For centuries, humans have been surrounded by printed material. It is easy to ignore that certain typographic elements we take for granted now were, at some point, a novelty. John Boardley’s Typographic Firsts, published by the Bodleian Library, creates awareness for these developments that (mainly) started in the fifteenth century and still shape our books (even the digital ones) in the twenty-first century.
The Women’s Print History Project is a database that collects in one place information about British women’s writing, editing, publishing, printing, bookselling, and other contributions to the print trade in the “long eighteenth century” (in this case, 1750-1830). Built by a team of more than twenty people under the leadership of Michelle Levy and Kandice Sharren and funded by an SSHRC Insight Grant and Simon Fraser University, the database pulls together extensive bibliographical information from print, online, and developing sources. It is thus a much-needed centralized search for a territory that has been enriched in recent years by specialized projects covering different aspects of this historical archive.
In the absence of in-person conferences and networking opportunities due to COVID-19, SHARP News is pleased to present a new feature, Early Editions: Conversations with Emerging Researchers. Early Editions pairs an emerging researcher with an established SHARPist with similar interests and flips the script: through informal dialogue, the established scholar introduces the work and interests of the early-career researcher to the broader SHARP community. Our first conversation is between Joe Saunders, PhD student at the University of York, and Ian Gadd, Professor in English Literature at Bath Spa University.
The scrapbook has a well-established place within the history of the book that spans from early modern commonplace books to…
In the introduction to Textual Distortion, a volume of essays published as part of the English Association’s “Essays and Studies” series, Elaine Treharne notes that the process of distortion “remains resolutely associated with the undesirable, the lost or the deceptive” (1). In response to this primarily negative view of distortion, the nine essays that Treharne and her co-editor, Greg Walker, have assembled in this collection document the “varied, dynamic and often positive role of distortion in the transmission and reception of texts” (5). Many of the essays approach distortion from a bibliographic or book-historical perspective, examining the distorting effects of various processes of textual transmission, such as scribal intervention, photo-facsimile reproduction, and digital manipulation. Other essays treat distortion as a mediating factor in the transmission of historical and literary discourse.