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Dobbin E. - One of the best experts on this subject based on the ideXlab platform.

  • In search of a politesse du chant: Rediscovering salon vocal performance practice through the lens of the airs sérieux in the Recueils d'airs serieux et à boire de differents autheurs, 1695-1699
    2021
    Co-Authors: Dobbin E.
    Abstract:

    This dissertation examines the airs sérieux contained within the Recueils d’airs serieux et à boire de differents autheurs published by the Ballard Printing House in Paris between 1695 and 1699 inclusive. Inspired by the performer’s desire to uncover and to sing this previously neglected yet rich and diverse repertoire, the present study was equally propelled by the researcher’s instinct to investigate the vocal performance practice associated with it. Previous academic writings in this field showed that the airs sérieux of the type published in the Recueils were sung in a variety of fora, notably the seventeenth-century Parisian salon. The vocal practice associated with this sociable institution and its polite modes of conversation and interaction therefore represent the principal focus of this study. In its examination of the nuanced style of singing that was unique to these worldly gatherings, the present study seeks to unveil a politesse du chant. Alongside this focus, however, considerable attention is also accorded to the different modes of performance of this repertoire, and to an evaluation of the extent to which current conventions of French Baroque performance-practice are in harmony with, or divergent from, the historical vocal and aesthetic sources.

  • In search of a politesse du chant: Rediscovering salon vocal performance practice through the lens of the airs sérieux in the Recueils d'airs serieux et à boire de differents autheurs, 1695-1699
    2021
    Co-Authors: Dobbin E.
    Abstract:

    This dissertation examines the airs sérieux contained within the Recueils d’airs serieux et à boire de differents autheurs published by the Ballard Printing House in Paris between 1695 and 1699 inclusive. Inspired by the performer’s desire to uncover and to sing this previously neglected yet rich and diverse repertoire, the present study was equally propelled by the researcher’s instinct to investigate the vocal performance practice associated with it. Previous academic writings in this field showed that the airs sérieux of the type published in the Recueils were sung in a variety of fora, notably the seventeenth-century Parisian salon. The vocal practice associated with this sociable institution and its polite modes of conversation and interaction therefore represent the principal focus of this study. In its examination of the nuanced style of singing that was unique to these worldly gatherings, the present study seeks to unveil a politesse du chant. Alongside this focus, however, considerable attention is also accorded to the different modes of performance of this repertoire, and to an evaluation of the extent to which current conventions of French Baroque performance-practice are in harmony with, or divergent from, the historical vocal and aesthetic sources.Research in and through artistic practic

Koudelková Kateřina - One of the best experts on this subject based on the ideXlab platform.

  • Daniel Sluníčko. From the life of Prague typographers
    2008
    Co-Authors: Koudelková Kateřina
    Abstract:

    The topic of this diploma thesis is Daniel Sluníčko, From the Life of Prague Typographers. Its target is to show Sluníčko's life on the background of the 19th century. Up to now, no work about this person has been written, Daniel Sluníčko is known only as a director of Eduard Grégr's Printing-House. However, his life and activities were much more versatile. He was born in 1830 in Bohnice, a small village near Prague. During his apprenticeship as a typesetter in Prague he was a witness of the revolution in Prague in 1848 and he described it in his diary very well. After the revolution he went to Vienna and other towns of Austria monarchy to get some experience in his branch. It was very difficult in the beginning but after many ordeals, he was very successful. He worked in some Printing-works after coming back to Prague and finally he became a director of a newly established firm of Julius Grégr and František Šimáček. There were many problems with money in this company, Julius Grégr was arrested and František Šimáček got off the company. Eduard Grégr, Julius' brother, became a new owner. Both brothers were in the leadership of the company together but after some time they parted. Sluníčko was a factotum of technical activities in the Printing-House. During his directorship, he met many people out of the..

