Academic literature on the topic 'History Text Book'
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Journal articles on the topic "History Text Book"
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Darmawan, Wawan. "HISTORIOGRAPHY ANALYSIS OF HISTORY TEXT BOOK FROM NEERLANDOCENTRIC TO SCIENTIFIC." Historia: Jurnal Pendidik dan Peneliti Sejarah 11, no. 2 (August 8, 2018): 99. http://dx.doi.org/10.17509/historia.v11i2.12333.
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History text book is a historiography work for educational purpose. The historiography exposed in the history text book is definitely different from historiography of another scientific history book. The practical purpose of education becomes one of the important goals of composing the history text book. The history understood from history text book can do more than only developing the student’s historical awareness. The historical awareness can be detected in the attitude expressed by the students, such as their sense of nationality, partriotism, unity, willingness to sacrifice, etc. However, the history books composition, including the history text books, cannot avoid the spirit of the period it was written. According to the historiography development in Indonesia, the history text books has been written based on nederlandocentrism, indonesiacentrism, ideologism, and scientific, which are the result of how the spritit of a period affected the history text composition. This research analyse the historiography of history text books that are used in school, especialy in how these history text books appropriately reconstruct historical events with the spirit of a period and how it is composed based on scientific rules of history science.
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Gelfand, Julia. "Text and Image: From Book History to “The Book is History”." Library Hi Tech News 24, no. 2 (March 13, 2007): 9–11. http://dx.doi.org/10.1108/07419050710751625.
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Lerer, Seth. "Epilogue: Falling Asleep over the History of the Book." PMLA/Publications of the Modern Language Association of America 121, no. 1 (January 2006): 229–34. http://dx.doi.org/10.1632/003081206x96212.
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Ten years ago, in the introduction to his edited collection The Future of the Book, Geoffrey Nunberg predicted, “If we take the book in its broad sense to refer simply to bound, printed volumes, then most books will likely disappear soon.” Imagining the prospect of electronic books, of devices that would present text not just on a screen but on something “almost the equivalent of paper in [its] weight and flexibility,” Nunberg looked forward to a time when printed pages would no longer be the primary bearer of textual information (12). That time has not come. The e-book never seemed to make it, either as a viable technology or as an attractive commercial product. More bound and printed volumes are being made and sold than ever. And the history of the book as an academic discipline continues to grow—not out of a sense that books are history (in the colloquial sense of that phrase) but out of a conviction that they are here to stay and that to know their future we should know their past.
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Izyumsky, A. B., and I. P. Galiy. "Advantages and shortcomings of History “Single text-book”." Alma mater. Vestnik Vysshey Shkoly, no. 9 (September 2016): 97–106. http://dx.doi.org/10.20339/am.09-16.097.
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Dvornichenko, Andrey Yu. "A Beginning of Dialogue or an End of History?" Vestnik of Saint Petersburg University. History 65, no. 4 (2020): 1288–301. http://dx.doi.org/10.21638/11701/spbu02.2020.417.
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At the beginning of his article the author postulates a general decline of culture nowadays which manifests itself in many kinds of arts, and also in the “art of History”. To the author’s dismay, the latter has been reduced to what can be called, according to Iu. I. Semenov, “istoriology”. Many historians now forget what history is, what an essence of scholar’s work is, what a scholar’s novelty is, and so on. To exemplify this tendency, the article concerns with the book recently published in Moscow. This monograph written by T. V. Chernikova consists of two books devoted to so called Europeanization of Russia. The first book focuses on the 15-16th centuries, and the second book — on the 17th century. This work is severely criticized in this review. The author shows that T. V. Chernikova does not explain the meaning of the word “Europeanization” and the essence of this notion. The author objects to the historiography and the sources in these books. However, the major criticism is concerned with the fact that historiography is not connected with the following text. The text itself based on a very limited range of scholarship and sources abounds in a large number of inaccuracies, errors and nonsense. Even this limited range of historiography the author of the books uses very originally. She simply retells some books or articles — sometimes she refers to them, sometimes — not! There is no academic novelty in the reviewed books, and their author does not understand what is “a historian’s craft” is. These books do not contribute to the scholarship at all.
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Eskin, Catherine R. "‘Books are not absolutely dead things’: English Literature, Material Culture and Mapping Text." International Journal of Humanities and Arts Computing 12, no. 1 (March 2018): 37–47. http://dx.doi.org/10.3366/ijhac.2018.0205.
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John Milton's 1644 declaration that ‘Books are not absolutely dead things’ makes him a rock star among undergraduate English majors who are covetous of the material, reassuringly physical book. This essay explores that metonymic dichotomy through a project that combined the ‘old’ technology of the hand-press book and the ‘new’ technology of GIS story-telling. Using a visiting special collection of rare books for students at a small college, the project approached hand-press era books in three phases: 1) a bibliographic description and transcription; 2) book forensics, and 3) a ‘deep map’ of a book. With mapping—understood as an expression of spatial thinking—as a guide, students recognized that the singular text, even the dialogic text, is far less remarkable than locating and articulating the links between history, place, literature, and culture. Students engaged with terminology (descriptive bibliography), recognized the temporal lines of the book as an object (provenance), followed the development of a book as a polyglotous intellectual entity, and reviewed the geographic/historical experiences of the author and of the book (biography, publishing). The spatial turn allowed students to construct (and in some cases, deconstruct) the cultural world in which texts, authors and printers collide.
