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===Printed ephemera=== [[File:Young Temperance Volunteer's diploma.jpg|thumb|The temperance movement generated a vast amount of ephemera]] Commonly, printed ephemera is seen to not exceed "more than thirty-two pages in length", although some understandings are more broadly encompassing.<ref name=":1">{{Cite journal|last=Jung|first=Sandro|date=2020|title=Literary Ephemera: Understanding the Media of Literacy and Culture Formation|journal=Eighteenth-Century Life|volume=44|issue=2|pages=1β16|doi=10.1215/00982601-8218580 |s2cid=226064356 |issn=1086-3192|doi-access=free}}</ref><ref>{{Cite journal|last1=Cocks|first1=Harry G.|last2=Rubery|first2=Matthew|date=2012|title=Introduction|url=https://doi.org/10.1080/13688804.2011.634650|journal=Media History|volume=18|issue=1|pages=1β5|doi=10.1080/13688804.2011.634650|s2cid=220378257 |issn=1368-8804}}</ref>{{sfn|Russell|2020|p=3}}{{efn|A qualifier from the National Library of Australia, devised in 1992, virtually excluded material of more than five pages.<ref name=":18" />}} Ephemera is chiefly observed as single page materials, with variance and repeat characteristics.<ref name=":28" /><ref name=":22">{{Cite book|last=Harris|first=Michael|url=https://www.worldcat.org/oclc/502389441|title=The Oxford companion to the book|date=2010|publisher=Oxford University Press|isbn=978-0-19-957014-0|editor-last=Suarez|editor-first=Michael F.|chapter=Printed Ephemera|oclc=502389441|editor2-last=Woudhuysen|editor2-first=H.R.|chapter-url=https://www.oxfordreference.com/view/10.1093/acref/9780198606536.001.0001/acref-9780198606536-e-0014?rskey=K7zf5P&result=3821}}</ref> The material usage of printed ephemera is very often minimal and much are without art, although a distinct design lexicon can be found in pieces.<ref name=":122"/><ref name=":16">{{Citation|last1=Lambert|first1=Julie Anne|title=Ephemera, printed|date=2003|url=http://dx.doi.org/10.1093/gao/9781884446054.article.t026405|work=[[Oxford Art Online]]|access-date=2021-11-28|last2=Rickards|first2=Maurice|doi=10.1093/gao/9781884446054.article.t026405 |url-access=subscription}}</ref> Early ephemera, functionally monochromatic and predominantly textual, indicates a greater access to printing from common people and later cheap photography.{{sfn|Suarez|Turner|2010|p=66β67}}{{Sfn|MacKenzie|1984|p=21}}{{Sfn|Eliot|Rose|2019|pp=635β636}} 17th century ephemera incorporated administrative elements and more visuals.<ref>{{Cite book |last=De MΓ»elenaere |first=Gwendoline |url=https://www.worldcat.org/oclc/1259587568 |title=Early Modern Thesis Prints in the Southern Netherlands: An Iconological Analysis of the Relationships Between Art, Science and Power |year=2022 |isbn=978-90-04-44453-9 |location= |pages=50β51 |publisher=Brill |oclc=1259587568}}</ref>{{Sfn|Suarez|Turner|2010|p=74}} Advertising and information are among the primary elements of ephemera; design elements, which are typically indicative of the period of origin, such as [[the Renaissance]], likely changed in accordance to higher literacy rates.<ref name=":28" />{{Sfnm|1a1=Stone|1y=2005|1p=6|2a1=Suarez|2a2=Turner|2y=2010|2p=66β67}}{{sfn|McAleer|MacKenzie|2015|p=145}}{{efn|[[Display typeface]]s were an advertising component present prominently in 19th-century ephemera.<ref name=":23">{{Cite journal|last=Osbaldestin|first=David Joseph|date=2020|title=The Art of Ephemera: Typographic Innovations of Nineteenth-Century Midland Jobbing Printers|url=http://dx.doi.org/10.1080/0047729x.2020.1767975|journal=Midland History|volume=45|issue=2|pages=208β221|doi=10.1080/0047729x.2020.1767975|s2cid=221055264 |issn=0047-729X|url-access=subscription}}</ref>}} The prose of ephemera could range from pithy to relatively long (~400 words, for example).{{Sfn|McAleer|MacKenzie|p=146|2015}} By the 19th century, color printing was present, as were vivid, creative, innovative and ornate design, due to the incorporation of [[lithography]].{{Sfn|McAleer|MacKenzie|p=145|2015}}{{Sfn|Eliot|Rose|2019|p=636}} The modern ephemera of duplicating machines and [[photocopier]]s are chiefly informative.