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Copyright of Revista de Indias is the property of Consejo Superior de Investigaciones Cientificas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper inquires the ways in which paper folding constitutes a mathematical practice and may prompt a mathematical culture. To do this, we first present and investigate the common mathematical activities shared by this culture, i.e. we present mathematical paper folding as a material reasoning practice. We show that the patterns of mathematical activity observed in mathematical paper folding are, at least since the end of the nineteenth century, sufficiently stable to be considered as a practice. Moreover, we will argue that this practice is material. The permitted inferential actions when reasoning by folding are controlled by the physical realities of paper-like material, whilst claims to generality of some reasoning operations are supported by arguments from other mathematical idioms. The controlling structure provided by this material side of the practice is tight enough to allow for non-textual shared standards of argument and wide enough to provide sufficiently many problems for a practice to form. The upshot is that mathematical paper folding is a non-propositional and non-diagrammatic reasoning practice that adds to our understanding of the multi-faceted nature of the epistemic force of mathematical proof. We then draw on what we have learned from our contemplations about paper folding to highlight some lessons about what a study of mathematical cultures entails. [ABSTRACT FROM AUTHOR]

The knowledge of the detailed material composition of paper can help art historians, archivist, librarians, paper historians, and conservators to determine the possible age of a document or a work of art. The dating of paper by the identification of specific paper components is especially applicable to paper from the 19th century. In this era, many changes in the paper production technology occurred and new raw materials were introduced in relatively short time intervals. ATR-IR and Raman spectroscopic measurements were used to analyze the chemical composition and structure of papers from the 19th century. The infrared spectra showed the general material composition of the papers. More specific information on the different paper components and their distribution in the paper were obtained by Raman microscopic measurements. The resulting Raman images visualize the detailed chemical structure of the papers including all components such as paper fibers, filler pigments, sizing agents, and color pigments. Special emphasis was made on the spectroscopic identification of different paper fiber types, like straw, esparto, and sulphite and sulfate chemical wood pulp, which were introduced to paper production during the second half of the 19th century. It could be shown that the specific spectral differences in the Raman spectra of the different paper fiber types are related to different amounts of hemicellulose xylan compounds on or in the cellulose fibers. Graphical Abstract [ABSTRACT FROM AUTHOR]

Paper and parchment were used for the production and repair of musical instruments from the 16th century onwards. Today, several layers of reused materials such as binder's waste can be found in instruments. This makes them carriers of materials of bibliographical and fragmentological interest. Based on the analyses of 96 lute instruments the reinforcing material is described and put into context with current approaches of the study of fragments and the material history of the objects. The use of vellum and reuse of parchment manuscripts was mainly common during the 16th century and for instruments made of materials of high density. Paper in the form of blank folios, reused prints, manuscripts, music staves and notes, or drawings can be found as material for the production and repair of lutes in all periods. The content or the exact edition of the reused prints or manuscripts could be identified in several cases. [ABSTRACT FROM AUTHOR]

Industrial progress in papermaking in the early nineteenth century led to the technologies that resulted in more acidic papers, which was caused mainly by the exploitation of alum (KAl(SO4)2) and rosin as sizing agents. The papers prepared by such technologies have degraded more quickly. From the 1930s various deacidification and preservation processes with basic agents have been developed. The most widespread deacidification process is with the aerosol (spray system) consisting of microscale particles MgO and perfluoroheptane (PFH) as a carrier (the so-called Bookkeeper process). The shortcomings of this process are the low dissolution of solid MgO particles and the transport to the interior of acidic paper. We have developed a theoretical two-level model of the Bookkeeper process suitable for prediction of deacidification extent. The model involves both the dissolution/reaction of the solid particles and transport of solvated ions and solid particles inside the bulk of paper. The developed model coincides with the results of the performed deacidification experiment. The model is also in good agreement with the Lucas–Washburn equation, which is usually used for the description of the penetration of a deacidifying agent into the paper. [ABSTRACT FROM AUTHOR]

