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Vol. I. ; Text in English and French. ; Part of a CIHM set. For individual microfiches in this set see CIHM microfiche nos. 61310-61312. ; Added t.p. in French: Catalogue de la Bibliothèque du Parlement. ; "Published by authority." ; Includes index. ; Electronic reproduction. ; Mode of access: Internet. ; 44

This article investigates the painted miniatures of manuscripts and early printed books of the second half of the 15th century performed in the art workshops of the Renaissance Venice and Padua. The author determines the main development stages of the principles of space depicting in the picturesque design of manuscripts and printed books. The relevance of study of this topic is caused by the fact that it has been on the periphery of research attention for a long time, obscured by other historical and artistic problems. The scientifi c novelty of the research revealed the new principles of constructing spatial composition and formation of new typology of landscape in Venetian art. For the main research method, the author uses the formal-style analysis and structural analysis. It demonstrates how simultaneously with the change of the sheet decoration structure there appeared the new opportunities for the placement of spatial composition. At an early stage, the manuscript sheet decoration consisted of the depiction of painted architecture treated in the guise of triumphal arch or classical altar with inscription, which gradually has been getting form of imaginary façade with ornaments and fragments of text upon it (the so-called architectural frontispiece type). The next faze consists in the emergence of natural motifs near it and its progressive development in the form of autonomous landscape, which one can see in the works of leading Venetian illuminator in the time circa 1500 Benedetto Bordon. The author investigated the basic types of manuscript decoration that included the depiction of landscape as well as its basic iconographical formulae. The signifi cance of the study lies in that fact which helps to explore the new sources of Venetian mythological painting, going back to the stylistic features and compositional principles of the Late Quattrocento miniature.

I see myself as a literary curator — I collect and sequence texts and images, both digital and analog, to reveal, connect, and construct narratives, resulting in shifting meanings and significances. Inhabiting this curatorial ethos, I investigate hidden subtexts, locating personal and collective relations to the margins and files marked "miscellany." Working in books and installations, I engage with the inherited meanings of visual languages (form, typography, color, material, format) to open up well-worn narratives and craft new interpretations. Tiny Diasporas is a primer to a design practice that borrows the form of an abecedarius, an alphabetical wordlist for learning the basics of reading and writing. The title comes from a quote by the artist-gatherer Danh Vo, who describes his work as "the tiny diasporas that make up a person's life." In this thesis, through projects and interviews, I outline a practice that addresses broad political themes refracted through personal narratives. Where artists like Danh Vo use the museum space as a site for repositioning historical objects to create new meanings, I use the book form as a space for curatorial intervention. A site where interpretation (meaning) is mediated by the space between image and text and through sequence, the book allows me to address my family's displacement in the context of a militarized state, the traces created by entropy in the everyday and by museum spaces, and historiography as a critical form of creative production.

This article studies the peculiarities of the iconography of The Passion of Christ cycle in Old Believers' books of the late eighteenth – nineteenth centuries. The research methodology developed by F. Buslaev and N. Kondakov is based on the study of different approaches to creating book miniatures. They involve revealing the main iconographic features of images, identifying elements of early Christian art, Old Russian heritage, as well as elements of the later influence of Western European art. The analysis of the compositional structure of the miniatures, as well as individual elements of the images makes it possible to carry out a classifying selection of miniatures according to iconographic versions. Each image of the Passion cycle was based either on the pictorial canon that had developed over the centuries or on elements of Western European art, which actively spread to Russia in the seventeenth century in connection with the popularisation of engravings of the Piscator Bible. In addition, through a thorough examination of the miniatures of Old Believers' manuscripts, it is easy to see quite interesting authorial interpretations of well-known plots. Miniaturists often included original images of the modern era, as if taken out of current life in traditional depictions of scenes from the Passion cycle. Reflecting biblical events, the miniatures bore the mark of the time when the manuscript was created, which is especially well traced in the sketches of everyday life and elements of clothing. It is often possible to see how a miniaturist seeks to convey their own attitude to the events, "explaining" the meaning of the event by selecting a colour scheme, depicting specific facial expressions, emotions, characters' gestures, interior details, etc. Referring to particular manuscripts which existed in the Urals, the author identifies such elements of novelty and originality of images. They show not only the abundance of creative potential of Old Believer artists, but also a remarkable mind and ability to think and analyse ancient events from the point of view of modern humans, deepening the semantic component of the text and introducing a moral aspect.