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Houlden, Leslie. "Book Review: ‘Behind’ the Text: History and Biblical Interpretation." Theology 108, no. 841 (January 2005): 40–41. http://dx.doi.org/10.1177/0040571x0510800106.
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López Piñero, JM. "Classic Text No. 82." History of Psychiatry 21, no. 2 (June 2010): 224–36. http://dx.doi.org/10.1177/0957154x10366518.
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This is the conclusion of a two-part translation of José Maria López Piñero’s book John Hughlings Jackson (1835—1911), Evolucionismo y Neurología (Madrid: Editorial Moneda, 1973). Part 1 was published in History of Psychiatry 21 (1): 85—95.
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Cummings, Brian. "Shakespeare’s First Folio and the fetish of the book." Cahiers Élisabéthains: A Journal of English Renaissance Studies 93, no. 1 (March 27, 2017): 50–69. http://dx.doi.org/10.1177/0184767817698932.
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Prospero’s renunciation of his book in The Tempest acknowledges its power as a kind of ‘fetish’. This essay traces the idea of the book as ‘commodity fetish’ and as material text. The argument examines how post-Marxist thought, in a new reading of Louis Althusser, might be used to challenge the Shakespeare of late capitalism. It suggests how a complex reading of the fetish in historiography, combining a history of the material book in Shakespeare, with a theoretical reading of William Pietz, Stephen Greenblatt and Peter Stallybrass, sheds light on the First Folio, one of the most famous – and fetishized – books in history.
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Stam, Deirdre C. "Talking about “Iconic Books” in the Terminology of Book History." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 6, no. 1-3 (June 27, 2012): 23–38. http://dx.doi.org/10.1558/post.v6i1-3.23.
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“The book” in its many guises today provides fertile ground for the study of the many disciplines and professions in which it has played a central part. Long recognized as significant as a carrier of text, the book has lately been seen also as an example of material culture. A consideration of the book’s physical properties and uses can provide new insights into the practices and unarticulated beliefs of a cultural community. Here we consider the potential of “the book” for insights into the study of religion. The focus is on “iconic” books, a subset of books that seems intuitively recognizable as a genre, but is variously understood by the writers of the essays in this collection. It is not only the nature of iconicity that begs for definition here, but also, more specifically, the specific aspects of “the book” that cause it to be recognized as iconic. Does its iconicity spring, for example, from the beauty of the copy? The primacy of the edition and printing? The provenance of the object? As “the book” gains attention, the subject cries out for specific, stable, shared terminology to allow meaningful discussion of its elements across disciplines and fields. Such terminology can be found in the field of Book History, a discipline that has its roots in the world of Gutenberg and continues to flourish in the internet age. This paper discusses terminology. It explores various approaches to defining “iconic,” it traces the evolution of the terminology of book history, and it presents a sample of particularly pertinent terms from that discipline to clarify future discussions of aspects of an “iconic book.”
Dissertations / Theses on the topic "History Text Book"
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Dalbello, Marija. "Is There a Text in This Library? History of the Book and Digital Continuity." Association for Library and Information Science Education, Arlington, VA, 2002. http://hdl.handle.net/10150/105488.
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This essay argues for the importance of the study of production, distribution, and the cultural impact of texts for digital librarianship. An argument is made for integrating historical viewpoints in coursework that can prepare master's library and information science (MLIS) students for the curatorial aspects of digital librarianship. Several components of that approach are discussed in this essay. Their application in the classroom using a course on American bestsellers which involved collaborative teaching using the Internet as a case study, is presented as well. This paper reveals how book historians may find new roles as interpreters of the transformation of the library, from a logocentric library, which traditionally provides a fixed physical framework within which texts are accessible to users, to a soft library delivered on distributed servers - as a knowledge continuum. The emergence of new modes of textual transmission, the changing concept of the text, and the need to create new social spaces in which texts are collected and used can benefit from an awareness of the production, distribution, and use of text in traditional media environments.
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Knight, Alison Elaine. "Pen of iron : scriptural text and the Book of Job in early modern English literature." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610695.
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Korta, Jeremie Charles. "The Aesthetics of Discovery: Text, Image, and the Performance of Knowledge in the Early-Modern Book." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467521.
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How does the book-object in early modernity participate in the representation of scientific knowledge? How was the reader meant to approach the book and to comprehend its contents? This project starts from the contention that scientific knowledge is not a product simply to be deposited into unmarked containers and transmitted unproblematically. On the contrary, the book, whether literary or scientific, actively shapes and invents objects of scientific knowledge. Sensory, affective and cognitive ways in which the reader is expected to approach the book and its contents are implicit in its formatting of text and image, not to mention margins, presentational material and indices.