Because nineteenth-century paper was made from rags, the materiality of paper money became a likely ground from which to debate the nature of value in modern capitalism. On one hand, if paper money was backed by nothing but itself, then it was worth little more than itself: a gathering of lowly rags. On the other hand, the process of turning trashed rags into valuable paper modeled how capital could seem to grow out of nothing. Two nineteenth-century literary narratives provide examples of how rags performed considerable social and metaphorical work in the construction of an epistemology of capitalism and its "paper technologies." [ABSTRACT FROM AUTHOR]

The National Library of Poland holds three historical collections with a unified visual form. The arrangement of the Wilanów collection was carried out in the first half of the nineteenth century, whereas the Krasiński collection was arranged in the early twentieth century respectively the 1950's or 1960's in the case of drawings by Norwid. This contribution describes the structure of mountings found in these collections, as well as the historical context in which they were created. It serves as a starting point to provide an outline of the history of conservation methods and preservation of prints' and drawings' collections in Poland. [ABSTRACT FROM AUTHOR]

I Visions of Nature i focuses on landscape photography produced in settler colonies of the Pacific Rim and employs an interdisciplinary approach, drawing on methodologies and theories from environmental history, geography, and art history. Both artists have appropriated imagery made by settler artists of their respective homelands to interrogate how settler visual culture took "land away from people". Visions of Nature: How Landscape Photography Shaped Settler Colonialism AND Colonization, Wilderness and Spaces Between: Nineteenth Century Landscape Painting in Australia and the United States: By Jarrod Hore. [Extracted from the article]

The article discusses the significance of the Confederate States of America Medical Department and the periodical the "Confederate States Medical and Surgical Journal" in advancing Confederate nationalism and identity during the U.S. Civil War, particularly concerning what is referred to as a Confederate intellectual independence.

Personal papers in the archives at Maritime College, State University of New York, document the lives of alumni from the school's founding in 1874 through the early decades of the 20th century. Journals, diaries, memoirs, and reminiscences located in these collections provide evidence of what it was like to work on a ship, far from home, travelling to foreign lands. In this article, I explore first-hand accounts of maritime life by Van Horne Morris, my maternal grandfather and a 1938 graduate of the Massachusetts Nautical School (now known as Massachusetts Maritime Academy), and several alumni of the New York Nautical School (now known as SUNY Maritime College), who graduated between 1896 and 1929. Close reading of their letters and manuscripts reveals echoes of a maritime literary tradition rooted in the antebellum-era United States. Comparing and contrasting the style and content of their writing to antecedents in the 19th century also illuminates continuity and changes in maritime labour and culture over time. [ABSTRACT FROM AUTHOR]

The consequences of the partially coerced opening of Japan to the Western world in the second half of the 19th century went far beyond economic and political goals and considerations. The previously secluded land almost instantly became a source of artistic inspiration and endless fascination. Japonisme, the term by which the latest craze become known in France, was no passing fad. For many decades, Western artists, most of whom had never set foot in Japan, derived profound inspiration from all facets of the mysterious culture which unfolded in the period. Thus, with scant information and a lack of accurate records being available, common gossip and unfounded rumor filled in the blanks of official reports and naval tales, connecting the dots between the real and the imagined. In this paper, I succinctly examine the story of Madame Butterfly, cutting across time, genre and borders in the works of John Luther Long, David Belasco, Giacomo Puccini and Claude-Michel Schönberg/Alain Boublil. I contextualize the selected narratives within their socio-political frameworks, but also consider the ramifications of the past and presentday adaptations from the 21st-century perspective, in the light of current struggles for (adequate) representation. Lastly, I examine the production of Miss Saigon (2019-22) at the Music Theatre of Łódź, Poland to compare how the staging of such a musical in a predominantly racially homogenous country affects the perception of Orientalist works. As such this section is a case study based on personal interviews conducted by the author with the producers and cast members. [ABSTRACT FROM AUTHOR]

This paper investigates the role of admission forms in the regulation of asylum confinement in the second half of the nineteenth century. Taking the Toronto Lunatic Asylum as a case study it traces the evolution of the forms' content and structure during the first decades of this institution. Admission forms provide important material for understanding the medico-legal assessment of lunacy in a certain jurisdiction. First, they show how the description of insanity depended on a plurality of actors. Second, doctors were not necessarily required to indicate symptoms of derangement. Third, patients' relatives played a fundamental role in providing clinical information. From an historiographical perspective, this paper invites scholars to consider the function of standardized documents in shaping the written identity of patients. [ABSTRACT FROM AUTHOR]