<ref name=":122"/> Ephemera's "generic legibility" was achieved through the use of visuals, a quality that was significantly democratised by ephemera.{{Sfn|MacKenzie|1984|p=21}}{{sfn|Murphy|O'Driscoll|2013|p=199}} Various forms of printed ephemera deteriorate quickly, a key element in definitions of ephemera. Although broad, pre-19th century ephemera has seldom survived.<ref name=":6" /><ref name=":20" /><ref name=":31">{{Cite journal|last=Quirk|first=Linda|date=2016|title=Proliferating Ephemera in Print and Digital Media|url=https://muse.jhu.edu/article/663384|journal=ESC: English Studies in Canada|volume=42|issue=3|pages=22β24|doi=10.1353/esc.2016.0027|s2cid=164429601 |issn=1913-4835|url-access=subscription}}</ref><ref name=":23" /> Much of ephemera was not intended to be disposed of.{{sfn|Eliot|Rose|2019|p=633}} [[Assignat]]s saw widespread contempt on account of their low-quality, endangering their survival rate.<ref>{{Cite book |author=The Multigraph Collective |title=Interacting with Print: Elements of Reading in the Era of Print Saturation |publisher=University of Chicago Press |year=2018 |isbn=9780226469287 |page=131}}</ref> The [[temperance movement]] produced ubiquitous ephemera; some printed ephemera have had production quantities of millions, although quantifying the matter is often reliant upon limited yet vast approximation.<ref>{{Cite journal|last=Linley|first=Margaret|date=2019|title=The Mediated Mind: Affect, Ephemera, and Consumerism in the Nineteenth Century by Susan Zieger (review)|url=https://muse.jhu.edu/article/753358|journal=Victorian Studies|volume=62|issue=1|pages=125β127|doi=10.2979/victorianstudies.62.1.09 |s2cid=258100058 |issn=1527-2052|url-access=subscription}}</ref><ref name=":9">{{Cite journal|last=Russell|first=Gillian|date=2018|title=Ephemeraphilia|url=https://www.tandfonline.com/action/showCitFormats?doi=10.1080/0969725X.2018.1435393|journal=[[Angelaki]]|language=en|volume=23|issue=1|pages=174β186|doi=10.1080/0969725x.2018.1435393|s2cid=214613899 |issn=0969-725X|url-access=subscription}}</ref>{{sfn|Pettegree|2017|p=79}}{{efn|Ephemera relating to beer, wine and [[Drinking culture|drinking]] is vast and developed in accordance with drinking movements.{{sfn|Weaver|2010|p=41β50}}}} Such temperance ephemera was prominent enough to elicit contemporaneous sentimentality and disdain.{{Sfn|Zieger|2018|p=16}} By this point, ephemera was printed by various establishments, having likely become a major element of some.{{Sfn|Suarez|Turner|2010|p=66β67}}[[File:Marten Ephemera.jpg|thumb|Smoking-related ephemera depicting a [[marten]]]] The mid-15th century has been identified as the origin of ephemera, following the [[Printing Revolution]].<ref name=":20" /><ref name=":192"/> Ephemera, such as religious [[indulgence]]s, were significant in the early days of printing.<ref name=":29" /><ref name=":192"/> The first mass-produced ephemera is presumed to be a variant of indulgences (~1454/55).{{sfn|Pettegree|2017|p=81}} Demand for ephemera corresponded with an increasing scale of towns whereupon they were commonly dispersed on streets.<ref name=":22" />{{sfn|Suarez|Turner|2010|p=68}} Ephemera has functioned as a substantial means of disseminating information, evident in public sectors such as tourism, finance, law and recreation and has "aided the proliferation of print media as an exchange of information".<ref>{{Cite journal |last=Grisham |first=Leah |date=2019 |title=The Mediated Mind: Affect, Ephemera, and Consumerism in the Nineteenth Century by Susan Zieger (review) |journal=Victorian Periodicals Review |volume=52 |issue=1 |pages=210β212 |doi=10.1353/vpr.2019.0011 |issn=1712-526X |s2cid=166259579|doi-access=free }}</ref>{{Sfn|Stone|2005|p=6}} In their times, ephemera has been used for documentation, education, belligerence, critique and propaganda.