This project draws from literary and natural scientific traditions of the French and Italian Renaissance in order to study how the early-modern book forms and performs scientific knowledge in various ways. Compelling the reader to interrupt his or her reading and to explore the book’s text and images as if they were objects in their own right, the book-object strives to imitate the experience and method of scientific discovery for the early-modern reader. To this end, touch, appetition, and bodily awareness become as important as sight and critical reasoning in a procedural approach and apprehension of knowledge in and of the book-object. An “aesthetics of discovery”, formed by the book and performed by the reader, is implicit in the book’s careful articulations of text and image.Romance Languages and Literatures
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Duffy, Andy. "The replacement of printed text : alternative media forms from the 1940's to the 1980's." Thesis, Högskolan i Borås, Institutionen Biblioteks- och informationsvetenskap / Bibliotekshögskolan, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-18327.
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The purpose of this thesis is to examine alternative forms of media developed in the USA between the 1940's and 1980's, which were proposed in order to come to terms with the faults associated with printed text and the paper medium. The examination is concentrated on relevant literature on the media and not the actual media themselves. The questions asked were:1. Why were alternative forms of media presented for replacing printed text and what were the aims of those wanting to replace it?2. What were these alternative forms of media and how did they compare with printed text with regard to storing and disseminating text? The study concentrates on two aspects of the different media: their ability to store and disseminate text. Due to the increasing amount of scientific research results in the form of printed text the research community experienced growing problems with text dissemination and recall. These problems caused delays in research procedures hampering scientific development. Due to the increasing importance of scientific research, not least its role in international conflicts, a solution to these problems was regarded as being of the utmost importance. The reasons behind wanting to replace printed text were to alleviate problems of distribution, recall and storage. Alternative media were developed with the hope of coming to terms with one or more of these problems. The study has found that media development has partly solved these problems but that new or different media are not completely problem free.Uppsatsnivå: D
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Agnell, Emma. "Terminology and function hybridity : A functionalist approach to the translation of an art history book." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-56717.
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This essay discusses two aspects of the retention of pragmatic text functions in translation. The functionalist approach that was used focuses on achieving congruence between the author’s intended function and the perception of the reader, i.e., the target text’s actual function. The first aim was to examine whether a focus on text functions can be beneficial when translating terminology. The second aim was to investigate if a functionalist approach can be used to assure that all functions are retained for instances where the source text encompasses more than one pragmatic function. For the purposes of this study, two excerpts from Fritz Eichenberg’s art history book The Art of the Print were translated. Individual terms as well as instances where the source text segment contained one than more pragmatic function were then analyzed with the above mentioned aims in mind. It was found that a functionalist approach, in combination with a conceptual approach to terminology, was beneficial when translating terminology. It was also observed that the surrounding co-text aided in the understanding of the author’s concept. In regard to the second aim, it was found that while a functionalist approach assured that the translator was made aware of the existing functions, the translation procedures suggested were too narrow and static to be applicable to all segments.
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Petrotta, Anthony J. "The Book of Micah : studies in the text, versions and history of interpretation, with special reference to Micah 4:14-5:5." Thesis, University of St Andrews, 1985. http://hdl.handle.net/10023/13799.
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Soliz, Cristine. "The Oklahoma codex : Spanish matters in Indian text : the history of the Indies up to the conquest of Mexico, taken from the library of this court, Madrid in October of 1778, book two : chapters 1-30 /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/6691.
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Thesis (Ph. D.)--University of Washington, 2004."The following is an annotated English translation of the first thirty chapters of Book Two of the Oklahoma Codex, a paleographic Spanish manuscript book in the archives of the Gilcrease Museum in Tulsa, Oklahoma. ... The manuscript codex is catalogued in the Museum's Hispanic Documents collection as MS #185."--Pref. Vita. Includes bibliographical references (leaves 307-338).
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Huang, Stephanie M. "Nostos: On Recollecting Loss and the Physical Manifestation of Loss." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/760.
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This paper examines nostalgia in photo-poetry book Nostos, and nostalgia’s existence as a theoretical global condition arising from displacement, looking at nostalgia specifically not as a yearning for home, but a yearning for a lost sense of feeling at home. It traces the lineage of image-text hybrid art practices and examines the significance of conveying meaning through both synergistically. It studies the psychoanalytic process of transforming loss into object, or absence into presence, ultimately using the object as a lens to view oneself and the way in which nostalgia manifests itself.
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Malais, Nicolas. "Création littéraire et bibliophilie (1830-1920) : de la mise en scène du bibliophile à la mise en livre d'une poétique." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100176.