Данная статья продолжает исследование истории томской книготорговли на рубеже двух столетий, в наиболее значительный период становления книжной культуры крупнейшего сибирского центра. Развиваясь в русле общероссийских тенденций, книжное дело в Томске и Томской губернии подпитывалось частной инициативой, благотворительной деятельностью различных общественных организаций. В статье отмечается, что рост книготорговли в этот период способствовал формированию устойчивых рецептивных моделей в читательской среде и появлению местного авторского корпуса. ; The article that continues the research of book trade in Tomsk and Tomsk Province at the turn of the 19th 20th centuries (see Part One in Text. Book. Publishing, 2014, no. 2 (6)) studies the development of the local bookstore network in the first decade of the new century. Socio-economic and cultural processes in the region enhanced the social life and the transformation of Tomsk into the largest printing and bookselling center of Siberia. The author identifies new forms of book distribution, due in this period mainly to private initiative and charity activities of church and community organizations. It is shown that during the first Russian revolution trade of political literature was subjected to strict censorship and police oppression. At the same time mass literature became popular in Tomsk, in particular, detectives that were in great demand in different segments of the urban population. Most fruitful in the development of regional book industry was the period of 1909-1913, when due to the emergence of new enterprises the bookselling chain expands significantly, and the book becomes a significant phenomenon of the spiritual life of Tomsk and the point of intersection of various reading interests. More active book publishing and book trade in this period influenced not only the expansion of the readership, but also the development of the local authors. The development of book culture of Tomsk and Tomsk Province came in line with national trends, with greater variety and intensity of the processes.

PurposeJoan Procter, Dragon Doctor describes the life of Joan Beauchamp Procter, renowned herpetologist, zoologist, Curator of Reptiles at the British Museum and designer of the London Zoo Reptile House. In this lesson, students reframe initial viewpoints of scientists that are not representative of a broad understanding of who scientists are and what being a scientist means. Exploring understandings and expanding their view of science to include varied areas of social sciences provokes deep discussions among students as they prepare to teach others. Using content area skills, artwork, writing, literacy and technology, students explore diverse people and fields of the sciences.Design/methodology/approachStudents engage in collaborative efforts with peers to involve themselves with content knowledge and skills in the social studies, as they integrate other areas of the curriculum including science, art, writing, literacy, literature, technology, critical thinking, research skills and inquiry-based learning. Findings include students participating in meaningful learning individually and collectively through inquiry. As students learn with and from one another, they conceptualize their own ideas through their own work in exploring relevant resources. Students plan action to move learning outside the classroom in generating changes in museums and monuments to showcase broader cultural representation of scientists in their communities.FindingsStudents engage in inquiry learning using Joan Procter, Dragon Doctor as a key text. Students explore the text and related resources, while learning with one another about scientists. Students expand their content knowledge and apply critical thinking skills, noting similarities and differences in scientists, ultimately acknowledging that what scientists do through inquiry and exploration helps them identify as scientists. Varied fields and backgrounds of scientists are explored, and students examine cultural representation in museums commemorating scientists and scientific contributions. Students create action plans to consult with museums about these issues and curate exhibits, like Joan Procter, to share with others.Originality/valueThis lesson provides students multiple avenues to deepen learning while conceptualizing and formulating their own understandings. Further, students are required to use multiple skills in conveying their ideas for social change to reflect their new broader conceptualization of scientists and the many fields that science includes. Additionally, they have to understand the topics discussed fully in order to convey their research findings to another audience in their school or community as they create museum exhibits. Finally, while students learn, they begin to see themselves represented in fields through evident, inclusive demonstrations of contributions by diverse scientists.

The book features real-life vignettes that bring the text to life, providing readers with the opportunity to see how older adults benefit from senior centers. The Appendix includes a useful list of resources as well. Professionals who work with older adults including social workers, recreation therapists, nurses, gerontologists, administrators, and students will find this book to be a valuable resource. The book features real-life vignettes that bring the text to life, providing readers with the opportunity to see how older adults benefit from senior centers. The Appendix includes a useful lis

Abstract
In its Tom Kabinet decision,****See the text of the decision in this issue of GRUR International at DOI: 10.1093/grurint/ikaa041. The author wishes to thank Aaron Stumpf, Stefan Scheuerer and Laura Valtere for fruitful discussions. the CJEU took a further step in dealing with digital facts under the InfoSoc Directive. This decision on the sale of 'second-hand' e-books through a website has set a number of things in motion: besides distinguishing between the distribution right and the right of communication to the public, the decision also affects the exhaustion doctrine and the coherence of European copyright law.
In the past few years, discussions about the so-called 'digital exhaustion' and related issues have increased enormously. A few days before Christmas 2019, the CJEU published its long-awaited judgment in case C-263/18, also known as Tom Kabinet, in which it decided that the sale of 'second-hand' e-books through a website constitutes communication to the public and therefore requires the consent of the rightholder.
This opinion gives insights into why the Tom Kabinet decision was so eagerly awaited, what exactly was decided and whether the CJEU's decision could fulfil these great expectations.

