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Production, Distribution and Consumption
by Caroline Archer-Parré (Edited), Christine Moog (Edited), John Hinks (Edited) ©2022, Edited Collection, 12, 284 Pages History & Political ScienceSeries: Printing History and Culture, Volume 3
Women in Print is a collection of essays in two related volumes which considers the diversity of roles occupied by women in the design, authorship, production, distribution and consumption of printed material from the fifteenth century onwards.
The contributions included in Women in Print 2 cover the whole of the «letterpress era» in Europe from the early fifteenth century to the mid-twentieth century. The essays address three themes: the role of women in the production of print; in its distribution; in addition to some neglected areas of women’s consumption of print.
To a greater extent the participation of women in the production and distribution of print has been written by the men who dominated the trade. Women in Print 2 explores the often-overlooked contribution to the business aspects of the printing and publishing industries, particularly female involvement in roles that were customarily seen as male preserves. This collection of essays brings together insights from multiple perspectives, seeking to recover the unheard voices and hitherto unnoticed activities of the many women who participated in the production, distribution and consumption of the printed word and image.
Contents: Christine Moog: Women, Printing and Prosecution – Joseph Saunders: Female Agency in the Social Network of the Early Modern English Print Trade, c.1623–41 – Hannah Jeans: «Her Book»: Identity and Femininity in Women’s Manuscript Interventions in Print – Kandice Sharren and Kate Moffatt: From Print to Process: Gender, Creative-Adjacent Labour and the Women’s Print History Project – Michelle Levy: John Murray’s Principal Women of Letters – Rose Roberto: Working Women: Female Contributors to Chambers’s Encyclopaedia – Zsuzsa Török: Hungarian Women in Scottish Print: Stephanie Wohl’s Occasional Correspondence in The Scotsman – Helen S. Williams: «Dangerous Intruders»: Women Compositors and Nineteenth-Century Print Trade Unionists – the Case of Perth – Özlem Özkal and Ömer Durmaz: Ottoman Women’s Print Network and Their Creative Contribution to Print Culture in Turkey – Nicola Wilson and Helen Southworth: Early Women Workers at the Hogarth Press (c.1917–25) – Jess Baines: «Second Wave» Feminist Printers in Britain.
Caroline Archer-Parré is Professor of Typography, Co-director of the Centre for Printing History and Culture at Birmingham City University, and Chairman of the Baskerville Society. With an interest in typographic history from the eighteenth to twentieth centuries, Caroline has published widely. She is the author of three books, contributes to numerous journals and writes regularly for the trade and academic press.
Christine Moog is a book designer specializing in monographs and catalogues on art and architecture. She received an MFA in graphic design from Yale University and an MA in art history from the University of Toronto. She is a professor at Parsons School of Design and has previously taught at Yale University, School of Visual Arts, the City College of New York, and Ontario University of Art and Design.
John Hinks is Chair of the National Printing Heritage Committee, Co-ordinator of the History of the Printed Image Network (HoPIN), and a member of the Print Networks conference committee. He chaired the Printing Historical Society from 2010 to 2019. He is the Deputy Editor and Reviews Editor of Publishing History and a series editor of the «Printing History and Culture» series of essay collections and monographs, published by Peter Lang. In addition to being Visiting Reader in Printing History & Culture, BCU, he is also an Honorary Research Fellow at the Centre for West Midlands History, University of Birmingham.
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