Does the materiality of a three-dimensional model have an effect on how this model operates in an exploratory way, how it prompts discovery of new mathematical results? Material mathematical models were produced and used during the second half of the nineteenth century, visualizing mathematical objects, such as curves and surfaces—and these were produced from a variety of materials: paper, cardboard, plaster, strings, wood. However, the question, whether their materiality influenced the status of these models—considered as exploratory, technical, or representational—was hardly touched upon. This article aims to approach this question by investigating two case studies: Beltrami's paper models vs. Dyck's plaster ones of the hyperbolic plane; and Chisini's string models of braids vs. Artin's and Moishezon's algebraization of these braids. These two case studies indicate that materiality might have a decisive role in how the model was taken into account mathematically: either as an exploratory or rather as a technical or pedagogical object. [ABSTRACT FROM AUTHOR]

The nineteenth century witnessed the creation of a 'paper Panopticon' designed to capture information about offenders in England, especially those who were transported to Australia. This article considers the effectiveness of this new record-keeping system and asks whether convicts had some agency within it. These questions are explored through a macroscopic analysis of the recording of convict ages in nineteenth-century England and Australia, made possible by the Digital Panopticon project. By using the methodological opportunities opened up by digital technologies, we can test the accuracy of historical records in new ways, and in the process develop a better understanding of the encounter between state authority and convict agency. [ABSTRACT FROM AUTHOR]

My article examines the structure of the nineteenth-century British paper peepshow and the experience of using it. Inspired by the agenda of media archaeology, I argue that an analysis of this medium that goes beyond excavating details of an obscured optical recreation can bring new insight into our understanding of peep media and nineteenth-century visual culture. By discussing the origin and circulation of the paper peepshow and detailing the clear distinction between it and media like the peepshow box and pop-up books, I detach the paper peepshow from the genealogy of these media while stressing the significance of its intermedial relationship with other nineteenth-century visual entertainments. I then adopt the notion of embodied knowledge to explore users' engagement with this medium, drawing from personal handling experience in archives as well as theoretical conceptualisations. My article argues that peering into the paper peepshow should be understood as an act of creativity and imagination, and that the tactile played a crucial role in users' interaction with this medium. This study thus fits well in debates about the embodied or multi-sensory vision in the nineteenth-century context, and functions as another example that affirms the active agency of users of visual recreations of this period. Overall, by analysing significant features of the paper peepshow and the experience of peeping into it, my research also constitutes a small but important expansion in the current understanding of peep media. [ABSTRACT FROM AUTHOR]

Copyright of Education et Societes is the property of INRP and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

During Texas's decade as a republic, its newspapers never galvanized into a truly partisan press. The newspapers of Texas were political, but rather than focusing on party principles, they opposed or supported political candidates during the republic's four presidential elections, with two-term President Sam Houston as the pivotal figure. The independence of most newspapers from party patronage and influence and their patriotic elevation of the good of the country over loyalty to any faction demonstrated that editors did not fully adopt the American style of press partisanship they experienced before moving to Texas. Elections in the republic revolved around personalities instead of policies. [ABSTRACT FROM AUTHOR]

The article focuses on papers on applications for military medical personnel in Civil War medicine by Illinois Governor Richard Yates. Topics include enlistment of Richmond Wol­cott and appointment of Dr. Edward D. Kittoe of Galena, Illinois, military regiments with surgeons, and Illinois' state Board of Medical Examiners.

"Asbestos in Australia: From Boom to Dust" is a comprehensive and highly readable edited volume that explores the intersection of environment, industry, and public health in Australian life. The book synthesizes diverse literatures on asbestos in Australia, providing an overview of its business, economic, and social history from its rise as a "miracle mineral" in the late nineteenth century to its decline in the face of mounting medical evidence and public outcry. The collection includes historical, legal, and medical perspectives, as well as oral histories from communities affected by asbestos mining. It serves as a valuable reference work and highlights the ongoing challenges posed by industrial pollutants in Australia. [Extracted from the article]

