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Jewish culture places a great deal of emphasis on texts and their means of transmission. At various points in Jewish history, the primary mode of transmission has changed in response to political, geographical, technological, and cultural shifts. Contemporary textual transmission in Jewish culture has been influenced by secularization, the return to Hebrew and the emergence of modern Yiddish, and the new centers of Jewish life in the United States and in Israel, as well as by advancements in print technology and the invention of the Internet. This volume deals with various aspects of textual transmission in Jewish culture in the last two centuries.

This handbook is currently in development, with individual articles publishing online in advance of print publication. At this time, we cannot add information about unpublished articles in this handbook, however the table of contents will continue to grow as additional articles pass through the review process and are added to the site. Please note that the online publication date for this handbook is the date that the first article in the title was published online.

This essay develops recent critical discussions of Brian O'Nolan's short-lived comic periodical, Blather, by further contextualizing the magazine amidst the popular and avant-garde print culture of its period. First, I undertake a detailed comparison of Blather with the English comic periodical Razzle, revealing the features which are lifted directly from this model and exploring the significance of Razzle's use of metaleptic humour for O'Nolan's work more widely. Subsequently, I place Blather in the context of the publications and activities of the Berlin Dadaists and specifically their magazine Der Dada. I propose three characteristics it shares with Blather: what I term the 'extended identity trope'; the subversion of popular culture with photomontage techniques; and an engagement with the creative possibilities of advertising. In conclusion, I propose that these contexts shed light on the cohabitation of modernist experimentation and a popular orientation which characterises Blather and O'Nolan's wider literary project.

Travis explores the rich cultural history of Alcoholics Anonymous (AA) and its offshoots and the larger "recovery movement" that has grown out of them. She chronicles the development of recovery and examines its relationship to the broad American tradition of self-help, highlighting the roles that gender, mysticism, and print culture have played in that development

Travis explores the rich cultural history of Alcoholics Anonymous (AA) and its offshoots and the larger "recovery movement" that has grown out of them. She chronicles the development of recovery and examines its relationship to the broad American tradition of self-help, highlighting the roles that gender, mysticism, and print culture have played in that development

"Exploring a number of feminist and cultural touchstones-the feminist sex wars, the HIV/AIDS crisis, the women in print movement, and countercultural grassroots periodical networks-In Visible Archives examines how visual culture provided a vital space for women artists to theorize and visualize their own bodies and sexualities"--

The Nôm Preservation Foundation recently made the libraries of two Buddhist temples near Hà Nội available in digitized form. The resulting composite temple collection allows us to pose questions about the history of the book in Vietnam. The history of the book in Vietnam must be understood from an interregional perspective. The availability of relatively inexpensive Chinese books influenced what was worthwhile to print locally. At the same time, even books with the same title are remarkably diverse in terms of content, medium, and annotation. A close look at individual books can show us what and how people read.

This article traces the connections between print and digital photomontage practices through the works of two women artists, Margit Sielska (1900–1980) and Weronika Gęsicka (1984–), addressing the way these lesser-known, non-Anglophone artists reveal a continuity of interests across time. Changes in technology have allowed the cut and paste technique of photomontage to evolve from the use of scissors and glue to the use of computer software. By reappropriating and manipulating the ready-made images of women and of stereotypical family life from printed and photographic materials, both artists challenge assumptions about a woman's role in society while constructing new settings and realities for their subjects to occupy. In both instances, the combinatory process of montage serves to question and disrupt traditional and normative representations of women and domesticity. By drawing on the parallels between artworks that are made with different techniques but are derived from the shared creative process of appropriating and manipulating the ready-made image to create new, unexpected situations, the article reveals continuity between certain modernist practices and contemporary digital culture.

