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Thesis (M.A.)--Ohio State University, 1984. / Includes bibliographical references (leaves 111-116). Available online via OhioLINK's ETD Center

The printing press was introduced to Puebla, Mexico, in the middle of the 17th century. Juan de Borja y Gandía and his wife Inés Vásquez Infante, Spanish immigrants from Cadiz, Spain established a printing press and book selling business in the portals of the Puebla Cathedral. She continued his entrepreneurial duties following his death in 1656. The majority of her publications pertained to sermons for funerals and festive occasions. In 1675 she printed a sermon written by a priest, Joseph Días Chamorro, to celebrate the Virgin Mary's Immaculate Conception. Cushing Memorial Library and Archives at Texas A & M University houses one of the rare copies available in North America. The book, Sermón qve predicò el Bachiller Joseph Días Chamorro Clérigo Presbítero Domiciliario de eſte Obiſpado de la Puebla de los Ángeles en la solemne fieſta de la puríſſima concepción de la sanctíſſima Uirgen María Nueſtra Señora que celebraron los mercaderes de eſta ciudad en el Convento de Carmelitas Deſcalças a onçe de Diziembre del año de mil y ſeiſcientos y ſesenta y cinco, dedicado a la Immaculada Concepción de la Sanctíſsima Virgen María Madre de Dios, has not previously been edited or studied. The sermon received inquisitional approval on February 24, 1675, and licensing four days later. The probable date of oral delivery was December 11, 1675. The sermon features seven woodcut engravings and several decorated borders. The text was printed mostly in Spanish with occasional Latin in citations. The Cushing exemplar's appearance has been marred by an unknown liquid, but it does not detract from the beautifully displayed text. Section 1 introduces the exemplar and the sermon genre in New Spain. Section 2 studies the author, Joseph Días Chamorro, and Section 3 focuses on the Borja family of printers. In Section 4 appear studies of the sermon, the exemplar, a transcription, and text notes. The conclusions appear in Section 5, followed by the references. The thesis examines the sermon from historical, cultural, economic, social, religious, and philosophical aspects of 17th century Puebla and contextualizes its first woman printer.

In 1932 Beatrice Warde delivered to the British Society of Typographic Designers what has since become one of the most recognizable statements about the design of books: The Crystal Goblet, or Printing Should Be Invisible. In it, Warde defines good typography as a crystal goblet, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. Her address argues that the true art of designers is the creation of transparent interfaces which allow readers to imbibe deeply of the intellect captured within the pages of the book without external distractions.<p> Wardes Crystal Goblet is fundamentally contradictory. Typographers must strive to make themselves and their work invisible so that only the voice of the absent author speaks through the text; but there is no voice, only words on page produced through a great deal of human labour at a specific moment in history. But, Warde did not create her metaphor; she adopted existing imagery from the Western tradition. Nor was she the first typographer to do so. The writings and work of those involved with the creation of books has, since before the invention of the printing press, revolved around attempts to create perfect communicative interfaces books which allow the reader an unobscured view into the mind of the author. The resultant page is that with which we are most familiar: a block of black Roman-style text on a white or off-white page with blank margins.<p> This study tracks the rise and influence of the crystal goblet motif, the dream of perfect readability, in the discourse of those directly involved with the creation of books: scribes, printers, type-cutters and typographers. It postulates transparency, or perfect readability, to be the primary motive underlying the actions of those making books, but does not assume all printers in all times have been motivated by the same forces or to the same extent. Rather, it traces the thread of transparency through many incarnations and examines the social and political factors underlying each permutation and how new elements are introduced into the discourse without completely erasing all traces of the old.<p> Chapter One studies the Italian Renaissance and how the writing style of a small group of humanist scholars comes to dominate the printed book of the sixteenth century. Chapter Two begins with an examination of the perceived decline in typographic practice in the seventeenth century and the subsequent emergence of both writings about typography and of a new style of Roman typeface: the Modern. Chapter Three deals with similar events in the nineteenth-century first there is a perceived decline in and then a revival of printing standards. Chapter Four discusses the reconciliation of machine- production and traditional practices in the early to mid-twentieth century and the unsuccessful challenge to traditional typography posed by the Bauhaus and other Modernist schools of design.

In 1932 Beatrice Warde delivered to the British Society of Typographic Designers what has since become one of the most recognizable statements about the design of books: The Crystal Goblet, or Printing Should Be Invisible. In it, Warde defines good typography as a crystal goblet, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. Her address argues that the true art of designers is the creation of transparent interfaces which allow readers to imbibe deeply of the intellect captured within the pages of the book without external distractions.<p> Wardes Crystal Goblet is fundamentally contradictory. Typographers must strive to make themselves and their work invisible so that only the voice of the absent author speaks through the text; but there is no voice, only words on page produced through a great deal of human labour at a specific moment in history. But, Warde did not create her metaphor; she adopted existing imagery from the Western tradition. Nor was she the first typographer to do so. The writings and work of those involved with the creation of books has, since before the invention of the printing press, revolved around attempts to create perfect communicative interfaces books which allow the reader an unobscured view into the mind of the author. The resultant page is that with which we are most familiar: a block of black Roman-style text on a white or off-white page with blank margins.<p> This study tracks the rise and influence of the crystal goblet motif, the dream of perfect readability, in the discourse of those directly involved with the creation of books: scribes, printers, type-cutters and typographers. It postulates transparency, or perfect readability, to be the primary motive underlying the actions of those making books, but does not assume all printers in all times have been motivated by the same forces or to the same extent. Rather, it traces the thread of transparency through many incarnations and examines the social and political factors underlying each permutation and how new elements are introduced into the discourse without completely erasing all traces of the old.<p> Chapter One studies the Italian Renaissance and how the writing style of a small group of humanist scholars comes to dominate the printed book of the sixteenth century. Chapter Two begins with an examination of the perceived decline in typographic practice in the seventeenth century and the subsequent emergence of both writings about typography and of a new style of Roman typeface: the Modern. Chapter Three deals with similar events in the nineteenth-century first there is a perceived decline in and then a revival of printing standards. Chapter Four discusses the reconciliation of machine- production and traditional practices in the early to mid-twentieth century and the unsuccessful challenge to traditional typography posed by the Bauhaus and other Modernist schools of design.

In diesem Vortrag werden die Konfigurationswerkzeuge des Common Unix Printing Systems (CUPS) beispielhaft erläutert. Außerdem wird die Konfiguration von CUPS anhand der Konfigurationsdateien beschrieben. Die Progranmmierung von CUPS wird anhand der Programmiersprache C gezeigt.

Thesis (M.S.)--Rochester Institute of Technology, 2002. / Typescript. Accompanying CDROM contains the prototype of AMG web-based database and electronic copy of the thesis. Includes bibliographical references.

Thesis (M.A.)--University of Chicago, 1921.

Thesis (M.S.)--Rochester Institute of Technology, 2009. / Typescript. Includes bibliographical references (p. 76-78).

Thesis (Ph. D.)--York University, 1999. Graduate Programme in English. / Typescript. Includes bibliographical references (leaves 357-372). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ56226.