  • Daniel Sluníčko. From the life of Prague typographers
    Univerzita Karlova Filozofická fakulta, 2008
    Co-Authors: Koudelková Kateřina
    Abstract:

    The topic of this diploma thesis is Daniel Sluníčko, From the Life of Prague Typographers. Its target is to show Sluníčko's life on the background of the 19th century. Up to now, no work about this person has been written, Daniel Sluníčko is known only as a director of Eduard Grégr's Printing-House. However, his life and activities were much more versatile. He was born in 1830 in Bohnice, a small village near Prague. During his apprenticeship as a typesetter in Prague he was a witness of the revolution in Prague in 1848 and he described it in his diary very well. After the revolution he went to Vienna and other towns of Austria monarchy to get some experience in his branch. It was very difficult in the beginning but after many ordeals, he was very successful. He worked in some Printing-works after coming back to Prague and finally he became a director of a newly established firm of Julius Grégr and František Šimáček. There were many problems with money in this company, Julius Grégr was arrested and František Šimáček got off the company. Eduard Grégr, Julius' brother, became a new owner. Both brothers were in the leadership of the company together but after some time they parted. Sluníčko was a factotum of technical activities in the Printing-House. During his directorship, he met many people out of the...Název této diplomové práce je Daniel Sluníčko s podtitulem Ze života pražských typografů. Jejím cílem je na životě Daniela Sluníčka ukázat, jak žili pražští typografové v 19. století. Narodil se v roce 1830 v malé vesnici Bohnice u Prahy. Vyučil se sazečem a v průběhu studií byl svědkem revolučního roku 1848, jehož události si pečlivě zapsal do svého deníku. Po vyučení sbíral zkušenosti na vandru v mnoha zemích monarchie. Pobýval ve Vídni, Lublani nebo v Terstu a všude se mu podařilo prosadit se. Po návratu do Prahy pracoval na krátký čas v několika tiskárnách, až v roce 1862 nastoupil jako faktor do nové tiskárny J. Grégra a F. Šimáčka, zřízené pro tisk Národních listů. Tato firma se potýkala po dobu celé své existence s finančními problémy. F. Šimáček z firmy brzy odešel a Julius Grégr byl uvězněn. Tiskárny se tedy ujal Juliův bratr Eduard Grégr. Po Juliově propuštění z vězení se oba bratři stali společníky a podnik spravovali spolu. Po neshodách se ale jejich činnost rozdělila a D. Sluníčko se stal ředitelem tiskárny E. Grégra. V průběhu svého působení v tiskárně se Sluníčko setkal s intelektuální elitou té doby. Vedle toho byl Sluníčko aktivní také ve spolkových aktivitách pražských typografů. V době jeho návratu z vandru nebyl v Praze žádný spolek, který by typografy sdružoval v oblast vzdělání nebo...Institute of Czech HistoryÚstav českých dějinFilozofická fakultaFaculty of Art

Moine Florian - One of the best experts on this subject based on the ideXlab platform.

  • Casterman (1919-1999) : une entreprise du livre, entre Belgique et France
    HAL CCSD, 2020
    Co-Authors: Moine Florian
    Abstract:

    This monograph of Casterman publishing and Printing House draws the book business changes from aftermath of the Great War until globalization and editorial concentration that marked, in the end of 20th century, publishing in French language. Casterman is generally associated with the Hergé’s Aventures de Tintin publishing for which commercial and critical success overwrite a first historical analysis of one of the most important and old book company from French Community of Belgium. However, the wealth of Casterman's archives, kept now in the Belgian state archives of Tournai, allows for a global approach to the company and its editorial production. Our work portray an employer dynasty in books of remarkable longevity and sheds light on transformations of company‘s structure and productive apparatus as well as its territorial anchorage in Tournai, near the French border. In the same time, our thesis highlight the editorial catalogue inflections, from piety books release in interwar period to specialization in comic books. In 1919, the brothers Louis and Gérard Casterman arrival, representatives of fifth employer generation in the century-old family firm, matched for a new cycle of growth for the company. In 1925, contract obtainment to print the Belgian telephone directories provided a new dynamic for the Printing press, while the publishing House invested children's publishing market, notably by means of Hergé's albums. The colossal success of the Aventures de Tintin after albums colorization initiated in 1942 changed the gravity centre of the catalogue. Driven by Hergé’s success, Casterman became one of the primary French-speaking publishers for children during 1950-1970 years, while maintaining a significant religious-based production with moral education books and La Revue nouvelle. In this time, the company based its growth on development simultaneous and supplementary of its editorial structure on border both sides and of its Printing in Tournai. In 1978, while facing the collapse of denominational publishing and the need to renew its production, the publishing House made a singular shift leading to comic books non-conformist and intend for adults with publication of monthly (À Suivre). In last third of the twentieth century, the Casterman model of family publisher-printer was weakening by book economy changes in financial capitalism era, rapid technological changes in Printing press under effect of computerization and shareholding dilution, until sale of the publishing House to French group Flammarion in 1999.Cette monographie de la maison d’édition et d’imprimerie Casterman retrace les mutations d’une entreprise du livre depuis les lendemains de la Grande Guerre jusqu’aux processus de globalisation et de concentration éditoriale qui caractérisent l’édition francophone à la fin du XXe siècle. Casterman est généralement associée à la publication des Aventures de Tintin d’Hergé, dont le succès commercial et la postérité critique écrasent en première analyse l’histoire de l’une des plus anciennes et des plus importantes entreprises du livre de Belgique francophone. Or la richesse des archives de Casterman, conservées aux archives de l’État belge à Tournai, autorise une approche globalisante de l’entreprise et de sa production éditoriale. Notre travail dresse le portrait d’une dynastie patronale du livre à la longévité remarquable et éclaire les transformations de la structure et de l’appareil productif de l’entreprise ainsi que son ancrage territorial à Tournai, à proximité de la frontière française. Parallèlement, notre thèse met au jour les inflexions du catalogue éditorial, depuis l’édition de livres de piété dans l’entre-deux-guerres jusqu’à la spécialisation dans la bande dessinée. L’arrivée en 1919 des frères Louis et Gérard Casterman, représentants de la cinquième génération d’entrepreneurs de la firme familiale centenaire, correspond à un nouveau cycle de croissance pour l’entreprise. L’obtention en 1925 du contrat d’impression des annuaires téléphoniques belges offre une nouvelle dynamique à l’imprimerie quand la maison d’édition investit le marché de l’édition enfantine en publiant notamment les albums d’Hergé. Le succès colossal des Aventures de Tintin après la mise en couleurs des albums initiée en 1942 change le centre de gravité du catalogue. Porté par le succès d’Hergé, Casterman devient l’un des principaux éditeurs francophones de l’enfance durant les Trente Glorieuses tout en conservant une importante production confessionnelle centrée autour de livres d’éducation morale et de La Revue nouvelle. À cette époque, l’entreprise fonde sa croissance sur le développement parallèle et complémentaire de sa structure éditoriale des deux côtés de la frontière et de son imprimerie à Tournai. Confrontée à l’effondrement de l’édition confessionnelle et à la nécessité de renouveler sa production, la maison d’édition réalise en 1978 un virage singulier en direction d’une bande dessinée non-conformiste destinée aux adultes avec la publication du mensuel (À Suivre). Les transformations de l’économie du livre à l’heure du capitalisme financier, les mutations technologiques rapides de l’imprimerie sous l’effet de l’informatisation et la dilution de l’actionnariat fragilisent dans le dernier tiers du XXe siècle affaiblissent le modèle de l’éditeur-imprimeur familial de Casterman jusqu’à la vente de la maison d’édition au groupe français Flammarion en 1999

  • Casterman (1919-1999) : a book company between France and Belgium
    2020
    Co-Authors: Moine Florian
    Abstract:

    Cette monographie de la maison d’édition et d’imprimerie Casterman retrace les mutations d’une entreprise du livre depuis les lendemains de la Grande Guerre jusqu’aux processus de globalisation et de concentration éditoriale qui caractérisent l’édition francophone à la fin du XXe siècle. Casterman est généralement associée à la publication des Aventures de Tintin d’Hergé, dont le succès commercial et la postérité critique écrasent en première analyse l’histoire de l’une des plus anciennes et des plus importantes entreprises du livre de Belgique francophone. Or la richesse des archives de Casterman, conservées aux archives de l’État belge à Tournai, autorise une approche globalisante de l’entreprise et de sa production éditoriale. Notre travail dresse le portrait d’une dynastie patronale du livre à la longévité remarquable et éclaire les transformations de la structure et de l’appareil productif de l’entreprise ainsi que son ancrage territorial à Tournai, à proximité de la frontière française. Parallèlement, notre thèse met au jour les inflexions du catalogue éditorial, depuis l’édition de livres de piété dans l’entre-deux-guerres jusqu’à la spécialisation dans la bande dessinée. L’arrivée en 1919 des frères Louis et Gérard Casterman, représentants de la cinquième génération d’entrepreneurs de la firme familiale centenaire, correspond à un nouveau cycle de croissance pour l’entreprise. L’obtention en 1925 du contrat d’impression des annuaires téléphoniques belges offre une nouvelle dynamique à l’imprimerie quand la maison d’édition investit le marché de l’édition enfantine en publiant notamment les albums d’Hergé. Le succès colossal des Aventures de Tintin après la mise en couleurs des albums initiée en 1942 change le centre de gravité du catalogue. Porté par le succès d’Hergé, Casterman devient l’un des principaux éditeurs francophones de l’enfance durant les Trente Glorieuses tout en conservant une importante production confessionnelle centrée autour de livres d’éducation morale et de La Revue nouvelle. À cette époque, l’entreprise fonde sa croissance sur le développement parallèle et complémentaire de sa structure éditoriale des deux côtés de la frontière et de son imprimerie à Tournai. Confrontée à l’effondrement de l’édition confessionnelle et à la nécessité de renouveler sa production, la maison d’édition réalise en 1978 un virage singulier en direction d’une bande dessinée non-conformiste destinée aux adultes avec la publication du mensuel (À Suivre). Les transformations de l’économie du livre à l’heure du capitalisme financier, les mutations technologiques rapides de l’imprimerie sous l’effet de l’informatisation et la dilution de l’actionnariat fragilisent dans le dernier tiers du XXe siècle affaiblissent le modèle de l’éditeur-imprimeur familial de Casterman jusqu’à la vente de la maison d’édition au groupe français Flammarion en 1999.This monograph of Casterman publishing and Printing House draws the book business changes from aftermath of the Great War until globalization and editorial concentration that marked, in the end of 20th century, publishing in French language. Casterman is generally associated with the Hergé’s Aventures de Tintin publishing for which commercial and critical success overwrite a first historical analysis of one of the most important and old book company from French Community of Belgium. However, the wealth of Casterman's archives, kept now in the Belgian state archives of Tournai, allows for a global approach to the company and its editorial production. Our work portray an employer dynasty in books of remarkable longevity and sheds light on transformations of company‘s structure and productive apparatus as well as its territorial anchorage in Tournai, near the French border. In the same time, our thesis highlight the editorial catalogue inflections, from piety books release in interwar period to specialization in comic books. In 1919, the brothers Louis and Gérard Casterman arrival, representatives of fifth employer generation in the century-old family firm, matched for a new cycle of growth for the company. In 1925, contract obtainment to print the Belgian telephone directories provided a new dynamic for the Printing press, while the publishing House invested children's publishing market, notably by means of Hergé's albums. The colossal success of the Aventures de Tintin after albums colorization initiated in 1942 changed the gravity centre of the catalogue. Driven by Hergé’s success, Casterman became one of the primary French-speaking publishers for children during 1950-1970 years, while maintaining a significant religious-based production with moral education books and La Revue nouvelle. In this time, the company based its growth on development simultaneous and supplementary of its editorial structure on border both sides and of its Printing in Tournai. In 1978, while facing the collapse of denominational publishing and the need to renew its production, the publishing House made a singular shift leading to comic books non-conformist and intend for adults with publication of monthly (À Suivre). In last third of the twentieth century, the Casterman model of family publisher-printer was weakening by book economy changes in financial capitalism era, rapid technological changes in Printing press under effect of computerization and shareholding dilution, until sale of the publishing House to French group Flammarion in 1999