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Ce travail a pour ambition de faire mieux connaître l'importance de la bibliophilie dans la création littéraire de 1830 à 1920. De la mise en scène du bibliophile, à la mise en livre d'une poétique, étudier les pratiques littéraires bibliophiles, c'est éclairer des processus d'écriture et la production conséquente de livres dont la matérialité fait sens. Une première partie étudie la transformation de la bibliophilie d’une collection comme une autre à une méthode d’écriture, par l’analyse des origines d’une pratique bibliophile littéraire et de ses figures comme Charles Nodier ou le Bibliophile Jacob. Entre pratique en société et lyrisme de l’objet, la bibliophilie se définit peu à peu au miroir de sa propre caricature. Une seconde partie s’intéresse à la bibliophilie comme source littéraire et mythique : entre bibliothèque réelle et bibliothèque imaginaire, la bibliophilie – « véritable machine à exploiter le temps » pour Pierre Louÿs – transforme en profondeur le rapport à la matérialité du livre chez des écrivains comme Marcel Schwob, Remy de Gourmont ou Alfred Jarry. Une troisième partie s'intéresse plus particulièrement à l’objet livre et à ses conditions de production et de réception. Des expériences de Mallarmé et de Charles Cros à celles d’Apollinaire et de Blaise Cendrars il semble bien qu’à une poétique nouvelle doive correspondre un objet livre nouveau – entre expérimentation (typo)graphique et tradition bibliophileThis work aims to help understand the importance of bibliophilia within literary creation between 1830 and 1920. From the publicising of the bibliophile to the publishing of poetry, to study bibliophilic literary practices is to shed light on both the writing process and the resulting production of books whose materiality is meaningful. A first part studies the beginnings of a bibliophilic literary practice and its figures, such as Charles Nodier or Bibliophile Jacob, to highlight the evolution of bibliophilia from a mere collection among others to an original writing process. Torn between social experience and lyricism of the object, bibliophilia progressively defines itself in response to its own caricature. A second part considers bibliophilia as a literary and mythical source: bringing real and imaginary libraries together, bibliophilia deeply changes the relationship to the materiality of books amongst writers such as Marcel Schwob, Remy de Gourmont or Alfred Jarry. A third part takes a closer look at the book as an object and at the conditions of its production and reception. From Mallarmé and Charles Cros' experiences to those of Apollinaire and Blaise Cendars, it appears that a new type of literature needs a new type of book, the combined result of (typo)graphic experimentation and bibliophilic tradition
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Lesiewicz, Sophie. "Le « livre (typo)graphique », 1890 à nos jours : un objet littéraire et éditorial innommé. Identification critique et pratique." Thesis, Université Paris-Saclay (ComUE), 2019. http://www.theses.fr/2019SACLV025.
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Cette thèse a pour origine le constat de la non prise en charge des ouvrages se caractérisant par leur seule iconicité scripturale en histoire du livre et de l’édition ainsi que de l’absence de définition d’une catégorie les regroupant aussi bien dans cette discipline qu’en littérature, histoire du graphisme, sémiotique ou histoire de l’art. Notre première hypothèse est que cette catégorie correspond au « livre graphique ». C’est par les littéraires, soit dans une approche par auteur, soit à travers l’étude de la poésie visuelle, que certains de ses ouvrages ont été abordés, avec les lacunes inhérentes à la discipline. Il nous a donc semblé essentiel d’adopter un point de vue pluridisciplinaire, en insistant sur l’histoire des techniques. Cette exigence nous a permis de distinguer au sein du « livre graphique », le livre (typo)graphique, au côté du livre (calli)graphique, (dactylo)graphique, etc., et de choisir de nous consacrer à la première sous-catégorie, afin de défendre notre deuxième hypothèse : le sursaut de la création typographique, réaction à son industrialisation de la fin du XIXe siècle jusqu’aux années 1980. Aux incunabula typographiae répondrait donc cinq siècles plus tard un livre(typo)graphique comme « ultima typographiae ».La première partie consiste en une identification théorique du livre (typo)graphique. Une enquête historiographique analyse les barrières épistémologiques à la considération critique de notre objet tout en dégageant nos outils conceptuels : les thèses de Johanna Drucker et d’Anne-Marie Christin. Suivent une histoire du livre (typo)graphique puis la définition d’un ensemble de traits génériques et typologiques.La deuxième partie consiste dans la recherche des producteurs de livres (typo)graphiques par le prisme des auteurs. Le premier chapitre se fonde sur l’histoire littéraire, et procède donc par mouvement. Cette méthode présente toutefois deux écueils. D’abord, la spécificité de l’objet d’étude - le livre et non pas le texte graphique - implique une approche technique mais aussi génétique sur le plan éditorial que favoriserait plutôt un biais par éditeur.D’autre part, il ressort qu’un certain nombre d’auteurs de livres (typo)graphiques n’ont paradoxalement pas été retenus par ce premier tamis. Ceci nous permet d’énoncer deux nouvelles hypothèses. Premièrement, le livre(typo)graphique semble aussi caractéristique d’auteurs impliqués dans le discours sur l’art et l’évolution de l’appropriation de ce dernier par les poètes, une des causes du développement de notre objet. Il s’agit donc dans le deuxième chapitre de mettre en évidence le fil rouge reliant les productions de Claudel, Segalen, du Bouchet et Tardieu pour conclure au caractère d’« appropriation » littéraire de procédés picturaux de leurs livres (typo)graphiques. Deuxièmement, nous proposons une équivalence entre le livre(typo)graphique de ces auteurs et la « peinture lettrée », en nous fondant sur leurs textes critiques et transpositions d’art et sur la dernière thèse d’A.