In Vienna around 1900 the paleographer Theodor von Sickel was searching for a botanist to microchemically analyze samples of medieval paper manuscripts. If the material components (the plant fibers and sizing) of the manuscript paper could be determined, then Sickel would acquire crucial information on the origin, dating, and production methods of the manuscripts. Fortunately for him, he met the Viennese botanist Julius von Wiesner, who was also a pioneer in microscopy, and thus began a remarkable collaboration. I have examined the material objects used in their collaboration—the manuscript samples as well as the objects they were stored in—and have, as a result, been able to identify the collaborators' practices of knowledge organization and knowledge production. I can thus make the following two interrelated claims: first, that the interdisciplinary collaboration between the sciences and the humanities, represented in this case study by botany and paleography, led to the production of new knowledge, namely, a paleographic dating principle for medieval manuscripts; second, that this new knowledge came about precisely because the practices of knowledge organization and hence of knowledge production, which I have identified as being the practices of paper technology , were shared by the collaborators. The case study examined in this article suggests that, thanks to these shared practices, the divide between the humanities and the sciences at the end of the nineteenth century was not as great as is generally believed. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the American Institute for Conservation is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Red Books represented the most important working tool of landscape architect Humphry Repton (1752-1818). To give his clients an impression of his suggestions for improvement, he used an artifice that can be understood as montage. After all, his method reveals a certain similarity to the architectural montage used by director Sergei M. Eisenstein in his essay »Piranesi, or the Fluidity of Form«. Eisenstein, however, in both his works as a director and a theoretician, aimed at overcoming a realism that had defined bourgeois art in the 19th century. Trough the work of Repton, on the other hand, the landscape garden, once an aristocratic privilege, was transformed into a bourgeois consumer good. [ABSTRACT FROM AUTHOR]

The Catalogue of Scientific Papers, published by the Royal Society of London beginning in 1867, projected back to the beginning of the nineteenth century a novel vision of the history of science in which knowledge was built up out of discrete papers each connected to an author. Its construction was an act of canon formation that helped naturalize the idea that scientific publishing consisted of special kinds of texts and authors that were set apart from the wider landscape of publishing. By recovering the decisions and struggles through which the Catalogue was assembled, this essay aims to contribute to current efforts to denaturalize the scientific paper as the dominant genre of scientific life. By privileging a specific representation of the course of a scientific life as a list of papers, the Catalogue helped shape underlying assumptions about the most valuable fruits of a scientific career. Its enumerated lists of authors’ periodical publications were quickly put to use as a means of measuring scientific productivity and reputation, as well as by writers of biography and history. Although it was first conceived as a search technology, this essay locates the Catalogue’s most consequential legacy in its uses as a technology of valuation. [ABSTRACT FROM PUBLISHER]

Copyright of Documenta & Instrumenta is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Towards the end of the nineteenth century and the initial of the twentieth, art writing was exercised in Chile by theorists that acted provided of a certain authority adding a roughly traditional and European-rooted model. They marked a certain hegemony over the space of local culturea situation that will be modified later with the emergence of critical actors from the literary field. This paper reviews the work of some traditional critics, analyzing the keys and the context of their theoretical discourse. [ABSTRACT FROM AUTHOR]

Copyright of Epidemiological Review / Przegląd Epidemiologiczny is the property of National Institute of Public Health - National Institute of Hygiene and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista del Museo de Antropología is the property of Museo de Antropologia - IDACOR and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Paper money, graphic satire, and imitation banknotes comprised a vibrant part of visual culture in Britain over the long nineteenth century, collectively shaping belief in paper credit. Artists, entrepreneurs, and politicians competed with each other to assign value to the unfixed sign of paper money and stabilize the social relationships it represented. Satirists seized on the unstable form of paper money as an ideal medium for social criticism and whimsical jokes, while others used the form for advertisement. Based on surviving examples, this essay gives the first history of this virtually unknown genre of prints, imitation banknotes, and demonstrates their complex relationships to the acceptance of paper as a medium fit to carry value. [ABSTRACT FROM AUTHOR]

