The Experts below are selected from a list of 10869 Experts worldwide ranked by ideXlab platform
Roberto Rose - One of the best experts on this subject based on the ideXlab platform.
-
Democratising knowledge and visualising progress: illustrations from Chambers's Encyclopaedia, 1859-1892
2019Co-Authors: Roberto RoseAbstract:In the 19th century, the Scottish firm of W. & R. Chambers transformed the publishing model of Encyclopaedias from a book aimed at the elite to a tool for mass education. This multidisciplinary study examines the design of the first two editions of Chambers's Encyclopaedia, focusing on their illustrations and the woodblocks used to print them. The business history of the Chambers firm, operating between the 1850s and 1890s, has not been researched before, nor has Chambers's relationship with a transatlantic partner, J.B. Lippincott of Philadelphia, been studied in-depth. Together, both firms produced Chambers's Encyclopaedia: A Dictionary of Universal Knowledge far the People (1859-1868) and Chambers's Encyclopaedia: A Dictionary of Universal Knowledge, New Edition (1888-1892). This thesis draws on research methods that include deep reading of printing artefacts and publisher archives, visual content analysis of 7322 images in Chambers's Encyclopaedia, and secondary sources such as historic library catalogue records and historical newspaper articles. Data on other illustrations was compiled from the Penny Cyclopaedia (1833-1843) and the English Cyclopaedia (1854-1862), the eighth (1853-1860) and ninth (1875-1889) editions of Encyclopaedia Britannica, and Johnson's Universal Cyclopaedia (1876). Additionally, to ascertain the publisher's marketing claims of high-quality authoritative content, the accuracy of illustrations and the images' usefulness in instructing non-experts was tested by a structured image analysis survey designed by the author, that gathered qualitative information through a selection of the most frequently illustrated subjects. The thesis is organised into Content, Production, and Reception sections, and the study's main findings are: After building a reliable reputation as a publisher of educational works, Chambers embarked on a well-lauded Encyclopaedia project. Chambers chose wood-engraved illustrations to communicate complex information, because woodengravings appealed to mass audiences and the technology behind them was cost-efficient compared with other printing methods of the time. Subject trends and trends in illustration styles evolved through the decades from the 1850s to the 1890s, as did the styles of graphics for displaying information. A formal legal contract was drawn so that both Lippincott and Chambers could claim relevant copyright in their respective countries. Finally, evidence is presented that indicates where hundreds of Chambers images were reused in other subsequent British and American publications
-
Illustrating Animals and Visualizing Natural History in Chambers’s Encyclopaedias
'OpenEdition', 2019Co-Authors: Roberto RoseAbstract:Le dix-neuvième siècle fut marqué par un intérêt croissant du grand public pour l’histoire naturelle, un phénomène que l’on peut mesurer à l’affluence du public dans la visite des zoos et des ménageries ambulantes, autant qu’à travers le succès des manuels de botanique, de la collection des orchidées, de la chasse aux fossiles et de la mode des aquariums ou encore au succès des conférences grand public sur la science. Plus de dix ans avant la publication de L’Origine des espèces de Charles Darwin, un ouvrage intitulé Les Vestiges de l’Histoire naturelle de la Création fut publié de façon anonyme par Robert Chambers. Sa première édition fut immédiatement épuisée aux États-Unis comme au Royaume-Uni. Chambers ne reconnut jamais qu’il était l’auteur de ce livre. Sa maison d’édition, W. & R. Chambers, était connue pour ses ouvrages didactiques. Entre 1859 et 1892, deux encyclopédies distinctes furent publiées par cette maison d’édition : Chambers’s Encyclopaedia: A Dictionary of Universal Knowledge for the People and Chambers’s Encyclopaedia: A Dictionary of Universal Knowledge, New Edition. Ces deux éditions contenaient des définitions sur les mammifères, les oiseaux, les reptiles, les poissons et les micro-organismes, et les entrées apparaissaient souvent accompagnées d’illustrations. Cet article s’intéresse aux recherches faites sur ces encyclopédies, aux blocs de bois utilisés pour graver les illustrations et à la représentation visuelle des animaux. Il aborde également l’histoire naturelle et les différences entre les définitions et les représentations des animaux dans les deux éditions et vise à mettre en relief l’influence de tendances plus générales dans l’expansion du marché de la publication d’ouvrages d’histoire naturelle de vulgarisation, et plus globalement dans le marché des publications d’encyclopédies illustrées et d’illustrations de livre. Cet article traite également de la philosophie de la maison d’édition concernant le développement personnel, l’apprentissage et la compréhension de la science et pose la question de savoir si les illustrations scientifiques publiées dans ces encyclopédies auraient pu, pour un public contemporain, servir d’indices à l’identité de leur auteur.In the 19th century, there was wide-spread public interest in natural history, as reflected in the high attendance at zoos and travelling menageries, in the market for popular field guides, in fashions for orchid collecting, fossil hunting and aquarium building, and in well-attended popular science lectures. More than 10 years before Darwin’s Origin of Species, a book titled Vestiges of the Natural History of Creation about evolution or ‘transmutation’ was anonymously authored by Scottish publisher Robert Chambers. The first edition sold out on both sides of the Atlantic. Chambers never admitted authorship of this book