-M. Christin.Au terme de la deuxième partie, il ressort que la grande majorité des livres (typo)graphiques identifiés n’a pas été embrassée. La troisième partie consiste dans un balayage par le biais des éditeurs. Un résultat beaucoup plus fructueux permet de proposer une cinquième hypothèse : le livre (typo)graphique est principalement un livre d’éditeur.Le premier chapitre met en avant cinq évolutions de ce producteur de 1890 aux années 1980. Dans le dernier chapitre, nous nous penchons sur la production du « poète-typographe ». On établira un lien de causalité entre la maîtrise totale de la chaine de production de cet ouvrier-homme de lettre, et le fait qu’il soit le plus important contributeur de livres (typo)graphiques.Parvenue à son terme, cette thèse vise à constituer une contre-histoire du livre illustré ou un complément à celle du livre de créationThis thesis was formulated as an investigation into the lake of works treating of iconic scripturality in trough the history of book and publishing, and also the absence of any definition of the category to regroup them equally within this discipline as in literature, history of graphism, semiotic, history of art. Our initial hypothesis is that this category relates to the “graphic book”. It is trough specialist in literature, either in an approach by writer or passing through a close study of visual poetry, that certain of this works have been treated, with lacunae common to the discipline. In order to usefully complete the research work, it would seem essential to take on board a pluridisciplinary approach, emphasizing the technical history. These criteria allowed us to differentiate within the domain of the graphic book, the (typo)graphic book, around the (calli)graphic, (dactyl)graphic, etc., and to elect to focus upon the first subcategory, so as to justify our second hypothesis, that of a convulsion, in reaction to the meccanization of this industry at the end of the nineteen century through the decade of 1980’s. The incunabula typographiae would find its response five centuries later in the (typo)graphic book as ultima typographiae.The first part consists of a theoretical identification of the (typo)graphic book. An historiographical investigation would analyses epistemological barriers of the critical treatment of our object whilst bringing to light our conceptual tools: the thesis of Johanna Drucker and Anne-Marie Christin. Subsequently, establishing an history of (typo)graphic book and then, the definition of a group of generic traits and typologies.The second section is made up of a research into the producers of (typo)graphic books, as seen through the prism of the authors. The first chapter is based upon history of literature and thus proceeds by literary movement. Bearing in mind, this method is prey to tween dangers. First of all, the strictly specific nature of the study, the graphic book, but not text, implies a technical approach but also genetical in the editorial sense which would rather favour from an editor’s angle. Furthermore, it appears that a certain number of authors of (typo)graphic books, quiet paradoxically were not accounted for in this first selection. So, this allows us to articulate two new hypothesis. Firstly the (typo)graphic book seems also to be typified by authors involved in a discourse around art and the changing nature of the appropriation of the later by the poets, in itself one of the causes of the development of our object. Therefore, in the second chapter it would be a matter of highlighting the common thread uniting the productions of Claudel, Segalen, du Bouchet and Tardieu to conclude with the form of literary appropriation of pictorial processes of the (typo)graphic books. Secondly, we shall propose an equivalence between their (typo)graphic books and the literate painting, basing ourselves upon their critical texts and transposition of art and upon the last thesis of A.-M. Christin. At the clothe of the second section, one is still faced by the same difficulties that the great majority of identified typographical books hasn’t being catalogued.The third part would comprise of an overview from the publishers’ perspective. A much more productive result will allow us to formulate our fifth hypothesis: the (typo)graphic book is above all a publisher’s book. The first chapter will concentrate upon five evolutions of this producer. In the last chapter, we shall examine more specifically the production of the “typographic poet”. We shall establish a causal link between the total mastery of the production chain of this worker man of letters and the fact he became the most important contributor of (typo)graphic book.Reaching its conclusion, the thesis seeks to constitute, a counter-history of the illustrated book or a complement of that of the creative book
Books on the topic "History Text Book"
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Peter, Nickol, and Bricheno Toby, eds. Pop music: The text book. London: Peters Edition, 2003.
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Association, Private Libraries, ed. Apart from the text. Pinner, Middlesex, England: Private Libraries Association, 1998.
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K. T. S. Sarao. A Text Book of the History of Theravada Buddhism. 2nd ed. Delhi: Department of Buddhist Studies, Delhi University, 2007.
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K. T. S. Sarao. A Text Book of the Modern History of China (edited). 2nd ed. Delhi: B.R. Publishers, 1999.
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Apuleius. Metamorphoses: Book X : text, introduction and commentary. Groningen: Egbert Forsten, 2000.
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Reading the Book: Making the Bible a timeless text. New York: Schocken Books, 1996.
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Visotzky, Burton L. Reading the Book: Making the Bible a timeless text. New York: Anchor Books, 1991.
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The incarnate text: Imagining the book in Reformation England. Philadelphia: University of Pennsylvania Press, 2009.
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Theatre of the book, 1480-1880: Print, text, and performance in Europe. Oxford: Oxford University Press, 2000.
Find full textBook chapters on the topic "History Text Book"
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Roach, Rebecca. "“Do You Use a Pencil or a Pen?”: Author Interviews as Literary Advice." In New Directions in Book History, 129–51. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_5.
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AbstractThis chapter examines the relationship between author interviews and literary advice across the twentieth and twenty-first centuries. It draws on case studies in the form of two interview series: the interwar “How Writers Work” series, published in the British periodical Everyman, and the “Art of Fiction” series, published in the American magazine The Paris Review from 1953 onward. It also discusses the explosion of author interviews in the era of online media. The chapter argues that the author interview is an expansive form, encouraging readers of all types to bring their own agendas and reading styles to the text, including but not limited to reading for advice. The very ambiguity of the relationship between author interviews and literary advice has in fact worked in the former’s favor: enabling it to gain both popularity and prestige in an era of professionalized literary studies.
