern period, especially the triumphal entries of princes, wereaccompanied in turn by emblems which couldthen be reproduced in an accompanying book that functioned as a guide to the symbolicand ideological value of the artistic workscommissioned for the occasion. The exhibition was accompanied by a nicely produced, ninety-eight-page catalogue whichis available from the Servizo de Publicaciónsof the Universidade de Santiago deCompostela (www.usc.es/spubl). One alwayssays that even the best catalogue cannotsubstitute for actually seeing an exhibition,and that is unfortunately true here as well. The catalogue does a good job of repeating the narrative content that made the exhibitionspecial, but instead of dividing the 149 booksthat López Poza selected among the relevanttopics (e.g., coins and medals, festivals), as wasdone in the display cases, it lists them inalphabetical order by author, leaving the readerto figure out where each book fits into thenarrative. But that is a small quibble. LópezPoza produced an unusually thoughtfulexhibition that mixed significant new observations into a well-organized synthesisof much previous scholarship, and this comesthrough in the catalogue as well. Anyone witha serious interest in emblem books will findthe catalogue well worth having. Craig Kallendorf  Texas A&M University   Imprentit: 500 Years of theScottish Printed Word National Library of Scotland, Edinburgh 27 June – 12 October 2008  In 1508, having been granted a license by King James IV, Walter Chepman and Androw Myllar set up Scotland’s first printing press, inEdinburgh’s Cowgate, in order to print a book of prayers, psalms, and hymns for the use of priests. 2008 marked the 500th anniversary of the first printing in Scotland, and incommemoration, the National Library hadorganized an exhibit designed to investigateno less than the ‘role of print in the life of Scotland, 1508-2008.’ The exhibition room is just inside theNational Library’s main entrance. Visitors firstpass through a hall with panels charting thelibrary’s history and describing some recentacquisitions. Imprentit: 500 Years of the Scottish Printed Word   is housed in the next room, largeand T-shaped. The exhibit begins with a display on how and why printing first came toScotland, explaining how William Elphin-stone commissioned Chepman and Myllar toprint a book ultimately known as the Aberdeen Breviary, and the exhibit displays theonly known copy of this work, as well asunique copies of other books and pamphletsfrom Chepman and Myllar’s press, including ahumorous poem called “The Flyting of Dunbar and Kennedy,” which visitors can hearread aloud. No works printed in Scotlandsurvive for the period 1511 to 1540, butthereafter Scottish printing became more firmly established and the exhibit features examplesof other early printed Scottish books, including the 1540 Acts of Parliament. Around the walls near the top is an A-to-Zfeaturing the names of notable people, places,and things associated with the print culture of Scotland. A number of hands-on componentspunctuate the exhibit, including a desk where visitors are instructed on how to design a logofor a publishing house, and a table wherechildren can draw illustrations.But the most significant and interesting elements of the exhibit are the large glass caseseach examining the influence of print cultureon a different aspect of life: education, leisure,religion, politics, literature, children’s books,and science. Diverse printed items from thepast five hundred years reveal the way print isever-present in our lives and shapes ourhistory. The religion section discusses the roleof the publication of the 1637 Book of Common Prayer in fomenting the religiousdissent that turned violent during theCovenanting period. Further, it features apulpit at which visitors can hear a sermonpreached and published in Dundee in 1853, in which the preacher links a recent choleraepidemic in the area to God’s anger at thecommunity’s loosening morals. Along a wall,one panel discusses the ability of print topreserve yet distort oral culture, citing RobertBurns’s mother’s famous reaction to WalterScott’s ‘transcriptions’ of her traditionalsongs. The literature section includes a sofaand a table piled with books by Scottishauthors or with Scottish settings. Elsewhere,one panel displays a timeline history of Scottish publishing, tracing the history of major houses including Oliver & Boyd andChambers. The corresponding display casefeatures a diverse set of books published inScotland, from influential science works like J.H. Speke’s  Journal of the Discovery of the Source of the Nile (1863) to recent best-sellers like Yann Martel’s Life of Pi (2002). By contrast, adisplay of locally printed, small-circulationfanzines shows how print publication haslong created underground communities. The exhibit no doubt raises awareness of this important anniversary for Scotland, andis full of fascinating