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The sum of the processes performed to finish books after they are printed on roll or sheet paper is called "bookbinding." The binding processes, which in the past were all done manually, are now completely automated. The large-format sheet that is printed is first formed into a signature by breaking and folding. Then these signatures, consisting of 4-32 pages, are collated sequentially. Then it is made in one piece by sewing or gluing. The inner block of the monolithic book is fixed inside the separately prepared cardboard cover, and the binding of the book is completed. Unfortunately, there is no Turkish source that clearly explains the terms of binding processes, whose technology is rapidly developing. A look at the web browsers shows this. The printing industry of our country exports on a large scale. It exports multi-page paperback products such as original notebooks and agendas by taking special orders. The lack of a dictionary for binding methods causes financial losses due to problems in domestic and international commercial communication. The main reason for the inadequacy in professional communication is the lack of a source that is in academic language and prepared so that all stakeholders can understand it, especially for the terminology of binding procedures. In the study, the technical construction of a thread-stitched book with cardboard binding is named on an original drawing. The 16 basic technical terms on the drawing are explained in simple language. In future studies, the explanation of other terms related to binding processes and eventually the compilation of a comprehensive Printing Technical Terms Dictionary will help to avoid communication problems in the industry., Kitapların bobin ya da tabaka kağıda basıldıktan sonra son haline getirilmesi için yapılan işlemlerin toplamına “Kitap Ciltleme” denir. Geçmişte tamamı elle yapılan ciltleme işlemleri günümüzde tam otomasyonla yapılmaktadır. Baskısı yapılan büyük boyuttaki tabakaya önce kırma, katlama yapılarak forma haline getirilir. Sonra 4-32 sayfadan oluşan bu formalar ardışık olarak harmanlanır. Akabinde dikilerek veya tutkallanarak yekpare hale getirilir. Yekpare haldeki kitabın iç bloğu ayrı hazırlanan mukavva kapak içerisine tutkalla sabitlenerek kitabın ciltlemesi tamamlanır. Teknolojisi çok hızlı ilerleyen ciltleme işlemlerine ait terimlerin anlaşılır şekilde açıklandığı Türkçe bir kaynak maalesef bulunmamaktadır. İnternet tarayıcılarına bakılarak bu görülebilir. Ülkemiz basım sanayii büyük oranda ihracat yapmaktadır. Özel siparişler alarak özgün defter, ajanda gibi çok sayfalı mukavva kapaklı ürünler ihraç etmektedir. Ciltleme işlemlerine ait bir sözlük olmaması yurtiçi ve yurtdışı ticari iletişimde yaşanan sorunlara bağlı maddi kayıplara neden olmaktadır. Özellikle ciltleme işlemlerine ait terminolojinin akademik dille hazırlanmış, tüm paydaşların anlayacağı şekilde bir kaynağının olmaması mesleki iletişimdeki yetersizliğin ana nedenidir. Çalışmada mukavva kapaklı, iplik dikişli bir kitabın teknik yapısı özgün bir çizim üzerinde isimlendirilmiştir. Çizim üzerindeki 16 adet temel teknik terim sade bir dille açıklanmıştır. Sonraki çalışmalarda ciltleme işlemlerine ait diğer terimlerin açıklanması ve nihai olarak kapsamlı bir Matbaa Teknik Terimler Sözlüğü’nün hazırlanması sektörde yaşanan iletişim problemlerini önlemeye yardımcı olacaktır.

RESEARCH INTO BOOKS AND THEIR TYPES IN POLAND AFTER THE SECOND WORLD WARThe paper presents an overview of research into books and their types conducted after the Second World War by Polish bibliologists. The scholars were interested mostly in academic books, popular books as well as books for children and young people. They explored their characteristic features, presented them as elements of the publishing repertoire as well as serial publications, and discussed their development in various periods. Less interesting to them were the structure and typology of books. In recent years there have emerged studies devoted to electronic books as objects of bibliological research. Research into books and their types is also conducted by specialists from other disciplines: historians, historians of literature and education. Their results are also interesting to bibliologists.