in his lifetime. His firm, W. & R. Chambers was well known for educational publishing. Between 1859 and 1892, the firm produced two Encyclopaedias: Chambers’s Encyclopaedia: A Dictionary of Universal Knowledge for the People and Chambers’s Encyclopaedia: A Dictionary of Universal Knowledge, New Edition. Both editions contain numerous entries on mammals, birds, reptiles, fish, and microorganisms, with numerous illustrations depicting these topics. This paper discusses preliminary research on these Encyclopaedias and the woodblocks used to illustrate them. It will discuss the depiction of animals and other natural history topics, comparing how entries and representations evolved between both editions and examine the influence of wider trends in the growing ‘popular markets’ for natural history, Encyclopaedias, and book illustration generally during this period. Finally it looks at the firm’s philosophy of self-improvement, progress and understanding of science and questions whether the natural history images used in these Encyclopaedias provided its 19th century audiences with any clues for the sensational author of Vestiges
-
Illustrating animals and visualizing Natural History in Chambers’s Encyclopaedias
Open Editiions, 2018Co-Authors: Roberto RoseAbstract:In the 19th century, there was wide-spread public interest in natural history, as reflected in the high attendance at zoos and travelling menageries, in the market for popular field guides, in fashions for orchid collecting, fossil hunting and aquarium building, and in well-attended popular science lectures. More than 10 years before Darwin’s Origin of Species, a book titled Vestiges of the Natural History of Creation about evolution or ‘transmutation’ was anonymously authored by Scottish publisher Robert Chambers. The first edition sold out on both sides of the Atlantic. Chambers never admitted authorship of this book in his lifetime. His firm, W. & R. Chambers was well known for educational publishing. Between 1859 and 1892, the firm produced two Encyclopaedias: Chambers’s Encyclopaedia: A Dictionary of Universal Knowledge for the People and Chambers’s Encyclopaedia: A Dictionary of Universal Knowledge, New Edition. Both editions contain numerous entries on mammals, birds, reptiles, fish, and microorganisms, with numerous illustrations depicting these topics. This paper discusses preliminary research on these Encyclopaedias and the woodblocks used to illustrate them. It will discuss the depiction of animals and other natural history topics, comparing how entries and representations evolved between both editions and examine the influence of wider trends in the growing ‘popular markets’ for natural history, Encyclopaedias, and book illustration generally during this period. Finally it looks at the firm’s philosophy of self-improvement, progress and understanding of science and questions whether the natural history images used in these Encyclopaedias provided its 19th century audiences with any clues for the sensational author of Vestiges
-
Democratising knowlege and visualising progress: illustrations from Chambers's Encylopaedia, 1859-1892
British Society for the History of Science, 2018Co-Authors: Roberto RoseAbstract:In the 19th century, the Scottish firm of W. & R. Chambers transformed the publishing model of Encyclopaedias from a book aimed at the elite to a tool for mass education. This multidisciplinary study examines the design of the first two editions of Chambers's Encyclopaedia, focusing on their illustrations and the woodblocks used to print them. The business history of the Chambers firm, operating between the 1850s and 1890s, has not been researched before, nor has Chambers's relationship with a transatlantic partner, J.B. Lippincott of Philadelphia, been studied in-depth. Together, both firms produced Chambers's Encyclopaedia: A Dictionary of Universal Knowledge far the People (1859-1868) and Chambers's Encyclopaedia: A Dictionary of Universal Knowledge, New Edition (1888-1892). This thesis draws on research methods that include deep reading of printing artefacts and publisher archives, visual content analysis of 7322 images in Chambers's Encyclopaedia, and secondary sources such as historic library catalogue records and historical newspaper articles. Data on other illustrations was compiled from the Penny Cyclopaedia (1833-1843) and the English Cyclopaedia (1854-1862), the eighth (1853-1860) and ninth (1875-1889) editions of Encyclopaedia Britannica, and Johnson's Universal Cyclopaedia (1876). Additionally, to ascertain the publisher's marketing claims of high-quality authoritative content, the accuracy of illustrations and the images' usefulness in instructing non-experts was tested by a structured image analysis survey designed by the author, that gathered qualitative information through a selection of the most frequently illustrated subjects. The thesis is organised into Content, Production, and Reception sections, and the study's main findings are: After building a reliable reputation as a publisher of educational works, Chambers embarked on a well-lauded Encyclopaedia project. Chambers chose wood-engraved illustrations to communicate complex information, because woodengravings appealed to mass audiences and the technology behind them was cost-efficient compared with other printing methods of the time. Subject trends and trends in illustration styles evolved through the decades from the 1850s to the 1890s, as did the styles of graphics for displaying information. A formal legal contract was drawn so that both Lippincott and Chambers could claim relevant copyright in their respective countries. Finally, evidence is presented that indicates where hundreds of Chambers images were reused in other subsequent British and American publications
Risto Saarinen - One of the best experts on this subject based on the ideXlab platform.