individual items fromScottish printing history. Yet the broad scopeof the exhibition necessarily limits its depth.Since literally thousands of items from theNational Library’s vast holdings might havebeen included, the items that have beenselected seem slightly haphazard. Print hasbecome so integral to life that to chroniclefive hundred years of Scottish printing history is to chronicle five hundred years of Scottishhistory in general. And perhaps this is thepoint. The end of the exhibit features desksdevoted to two related projects. Firstly thereis the Book Crossing Corner. The Book Crossing project [http://www.bookcrossing.com] allows readers to share books by leaving them at designated locations or elsewhere. Thebooks at this spot have Scottish authors or were published in Scotland, but the shelf wasempty during both my visits. Another tablefeatures the Scottish Readers Remember project,at the Scottish Archive of Print andPublishing History Records [http:// www.sapphire.ac.uk], and includes audiotestimonials from Scots born before 1945 ontheir experiences with reading.More information about the exhibition canbe found at <http://www.nls.uk/events/printing-exhibition>. Ruth M. McAdams University of Edinburgh  ... / 1  SHARP N EWS  V  OL . 18, NO . 14   W INTER   2009 Artifacts of Childhood: 700 Yearsof Children's Books  The Newberry Library, Chicago, Illinois 27 September 2008 – 17 January 2009   The Newberry Library acquires children'sbooks, not as a genre unto itself, but as anecessary and desirable complement to its richholdings for adult readers in subjects acrossthe humanities. The result is an exhibition,co-curated by Jenny Schwartzberg and Paul F.Gehl, that combines traditional themes in thestudy of children's literature with severalunexpected perspectives on the interaction of children and books throughout history. The exhibit opens with a selection of Latintexts from the thirteenth to fifteenth centurieschosen to make the point that there were few,if any, texts designed for beginning readers inthe Middle Ages. A child might be handed amanuscript book containing the Psalms, forexample, and told to pick out all the A’s onthe page: a challenging task, made more so by the often tiny lettering used. The occasionalinstructional text was likely to be based on atitle srcinally for adults, as with the sixteenthcentury De re vestiaria libellus  . This abridgementof a longer work was prepared by a wealthy family's tutor to provide simplified Latinreadings for his student. The use of literature to teach moral valuesand ethical behavior, rooted in the oraltradition, continued strongly into themanuscript and printed book eras. Newberry holdings range from fifteenth-century manuscripts of Aesop's fables, to tiny illustrated storybooks from the American Anti-Slavery Society, to the Girl's ethical reader  ,published in Shanghai in 1912. The sternrectitude of nineteenth-century moral tracts iseven reflected in many works marketed directly to children, such as the colorful, single-sheetillustrated stories known as ‘Épinals’ after theFrench printing house that srcinated them.One such in the Newberry exhibition, The sailor-boy's dream  , tells the tale of a lonely,homesick sailor boy, whose bittersweetmemories of a happy family life contrastsharply with the hard work and harshdiscipline aboard ship. At the end, we learnthat the boy's father handed him over to theship's captain as a punishment for laziness."In vain he deplored his fault, it was too late!Sail away, poor boy!" The expression ‘children's literature’ usually denotes works for children, rather than worksby children. This assumption is challenged ina section of the Newberry exhibitionexamining the child as creator of texts, images,and music. Publication necessarily involvesadults, so it is highly likely that children'screativity was co-opted for adult agendas.Examples offered in the exhibition include Three lessons for the harpsichord or piano forte  , composed by Elizabeth Weichsell, a child eight years of age (published about 1775 and heavily promoted by Elizabeth's parents) and Granma, proa a la historia  , published 200 years later inCuba. The latter work uses Cuban children'sdrawings about the 1959 coup to illustrate ahistorical text. The Cuban Revolution wassixteen years in the past by the time Granma   was published, so the young artists' views hadto reflect school lessons or family stories, notpersonal experience. The use of children'sdrawings rather than photographs, however,endows the historical commentary with a wealth of emotional associations: innocence;the tragedy of children suffering from political violence; perhaps a suggestion that revolutionis justified to secure the well-being of childrenand their families. Another book, Sailor Tommy  , involveschildren as the targeted audience, and,unexpectedly, as protagonist as well. Itsappearance during World War I (with acompanion title, Soldier Bob   ) suggests