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Gavin Edwards

has become endeared to me by being presented between myself and my readers on former occasions of the same kind, than because I have anything particular to say. Like a troublesome guest who lingers in the Hall after he has taken leave, I cannot help loitering on the threshold of my book, though the two words, T HE E ND : anticipated through twenty months, yet sorrowfully penned at last: stare at me, in capitals, from the printed page. 1 Dickens makes explicit what the novel’s final paragraph has already implied: the association of the end of the novel with

in The Case of the Initial Letter
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The future is queer
Richard Harding

The question is not whether we all have identities, but whether we are prepared to recognise them. (Younge 2010 , 40) My fascination with the notion of ‘print as other’ stems from the connections I see between printmaking and

in Perspectives on contemporary printmaking
Richard S. Field

Despite the obvious allusion to Sol LeWitt's 1969 ‘Sentences on Conceptual Art,’ the following does not privilege idea over execution. Quite the contrary, it is an attempt to equate the contradictory attitudes we hold toward prints and to explore the opposites I believe are encoded in printmaking. What I owe to LeWitt's art and prose, most

in Perspectives on contemporary printmaking
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Frances Robertson

Print culture cannot be reduced to one narrative; for example the introduction of print culture in the Middle East or in India did not necessarily lead to the development of a Western humanist mindset, but was instead often adopted in order to attack colonial rule or secular values. ‘Print culture’ (as a kind of slogan) has also often been

in Perspectives on contemporary printmaking
Nicky Coutts

our own. Ana María Guerra, Spaniel from the series Significant Otherness , 2015. Digital print C-type involving 3D scanning of taxidermic specimen and digital image manipulation. 50

in Perspectives on contemporary printmaking
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James Doelman

6 Epigrams in print Given that some significant and widely known epigrammatists of the 1590s (Harington, Hoskins, the Michelborne brothers) had achieved fame through manuscript circulation alone, why did others decide to appear in print? And why print publish those individual epigrams whose moment of topical relevance was years in the past? The justification for publishing in these circumstances might be broken down into the ‘high’ and the ‘low’ defence. The ‘high’ defence, alluded to already in Chapter 1, claimed the model of Martial for justification: he had

in The epigram in England, 1590–1640
Rebecca Whiteley

This chapter explores two spirals, each engraved on copper and printed in Paris in the mid-seventeenth century. Both spirals, swirling from the centre towards the edges of the paper, make up a human figure: the first is Christ, the second is a foetus. In each figure resided immense power and significance for the early modern viewer. This power, as I will argue, was embedded in both religious and medical epistemologies that were entwined with each other. Bound together in a culture of

in Religion and life cycles in early modern England
Richard Culmer and the practices of polemic during the English Revolution
Jason Peacey

Interregnum. 2 Indeed, the aim of this chapter is to use such tracts to examine the intersection between three key issues that have featured prominently in the work of Ann Hughes: politics and society in a specific locality; the purpose and power of cheap print and its more or less intimate relationship to interpersonal disputation; and the role of women within the upheavals of the mid-seventeenth century, both as active participants

in Insolent proceedings
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Bethan Stevens

This chapter explores the speed and timing of prints and the press. The very profligacy of wood engravings binds them up with speed, at the level of both production and reception. Victorian readers confronted new wood engravings in books and magazines, page after page, week after week – seeing them much faster and more frequently than they would see

in The wood engravers’ self-portrait
The rise of writing
Raymond Gillespie

Chapter 2 . The prelude to print: the rise of writing A cross early modern Europe the development of the technology of print created the possibility of significant social transformations. The extent to which those possibilities would be realised, and to what ends, was determined by a wide range of factors. How local communities responded to print was one of the most important variables. That response was to a large degree determined by the pre-existing ability of those communities to deal with the written word, in manuscript form, as a way of shaping and

in Reading Ireland