The article is devoted to the optimum possibilities of integrating the defined term projects in the modern art space. It reviews and analyzes the artist’s book as a symbiosis of the educational and methodological resource and the final creative product actively declared in the exhibition formations. It considers and justifies the value-oriented criteria of the relevant term tasks in higher art institutions, relying on the personal lector’s and curator’s experience. It describes the contribution of students’ projects related to the artist’s book in the general artistic and cultural processes. One of the first higher educational institutions of Ukraine to introduce the artist’s book task in the educational program is the National Academy of Fine Arts and Architecture. The complete task is formulated as developing the book-object; it was added to the fifth year program of the book graphic studio. Such conceptually complicated projects require a perfect mastery of graphic techniques. They help deepen the existing knowledge on designing, breadboarding and printing. This task essentially forces a student to use all their professional resource gained while learning different subjects, rationalize and harmonize separately acquired skills. The work on the exclusive book editions has been carried out at the National Academy of Fine Arts and Architecture as part of programs for several decades. The methodological basis of the term projects Artist’s Book was formed in the late 1970s as part of the tasks related to poetry design. A special objective of these projects was to create an original model with a graphic technique issued in a minimum “author’s” edition. An artwork was often executed with the help of the popular at the time variations of color etching, zincography, more rarely wood engravings and linocuts; textual insertions were executed in type fonts. This work was supposed to help students develop a comprehensive vision of a book as an art object and teach them to think in book-inherent materials. But such projects cannot be called full-fl edged artist’s books as the produced exclusive models were rather prototypes of the future polygraphic editions intended to call attention to their unique technique which raised the art level of the edition. From then on, since the 1990s, when, on the one hand, the art book publishing in Ukraine was in a crisis and, on the other hand, students started learning about the development of the artist’s book abroad, the book projects began to diverge from the polygraphic norms and become full-featured art objects. Thus, the work Subject Perception of Space was presented at the exhibition Art Book in the Museum of Book and Publishing of Ukraine in 2010. It participated in the international project 12 × 12 and was published in the relevant catalogue in 2012. In 2015, with the grant from the Ministry of Culture of Poland Gaude Polonia at hand, Andriy Sakun also created the project having combined the artist’s book with the video installation. Oleg Gryshchenko’s work Makhno Poetry (2007) which he created being a student participated in the international artist’s book exhibition Re-Book (Northampton, United Kingdom) in 2008. The second variant of this book was executed without using the book code, and it was exhibited as an installation object at Art Book event in the Museum of Book and Publishing of Ukraine in 2012. The approach to working with the artist’s book that was used in Makhno Poetry was further applied and developed in the following projects implemented by Oleg Gryshchenko while at assistantship-probation at the National Academy of Fine Arts and Architecture: The Corpse Case, Naïve Diggers, Neo-Classical Stalinist Building. These works were presented at such exhibitions as Book Dinner (International Festival Book Arsenal, Kyiv 2012), Correspondence (Lodz, Poland 2014), Ukrainian Triennial of Book Graphic Art (Kyiv 2016), and formed Oleg Gryshchenko’s personal stylistics as an artist who works within programs with the artist’s book. The projects implemented by the fourth-year students of the National Academy of Fine Arts and Architecture became the constant participants of such large professional exhibitions as International Festival Book Arsenal (2012, 2014, 2015, 2016, 2018) and the Ukrainian Triennial of Book Graphic Art (2013, 2016) where a wide audience gets familiar with students’ works, and editors and gallerists can find personal contacts for future cooperation. The first graduation project implemented exclusively as an artist’s book, which is closer to an installation than a code with the possibility of polygraphic reproduction, was created in 2011 by Iryna Ozarynska. The topic of the project was the play by KLIM, a Ukrainian playwright, entitled Love Dance or Death Song or Dormition of Lady Macbeth. The book transformed into a three-dimensional exhibition object with the