Kažuro Ina - One of the best experts on this subject based on the ideXlab platform.

  • XVIII a. antrosios pusės Vilniaus spaustuvininkų ornamentai kaip knygos istorijos šaltinis
    'Vilnius University Press', 2020
    Co-Authors: Kažuro Ina
    Abstract:

    This article focuses on the 18th century printers’ ornaments as an important group of sources of the history of the book. Until now, most studies in Lithuanian had focused on the decorations of books from the 16th– 17th centuries as well as contemporary publications. The present study through several perspectives analyzes the ornaments of the institutional Printing Houses of Vilnius from the second half of the 18th c. The importance of the chosen topic is substantiated not only with the scarcity of studies but also with the issues associated with the attribution of anonymous publications that had been disseminated during the hand-press period. The study’s sources were images of ornaments in the early printed books as well as European printers’ manuals and inventories of Vilnius Printing Houses from the period of 18th–early 19th c. The first part of the study has found that in the late 18th c., the Vilnius printers had used printers’ flowers (ornamental pieces of type) and six kinds of decorative blocks, which were carved in wood or metal (i.e., headpieces, tailpieces, vignettes, initials, factotums, and decorations of initial letters). Despite the clear function of these blocks, Vilnius printers freely experimented by placing them in unorthodox places within the books. In the second part of this study, based on a comparison of the printers’ ornaments, the ways of interaction between the Vilnius Printing Houses are disclosed and interpreted: ornament inheritance, division of labor, the renewal of publications in another Printing House, and the falsification of publications. Also, the article discusses cases of ornaments migrating and being copied, which complicates the attribution of anonymous publications. Despite the exploratory nature of the study, it reveals new facts from the operations of 18th c. Vilnius Printing Houses and allows us to perceive some peculiarities of late GDL culture.Straipsnis skiriamas XVIII a. spaustuvininkų ornamentams kaip vienai iš svarbių knygos istorijos šaltinių grupių. Iki šiol Lietuvoje daugiausia tyrinėti XVI–XVII a. ir šiuolaikinės knygos teksto papuošimai. Dabartiniame tyrime pasirinkta keliais pjūviais išanalizuoti XVIII a. antrosios pusės Vilniaus institucinių spaustuvių ornamentus. Pasirinktos temos aktualumas pagrindžiamas ne tik XVIII a. ornamentų tyrimų trūkumu, bet ir problemomis, susijusiomis su anoniminių leidinių, plitusių rankinės spaudos epochoje, atribucija. Tyrimo šaltiniu tapo ornamentų atspaudai senosiose knygose ir XVIII–XIX a. pradžios Europos spaustuvininkų vadovai bei Vilniaus spaustuvių inventoriai. Pirmoje tyrimo dalyje nustatyta, kad XVIII a. antrojoje pusėje Vilniaus spaustuvininkai knygai papuošti naudojo smulkų lietą ornamentą ir šešių rūšių dekoratyvines plokšteles, raižytas medyje arba metale (t. y. atsklandas, užsklandas, vinjetes, inicialus, faktotumus ir inicialinės raidės papuošimus). Nepaisant aiškios plokštelių rūšių funkcijos, Vilniaus spaustuvininkai laisvai eksperimentavo, perkeldami jas į netradicinę vietą knygoje. Antroje tyrimo dalyje, remiantis spaustuvininkų ornamentų palyginimu, atskleidžiami ir interpretuojami Vilniaus spaustuvių sąveikos būdai: ornamentų paveldėjimas, darbo padalijimas, leidinių atnaujinimas kitoje spaustuvėje, leidinių suklastojimas. Taip pat aptariami ornamentų migravimo ir kopijavimo atvejai, apsunkinantys anoniminių leidinių atribuciją. Nepaisant žvalgomojo pobūdžio, atliktas tyrimas leido atskleisti naujų XVIII a. Vilniaus spaustuvių veiklos faktų ir apčiuopti kai kuriuos vėlyvosios LDK kultūros savitumus