"In a famous Parisian chess café, a down-and-out, HIM, accosts a former acquaintance, ME, who has made good, more or less. They talk about chess, about genius, about good and evil, about music, they gossip about the society in which they move, one of extreme inequality, of corruption, of envy, and about the circle of hangers-on in which the down-and-out abides. The down-and-out from time to time is possessed with movements almost like spasms, in which he imitates, he gestures, he rants. And towards half past five, when the warning bell of the Opera sounds, they part, going their separate ways. Probably completed in 1772-73, Denis Diderot's Rameau's Nephew fascinated Goethe, Hegel, Engels and Freud in turn, achieving a literary-philosophical status that no other work by Diderot shares. This interactive, multi-media and bilingual edition offers a brand new translation of Diderot's famous dialogue, and it also gives the reader much more. Portraits and biographies of the numerous individuals mentioned in the text, from minor actresses to senior government officials, enable the reader to see the people Diderot describes, and provide a window onto the complex social and political context that forms the backdrop to the dialogue. Links to musical pieces specially selected by Pascal Duc and performed by students of the Conservatoire national supérieur de musique et de danse de Paris, illuminate the wider musical context of the work, enlarging it far beyond its now widely understood relation to opéra comique.
This new edition includes: - Introduction - Original text - English translation - Embedded audio-files - Explanatory Notes - Interactive Material"

Departures is the introductory volume to the interdisciplinary field of Critical Refugee Studies, written by the Critical Refugee Studies Collective and published by the University of California Press. The book works on many levels and can be read in as many ways. Partly a guide, partly a manifesto, the book dutifully performs its pre-set task of introducing the general reader to the field of Critical Refugee Studies, all the while engaging with larger issues and challenges. Its manifold nature is made explicit by the title itself, intended both as an allusion to the action of leaving and to that of deviating from a regular path. Highly readable and sharp-edged, tailor-made for an audience that includes (and transcends) colleges and universities, this text will likely find its way into many class syllabi and reading lists. Located at the crossroads of theory and resistance, advocacy and academia, Departures oozes rage, energy, and optimism, and is unapologetically political.
The field of Critical Refugee Studies, the authors state in the "Introduction," is "a way to seize control of image and narrative, by and for refugees, centered in refugee epistemologies and experiences." As a community-engaged critical field, it postulates the necessity of moving past pre-existing humanitarian narratives and frameworks, exposing the underlying threads that tie militarism and migration, power and memory, empire and race. Channeling Somali British and Palestinian poetry, Syrian visual art, and Vietnamese American independent cinematography, the seven contributors call for new methodologies and approaches, as well as for new stories that go beyond the simple "formula of … escape, despair, and rescue" embedded in mainstream refugee narratives. The book's aim is to break that mold, underscoring the "invisible relations of power that broker how we see and consume the refugee subject"; that is to say, to radically twist the ways in which the latter is defined by the law, by the arts, and by the collective conscious. Bold and provocative, Departures will not fail to spark conversations in the coming years.

This web-based fulltext database of the Shitong 十通 provides image/text comparision and all other features of the Sibu congkan 09 Extended Edition. For more details see there. The Shitong, the "Ten Encyclopedic (or General) Histories", assemble ten central historical works, that aimed at covering all of Chinese history. They mainly focus on governmental institutions and their changes in duty or in name, but also assemble a great variety of sources and material under rubrics such as boarders, regional administration, the examination system, law, astronomy, catastrophes, bibliography, plants and animals etc. The genre was initiated by Du You in the late 8th century with his 200 volume work Tongdian and adapted, modified and extended in scope by the famous scholars Zheng Qiao (1106-1162) and Ma Duanlin (1254-1323). These works soon were published together as the "Three tong" 三通. In the 18th century new interest in the genre arouse and six continuations respectively extensions were published. While the first three works relied on an individual scholar, the Qing works were all imperially sponsored and officially published. Each of the later took one of the early works as his model. In 1927 the Qingchao Xu Wenxian tongkao appeared and the full set of "Ten tong" was published by the Commercial Press 1935-1937. The scanned and digitized version presented here is based on this edition. The compilation is structured according to the line of tradition into 3 "dian", 3 "zhi" and 4 "kao". For a chronological list of the ten titles, see below.\n\nList of the Shitong with title, author, and number of juan: 1 通典. (唐) 杜佑, 200 j. - 2 通志. (宋) 郑樵, 200 j. - 3 文献通考. (元) 马端临, 348 j. - 4 续通典. (清) 嵇璜、刘墉 等, 150 j. - 5 续通志. (清) 嵇璜、刘墉 等, 640 j. - 6 续文献通考. (清) 张廷玉 250 j. - 7 清朝通典.(清) 嵇璜、刘墉 等 100 j. - 8 清朝通志.(清) 嵇璜、刘墉 等 126 j. - 9 清朝文献通考. (清) 张廷玉 300 j. - 10 清朝续文献通考. (近代) 刘锦藻, 400 j.