overall size big enough to be displayed in the middle of the exhibition hall the way people could go around it. Later on, the graduation work was shown at the artist’s personal exhibition as part of the International Festival Book Arsenal, and the artist’s book became an inherent part of her creative activity. The second graduation project implemented as an artist's book was Kateryna Lesiv’s Lullaby. Later Lulla-by won the Dummy Award of the Rodovid Publishing House and was printed in a limited edition. And in May 2018, the extended and updated version of the artist’s books became the basis for Kateryna Lesiv’s personal exhibition in Ya Gallery Art Centre in Kyiv, which introduced the young painter to a professional gallery environment of Ukraine. Creating an educational project through the Livre d’artiste makes it possible for the students to reinterpret the previous knowledge of the traditional artistic book design and illustration in a new form when a book becomes a full-fl edged art object. The best compositions and functional possibilities may be used in future projects which are not related to the artist’s book. It enables students to think wider and realize the position of the book tradition in the modern art, improve their skills in dealing with complicated interdisciplinary projects that can be demonstrated via the artist’s book. Given these examples, we may say that such experience helps young artists quickly integrate in the art life of Ukraine, receive support through the international grant programs, prove themselves to be original artists with a clear program-oriented development of their own art projects.

The article is devoted to the optimum possibilities of integrating the defined term projects in the modern art space. It reviews and analyzes the artist’s book as a symbiosis of the educational and methodological resource and the final creative product actively declared in the exhibition formations. It considers and justifies the value-oriented criteria of the relevant term tasks in higher art institutions, relying on the personal lector’s and curator’s experience. It describes the contribution of students’ projects related to the artist’s book in the general artistic and cultural processes. One of the first higher educational institutions of Ukraine to introduce the artist’s book task in the educational program is the National Academy of Fine Arts and Architecture. The complete task is formulated as developing the book-object; it was added to the fifth year program of the book graphic studio. Such conceptually complicated projects require a perfect mastery of graphic techniques. They help deepen the existing knowledge on designing, breadboarding and printing. This task essentially forces a student to use all their professional resource gained while learning different subjects, rationalize and harmonize separately acquired skills. The work on the exclusive book editions has been carried out at the National Academy of Fine Arts and Architecture as part of programs for several decades. The methodological basis of the term projects Artist’s Book was formed in the late 1970s as part of the tasks related to poetry design. A special objective of these projects was to create an original model with a graphic technique issued in a minimum “author’s” edition. An artwork was often executed with the help of the popular at the time variations of color etching, zincography, more rarely wood engravings and linocuts; textual insertions were executed in type fonts. This work was supposed to help students develop a comprehensive vision of a book as an art object and teach them to think in book-inherent materials. But such projects cannot be called full-fl edged artist’s books as the produced exclusive models were rather prototypes of the future polygraphic editions intended to call attention to their unique technique which raised the art level of the edition. From then on, since the 1990s, when, on the one hand, the art book publishing in Ukraine was in a crisis and, on the other hand, students started learning about the development of the artist’s book abroad, the book projects began to diverge from the polygraphic norms and become full-featured art objects. Thus, the work Subject Perception of Space was presented at the exhibition Art Book in the Museum of Book and Publishing of Ukraine in 2010. It participated in the international project 12 × 12 and was published in the relevant catalogue in 2012. In 2015, with the grant from the Ministry of Culture of Poland Gaude Polonia at hand, Andriy Sakun also created the project having combined the artist’s book with the video installation. Oleg Gryshchenko’s work Makhno Poetry (2007) which he created being a student participated in the international artist’s book exhibition Re-Book (Northampton, United Kingdom) in 2008. The second variant of this book was executed without