<ref name=":2">{{Cite journal |last1=Newman |first1=Ian |last2=Russell |first2=Gillian |date=2019 |title=Metropolitan Songs and Songsters: Ephemerality in the World City |url=https://muse.jhu.edu/article/747834 |journal=Studies in Romanticism |volume=58 |issue=4 |pages=429β449 |doi=10.1353/srm.2019.0034 |issn=2330-118X |s2cid=214209212|url-access=subscription }}</ref>{{sfn|McAleer|MacKenzie|2015|p=143}}<ref>{{Cite journal |last=Holmes |first=Nina |date=2019 |title=Maternal subjects: representations of women in Irish government health ephemera, 1970s-1980s |url=https://doi.org/10.1080/1081602X.2019.1610667 |journal=The History of the Family |volume=24 |issue=4 |pages=707β743 |doi=10.1080/1081602X.2019.1610667 |issn=1081-602X |s2cid=182539276|url-access=subscription }}</ref><ref>{{Cite journal |last1=Berger |first1=J M |last2=Aryaeinejad |first2=Kateira |last3=Looney |first3=SeΓ‘n |date=2020 |title=There and Back Again: How White Nationalist Ephemera Travels Between Online and Offline Spaces |url=http://dx.doi.org/10.1080/03071847.2020.1734322 |journal=The RUSI Journal |volume=165 |issue=1 |pages=114β129 |doi=10.1080/03071847.2020.1734322 |issn=0307-1847 |s2cid=216228863|url-access=subscription }}</ref><ref>{{Cite journal |last=Craske |first=Matthew |date=1999 |title=Plan and Control: Design and the Competitive Spirit in Early and Mid-Eighteenth-Century England |url=https://www.jstor.org/stable/1316282 |journal=Journal of Design History |volume=12 |issue=3 |pages=187β216 |doi=10.1093/jdh/12.3.187 |issn=0952-4649 |jstor=1316282|url-access=subscription }}</ref>{{Efn|Soon after, political propaganda arose as a category of ephemera.{{sfn|Suarez|Turner|2010|p=78}}}} Lottery tickets, playbills and [[trade card]]s have been among the most prominent ephemera of eras, such as the [[Georgian era|Georgian]] and [[History of the United States (1849β1865)|Civil War]] eras.<ref name=":3">{{Cite journal|last=Russell|first=Gillian|date=2015|title="Announcing each day the performances": Playbills, Ephemerality, and Romantic Period Media/Theater History|url=https://muse.jhu.edu/article/741580|journal=Studies in Romanticism|volume=54|issue=2|pages=241β268|doi=10.1353/srm.2015.0024|s2cid=162589631 |issn=2330-118X|url-access=subscription}}</ref>{{sfn|Bellows|2020|p=159β160}} [[Panoramic painting]]s were a far-reaching class of ephemera, few remaining as a result.<ref name=":15">{{Cite book|last=Teukolsky|first=Rachel|url=https://oxford.universitypressscholarship.com/view/10.1093/oso/9780198859734.001.0001/oso-9780198859734|title=Picture World: Image, Aesthetics, and Victorian New Media|date=2020|publisher=Oxford University Press|isbn=978-0-19-885973-4|edition=1|pages=100, 357|language=en|doi=10.1093/oso/9780198859734.001.0001}}</ref> Junk mail is a contemporary example of prominent ephemera.{{Sfn|Stone|2005|p=6}} Ephemera's mundane ubiquity is a relatively modern phenomenon, evidenced by [[Henri BΓ©raldi]]'s amazed writings on their proliferation.{{Sfn|Iskin|Salsbury|2019|p=119}} Ubiquitous descriptions of printed ephemera have extended back to the 1840s and by the turn of the century, a time in which a deluge of ephemera had become commonplace, "readers [were] defined by their relationship with print ephemera".{{Sfn|Zieger|2018|p=14}}<ref>{{Cite journal |last=Fraser |first=Alison |date=2019 |title=Mass Print, Clipping Bureaus, and the Pre-Digital Database: Reexamining Marianne Moore's Collage Poetics through the Archives |url=https://muse.jhu.edu/article/745755 |journal=Journal of Modern Literature |volume=43 |issue=1 |pages=19β33 |doi=10.2979/jmodelite.43.1.02 |issn=1529-1464 |s2cid=213899584|url-access=subscription }}</ref>{{Sfn|Eliot|Rose|2019|pp=472β473}} Discussing an increase in ephemera by the mid-19th century, [[Eneas Sweetland Dallas|E.S Dallas]] wrote that new etiquette had been introduced, thus "a new era" was to follow, espousing the impression that authorship and literature were no longer hermetic.<ref>{{Cite book|last=Fyfe|first=Paul|url=https://oxford.universitypressscholarship.com/view/10.1093/acprof:oso/9780198732334.001.0001/acprof-9780198732334|title=By Accident or Design: Writing the Victorian Metropolis|date=2015|publisher=Oxford University Press|isbn=978-0-19-873233-4|pages=165|doi=10.1093/acprof:oso/9780198732334.001.0001}}</ref>
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