Cover -- Contents -- Foreword -- Introduction: Why Do I Read? -- HERE WE GO -- TENSIONS BETWEEN COMPETENCE AND IMAGINATION -- ABOUT THIS BOOK -- IMAGINING PEDAGOGY -- READING THEORY -- CHAPTER 1: What Do I Read? -- DISCLOSURES -- READING WITH THE RADIO ON -- LESSONS TAUGHT -- IMAGINING PEDAGOGY -- READING THEORY -- CHAPTER 2: How Do Texts Work on Me? -- WHERE HAVE YOU GONE, JOE DIMAGGIO? -- SHE LOVES YOU. YEAH, YEAH, YEAH -- TEXT EFFECTS -- IMAGINING PEDAGOGY -- READING THEORY -- CHAPTER 3: Do I Control the Meaning of Texts? -- MY BONUS -- FRAMES FOR EDUCATION -- FOLLOW THE SCORES -- READING THE DISCOURSE, NOT JUST THE FRAME -- IMAGINING PEDAGOGY -- READING THEORY -- CHAPTER 4: Will I Still Read in the 21st Century? -- PRIVACY/SURVEILLANCE/CONNECTIVITY -- AUTHORITY/ACCESSIBILITY -- MULTIMODALITY/ORIGINALITY -- 21ST-CENTURY SKILLS -- IMAGINING PEDAGOGY -- READING THEORY -- CHAPTER 5: Are My Readings Dangerous? -- COMPLICATIONS -- FOR THE KIDS -- ANOTHER DAY -- WHY CAN'T THEY SEE IT? -- A LITTLE OFF THE SIDES -- IMAGINING PEDAGOGY -- READING THEORY -- CHAPTER 6: Who Reads Like This? -- READING THEORY -- IMAGINING PEDAGOGY -- OUT OF THE HAPPY VALLEY -- References -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- R -- S -- T -- U -- V -- W -- Y -- Z -- About the Author.

During the post-Independence wars in Indonesia, Masyumi as the largest Islamic political party played a significant role in encouraging the Muslims to fight against the Kingdom of the Netherlands who wanted to reclaim Indonesia. Among Masyumi's contribution to this effort was the publication of a book entitled "Djihad dan Qitaal" written by KH E. Abdoerrahman. This book serves as an Islamic guide for jihad fi sabilillah by outlining at least three things: (a) the necessity of jihad during that time in history, (b) the virtues of jihad in Islam, and (c) the principles of lawful conduct of jihad or "Islamic jus in bello". Especially focusing on item (c) above, this research utilizes literature research and interview (obtaining secondary data) to examine the text and context of this book to see the extent of its contribution both from a historical and legal perspective. For the legal perspective, this research explores both the Islamic laws of war (fiqh al-jihad) and the International Humanitarian Law (IHL) applicable at the time around the publication of the book. It is hypothesized that Masyumi's "Djihad dan Qitaal" not only was an essential contribution to the post-independence war efforts at the time, but that it also provides important legal resources and strengthen compliance to the Islamic laws of war and IHL.