using the book code, and it was exhibited as an installation object at Art Book event in the Museum of Book and Publishing of Ukraine in 2012. The approach to working with the artist’s book that was used in Makhno Poetry was further applied and developed in the following projects implemented by Oleg Gryshchenko while at assistantship-probation at the National Academy of Fine Arts and Architecture: The Corpse Case, Naïve Diggers, Neo-Classical Stalinist Building. These works were presented at such exhibitions as Book Dinner (International Festival Book Arsenal, Kyiv 2012), Correspondence (Lodz, Poland 2014), Ukrainian Triennial of Book Graphic Art (Kyiv 2016), and formed Oleg Gryshchenko’s personal stylistics as an artist who works within programs with the artist’s book. The projects implemented by the fourth-year students of the National Academy of Fine Arts and Architecture became the constant participants of such large professional exhibitions as International Festival Book Arsenal (2012, 2014, 2015, 2016, 2018) and the Ukrainian Triennial of Book Graphic Art (2013, 2016) where a wide audience gets familiar with students’ works, and editors and gallerists can find personal contacts for future cooperation. The first graduation project implemented exclusively as an artist’s book, which is closer to an installation than a code with the possibility of polygraphic reproduction, was created in 2011 by Iryna Ozarynska. The topic of the project was the play by KLIM, a Ukrainian playwright, entitled Love Dance or Death Song or Dormition of Lady Macbeth. The book transformed into a three-dimensional exhibition object with the overall size big enough to be displayed in the middle of the exhibition hall the way people could go around it. Later on, the graduation work was shown at the artist’s personal exhibition as part of the International Festival Book Arsenal, and the artist’s book became an inherent part of her creative activity. The second graduation project implemented as an artist's book was Kateryna Lesiv’s Lullaby. Later Lulla-by won the Dummy Award of the Rodovid Publishing House and was printed in a limited edition. And in May 2018, the extended and updated version of the artist’s books became the basis for Kateryna Lesiv’s personal exhibition in Ya Gallery Art Centre in Kyiv, which introduced the young painter to a professional gallery environment of Ukraine. Creating an educational project through the Livre d’artiste makes it possible for the students to reinterpret the previous knowledge of the traditional artistic book design and illustration in a new form when a book becomes a full-fl edged art object. The best compositions and functional possibilities may be used in future projects which are not related to the artist’s book. It enables students to think wider and realize the position of the book tradition in the modern art, improve their skills in dealing with complicated interdisciplinary projects that can be demonstrated via the artist’s book. Given these examples, we may say that such experience helps young artists quickly integrate in the art life of Ukraine, receive support through the international grant programs, prove themselves to be original artists with a clear program-oriented development of their own art projects.

Space and landscape are of utmost importance in Statian poetics in the Silvae. I focus on book 4 to illustrate one of the functions of space in the Silvae, that of lending structural coherence to the book, and to discuss two passages of Silva 4.4 in which space and landscape are crucial to the understanding of the poem (51-55, 78-85).

Straipsnyje analizuojama Lietuvos Didžiosios Kunigaikštystės (toliau – LDK) rankraštinės knygos architektonika ir jos raida nuo XIV a. iki XVI a. vidurio (t. y. iki 1569 m.). Didžiausias dėmesys skiriamas prasminei rankraštinės knygos struktūrai, kaip tiksliausiai atliepiančiai knygos suvokimą bei recepciją to meto visuomenėje ir paaiškinančiai tam tikrų knygos tipų susiformavimo ištakas LDK. Tyrimo metu nustatyti išskirtiniai knygos vidinės struktūros požymiai bei abipusė spausdintos ir rašytinės knygos sąveika, turėjusi įtakos tiek repertuarui, tiek dekorui. Article analyzes the architectonics of the manuscript book of the Grand Duchy of Lithuania (GDL) and its development from the 14th century to the mid-16th century (i. e. to 1569). The most attention is accorded to the essential structure of the manuscript book as a characteristic that most precisely corresponds to the perception and reception of books in the then society and that explains the reasons for the formation of certain types of books in the GDL. The present study has identified distinctive features of the internal structure of the book and demonstrated the existence of a mutual interaction of the printed and manuscript book, a phenomenon that influenced both book repertoire and decoration.