Terrorismus ist ein unspezifisches Konzept. Doch wenn wir uns ansehen, wie Terrorismus in der Medienwelt repräsentiert wird, stoßen wir auf ein Konstrukt, das sehr wohl spezifische Eigenschaften aufweist. Der Diskurs rund um den ?Krieg gegen den Terrorismus? inszeniert Terrorismus als die größte Bedrohung für die liberale Demokratie des 21. Jahrhunderts. Diese Inszenierung, so wird argumentiert, dient dazu, den gesellschaftlichen Zusammenhalt zu stärken und Kriegsführung zu rechtfertigen. Letztendlich wird dabei jedoch auch islamophobes Gedankengut gefördert. Unterstützt von einem theoretischen Rahmenwerk, das Elemente der Sprach-, Kultur-, Medien- und Kommunikationswissenschaften vereint, untersucht diese Arbeit, wie Terrorismus in anglophonen Printmedien repräsentiert wird. Eine Abhandlung zur Geschichte und Entwicklung der Massenmedien zielt darauf ab zu illustrieren, warum Medien das Potential haben, Ideologie als gesunden Menschenverstand darzustellen, und damit zum Erhalt von Hegemonie beizutragen. Ein kritischer Blick auf die Kulturindustrie und ihre Implikationen für den Mediensektor erklärt, wie der tägliche Nachrichtenzyklus zustande kommt. Terrorismus, seine kommunikative Funktion und die Rolle ?des Terroristen? für den westlichen Diskurs werden von verschiedenen Perspektiven untersucht. Das Material für die korpusunterstützte kritische Diskursanalyse setzt sich aus 1.000 Artikeln zusammen, die von den Webseiten britischer und amerikanischer Tageszeitungen kopiert wurden. Eine quantitative und qualitative Analyse beschreibt die Form dieser Texte, interpretiert die Konstruktionen, die sie erschaffen, und evaluiert deren soziale Signifikanz. Auch wenn die Texte anscheinend nur dadurch miteinander verbunden sind, dass sie das Wort ?terrorism? beinhalten, sieht es so aus, als würde der Korpus eine klare Geschichte erzählen. Eine Geschichte, über die Angst und Abgeschlossenheit einer übermächtigen Zivilisation, die gegen einen unsichtbaren Feind kämpft. ; Terrorism is an indistinct expression. Nevertheless, when we look at the contemporary media representations of terrorism, we will encounter specific meanings attached to it. The discourse on the ?war on terror?, which this paper examines, reliably casts terrorism as the 21st century?s biggest threat and enemy to liberal democracy. This construction, so it argues, serves to legitimize warfare and to strengthen social cohesion among the public, and ultimately supports Islamophobic thoughts and practices. Based on a theoretical framework that combines elements from linguistics, communication science, cultural studies and media studies, this paper investigates how terrorism is represented in Anglophone print media. Treating the history, development and contemporary practice of mass media, it aims to illustrate why manipulative presuppositions in media texts can function to disguise ideology as common sense, and thus be employed to sustain cultural hegemony. A critical look into the culture industry and its implications for the contemporary media business explains how agenda-setting and large-scale meaning-making work today. Terrorism, its communicative dimension and ?the terrorist?s? role in Western-centric discourse, are observed from a number of different angles. The material for the corpus-based Critical Discourse Analysis is composed of 1,000 articles that were taken from the websites of Britain?s and the United States? most successful dailies. In a quantitative and qualitative analysis, the constructions created by these texts are described, interpreted and evaluated for their social significance. Although they are connected to each other only by the appearance of one single word ? ?terrorism? ? the texts of the corpus seem to tell quite a clear narrative. That is a narrative of fear and exclusion, a narrative of a superior civilization that has to combat an invisible enemy. ; vorgelegt von Johannes C. Zeller ; Abweichender Titel laut Übersetzung der Verfasserin/des Verfassers ; Zsfssung in dt. und engl. Sprache ; Graz, Univ., Dipl.-Arb., 2012 ; (VLID)225023

Frontmatter -- Contents -- Introduction. An Ocular Age: Vision in a World of Surfaces -- Part I. The Problem of Vision -- Chapter One. Ophthalmology, Popular Physiology, and the Market Revolution in Vision -- Chapter Two. Vision, Eyewear, and the Art of Refraction -- Part II. The Chaos of Print -- Chapter Three. Broadsides, Display Types, and the Physiology of the Moving Eye -- Chapter Four. Signboards, Vision, and Commerce in the Antebellum City -- Part III. Painting, Print, Perception -- Chapter Five. The Optics of Newspaper Vision -- Chapter Six. Paper Money, Spectral Illusions, and the Limits of Vision -- Notes -- Index -- Acknowledgments

Introduction: what was a newspaper? -- The making of industrial print culture -- Forests, trade, and empire -- The continental newsprint market and the perils of dependency -- The local newspaper as international corporation -- Robert McCormick and the politics of planning -- Work and culture along the newsprint supply chain -- The diversified newspaper corporation -- The industrial newspaper and its legacies -- The problem of paper in the age of electronic media -- Conclusion: media infrastructures, old and new

1 Ecological history, visual science and photography -- 2 New Natural Landscapes: Nature tracing its own shape -- 3 Expanding the Field : Making Associations -- 4 Picturing Vegetation : The print cultures of ecology -- 5 Hidden in plain sight : Visual knowledge and ecological method -- 6 Taking to the Field : Exchanging objects/exchanging views -- 7 Conclusion : Ecology and photography as visual field science.

Josephine Baker : colonial woman -- Dancing dissidents and dissident dancers : the urban topography of race -- A Black colony? : race and the origins of anti-imperialism -- Reverse exoticism and masculinity : the cultural politics of race relations -- In Black and White : women, La depêche Africaine, and the print culture of the diaspora -- "These men's minor transgressions" : White Frenchwomen on colonialism and feminism

Historically, Sino-Japanese cultural exchanges were dominated by a China-oriented mentality. This relationship shifted abruptly in the late nineteenth century with Japan's rapid westernization and industrialization, which coincided with the cultural and political implosion of the Qing Dynasty, and was further inverted as Japan became a world power and China struggled to reassemble itself. It was thus with a sense of justification that the Japanese advertised themselves as the legitimate protector of East Asian culture, and key Chinese cities under their occupation became a battleground for what Japan called the New Order in East Asia. Some Japanese and Chinese were able to agree on a working relationship under a new structure of political authority, and a number of propaganda posters were produced to reflect these negotiations. After 1938, the Chinese Guomindang also began to pay attention to propaganda art. Based on original archival research of primary historical documents and visual analysis of important icons in those propaganda images, this article examines the subsequent war of propaganda prints between the Guomindang and the Japanese militarists during the 1930s and 1940s, and demonstrates how the Chinese were able to utilize a variety of signs, symbols and art techniques to create their own propaganda prints in the effort to break from New Order in East Asia.