it wasintended to convey to young children whatDaddy was doing far away in the Navy.Presented as an example of books as toys, the16-inch hardcover is die-cut in the shape of itshero and could stand on a shelf like a doll:ready for battle, with a cutlass on his shoulderand a pistol in his belt. Strikingly, Sailor Tommy is not a teenager or even close. He is atoddler: round face, wide blue eyes, androsebud lips pursed as if obediently preparing to give Grandmother a kiss.But Tommy is a full participant in the warat sea. Ships explode in the cover image, andthe text speaks of gun-boats and submarines."Twas Boom! at night and Boom! by day /Before we chased the boats away, / The enemy  who sailed the sea / And wrecked the boatsof boys like me." Mothers reading this littlestory to their small boys must have dreadedthe wars they would fight when grown.  Artifacts of Childhood offers many valuableinsights into the interaction of children andbooks throughout history, and the way books(perhaps unwittingly) document the socialhistory of childhood. A checklist of books in the exhibit isavailable at <www.newberry.org/exhibits/images/Artifacts%20of%20Childhood%20Checklist.pdf>. Ruth Ann Jones  Michigan State University Libraries   Breaking News: Renaissance Journalism and the Birth of theNewspaper  The Folger Shakespeare Library  Washington D.C., USA 25 September 2008 – 31 January 2009  In October of 2008, The Christian Science  Monitor – the Monday-through-Friday daily newspaper founded by Mary Baker Eddy  –  announced that it would end its century-oldtradition of print publication and shift to anonline-only format, becoming the firstnational American newspaper to do so. Thepaper’s decision is hardly surprising given thecompetition from multiple sources of information and the longstanding decline of printed newspaper circulation. And althoughneither has signaled any intent to abandonprint, both The Washington Post and The New York Times have experimented for years withthe information they provide online, adding and tinkering with such digital features asaudio, video, blogs, sophisticated interactivegraphics, and  –   most recently  – socialcomputing functions mimicking such widely-used sites as Delicious <www.delicious.com>,LinkedIn <www.linkedin.com>, andFacebook <www.facebook.com>. Clearly,readers interested in news at the beginning of the twenty-first century find themselveson unstable ground: while readers’ appetitefor news is unlikely to diminish, the formsand practices through which news will begathered, distributed, and consumed arebound to change.Lest we think these contemporary issuesare anything new, this admirable exhibition,curated by Chris R. Kyle and Jason Peacey,provides much-needed historical context. Thetwo historians have organized an impressiveselection of materials from the Folger’sarchives to illustrate the developments thatbrought about the birth and evolution of the newspaper in England. The severalsections of Breaking News not only follow aroughly chronological order but also addressa variety of issues related to material form,   W INTER   2008    5SHARP N EWS  V  OL . 18, NO . 1 content, government restrictions andmanipulations, and market demands. As inour own increasingly digital ecosystem of media, the news in the early decades of  widespread print was made available in aconstantly shifting array of media. Among the earliest documents on display are personal letters reporting the latest to theaddressee, including a 1606 letter from JamesMontagu to Elizabeth Hardwick Talbot,Countess of Shewsbury Whitehall, in whichhe shares with her London’s court gossip andpolitical developments. Before the advent of the print newspaper, these letters were themost efficient means of spreading the news,but they persisted even after the newspaperhad been established, in part because they wereless likely to incur the wrath of censoriousgovernment officials. Printed news in thesepre-newspaper decades included Tudor-backedpropaganda, scandalous anti-Catholic gossip,and single-sheet broadside ballads that wrestled with issues of the day. Newspublishers experienced varying degrees of regulation, interference, and even competitionfrom government officials, who quickly recognized the power that newspapers heldover public opinion. Breaking News features aregulatory proclamation from QueenElizabeth, in both a printed copy and a signedmanuscript, a pairing which not only demonstrates the investment of themonarchy in controlling sources of information. The two copies also provide atelling example of a transitional moment inEnglish book history as manuscript and printpractices begin to alter in response to eachother: the printed copy of the Queen’sproclamation had the advantage of possible wide distribution but the singular manuscript was carried the authority of the crown. A particular strength of the exhibit is thedetailed explanation  – and documentary evidence  – of the