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Meyntjens, Gert-Jan. "Creative Writing Crosses the Atlantic: An Attempt at Creating a Minor French Literature." In New Directions in Book History, 309–24. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_13.
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AbstractThis chapter analyzes literary advice culture from a transnational-comparative perspective. It sheds light on the reception of the American poetics of creative writing in contemporary France by examining the specific case of Outils du roman: Avec Malt Olbren sur les pistes et exercices du creative writing à l’américaine (2016, Tools of the Novel. Exploring American Creative Writing with Malt Olbren) by the experimental prose-writer François Bon. This text represents a broader dynamic in which French authors of literary advice resort to a repertoire of American writing techniques in an attempt to revive French literature. To conceptualize this process of transfer, I use Deleuze and Guattari’s concept of “minor literature.” This notion conveys how literary advice in France must constantly position itself vis-à-vis its American counterpart, but also how it appropriates and transforms this same body of ideas and techniques. More generally, this chapter makes a case for an increased consideration of supranational transfers in the domain of literary advice when studying processes of local literary change.
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Schmitt, Stéphane. "Epigraphs as Parts of Text in Natural History Books in the Eighteenth Century: Between Intertextuality and the Architecture of the Book." In Pieces and Parts in Scientific Texts, 269–95. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78467-0_9.
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Jeannet, Jean-Pierre, Thierry Volery, Heiko Bergmann, and Cornelia Amstutz. "Company Profiles." In Masterpieces of Swiss Entrepreneurship, 299–561. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65287-6_26.
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AbstractThis final chapter, containing the full-length profiles of each of the 36 companies representing the base of this research project, plays an integral role in Masterpieces of Swiss Entrepreneurship. Although the various profiles have been quoted extensively as part of the analysis in the previous chapters, those excerpts were used to illustrate a particular concept, finding or practice. A reader, going through the previous chapters, cannot possibly gain a comprehensive understanding of the history and trajectory of a given company in the main book text; this section allows for a more in-depth reading, one company at a time. The company profiles are organized in the order of when each of the enterprises was founded.
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"Text and Translation." In Thucydides: History Book III, 39–174. Liverpool University Press, 1994. http://dx.doi.org/10.2307/j.ctv1228gnb.8.
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"Text." In Pliny the Elder: The Natural History Book VII. Bloomsbury Academic, 2015. http://dx.doi.org/10.5040/9781474257466.0005.
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"2. The Text: History, Dating, Style." In The Book of Lord Shang, 25–43. Columbia University Press, 2019. http://dx.doi.org/10.7312/shan17989-005.
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"Text and translation." In William of Newburgh: The History of English Affairs, Book 1, 26–134. Liverpool University Press, 1998. http://dx.doi.org/10.2307/j.ctv10tq4np.6.
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"Text and Translation." In William of Newburgh: The History of English Affairs Book 2, 14–158. Liverpool University Press, 2007. http://dx.doi.org/10.2307/j.ctv1198td2.6.
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"Bibliography." In Thucydides: History Book III, edited by P. J. Rhodes, 33–38. Liverpool University Press, 1994. http://dx.doi.org/10.3828/liverpool/9780856685392.003.0002.
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Details of articles in periodicals are given where they are cited. Here I give details of all books which I cite, apart from editions of Thucydides cited only for their emendations of the Greek text and standard editions of other classical authors; and I include details of a limited selection of other books which are not specifically cited: when a book has different publishers in the U.K. and the U.S.A., the American publisher is named second, in parentheses....
Conference papers on the topic "History Text Book"
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Camargo, Iara Pierro de. "Text and Design Relationship on Literature Books." In 9th Conference of the International Committee for Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/despro-icdhs2014-0097.
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Zappa, Marco. "Pleasing the ‘Bubble:’ Abe Shinzō’s Strategic Self-Exhibition on Facebook." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.16-4.
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Not only is Abe Shinzō on the way to becoming Japan’s longest-serving Prime Minister in the country’s history. With more than 1 million followers on Twitter and slightly less than 600 hundred thousand fans on Facebook, he is by far the most successful Japanese political leader on social media. Commentators have described Abe’s turn to social networking services (SNS) as a “revenge” against “traditional” media against the background of a growing use of SNSs by other major Japanese political actors. At any rate, particularly through Facebook, combining text and pictures of himself on and off duty, Abe has successfully established his own mode to communicate with and “exhibit” himself to voters, citizens and the global community of netizens. This paper aims to address the following research question: on which themes and key concepts is this “presentation of the self” based? In other words, how is the Prime Minister communication staff constructing Abe’s “social” image and to which audience is this aimed? Based on Goffman’s theorization and later application of his work on the study of online social interactions, this paper illustrates the strive to ensure the consistency of Abe’s use of the SNS with previously expressed concepts and ideas (e.g., in the 2006 book “A Beautiful Country”), with the aim of pleasing the “bubble” of like-minded individuals constituting Abe’s (online) support base, and avoid issues that might possibly harm the Prime Minister’s reputation. Abe’s Facebook activity (a combination of text and pictures) during a critical time in his second tenure (2017), in which he faced cronyism allegations while coping with gaffes and scandals involving cabinet members, provided a case in point for multimedia content analysis.
