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The madrilenian printer Andrés García de la Iglesia has, among his works, some important books for the study of the 17th century theatre. Considering his whole production, we may find the Once entremeses, a specially relevant volume held in the Biblioteca Nacional de España (R/31254), which collects factitiously several entremeses. We propose a literary and a bibliographical examination of these pieces, printed in broadsheets in 1659, in order to compare them with the dramatic scene of the 17th century. Once analyzed physically and textually, we will try to reach some conclusions about the printed reception of drama in the specific case of Andrés García de la Iglesia's books. [ABSTRACT FROM AUTHOR]

On 19 April 1684, Pedro Disses, former servant of the house of don Juan José of Austria, presented a report to the Diputación General del Reino de Castilla in which he offered the series of punches he had made, and could continue making, for the cutting of typographical molds. In doing so, he hoped to receive an official commission to continue his work; something which, given the difficulties encountered in printing at the time due to the absence of such instruments, he considered vital. The present article, accompanied by the relevant documentation, analyses the successive steps in the relationship between Pedro Disses and various Castilian institutions up to the 14 January 1690 when, following the concession of royal approval for Disses’ project, the Cámara de Castilla requested that the king order on-going assistance for Disses in the light of the importance of his work. Amongst the documentation analysed here, of particular importance is the the report of the Madrid printer Luis Antonio de Bedmar on the official meeting with the printers and Disses in October 1685. Bedmar reports on, and praises, the examples of letrerías presented by Disses and describes in somewhat exaggerated fashion, the critical situation of printing in Madrid, referring to the lack of punches and molds which would allow the printers to renew their typographies. [ABSTRACT FROM PUBLISHER]

This project aims at studying various aspects of print culture present in the realm of books and reading in Argentina since the may revolution until the mid twentieth century, especially from the point of view of the new History of culture and its relationship with Library Science and Publishing. Documents that characteristically belong to the fields of Institutional History and Micro-history will be analyzed. These include: edicts and announcements, advertisements, newspapers and magazines, typographic fonts and impositions, the bibliographic materials that influenced the political thought of the time, printers' records and their relationship with the world of publishing as found in publishers' archives, among other "lesser printed matter" that Political History has ignored so far. A series of disciplines and their convergence are involved: literary studies, gender studies, library science studies, historic studies, and political science studies. The analysis and intercrossing of these domains, typical of the Humanities and the Social Sciences, will frame the object of study within a wider discipline: the History of Publishing and Reading in Argentina since 1810 until 1950. The methodology of apprehending the diverse cultural records, without leaving aside quantitative approaches, will allow a qualitative study of these facts, and, in some occasions, the application of the so-called "trace method", in the reconstruction of textual representations and practices. In the same way, this research will focus on citizens' participation, especially in the public and institutional spheres in urban settings, where the polysemantic structure of print culture is manifested more intensely. Within this context, the project aims at giving wider visibility the extraordinary richness of print culture of the period being studied, and, on the other hand, at linking the world of publishing with the world of reading and its main actors: readers and their abilities to apprehend print discourse. [ABSTRACT FROM AUTHOR]

This article discusses the controversial engraving of the Last Judgment made by the Jesuits in the late 18th century, which many believed represented a satire of King Charles III of Spain. The author describes the expulsion of the Jesuits from Spain in the 1760s and explains how the engraving can be seen as a reaction to their suppression. He also comments on the effects that the denouncement of the engraving had on Spain's diplomatic relations as well as printers of the time, including Giovanni Battista Remondini, one of the most well-known printers in Europe, according to the author. His attempts to defend himself against accusations of printing the engraving are also detailed.