The Hughenden Collection of Disraeli Papers at the Bodleian Library in Oxford comprises over 50,000 items relating to the life and work of Benjamin Disraeli and his family. This article tracks hair through the Hughenden Collection in order to explore the collecting habits of Mary Anne Disraeli. It argues that reading Mary Anne Disraeli's story through hair – both hair as object, held in an archive and hair as represented in archival text – reveals aspects of that story occluded by reading only those archival texts with self-evident documentary value. It thus makes the case for a holistic reading of the Disraeli archive, and Victorian collections of personal papers more generally, by taking Mary Anne Disraeli as its central case study. In so doing it also illuminates her story, and points to the necessity of reading the stories of forgotten women through archival silences and absences. Section I reviews recent scholarship on hair in nineteenth-century Britain in order to contextualize Mary Anne Disraeli's case. Section II anatomizes the Hughenden hair collection in order to illuminate Mary Anne's history, her impulses as a collector, and the extent to which her activities complicate scholarly narratives about the sentimental commodification of Victorian hair. Section III gestures towards recent work on the archive and material culture to tease out the consequences of her example for our reading of the archive and our understanding of the texture of Victorian ‘thing culture’ more generally. [ABSTRACT FROM PUBLISHER]

Scholars of International Relations (IR) and Global Historical Sociology alike have recently become more and more interested in Eurasian order(s). Yet, most recent works on Eurasian historical international relations approach the subject from a long durée perspective, mostly focusing on "big polities" from a "high altitude." Central Asia, or "Turkestan," and its constitutive polities such as the khanates of Bukhara, Khiva, and Khoqand and the vast array of nomadic groups surrounding them are yet terra incognita in IR, specifically with respect to the pre-Tsarist period. By relying on both primary and secondary sources, this inductive research reveals how precolonial Central Asia was an interpolity order on its own, premised on heteronomy and based on the institutions of sovereignty between the khanates and suzerainty between khanates and nomads; territoriality; Sunni Islam; trade and slavery; diplomacy; and war and aq oyluk. This paper contributes to filling this gap, and to the broader literature on Eurasian historical orders, in three respects. First, it adds granularity, detail, and specificity to current IR knowledge on Eurasia by looking at smaller polities as opposed to empires, which as noted have been the main analytical focus so far. Second, the paper adopts an emic approach to uncover local practices, institutions, and norms of precolonial Central Asia, thus adding to the recent "Global IR" debate. Third, by focusing on a case where heteronomy was the rule, this paper adds a new case to the literature on the entrenchment and durability of heteronomy in historical IR and contributes to its theory-building. [ABSTRACT FROM AUTHOR]

The study is based on an analysis of the communication papers of selected manorial nobility administrations, mainly from the end of the 18th and the beginning of the 19th century, using four large Moravian estates Třebíč, Uherský Brod, Veveří and Židlochovice as examples. It is concerned with individual types of documents and the form of communication between the particular levels of instance administration. [ABSTRACT FROM AUTHOR]

Marxist politics in Britain have been characterised by marginality, despite the long-term existence of political groups and parties self-described as Marxist dating back to the late nineteenth century. A major activity of such groups, certainly before the dominance of the internet, has been the production of newspapers, seen as the essential scaffolding with which to build their organisation and influence within the labour movement. One of the most successful, albeit briefly, of these in the post-war period was Socialist Worker, produced by an unorthodox Trotskyist grouping originally known as the International Socialists. This study critically examines the most intense period of popularity for this paper, between 1972 and 1974, to illuminate what this can tell us about the political function of this now largely redundant form of left-wing activism, how it related to the wider socio-political context of the era, and finally what lessons it may contain for the role of an agitational leftist media today in a markedly different political-cultural eco-system. [ABSTRACT FROM AUTHOR]

Iron-gall inks are an essential element of our written cultural heritage that is at risk of a total loss due to degradation. This degradation leads to the loss of the support, particularly the cellulose-based support. Intending to stabilize it, we have come a long way from the nineteenth-century cellulose nitrate laminations to the relatively recent phytate treatments; nevertheless, less invasive treatments are needed. To pave the way for developing safer and more sustainable treatments, tailored as much as possible to the object, this paper reviews the conservation treatments and the advances that have taken place over the last decade in our understanding of the degradation mechanisms of iron-gall inks, based on a careful selection of references to support a concise microreview. This discussion is based on the currently accepted models based on the Fe3+-gallate and the identification of degradation products for iron-gall inks observed in heritage objects, including manuscripts dating from the fourteenth to seventeenth centuries and drawings from the fifteenth to nineteenth centuries. The degradation promoted by iron-gall inks induces scission of cellulose through acid catalysis and/or redox reactions. The causes of these acid-base and redox reactions are also assessed. Finally, we detail the state-of-the-art conservation treatments used to mitigate iron gall ink deterioration, covering treatments from the late nineteenth century to the beginning of the twentieth century, followed by the presentation of current phytate treatments and new postphytate treatments. [ABSTRACT FROM AUTHOR]

