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rabbitmotifs · 3 months

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tagged by @plaguery for a people youd like to get to know better game (thank you ophee i love you)

three ships: gideon/julie because i love them, tyler/narrator because i love them, umm. roxygen to break up the other two toxic ships also because i love them

first ship: orihime/ulquiorra from bleach pleeease dont look at me it was 5th grade

last song: modern medicine by school drugs

last film: sing street

currently reading: well. the cambridge companion to the history of the book by leslie howsam (for class). the introduction to bibliographical and textual studies by william proctor williams (for class). and wuthering heights by emily bronte

currently craving: hard drugs

favorite color: pink

relationship status: single

last thing googled: how to delete doordash account

current obsessions: i still like scott pilgrim even though im pretty depressed so thats something

tagging uhh i dont know. anyone. @paintedvanilla @ramgodd @zhongli-lover-69 @fightclubgayporn

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reedilla · 2 years

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I’m reading about the history of libraries and I’m obsessed with the threats from 650 BCE librarians to anyone who steals their tablets. Librarians should still be able to curse people I think

Text: An implication of books as a share resource is a long-standing need to ensure socially acceptable treatment through rules and curses against theft, mutilation or the over-long retention of books. As long as 668-627 BCE, tablets in Ashurbanipal’s library bore threats such as: Whoever removes [this tablet…], may Ashur and Ninlil, angered and grim, cast him down, erase his name, his seed, in the land.’

(Attar, Karen. “Books in the Library.” The Cambridge Companion to the History of the Book. Ed. Leslie Howsam. UK: Cambridge University Press, 2015. pp. 17-35)

#library #librarians #books #history #curse #wdpc #Tyler

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sbooksbowm · 4 years

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The 'Does This Make Sense?' Check: Chapter 4, Part 1, The Bookbinders

At long last! The bookbinders chapter. I've really struggled with this one, not because of the content (which is utterly fascinating, thanks to all of my interviewees) but because I am severely over the word limit and I've had to be judicious with what to include, despite the swaths of information I've learned via our interviews.

This is a hefty chapter, split into five(!) parts:

le introduction

fic bookbinders' motivation for binding fic

how this work fits into the fandom communication circuit,

how this fannish practice upends commercially-focused notions of book production, and

how these workds reveal the challenges of material preservation

Introduction

This final chapter looks at bookbinding fic as a fannish response, an increasingly popular phenomenon that follows in the footsteps of 20th-century fanzines. Like fic writing, fic binding is mostly an amateur endeavor in that its practitioners craft for love, not financial compensation. Save for one binder with a Masters in Book Arts, all of the binders I interviewed for this chapter are self-taught. A few began bookbinding by placing printed copies in three-ring binders or printing at a copy shop; others took a class and pursued their interest through online resources. Some bookbinders have been binding for a few years; many took advantage of increased free time due to the COVID-19 pandemic.

Fans who bookbind fanfiction exemplify Leslie Howsam’s assertion that ‘books happen; they happen to people who read, reproduce, disseminate, and compose them; and they happen to be significant’ [1]. For bookbinders, the adaptation of the fic text into physical printed books follows a trend in the digital age to make physical art objects to counter obsolescence, data loss, and provide a break from the screen. Their work exemplifies Leah Price’s refutation of the ‘death of reading’ narrative and Jessica Pressman’s examination of the aestheticizing attitudes surrounding books [2]. By transforming fic and putting it into material form, bookbinders demonstrate how books document changes in readership and why they are worth studying.

Fic has been understudied by book historians because it’s digital, non-commercial, and non-profit, and fic bookbinders create homemade books that complicate book production models reliant on the ‘follow the money’ principle. By practicing in the private space of affective labor, fic bookbinders construe value for fic with their personal investment in the work (both the fic text itself and the process of binding) and their intent to return gifts to the fic writer [3]. They connote book production as not-for-profit and privately consumed, not necessarily driven by profit. The rejection of commercialization of fic is strong among the bookbinders that I interviewed, and most were hesitant to solicit commissions for a variety of reasons, ranging from expertise to unapproachable costs. The formal and subversive constraints of fanfiction have kept it apart from the traditional for-profit publishing communication circuit and traditional modes of text distribution; bound fic, rather than align the text with book publishing simply because of its codex form, further distances fic from that traditional circuit as it assigns the codex with new meanings of production and value.

This chapter explores the motivations behind bookbinders, how their fannish work upends commercially-focused notions of book production, and how this work fits into the fandom communication circuit. These works reveal the challenges of material preservation, as the printed form of fic holds different information and provides a different reading experience than the digital form. In the fandom communication circuit, binding fic is creative fannish response with aesthetic and craft elements, as many binders look to design the books in relation to their content. Binders often circulate a copy back to the writer, perpetuating fandom’s gift-giving economy and community function. This reciprocation reinforces the node between reader response and writer function and sits in the response zone of the community model (images at link).

Citations

Leslie Howsam, Old Books and New Histories: An Orientation to Studies in Book and Print Culture, p.5.

Leah Price, What We Talk About When We Talk About Books (New York: Basic Books, 2019); Jessica Pressman, Bookishness: Loving Books in the Digital Age (New York: Columbia University Press, 2020), forthcoming.

Catherine Coker, ‘The margins of print? Fan fiction as book history’, 2.2.

#does this make sense check #chapter 4 #the bookbinders #fic binding #bookbinding #introduction #Leslie Howsam #Leah Price #Jessica Pressman #Catherine Coker #bookbinding fic #dissertation

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surejaya · 4 years

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The Cambridge Companion to the History of the Book

Download : The Cambridge Companion to the History of the Book More Book at: Zaqist Book

The Cambridge Companion to the History of the Book by Leslie Howsam

Throughout human history, the world's knowledge and fruits of the creative imagination have been produced, circulated and received through the medium of the material text. This Companion provides a wide-ranging account of the history of the book and its ways of thinking about works from ancient inscription to contemporary e-books, discussing thematic, chronological and methodological aspects of this interdisciplinary field. The first part considers book cultures from local, national and global perspectives. Part two, organized around the dynamic relationship between the material book and the mutable text, develops a loosely chronological narrative from early writing, through manuscript and early printing, to the institution of a mechanized book trade, and on to the globalization of publishing and the introduction of the electronic book. A third part takes a practical turn, discussing methods, sources and approaches: bibliographical, archival and reading experience methodologies, as well as pedagogical strategies.

Download : The Cambridge Companion to the History of the Book More Book at: Zaqist Book

#book #zaqistbook #epub #kindle #GreatReads #MustRead #WhatToRead

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