  • Vilnius printers’ ornaments in the second half of the eighteenth century as a source of the history of the books
    'Vilnius University Press', 2020
    Co-Authors: Kažuro Ina
    Abstract:

    This article focuses on the 18th century printers’ ornaments as an important group of sources of the history of the book. Until now, most studies in Lithuanian had focused on the decorations of books from the 16th– 17th centuries as well as contemporary publications. The present study through several perspectives analyzes the ornaments of the institutional Printing Houses of Vilnius from the second half of the 18th c. The importance of the chosen topic is substantiated not only with the scarcity of studies but also with the issues associated with the attribution of anonymous publications that had been disseminated during the hand-press period. The study’s sources were images of ornaments in the early printed books as well as European printers’ manuals and inventories of Vilnius Printing Houses from the period of 18th–early 19th c. The first part of the study has found that in the late 18th c., the Vilnius printers had used printers’ flowers (ornamental pieces of type) and six kinds of decorative blocks, which were carved in wood or metal (i.e., headpieces, tailpieces, vignettes, initials, factotums, and decorations of initial letters). Despite the clear function of these blocks, Vilnius printers freely experimented by placing them in unorthodox places within the books. In the second part of this study, based on a comparison of the printers’ ornaments, the ways of interaction between the Vilnius Printing Houses are disclosed and interpreted: ornament inheritance, division of labor, the renewal of publications in another Printing House, and the falsification of publications. Also, the article discusses cases of ornaments migrating and being copied, which complicates the attribution of anonymous publications. Despite the exploratory nature of the study, it reveals new facts from the operations of 18th c. Vilnius Printing Houses and allows us to perceive some peculiarities of late GDL culture

  • Privileges accorded to the Printing Houses in the Grand Duchy of Lithuania
    'Vilnius University Press', 2017
    Co-Authors: Kažuro Ina
    Abstract:

    The article aims to shed light on the privileges accorded by the rulers of the Grand Duchy of Lithuania (hereinafter referred to as GDL) as a legal means of printed press regulation. It should be noted that so far, the research has mostly been focused on the privileges granted to the Printing Houses of the Mamoniciai and Vilnius academies. The current research, based on various studies about the privileges granted to other Printing Houses and new historical sources, attempts to provide a comprehensive analysis of the privilege phenomenon in its entirety, by examining the dynamics of granting privileges, privilege providers and recipients, types of privileges, sanctions imposed and the languages in which Printing was allowed. It has been established that during the period of 1569–1793, the 37 privileges by rulers were granted to GDL Printing Houses. In the second half of the 16th century, the GDL rulers accorded 6 privileges, in the 17th century – 8, and in the 18th century – 22 privileges, respectively. The greatest number of the privileges was granted during the reign of Augustus III (the period of 1734–1763) and Stanislaw II Augustus (the period of 1764–1795). During the 29 years of holding the throne, Augustus III granted 10 privileges to the GDL Printing Houses. Stanislaw II Augustus reigned the GDL for 31 years, during which he issued 7 privileges. Among the GDL rulers were also the individuals who failed to grant a single privilege to the existing Printing Houses. They were John II Casimir Vasa (1648–1668), whose reign coincided with the wars waged against Moscow and Sweden and Stanisław I Leszczyński (1704–1709, 1733–1734). [...]The analysis of thirteen privileges granted to the GDL Printing Houses revealed that they included penalties foreseen for violating publishing rights. The greatest sanction ever in the history of GDL Printing – 5000 florins (Italian coins)– was in 1588 imposed on the GDL nobleman Kazimierz Leon Sapieha for violating the privilege to publish the Lithuanian Statute. In the history of GDL Printing, one case should be particularly highlighted, namely, when a large fine was imposed not for illegal reproduction but for resisting the failing to comply with the purpose of the privilege – to establish a Printing House. More specifically, the 1701 privilege granted by Augustus II foresaw a fine of 1000 kapa (medieval unit of measurement used in the 15–18th century GDL) imposed on anybody for hindering the Mogilev Orthodox brotherhood in their attempt to establish a Printing House. The privileges accorded by GDL rulers gave permission to publish books not only in the official literary languages – Polish and Latin – but also in the languages of ethnoconfessional communities such as Ruthenian, Lithuanian and Jewish. Even though in principle, the privileges granted by GDL rulers did reflect benevolence for Printing books in the languages of other GL confessions and cultures, the monopoly of the Vilnius Jesuit Academy hindered the development of other Printing Houses

Strčić Petar - One of the best experts on this subject based on the ideXlab platform.

  • CROATIA AT THE TIME OF ŠIMUN KOŽIČIĆ BENJA WITH SPECIAL EMPHASIS ON RIJEKA AT THAT TIME
    Department for Croatian studies Faculty of Philosophy University of Rijeka, 2012
    Co-Authors: Strčić Petar
    Abstract:

    Modruški biskup i upravitelj Senjske biskupije, diplomat, književnik, glagoljaš, latinist, prevoditelj i tiskar Šimun Kožičić Benja (Zadar, oko 1460.-1536.) plodno je djelovao u okviru Katoličke crkve i izvan nje u teškome nevremenu za Hrvatsku. Tada je Hrvatska bila podijeljena između Mletačke Republike, Ugarsko-Hrvatske, Habsburške Monarhije i Osmanlijskoga Carstva, a jedino grad Dubrovnik donekle uspijeva sačuvati nešto samostalniji upravni status. Razdoblje je osobito opterećeno teškim nepogodama u vezi s neočekivanim osvajačima s istoka, silovitim Osmanlijama. Tako u 15. st. primorski knez Martin Frankopan sudjeluje u borbi s njima čak na Kosovu, no, propada i Bosansko Kraljevstvo, a odjednom je stradalo nekoliko tisuća ljudi i u Hrvatskoj, u boju na Krbavskome polju 1493. godine. Istočnjaci presudno utječu i na propast Hrvatsko-Ugarskoga Kraljevstva, a time na uključivanje dijelova Hrvatske u Habsburšku Monarhiju. Traju i feudalne borbe. Osvajači (poznati i u Hrvatskoj kao Turci) prodiru i na istočni dio hrvatske obale Jadrana, pa tako i na njegov Zapad, u Kvarnersko primorje i Istru. Napadaju senjsko i vinodolsko područje knezova Frankopana, pa i neposredno zaleđe Rijeke (npr. važno prometno i trgovačko središte Klanu razaraju). Rijeka se tada protezala uz desnu stranu utoka potoka Rječine u Riječki zaljev. Nalazi se na prostoru koji se i danas zove Stari grad, dok je Korzo bio obala. Na istočnoj strani Rječine, samo na brdu, živi antički kaštel Trsat, do tada frankopanski, s Bogorodičinim hramom i franjevcima, te omanje naselje. To je i doba raspadanja obitelji Frankopana, jedne od najmoćnijih u južnoj Europi – Mlečići im otimaju matični o. Krk, a Osmanlije niz kopnenih posjeda, pa tako i Modruš, kaštel-grad i sjedište biskupije. No, tadašnja habsburška Rijeka uspijeva se održati kao važan trgovačko-pomorski grad, i dalje s apsolutnom hrvatskom većinom puka, te i s pripadnicima talijanskoga i drugoga etnosa. Tome je pripomogao, npr., i njezin upravitelj Nikola Jurišić, susjedni senjski kapetan, znameniti borac protiv Turaka i u Mađarskoj (Kiseg!). Rijeka 1530. dobiva statut. Tako se moglo dogoditi da biskup Kožičić, u izbjeglištvu, upravo u takvome gradu odluči živjeti i osnovati prvu hrvatsku tiskaru, iako nadležni puljski biskup forsira i u Rijeci samo latinski jezik. No, hrvatski karakter grada bio je tolik da je puk mogao čvrsto čuvati i njegovati svoj čakavski jezik, te staroslavensku/starohrvatsku Službu Božju i glagoljanje. Štoviše, Kožičić uz pomoć Talijana s Apeninskoga poluotoka 1530. i 1531. tiska knjige na prvome hrvatskom jeziku čakavštini i na prvome hrvatskom pismu glagoljici. No, nepogode na hrvatskim prostorima, tako i u vezi s Rijekom, traju i dalje, pa se pred kraj životnoga puta Kožičić vraća u svoj sigurniji rodni i obiteljski Zadar, u južni dio Hrvatske, u Dalmaciju.The bishop of Modruš and the head of the Senj diocese, a diplomat, a writer, a Glagolitic author, a Latinist, a translator and a printer Šimun Kožičić Benja (Zadar, around 1460-1536) was a prolific author under the wing of the Catholic church, and outside it, at this difficult period in history for Croatia. At that time, Croatia was divided between the Republic of Venice, Hungary-Croatia, the Habsburg Monarchy and the Ottoman Empire and only the city of Dubrovnik managed to retain a certain level of independence. The period was particularly burdened by a serious plight – the unexpected conquerors from the East, the fierce Ottomans. The easterners were a deciding factor in the downfall of the Croatian-Hungarian Kingdom, and therefore in the inclusion of Croatia into the Habsburg Monarchy. Feudal strifes were also fully blown. The conquerors (also known as Turks in Croatia) penetrated the eastern part of the Croatian coast, as well as its western part – the Kvarner Bay and Istria. They attacked the Senj and Vinodol area that belonged to the Princes Frankopans and the hinterland of Rijeka (for example, an important traffic and commercial centre Klana was destroyed). At the time, Rijeka was situated on the right bank of the Rječina river at the area where it flows into the Rijeka Bay. This is the area that is still known as the Old Town, and the area that is now Korzo was the waterfront. On the east bank of Rječina, the old castle Trsat, which until that period belonged to the Frankopans, with a shrine to the Virgin Mary and a small settlement, all situated on a hill, were the only populated areas. This was also the time when one of the most powerful families in southern Europe, the Frankopans, started to fall apart. However, the then Habsburg Rijeka managed to retain its position of an important commercial port in which the great majority of population was Croatian, but where Italians and people of other nationalities also lived. In 1530 Rijeka got its statute. This is how it came that the Bishop Kožičić, in exile, decided to live and start the first Croatian Printing House in this town. However, the Bishop of Pula under whose rule Rijeka was, forced the Latin language in Rijeka. However, the Croatian character of the town was so strong that the people were able to keep and nurture their Čakavian language and the Old Church Slavonic/Old Croatian mass and the Glagolitic script. Furthermore, with the help of Italians from the Apennine Peninsula, Kožičić printed books in Croatian Čakavian, in the first Croatian Glagolitic script in 1530 and 1531. However, the plights in Croatia, and in Rijeka, continued and towards the end of his life Kožičić returned to his hometown Zadar in the southern part of Croatia, Dalmatia, which was safer at that time