The article offers information on the Canadian scholar Ellen Gillies Cooke and her contributions to Manitoba and Canada's historical record. Topics include her gift of thousands of documents to the Archives of Manitoba which include office records of Manitoba premier John Norquay and a significant amount of her personal research on the Norquays, the mystery of the office documents being in typed form when the premier's office did not have a typewriter, and its implications in archival practice.

This essay focuses on British and American reading rooms at the end of the nineteenth century in French travel centres such as Boulogne-sur-Mer, Cannes, and Paris. These reading rooms were sites of transit that reveal the travelling cultures of Britons and Americans. They set in motion certain travel sociabilities and practices, suggested various transit routes and itineraries, promoted different cultural and national affiliations and identities, and collected, represented, and displayed anglophone cultures. They operated as microcosms of British and American cultures, offering essentialized experiences and connections with people, behaviour, and things affiliated with home, but this essay shows how they were also social environments that not only reinforced, but also reshaped and interrogated anglophone cultures on the move in British, American, and French cultural territories. [ABSTRACT FROM AUTHOR]

Copyright of Itinerários - Revista de Literatura is the property of Itinerarios - Revista de Literatura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Confluências Culturais is the property of Fundacao Educacional da Regiao de Joinville - FURJ and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Drawing theoretic inspiration from the spatial turn within humanities, this article attempts to develop methods for studying placemaking in news media. This is done by a case study of the newspaper Þjóðviljinn, published in Ísafjörður, Iceland, in the late nineteenth century. The concept 'banal placemaking' is suggested for the kinds of spatial conceptions that occur in the paper without the explicit aim of creating an image of a place. When reading the paper in this way, a multitude of places and counter-places occur in the text. The town is contrasted with the countryside, the region with Reykjavík, and Iceland with Denmark. Icelandic spatial conceptions changed with urbanization and the coming of new regional centres. [ABSTRACT FROM AUTHOR]

Copyright of Itinerários - Revista de Literatura is the property of Itinerarios - Revista de Literatura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay establishes the links between a little-known ‘experimental vignette’ by Thomas Bewick (1753–1828) and his work as an engraver of banknotes and anti-forgery devices. Taking these links as its cue, it brings the politics of paper money that emerged in England in the decades around 1800 to bear on a number of Bewick’s more famous wood-engravings – the ‘little whimsies’ that embellished his books of natural history. While seemingly far removed from the realm of banknote engraving, this essay suggests that these prints were informed by, and reflected upon, the problems raised by paper money and contemporary currency debates. Bewick’s printmaking can productively be compared to the critical work of early nineteenth-century currency radicals such as William Cobbett, who sought to expose the fictions of representation underpinning the British credit economy. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Institute of Conservation is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper attempts to understand the idea of readership and access to printed books in colonial South India, responding to print and missionary interventions in nineteenth-century Kerala. The paper would ask, how does one work with traces of reading in the text and construct its beyond with interest in this history, paying heed to its entanglements in desires and fears of and from the same activity of reading? Is there a potential affective space in this history, accounted by the reader between divisions of the material text and the liminalities of reading events scattered in its time and space? The paper envisions methods to study reading and its lives by imaginatively and symbolically locating "readers" and "respondents" to the changes within the nineteenth-century missionary printing exercise. The study understands the coming of Vidyasamgraham or The Cottayam College Quarterly Magazine, published between 1864 and 1867 to have set the pace for both knowledge dissemination and the making of rational modern "reading" subjects in nineteenth-century Kerala. The serialization of The Slayer Slain throughout its eight issues will be read alongside the selected entries of Vidyasamgraham to ask questions about how reading was conceived, its locations, and the nature of the book. [ABSTRACT FROM AUTHOR]