-
retraction note to michael baius 1513 89 and the debate on pure nature grace and moral agency in sixteenth century scholasticism
2005Co-Authors: Jill Kraye, Risto SaarinenAbstract:The chapter: Michael Baius (1513–89) and the Debate on ‘Pure Nature’: Grace and Moral Agency in Sixteenth-Century Scholasticism appearing in: The New Synthese Historical Library Volume 57, 2005, pp 51-90 has been retracted at the request of the employer of the author at the time of writing, because it contains passages from the previously published manuscripts without acknowledging the source. The previously published manuscripts that have been duplicated in this chapter are: J.F. SOLLIER, “Baius (or de Bay), Michel”, in The Catholic Encyclopedia, vol. 2 (New York: The Encyclopedia Press, 1913); P.J. DONNELLY, “Baius and Baianism”, in New Catholic Encyclopedia, vol. 2 (2nd ed.; Detroit: Thomson Gale, 2003); Henri DE LUBAC, S.J., Augustinianism and Modern Theology, trans. Lancelot SHEPPARD (London: Geoffrey Chapman, 1969); Lawrence FEINGOLD, The Natural Desire to See God According to St. Thomas Aquinas and His Interpreters (Roma: Pontificia Universitas Sanctae Crucis, 2001).”.
M W F Stone - One of the best experts on this subject based on the ideXlab platform.
-
retracted chapter michael baius 1513 89 and the debate on pure nature grace and moral agency in sixteenth century scholasticism
2005Co-Authors: M W F StoneAbstract:The chapter: Michael Baius (1513–89) and the Debate on ‘Pure Nature’: Grace and Moral Agency in Sixteenth-Century Scholasticism appearing in: The New Synthese Historical Library Volume 57, 2005, pp 51-90 has been retracted at the request of the employer of the author at the time of writing, because it contains passages from the previously published manuscripts without acknowledging the source. The previously published manuscripts that have been duplicated in this chapter are: J.F. SOLLIER, “Baius (or de Bay), Michel”, in The Catholic Encyclopedia, vol. 2 (New York: The Encyclopedia Press, 1913); P.J. DONNELLY, “Baius and Baianism”, in New Catholic Encyclopedia, vol. 2 (2nd ed.; Detroit: Thomson Gale, 2003); Henri DE LUBAC, S.J., Augustinianism and Modern Theology, trans. Lancelot SHEPPARD (London: Geoffrey Chapman, 1969); Lawrence FEINGOLD, The Natural Desire to See God According to St. Thomas Aquinas and His Interpreters (Roma: Pontificia Universitas Sanctae Crucis, 2001).”.
Tan Naomi - One of the best experts on this subject based on the ideXlab platform.
-
Cultivation in Health and Risk Messaging
'Oxford University Press (OUP)', 2019Co-Authors: Satveer Kaur, Dutta Mohan, Tan NaomiAbstract:10.1093/acrefore/9780190228613.013.289Oxford Research Encyclopaedias: Communicatio
Falconer, Isobel Jessie - One of the best experts on this subject based on the ideXlab platform.
-
Phases of physics in J.D. Forbes’ Dissertation Sixth for the Encyclopaedia Britannica (1856)
'SAGE Publications', 2018Co-Authors: Falconer, Isobel JessieAbstract:This paper takes James David Forbes’ Encyclopaedia Britannica entry, Dissertation Sixth, as a lens to examine physics as a cognitive, practical, and social, enterprise. Forbes wrote this survey of eighteenth- and nineteenth-century mathematical and physical sciences, in 1852-6, when British “physics” was at a pivotal point in its history, situated between a discipline identified by its mathematical methods – originating in France - and one identified by its university laboratory institutions. Contemporary Encyclopaedias provided a nexus for publishers, the book trade, readers, and men of science, in the formation of physics as a field. Forbes was both a witness, whose account of the progress of physics or natural philosophy can be explored at face value, and an agent, who exploited the opportunity offered by the Encyclopaedia Britannica in the mid nineteenth century to enrol the broadly educated public, and scientific collective, illuminating the connection between the definition of physics and its forms of social practice. Forbes used the terms “physics” and “natural philosophy” interchangeably. He portrayed the field as progressed by the natural genius of great men, who curated the discipline within an associational culture that engendered true intellectual spirit. Although this societal mechanism was becoming ineffective, Forbes did not see university institutions as the way forward. Instead, running counter to his friend William Whewell, he advocated inclusion of the mechanical arts (engineering), and a strictly limited role for mathematics. He revealed tensions when the widely accepted discovery-based historiography conflicted with intellectual and moral worth, reflecting a nineteenth-century concern with spirit that cuts across twentieth-century questions about discipline and field.PostprintPeer reviewe