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Putra, Esa, and Aman Aman. "Quality Analysis of Feasibility of Contents of Class XI High School History Text Books Published by Erlangga, Grafindo, and Yudhistira Curriculum 2013." In The Proceedings of the 4th International Conference of Social Science and Education, ICSSED 2020, August 4-5 2020, Yogyakarta, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.4-8-2020.2302414.
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Pedreirinho, José Manuel, Michel Toussaint, and Pancho Guedes. "The Porteguese Perspective." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.4.
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ose Manuel Pedreirinho was born and educated in Lisbon, and has operated his own practice there since 1984. In addition to teaching the history of modern architecture and the theory of architecture at the universities of Lisbon, Coimbra, and Porto, Prof: Pedreirinho is also completing a PhD at the University of Bath (UK). The author of several articles and two books on Portuguese architecture and the teaching process, Prof: Pedreirinho is currently preparing a guide on the architecture of Porto. Michel Toussaint is an architect and educator in Lisbon, where he teaches the theory of architecture at the Universidade Tecnica de Lisboa and the Universidade Lusiada. Prof: Toussaint has published several essays, articles, and books on architectural topics, and has practiced in Portugal, Angola, and Macau. Pancho Guedes is an architect currently working in Lisbon ajler an extensive career in Mozambique and South Africa. A graduate of the University of Witwatersrand (South Africa), Prof: Guedes’ work is noted for it sculptural and expressionistic quality, influenced heavily by African art and the work of Gaudi. In addition to his academic career in Lisbon, Prof: Guedes has also taught at the Architectural Association in London. [Editor’s note: The text of these presentations was not available at the time of publication.]
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Wettstein, Hans E. "80 Years Open GT Development in Baden." In ASME Turbo Expo 2019: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/gt2019-90177.
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Abstract On 07.07.1939 the Neuchatel gas turbine passed its performance test under the supervision of Aurel Stodola [1]. This was the world’s first open gas turbine for electric power generation in commercial operation. It launched the past eighty year period of further development and corresponding market growth. The Baden area played an important role. The aim of this paper is to complete the already published comprehensive historical information with two additional aspects especially regarding the second 40 years, in which the author was an involved contemporary witness: The first is how the predominance of something like a local spirit integrated both a considerable share of foreign engineering staff and also the changes of the ownership of the technology from Brown Boveri to ABB and then to Alstom and recently to GE and Ansaldo. The second aspect is the inside view of the author, who has both shaped and suffered these gas turbine developments in several job positions allowing direct contact to both top management and shop floor workers. These two aspects will be integrated in the historical sequence. As a rule the roles of the persons acting after the seventies are given but not their names. The history of the involved companies has caught much attention of media and writers. After the formation of ABB it was used for both celebrating outstanding management performance and despicable management mistake. I will add as an engineer my insider view to this and mention the corresponding book references. This paper is limited to the mainstream open GT development for space reasons and therefore omits other interesting side developments of BBC such as closed Helium cycles, IGCC applications and compressed air energy storage as well as the other products of BBC, which all played a role in equalizing the business cycles.
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Stanek, Michael J., Miguel R. Visbal, Donald P. Rizzetta, Stanley G. Rubin, and Prem K. Khosla. "On a Mechanism of Stabilizing Turbulent Free Shear Layers in Cavity Flows." In ASME 2006 2nd Joint U.S.-European Fluids Engineering Summer Meeting Collocated With the 14th International Conference on Nuclear Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/fedsm2006-98330.
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Turbulent free shear flows are subject to the well-known Kelvin-Helmholtz type [1] instability, and it is well-known that any free shear flow which approximates a thin vorticity layer will be unstable to a wide range of amplitudes and frequencies of disturbance. In fact, much of what constitutes flow control in turbulent free shear layers consists of feeding a prescribed destabilizing disturbance to these layers. The question in the control of free shear flows is not whether the shear layer will be stable, but whether you can influence how the layer becomes unstable. In most cases, since these flows are so receptive to forcing input, and naturally tend toward instability, large changes in flow conditions can be achieved with very small amplitude periodic inputs. Recently, it has been discovered that turbulent free shear flows can also be stabilized using periodic forcing. This is, at first glance, counter-intuitive, considering our long history of considering these flows to be very unstable to forcing input. It is a phenomenon not described in modern fluid dynamic text books. The forcing required to achieve this effect (which we will call turbulent shear layer stabilization) is of a much higher amplitude and frequency than the more traditional type of shear layer flow control effect seen in the literature (which we will call turbulent shear layer destabilization). A numerical study is undertaken to investigate the effect of frequency of pulsed mass injection on the nature of stabilization, destabilization and acoustic suppression in high speed cavity flows. An implicit, 2nd-order in space and time flow solver, coupled with a recently-developed hybrid RANS-LES (Reynolds Averaged Navier Stokes - Large Eddy Simulation) turbulence model by Nichols et. al. [2], is utilized in a Chimera-based parallel format. This tool is used to numerically simulate both an unsuppressed cavity in resonance, as well as the effect of mass-addition pulsed jet flow control on cavity flow physics and ultimately, cavity acoustic levels. Frequency (and in a limited number of cases, amplitude) of pulse is varied, from 0 Hz (steady) up to 5000 Hz. The change in the character of the flow control effect as pulsing frequency is changed is described, and linked to changes in acoustic levels. Limited comparison to 1/10th scale experiments is presented. The observed local stabilization of the cavity turbulent shear layer, when subjected to high frequency pulsed blowing, is shown in simulation to be the result of a violent instability and break-down of a pair of opposite sign vortical structures created with each high frequency “pulse”. This unique shear layer stabilization behavior is only observed in simulation above a certain critical frequency. Below this critical frequency, pulsing is shown in simulation to provide little benefit with respect to suppression of high cavity acoustic levels.
