Aus unseren Neuerwerbungen – Sprachen und Kulturen Asiens, Afrikas und Ozeaniens 2023.8

The Chi­nese Type­writer: A His­to­ry
BuchcoverHow Chi­nese char­ac­ters tri­umphed over the QWERTY key­board and laid the foun­da­tion for China’s infor­ma­tion tech­nol­o­gy suc­cess­es today.
Chi­nese writ­ing is char­ac­ter based, the one major world script that is nei­ther alpha­bet­ic nor syl­lab­ic. Through the years, the Chi­nese writ­ten lan­guage encoun­tered pre­sumed alpha­bet­ic uni­ver­sal­ism in the form of Morse Code, Braille, stenog­ra­phy, Lino­type, punch cards, word pro­cess­ing, and oth­er sys­tems devel­oped with the Latin alpha­bet in mind. This book is about those encounters—in par­tic­u­lar thou­sands of Chi­nese char­ac­ters ver­sus the type­writer and its QWERTY key­board. Thomas Mul­laney describes a fas­ci­nat­ing series of exper­i­ments, pro­to­types, fail­ures, and suc­cess­es in the cen­tu­ry-long quest for a work­able Chi­nese type­writer.
The ear­li­est Chi­nese type­writ­ers, Mul­laney tells us, were fig­ments of pop­u­lar imag­i­na­tion, sen­sa­tion­al accounts of twelve-foot key­boards with 5,000 keys. One of the first Chi­nese type­writ­ers actu­al­ly con­struct­ed was invent­ed by a Chris­t­ian mis­sion­ary, who orga­nized char­ac­ters by com­mon usage (but pro­mot­ed the less-com­mon char­ac­ters for “Jesus“ to the com­mon usage lev­el). Lat­er came type­writ­ers man­u­fac­tured for use in Chi­nese offices, and type­writ­ing schools that turned out trained “type­writer girls” and “type­writer boys.” Still lat­er was the “Dou­ble Pigeon” type­writer pro­duced by the Shang­hai Cal­cu­la­tor and Type­writer Fac­to­ry, the type­writer of choice under Mao. Clerks and sec­re­taries in this era exper­i­ment­ed with alter­na­tive ways of orga­niz­ing char­ac­ters on their tray beds, invent­ing an input method that was the first instance of “pre­dic­tive text.”
Today, after more than a cen­tu­ry of resis­tance against the alpha­bet­ic, not only have Chi­nese char­ac­ters pre­vailed, they form the lin­guis­tic sub­strate of the vibrant world of Chi­nese infor­ma­tion tech­nol­o­gy. The Chi­nese Type­writer, not just an “object his­to­ry” but grap­pling with broad ques­tions of tech­no­log­i­cal change and glob­al com­mu­ni­ca­tion, shows how this hap­pened.
zum Buch im Kat­a­log­Plus
zum Buch auf der Ver­lags-Web­site

The object of Jew­ish lit­er­a­ture: a mate­r­i­al his­to­ry
BuchcoverA his­to­ry of mod­ern Jew­ish lit­er­a­ture that explores our endur­ing attach­ment to the book as an object.
With the rise of dig­i­tal media, the „death of the book” has been wide­ly dis­cussed. But the phys­i­cal object of the book per­sists. Here, through the lens of mate­ri­al­i­ty and objects, Bar­bara E. Mann tells a his­to­ry of mod­ern Jew­ish lit­er­a­ture, from nov­els and poet­ry to graph­ic nov­els and artists’ books. Bring­ing con­tem­po­rary work on sec­u­lar­ism and design in con­ver­sa­tion with lit­er­ary his­to­ry, she offers a new and dis­tinc­tive frame for under­stand­ing how lit­er­ary gen­res emerge.
The long twen­ti­eth cen­tu­ry, a peri­od of tremen­dous phys­i­cal upheaval and geo­graph­ic move­ment, wit­nessed the pro­duc­tion of a mul­ti­lin­gual canon of writ­ing by Jew­ish authors. Literature’s object­hood is felt not only in the phys­i­cal qual­i­ties of books—bindings, cov­ers, typog­ra­phy, illustrations—but also through the ways in which mate­ri­al­i­ty itself became a prac­ti­cal foun­da­tion for lit­er­ary expres­sion.
zum Buch im Kat­a­log­Plus
zum Buch auf der Ver­lags-Web­site

Weit­ere Titel kön­nen Sie in unseren Neuer­wer­bungslis­ten für die Sprachen und Kul­turen Asiens, Afrikas und Ozeaniens ent­deck­en!

Schreibe einen Kommentar

Pflichtfelder sind mit * markiert.