As I (re)write this, May (first 2020, now 2021) edges into another June, and pockets of our planet remain in some stage of phased waves of enforced seclusion—alone, together—just as others inch or bound into reemergence. I dialogue, Kinch, an exhibition that dances with James Joyce's Ulysses, was to have opened around this time last year, on Bloomsday, but instead remained airborne as particle matter till now, due to a virus that also spreads by aerosol transmission (and where certain sounds, when spoken, are more likely to carry quantities of virus particles) . Strange new media, face masks continue to implore us to take care when sculpting air into sound. Though some hundred years older, Ulysses speaks through air-oriented registers, too: literary mass carved from upswells and emanations of "wavespeech" telegraphed into language(s) sung, spoken, silent. An amalgam of English, Italian, and Latin, alongside invented phonetic code of his own, its shifting aural mix echoes the Joyce family's own migrations and multi-tongue parlance at home. (Triestine Italian was his danc- er-choreographer daughter Lucia's first language, and Joyce's language of choice, for it was "easier on the voice".) I wonder if this condition of suspension and long gestation that I dialogue, Kinch has tangoed with mid-crossing, of its not 'landing' per se, would "howsomever" suit Joyce, whose own verbal strewing predisposes slippages, flow, and forces that "[contravene] material borders". In Ulysses, terra firma becomes tidal when treated by him, just as airs and tides monologue as if mouths themselves. "Seesoo, hrss, rsseeiss, ooos . speech ceases. It flows purling, widely flowing, floating foampool, flower unfurling." "Mouthed fleshless lips of air." "Muskperfumed." All matter is talkative in his cosmos. Certain works in I dialogue, Kinch tack around the book. Others tune in and transcribe its textures in tandem with Joyce's echolocational ear— amplified, no doubt, by a lifetime of worsening sight (note his eyepatch in Berenice Abbott's portraits), it drives a rhythmic feeling-for that moves us, episode to episode, wavelength to wavelength, across conversations, scenarios, and sites in Dublin. "Rhythm begins, you see. I hear." Enter Simon Popper's manuscript, Ulysses (2006), a reel-to-reel retranscription of Joyce's every word, reordered here in attenuated alphabetical arrangement like a heap of verbal playing cards. Absurd absurd absurdity ABU Abulafia abundance abundance abundance abundant abundant ABUNDANT . Haddington haddock haddock haddy Hades hadnt hadnt hadnt hadnt . Echoic ghostwriting (phonotation?) in spoken word affect, this text begs to be run as "soundmeat" through a voice. It even sits, on the page, like Joyce's protégé Samuel Beckett's 1972 monologue, Not I, staged in pitch-darkness save for an illumined mouth. Sadie Murdoch's commissioned works, saturate, "wet printed" black and white photographic montages, emit at different volume—dancing us by way of a muted daughter, Lucia, towards her author father. In H.C.N. (2021) (shorthand for 'Here Comes Nobody') and her Flush Poised series, Murdoch reperforms scant trace imagery, in its absentia, of Lucia's movement lexicon, best known to us in Berenice Abbott's 1926-7 portraits of her that Beckett treasured, hieroglyphic (voguish then) in fishtail chainmail. Triangulations in choreographic conversation occur, though, as Mur- doch migrates artist, poet, and similarly milieu'd scenester, Baro1ness Elsa von Freytag-Loringhoven, into Kindly, Kopper-Spangled Star (2021). (Elsa's Cast Iron Lover poem appeared in the same 1918 issue of The Little Review that inaugurated Ulysses' serialised instalments.) Other works brined by the book encompass Tim Berresheim's cryptic prints of rail tracks; Sonja Blum's clay vessels, Annus Mirabilis I and II (2019), with inky neo-Grecian biro inscriptions of "technological rush backwards"; Toby Christian's reconstituted pulped paper wall sculptures, where paper turns in on itself in textile thickness; Oskar Korsár's loose figural drawing on paper, with a seeing-eye breast; Agata Madejska's au- dio installation out of which redacted political speech—strung together, in Joycean tangle, from Donald Trump's occasional emotive utterances at the podium—rains phonetic into a cloth listening enclosure as grayscale as Abbott's photographs; Katarina Spielmann's high-colour impastoed plaster panels that grow, it seems, from below; Joel Tomlin's found-wood assemblages, Moons (2021) and Amphora (2021), each tinged with heraldic undertone; and the author's own language-'painted' face mask mouthpieces, of Joyce's words creolized with her own: choreographic objects to be spoken through. Exhibition text by Emma McCormick-Goodhart Originally June 1, 2020 | Reworked May 10, 2021

In light of recent events in America, school districts are having to be more and more careful about how they teach anything about race. In a recent board meeting that took place in the Rockwood school district, members of the community were calling for books to be banned because they touched on race and used inappropriate language. It is important to teach uncomfortable texts about race, and there are ways for teachers to use these texts so that students and other school community members do not feel they are being indoctrinated into any new teachings. The text that I will use to represent what is being taught in the classroom is The Hate U Give by Angie Thomas. I will argue that schools need to teach uncomfortable texts about race because it will help to create a more well rounded student who has empathy and is a contributing member to our democratic society. Using this more modern take about racial inequality I can discuss how teaching language arts has changed due to the language of young adult literature, the issues that cause books to be challenged, and how outside voices believe teaching anything on race becomes teaching the youth critical race theory. In this presentation I will use The Hate U Give because it teaches about race and social constructs from the African American perspective, and show how teaching uncomfortable texts about race helps students to see things from different perspectives.