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Maretto, Marco, Vicente Mas, Eva Alvarez, Barbara Gherri, Carlos Gomez, Maria Rosaria Guarini, Anthea Chiovitti, and Gianluca Emmi. "A multidisciplinary approach to urban fabrics analysis. The historical centre of Valencia." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.5674.
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The themes of reduce, recycle, reuse are at the heart of the challenges that the global society of the XXI century is facing. At the same time, more than two-thirds of the world population lives in cities nominating the latters to play a central role in the near future. For this reason, the search for a methodology for the redevelopment of the historical urban fabrics appears today extremely interesting. Complexity, richness and stratification of the latters make them definitely the most convincing test to set a scientific strategy for the project of urban transformations. But stratification means complexity and complex are the phenomena that characterize the XXI century society. The only convincing way then for the analysis of these phenomena is that of the multi-disciplinarity. The proposed methodology is structured, thus, around a number of disciplines (Urban Morphology, Sustainability, Urban Regulation, Economic Evaluation and Urban Design) on which to set the reading of the urban fabric with special attention to the so called “urban voids” namely all those situations in which the tissue is interrupted due to slumping and demolitions. This aspect is very important because if, on the one hand, it is in these areas where key tissue analysis problems can be seen, on the other hand, it is always from these areas that the main urban, social and economical transformation opportunities can take boot. A Due Diligence of the “urban voids” organised in datasheets/base (for each area) concludes the analysis. The different disciplinary fields work then in a complementary way within a single methodological approach laying the scientific basis for the interventions of urban regeneration within the historic fabric of Valencia. References Gherri, B. (2016) ‘Environmental Analysis Towards Low Carbon Urban Retrofitting For Public Spaces’, Proceedings of HERITAGE 2016 – 5th International Conference on Heritage and Sustainable Development,Vol. 1, p. 499-508. Gherri, B. (2016) ‘Environmental Assessment method for Decarbonised Urban renewal’, NewDist: SBE16 Towards Post-Carbon Cities, vol. 2, p. 114-122. Guarini, M.R. Buccarini C., Battisti F., (2015)‘Valutazione della fattibilità tecnica economica di un intervento di recupero edilizio’, Estimo: temi e questioni contemporanee, (Politecnico di Bari, Bari). Maretto, M. (2015) ‘Polarities, Paths, Fabrics. The role of urban morphology in contemporary Urban Design’, U+D urbanform and design 03/04, 46-65. Maretto, M. (2008) Il Paesaggio delle differenze (ETS Edizioni, Pisa).
Reports on the topic "History Text Book"
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Yablonskyy, Maxym. «NEW DAYS» WEEKLY AND PETRO VOLYNIAK, PUBLISHER AND AUTHOR. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11058.
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In the article on the material of the Salzburg weekly «New Days» (1945–1947) various spheres of activity of Peter Volyniak are presented. It is noted that this edition was a business card of the publishing house of the same name and had a history of continuation: in Toronto Petro Volyniak restored the publishing house of the same name and continued the publication in the format of the universal monthly «New Days» (1950–1969). The article also presents periodicals («Latest News», «New Days», «Timpani», «Our Way») and literary, artistic and scientific collection «Steering Wheel», which were published in the Salzburg publishing house of Peter Volyniak «New Days». The purpose of the publication is to trace the path of Petro Volyniak from a writer to a literary critic, journalist and publisher. This trend is reproduced in chronological order. Peter Volyniak as a writer is informed in the article «Literary Evening of P. Volyniak» (author – M. Ch-ka). O. Satsyuk’s literary-critical article is devoted to the coverage of ideological and artistic aspects of Petro Volyniak’s collection «The Earth Calls» (Salzburg, 1947). Petro Volyniak as a literary critic is presented in an article devoted to a collection of literary tales by A. Kolomiyets (Salzburg, 1946), which was published by «New Days». Petro Volyniak as a journalist presents the essay «This is our song…». With the help of content analysis it was observed that the text is divided into two parts: the first contains the author’s reflections on the Ukrainian song, its role in the life of the Ukrainian people; in the second, main, Peter Okopny’s activity abroad is presented. The publisher Petro Volyniak in 1947 in a separate publication of the February issue of the weekly summarizes the third year of activity, providing statistics on the publication of periodicals, books, postcards, calendars, various small format materials. The analyzed material demonstrated the experience of combining creative work and commercial activity.