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Na década de 1980 a renovação dos meios gráficos chegou finalmente a Portugal. Esta veio transformar um sector que se manteve durante séculos maioritariamente assente na composição e impressão de texto a partir de caracteres móveis tridimensionais em chumbo: a tipografia. Todo um universo sóciotécnico foi então abalado. Nas oficinas a tipografia passou para segundo plano, ultrapassada pela infografia e impressão offset, aguardando o desmantelamento definitivo da tecnologia que fica para a história como a «mãe das artes gráficas». O olhar etnográfico, legado da antropologia social e cultural, levou a autora a lugares onde a tipografia e os tipógrafos se fizeram ouvir até à viragem do século xx para o xxi.

Printing industry --- Graphic design (Typography) --- Management. --- History.

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Comment écrit-on pour le théâtre ? Ou, plus précisément, comment le texte de théâtre investit-il l’espace de la page ? Comment se dispose-t-il sur le papier ? Quelle forme emprunte-t-il ? L’objectif de ce volume collectif est d’étudier la question de la disposition du texte dramatique sur un large empan, de la fin du xixe siècle à aujourd’hui, dans ses multiples enjeux. Cette perspective paraît essentielle pour aborder une période extraordinairement riche du théâtre. En dépassant à ses débuts la traditionnelle opposition du vers et de la prose, elle a permis de définir de nouveaux horizons d’écriture - et donc de lecture et de représentation. Actuellement, comme en écho, on ne compte plus les exemples d’auteurs dramatiques qui exploitent, dans l’édition de leurs œuvres, les possibilités typographiques disponibles avec la généralisation des traitements de texte. L’ouvrage, principalement composé d’études monographiques centrées sur des exemples français, propose un parcours problématisé sur cette riche matière jusque-là peu explorée.

Drama - History and criticism - Congresses --- Layout (Printing) - History - Congresses --- Graphic design (Typography) - History - Congresses --- Book design - History - Congresses --- Theater --- théâtre contemporain --- vers --- écriture dramatique --- théâtre symboliste --- vers libre --- Drama --- Layout (Printing) --- Graphic design (Typography) --- Book design

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In Tibetan Printing: Comparisons, Continuities and Change the editors publish the results of the workshop “Printing as an Agent of Change in Tibet and beyond” held at Pembroke College, Cambridge, in November 2013. This is the first study of the social and cultural history of Tibetan book technology that takes materials, living traditions and cross-cultural comparisons into consideration. Bringing together leading experts from different disciplines, it discusses the introduction of printing in Tibetan societies in the context of Asian book cultures with an eye to the questions raised by the study of the European history of printing. This title is available online in its entirety in Open Access. Contributors are: Tim Barrett, Alessandro Boesi, Peter Burke, Michela Clemente, Hildegard Diemberger, Dorje Gyeltsen, Franz-Karl Ehrhard, Helmut Eimer, Johan Elverskog, Camillo Formigatti, Imre Galambos, Agnieszka Helman-Wazny, Tomasz Wazny, Sherab Sangpo Kawa, Peter Kornicki, Leonard van der Kuijp, Stefan Larsson, Ben Nourse, Anuradha Pallipurath, Porong Dawa, Paola Ricciardi, Tsering Dawa Sharshon, Sam van Schaik, Cristina Scherrer-Schaub, Marta Sernesi, Pasang Wangdu.

Printing --- Books --- Bookbinding --- Book design --- History --- Design, Book --- Graphic design (Typography) --- Binding of books --- Print finishing processes --- Library materials --- Publications --- Bibliography --- Cataloging --- International Standard Book Numbers --- Printing, Practical --- Typography --- Graphic arts --- Format --- Book design. --- Bookbinding. --- Books. --- Printing. --- China --- Bod Region --- Greater Tibet --- Hsi-tang Region --- Sitsang Region --- Thibet Region --- Tibbata Region --- Tibet Region --- Wei-tsang Region --- Xi zang Region --- Xizang Region --- Bibliopegy --- Social & cultural history

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Historically a dubbing country, Germany is not well-known for subtitled productions. But while dubbing is predominant in Germany, more and more German viewers prefer original and subtitled versions of their favourite shows and films. Conventional subtitling, however, can be seen as a strong intrusion into the original image that can not only disrupt but also destroy the director’s intended shot composition and focus points. Long eye movements between focus points and subtitles decrease the viewer’s information intake, and especially German audiences, who are often not used to subtitles, seem to prefer to wait for the next subtitle instead of looking back up again. Furthermore, not only the placement, but also the overall design of conventional subtitles can disturb the image composition – for instance titles with a weak contrast, inappropriate typeface or irritating colour system. So should it not, despite the translation process, be possible to preserve both image and sound as far as possible? Especially given today’s numerous artistic and technical possibilities and the huge amount of work that goes into the visual aspects of a film, taking into account not only special effects, but also typefaces, opening credits and text-image compositions. A further development of existing subtitling guidelines would not only express respect towards the original film version but also the translator’s work.

Computer. Automation --- Subtitling. Supertitling --- Motion pictures --- Television programs --- Closed captioning. --- Titling. --- Captioning, Closed --- Close captioning --- Closed caption television --- Closed caption video recordings --- Television captioning (Closed captioning) --- Video captioning (Closed captioning) --- Hearing impaired --- Translating and interpreting --- Titling of television programs --- Motion picture titling --- Titling of motion pictures --- Services for --- Subtitles (Motion pictures, television, etc.) --- Subtitling of television programs --- Motion picture subtitling --- Subtitling --- Linguistics --- Aesthetics --- Eye tracking --- Hearing loss --- Subtitles --- Typography

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"In Printing Spinoza Jeroen van de Ven systematically examines all seventeenth-century printed editions of Spinoza's writings, published between 1663 and 1694, as well as their variant 'issues'. In focus are Spinoza's 1663 adumbration of Rene´ Descartes's 'Principles of Philosophy' with his own 'Metaphysical Thoughts', the 'Theological-Political Treatise' (1670), and the posthumous writings (1677), including the famously-known 'Ethics'. Van de Ven's descriptive bibliography studies, contextualizes, and records all aspects of the publication history of Spinoza's writings from manuscript to print and assesses their immediate reception. It discusses the printed books' codicology, philology, typographical and textual relationships, illustration programmes, as well as their dissemination in early Enlightenment Europe, in view of the physical aspects of 1,246 extant copies and their provenance"--

Printing --- History --- Spinoza, Benedictus de, --- Printing, Practical --- Typography --- Graphic arts --- Ispīnūzā, --- Spinoza, Baruch, --- Espinoza, Baruch d', --- Sbīnūzā, --- Espinosa, Baruch de, --- de Spinoza, Benedictus --- Shpinozah, --- Shpinozah, Barukh, --- Spinoza, Benedict de, --- Spinoza, Barukh, --- Spinoza, Baruch de, --- Spinoza, Benoît de, --- ספינאזא, ברוך דע --- ספינאזא, ברוך, --- שפימוזה, ברוך --- שפינאזא, בענעדיקט --- שפינאזא, ברוך --- שפינאזע, ברוך --- שפינוזא, בנדיקטוס --- שפינוזהת ברוך, --- שפינוזה, ברוך --- שפינוזה, ברוך די, --- שפינוזה, ברוך, --- שפינוזה, ב. --- سبينوزا، بندكتس --- Spinoza, Benedictus de --- Spinoza, Baruch --- Spinoza, Benedict de --- Spinoza, Benedictus de. --- History.