Oct. 11at 12pm I will be giving a talk on how I use digital methods in my research about booksellers and private libraries as part of IU Libraries' Wednesday Noon Digital Scholarship Series! It is hybrid, so if you're in Bloomington, IN stop by, but if you're not you can join from Zoom. And it will be recorded! Longer description and registration available here: https://events.iu.edu/libraries/event/1090581-1 #DH#BookHistory#Books#DigitalHumanities@bookhistodons@dh
Yesterday was the birthday of Cardinal Antoine Perrenot de Granvelle, a surprisingly important figure in the history of #EarlyModern worship and #BookHistory. So I wrote a blogpost in his honour!
I might be working on a Saturday, but one of my books has a privilege that names Martina Plantin (Moretus), which is very exciting! More about Martina can be found in this article:
Hi fellow #histodons! Since I’m moving towards mastodon I thought I’d introduce myself properly.
I’m a cultural historian of music and books, with a particular focus on the relationships between music, worship, and identities in times of upheaval.
My current Marie Skłodowska-Curie project investigates how musical saints’ cults connected Lutherans and Catholics despite the rupture of the #Reformation.
My Hitler Book: What am I supposed to do with it? - Tablet Magazine
Interesting to me
As author says, these #Nazi books are neither rare nor valuable. Mine came from my father, who found them in his office during the US occupation
Article draws a contrast between those who thoughtlessly (or worse) collect Nazi memorabilia vs. dealers like Mark Funke, who thinks carefully about historical value & interpretation
The Mark Funke book catalogues uphold a crucial tradition. Catalogues used to be essential: knowledgeable dealers wrote thorough descriptions that informed the purchaser, & decades later, serve as essential research resources. Today, amateurish or dishonest dealers steal others' descriptions from the web (often revealing their ignorance).
The Mark Funke book catalogues uphold a crucial tradition. Catalogues used to be essential: knowledgeable dealers wrote thorough descriptions that informed the purchaser, & decades later, serve as essential research resources. Today, amateurish or dishonest dealers steal others' descriptions from the web (often revealing their ignorance).
Back to cigarette albums: they always intrigued me as a branch of marketing & collecting aimed at adults rather than children. They were particularly popular in Germany, so the Nazi regime took advantage of the genre and corporations happily obliged.
A Smith College colleague developed a collection and taught a seminar in which students created an exhibit
The festivities went on for a long time--and clearly, the printers were as profligate as anyone else.
And recall: going nuts with typefaces back then involved a lot more than clicking a key on the laptop. Someone put a lot of thought and effort into this bad design!
I'm sure you are familiar with this situation: you're shopping on a Saturday, and your shopping list is written on the back of an old paper copy of a once read article. My list today is on the back of Clyve Jones‘ „The Protestant Wind of 1688“. Fun fact: this copy was made around 2005 in Berlin, and moved with me through my career from Berlin to Erfurt to Nuremberg to Augsburg. I am living my best life, dear #histodons@histodons
@dbellingradt@histodons
Yes, I know the feeling. Though I tend to use a scrap of blank paper or business/"junk" mail recently received vs.old articles
In fact, I have sometimes come across this--use of "scrap paper"--in archival collections. How are we to analyze this? How would someone analyze the notes that they would find in my desk drawer?
And of course there is this cautionary tale from #BookHistory science fiction blending the Cold War & medieval circumstances
Isn't it beautiful when a centuries old #manuscript page meets a library stamp, and this very stamp exactly fits into the empty space left over for a forgotten miniature?