Readers and Consumers of Popular Print

Graheli, Shanti

doi:10.1163/15700690-12341483

Cited by 4 publications

(4 citation statements)

References 2 publications

(2 reference statements)

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Extensive though not aspiring to completeness: Van Duijn 2017 on the Delft Bible of 1477, the first printed bible in Dutch; Panse 2012 on Hans von Gersdorff's Feldtbuch der wundtartzney (1517); Green 2006 on Hartmann Schedel's Nuremberg Chronicle (1493 and four later editions); Bogaart 2004 on Bartholomaeus Anglicus' Van den proprieteyten der dinghen (1485). On the method of the census, see also Pearson 2010, and Graheli 2021 on the problems of this method for the study of popular print. which they were looked at and used by contemporaries.…”

Section: Readers' Engagement With Illustrated Booksmentioning

confidence: 99%

Woodcuts as Reading Guides

Leerdam

2023

View full text Add to dashboard Cite

In the first half of the sixteenth century, the Low Countries saw the rise of a lively market for practical and instructive books that targeted non-specialist readers. This study shows how woodcuts in vernacular books on medicine and astrology fulfilled important rhetorical functions in knowledge communication. These images guided readers’ perceptions of the organisation, visualisation, and reliability of knowledge. Andrea van Leerdam uncovers the assumptions and intentions of book producers to which images testify, and shows how actual readers engaged with these illustrated books. Drawing on insights from the field of information design studies, she scrutinises the books’ material characteristics, including their lay-outs and traces of use, to shed light on the habits and interests of early modern readers. She situates these works in a culture where medicine and astrology were closely interwoven in daily life and where both book producers and readers were exploring the potential of images.

show abstract

Section: Readers' Engagement With Illustrated Booksmentioning

confidence: 99%

Woodcuts as Reading Guides

Leerdam

2023

View full text Add to dashboard Cite

show abstract

“…3 Also, scholars have included popular songs in studies related to education or literacy, underlining how the musical characteristics of well-known texts (such as rhyme or rhythm) were helpful to unskilled readers. 4 However, a case-study of the French songbook 1535 (commonly referred to as such after the year of publication mentioned on its title page) is an important addition to our understanding of popular printed songs in two ways. To start with, most studies of printed song focus on the early modern period, including sources from around 1550 until the nineteenth century.…”

mentioning

confidence: 99%

Fashions of Old and New Songs: French Popular Printed Songbooks around 1535

Morrée¹

2023

Book History

View full text Add to dashboard Cite

In Paris, in 1535, a songbook was published that would have a long-lasting impact on the market for French printed songs without music notation. Most noteworthy is that this songbook was the first of its kind to demonstrate considerable overlap in repertoire selection between printed songs pertaining to a category of affordable, popular literature on the one hand, and contemporary music books on the other. It therefore offers a valuable gateway to investigate the interrelations between the early sixteenth-century markets for printed songbooks with and without music. 1 Song texts without music belonged to a category of print that is generally characterized by terms such as "popular" or "cheap." This category is hard to define, since it is not exclusively determined by specific characteristics such as content, audience, genre, or even price. Cheap or popular print was, for instance, not solely intended for a lower class clientele but was also enjoyed by the higher classes, and it included a broad range of themes and genres, including almanacs, calendars, newspapers, pamphlets, street songs, devotional books, primers, and many more. The material characteristics varied as well, and although usually affordable, some prints included elaborate illustrations and were not even cheap in the strictest sense. Additionally, it should be noted that the notion of popular print was not-or at least not in any systematic way-used as a separate category in the sixteenthcentury sources. Instead, it is a heuristic label applied to early printed books by modern scholars. Still, the existence of such a broad and diversified category of print is clearly recognizable across Europe, as has recently been underlined by numerous studies applying a transnational approach to early modern popular print culture. 2 [44.224.250.200] Project MUSE (2024-06-04 02:06 GMT)

show abstract

“…10 The study of ego-documents, argued Shanti Graheli, shows us that 'the history of reading is deeply entwined with the history of writing practices'. 11 It would be misleading, however, to give the impression that the history of scribal culture came into being solely as the poor relation of its elder sibling, the history of reading. In practice, many different disciplines come together under its banner, as the variety of the backgrounds of contributors to this volume demonstrates.…”

mentioning

confidence: 99%

1 The common writer in history

Lyons

2023

The Common Writer in Modern History

View full text Add to dashboard Cite

The history of scribal culture as a field of studyIn 1880, Joachim Martin, a carpenter from the village of Crots in the French department of the Hautes-Alpes, was laying new floorboards in the nearby Château de Picomtal. As he worked, he took a black crayon and, on the underside of the parquet bricks he was assembling, wrote a text, part journal part autobiography. 1 Altogether, seventy-two pieces of his hidden autobiography were discovered when new owners of the chateau started renovations in 2000. Although his work is legible, it is now impossible to reconstitute the sequence in which the textual fragments were composed. Martin wrote of his work, his employers, local political figures, the harvest from his fields (for he was a smallholding peasant as well as a craftsman), and he also commented on sexual behaviour in his village. He directly addressed his unknown future reader, assuming that he would be a fellow carpenter and that he, Joachim Martin, would be long dead when his writing was read. Apart from constituting a good example of 'writing from below' in a literal as well as a metaphorical sense, Martin's inscribed parquet floors illustrate the unexpected ways in which people of modest social origins left written traces of their otherwise obscure existences. French anthropologist Daniel Fabre usefully labelled such texts 'ordinary writings', and they form the subject of this book. 2 Writings like those of Joachim Martin enable us to rescue forgotten lives from anonymity and give them some shape and substance.Martin's floorboards are of potential interest to several kinds of scholars: regional historians of the Hautes-Alpes and the Embrunnais area, political historians interested in popular attitudes during the early years of the French Third Republic and possibly social historians investigating sexual mores in this period. Most importantly, Martin's inscribed parquet floor is material for the historian of scribal (or, if you prefer, written) culture. This book is intended as a contribution both to the history of scribal culture and to the new history from below. It does not aim to be comprehensive, nor does it aim to showcase a representative sample of work in the field. It

show abstract

Readers and Consumers of Popular Print

Cited by 4 publications

References 2 publications

Woodcuts as Reading Guides

Woodcuts as Reading Guides

Fashions of Old and New Songs: French Popular Printed Songbooks around 1535

1 The common writer in history

Contact Info

Product

Resources

About