decades preceding the debutof the now-familiar genre of the newspaper.Not until 1620 did the first proper exampleof this genre appear in England, importedfrom Amsterdam and containing news fromthe continent. The decades that followed weremarked by many experiments in form andcontent in various attempts to respond to  –  or perhaps create  – a reading public with anappetite for news. These experiments wenton for decades before the 1702 appearance of the first newspaper to publish successfully adaily issue: The Daily Courant  . By this point,readers had become accustomed  – “addicted”is the curators’ term  – to staying informedabout a variety of topics domestic and global,serious and satirical. London’s coffeehouseculture had in the meantime grown to such adegree that sustained and intenseconversations by townspeople were fueled by the latest news and strong doses of caffeine,leading to the later development of what Jürgen Habermas famously (and contro- versially) theorized as the eighteenth-century public sphere. A much-needed reminder of the materialobjects that brought about these sometimesoverly abstract-sounding developments isprovided by a replica of a Gutenberg-era pressdisplayed in the exhibition hall corner. Theonly possible quibble is that this exhibit of early modern information technology and itsimpacts would have been effectively supplemented with contemporary infor-mation technology, ideally in the form of acompanion website. However, this is a minorcomplaint regarding an otherwise superbscholarly achievement. An exhibition catalogue ($29.95, ISBN9780295988733) is available for purchase fromthe Folger shop website: <http:// www.folger.edu/store/site/product.cfm?id=775E4DF3-1CC4-74E0-1C17ACCF727DFE9D>. George H. Williams  University of South Carolina Upstate  F ORTHCOMING  E  VENTS Congreso Internacional. Lectura yCulpa en la Europa del siglo XVI . En el450 Aniversario de la publicación del Índice de libros prohibidos de Valdés (1559). San Millán dela Cogolla, 6-8 de marzo de 2009 . Organizan:Cilengua, Instituto Biblioteca Hispánica,Instituto de Historia del Libro y de la Lectura,Universidad Autònoma de Barcelona, PoéticaEuropea del Renacimiento. http://www.la-semyr.es/?p=64 International Congress: Reading andSin in Sixteenth-Century Europe.  Onoccasion of the 450 th  Anniversary of thePublication of the Valdes’ Index of Prohibited Books   (1559). San Millán de la Cogolla (Spain), 6-8 March 2009 . Organized by: Cilengua,Instituto Biblioteca Hispánica, Instituto deHistoria del Libro y de la Lectura, Universidad Autònoma de Barcelona, Poética Europea delRenacimiento. http://www.la-semyr.es/?p=64 Book Networks and Cultural Capital:Space, Society & the Nation . Fifth annualConference on the Study of Book Culture,sponsored by the Canadian Association forthe Study of Book Culture / Associationcanadienne pour l’étude de l’histoire du livre – at Carleton University in Ottawa – during the annual Congress of the Humanities andSocial Sciences – 26 and 27 May 2009 . Forfurther information on CASBC/ACEHL,please consult our website: http://casbc-acehl.dal.ca/. Réseaux du livre et capital culturel :territoire, société et nation . Cinquièmecolloque annuel de l’Association canadiennepour l’étude de l’histoire du livre / TheCanadian Association for the Study of Book Culture (ACÉHL/CASBC), dans le cadre ducongrès de la Fédération canadienne dessciences humaines, qui aura lieu à l’UniversitéCarleton à Ottawa, les 26 et 27 mai 2009 . Inaugural Conference on IntellectualProperty (CIP)  will be held on 12-13 June2009 at Iona College in New Rochelle, NY,and will include keynote addresses by LauraM. Quilter, M.L.S., J.D. and painter Joy Garnett. The purpose of this conference is toexplore intellectual property, in a cross-disciplinary context, as both a concept and areality relating to the professional fields whose concerns intersect in understanding itsessence and implications. CIP papers and/orabstracts will be included in a conferenceproceedings, and selected essays may bepublished in a proposed collection for a peer-reviewed press. For information, please seethe conference website at www.iona.edu/cip. Book & Media Science: Research,Researchers, and Communication . Aninternational Conference dedicated to the200th anniversary of Lithuanian book scienceat Vilnius University, 22-23 October 2009 .Organised by the Institute of Book Scienceand Documentation at the Faculty of Communication of the Vilnius University &the Nordic-Baltic-Russian Network on theHistory of Books, Libraries and Reading (HIBOLIRE). Languages of the Conference:Lithuanian, English, Russian. Simultaneoustranslation will be provided. For moreinformation, please contact: Prof. habil. dr.Domas KAUNAS domas.kaunas@kf.vu.lt; Assoc. prof. dr. Ausra NAVICKIENausra.navickiene@kf.vu.lt or the departmentaladministrator Iveta JAKIMAVICIUTEiveta.jakimaviciute@kf.vu.lt
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