Editing Ephemera

{{about|temporary objects|the genus of mayflies|Ephemera (mayfly)|other uses}}
{{short description|Transient items, usually printed}}
[[File:Ephemera Collection; QV; Advertising; 1850-1 Wellcome L0031705.jpg|thumb|A historical example of ephemera]] 
'''Ephemera''' are items which were not originally designed to be retained or preserved, but have been collected or retained. The word is [[Etymology|etymologically]] derived from the Greek ephēmeros 'lasting only a day'.<ref>{{Cite web |title=ephemera |url=https://www.oxfordreference.com/display/10.1093/oi/authority.20110803095754277 |access-date=2024-03-13 |website=Oxford Reference |language=en }}</ref> The word is both plural and singular.<ref>{{Cite news |last=Solis-Cohen |first=Lisa |date=April 4, 1980 |title=Ephemera Society is Group Devoted to Throwaways |url=https://www.newspapers.com/image/665639718/?terms=ephemera&match=1 |access-date=May 14, 2022 |work=[[Bangor Daily News]]}}</ref>

One definition for ephemera is "the minor transient documents of everyday life".<ref name=":6">{{Cite journal |last=Garner |first=Anne |date=2021 |title=State of the Discipline: Throwaway History: Towards a Historiography of Ephemera |url=https://muse.jhu.edu/article/788356 |journal=Book History |volume=24 |issue=1 |pages=244–263 |doi=10.1353/bh.2021.0008 |issn=1529-1499 |s2cid=242506527|url-access=subscription }}</ref><ref name=":7">{{Cite journal |last=Dugaw |first=Dianne |date=2020 |title=Transcendent Ephemera: Performing Deep Structure in Elegies, Ballads, and Other Occasional Forms |url=https://muse.jhu.edu/article/758817 |journal=Eighteenth-Century Life |volume=44 |issue=2 |pages=17–42 |doi=10.1215/00982601-8218591 |issn=1086-3192 |s2cid=226080511|url-access=subscription }}</ref>  Ephemera are often paper-based, printed items, including menus, ticket stubs, newspapers, postcards, posters, sheet music, stickers, and greeting cards. However, since the 1990s, the term has been used to refer to digital artefacts or texts.<ref name=":18" />

Since the [[printing revolution]], ephemera has been a long-standing element of everyday life. Some ephemera are ornate in their design, acquiring prestige, whereas others are minimal and notably utilitarian. Virtually all conceptions of ephemera make note of the object's disposability.

Collectors and special interest [[Learned society|societies]] have contributed to a greater willingness to preserve ephemera, which is now ubiquitous in archives and library collections. Ephemera have become a source for [[humanities]] research, as ephemera reveal the [[Sociology|sociological]], historical, cultural, and [[Anthropology|anthropological]] contexts of their production and preservation.

==Etymology and categorisation==
[[File:Haft.jpg|thumb|The mayfly ''[[Ephemera danica]]'']]
[[File:Trade card for Esther Burney fan shop.jpg|thumb|A piece of ephemera circa 1749–1751, around the time Samuel Johnson may have coined the term]]
The etymological origin of ''Ephemera'' ({{lang|grc|ἐφήμερα}}) is the [[Greek language|Greek]] ''epi'' ({{lang|grc|ἐπί}})&nbsp;– "on, for" and ''hemera'' ({{lang|grc|ἡμέρα}})&nbsp;–  "day". This combination generated the term ephemeron in [[Neuter (grammar)|neuter]] gender; the neuter plural form is ephemera, the source of the modern word, which can be traced back to the works of [[Aristotle]].<ref name=":122">{{Cite journal |last=Young |first=Timothy G. |date=2003 |title=Evidence: Toward a Library Definition of Ephemera |journal=RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage |volume=4 |issue=1 |pages=11–26 |doi=10.5860/rbm.4.1.214 |s2cid=191348342 |issn=2150-668X|doi-access=free }}</ref> The initial sense extended to the [[mayfly]] and other short-lived insects and flowers, belonging to the biological order [[Ephemeroptera]].{{sfn|Wasserman|2020|p=2}}

In 1751, [[Samuel Johnson]] used the term ''ephemerae'' in reference to "the papers of the day".<ref name=":6" /> This application of ''ephemera'' has been cited as the first example of aligning it with transient prints.<ref name=":20">{{Cite journal|last=Russell|first=Gillian|date=2014|title=The neglected history of the history of printed ephemera|url=https://go.gale.com/ps/i.do?p=AONE&sw=w&issn=00766232&v=2.1&it=r&id=GALE%7CA394113310&sid=googleScholar&linkaccess=abs|journal=Melbourne Historical Journal|language=English|volume=42|issue=1|pages=7–37}}</ref> ''Ephemeral'', by the mid-19th century, began to be used to generically refer to printed items.<ref name=":6" />

Ephemera and [[ephemerality]] have mutual connotations of "passing time, change, and the philosophically ultimate vision of our own existence".<ref name=":29">{{Cite journal |last=Roylance |first=Dale |date=1976 |title=Graphie Americana: The E. Lawrence Sampter Collection of Printed Ephemera |url=https://www.jstor.org/stable/40858619 |journal=The Yale University Library Gazette |volume=51 |issue=2 |pages=104–114 |jstor=40858619 |issn=0044-0175}}</ref> The degree to which ephemera is ephemeral is due in part to the value bestowed upon it. Over time, the ephemerality of certain ephemera may change, as items fall in and out of fashion or popularity with collectors.<ref>{{Cite book |last=Pecorari |first=Marco |title=Fashion Remains: Rethinking Ephemera in the Archive |publisher=Bloomsbury Publishing |year=2021 |isbn=9781350074774 |pages=4}}</ref><ref name=":6" /> Comic books, for example, were once considered ephemera; however, that perception later faded.<ref>{{Cite book |last=West |first=Joel |url=https://www.worldcat.org/oclc/1151945452 |title=The Sign of the Joker: The Clown Prince of Crime as a Sign |publisher=Brill |year=2020 |isbn=978-90-04-40868-5 |location= |pages=31 |oclc=1151945452}}</ref>

As a conceptual category, ephemera has interested scholars. [[Henry Jenkins]] has argued that the emergence of ephemera, and the interest that some people show in collecting items that other people throw away, showcases the immaterial nature of culture arising in daily life.<ref name=":28">{{Cite journal|last=Anghelescu|first=Hermina G. B.|date=2001|title=A Bit of History in the Library Attic|url=http://dx.doi.org/10.1300/j105v25n04_07|journal=Collection Management|volume=25|issue=4|pages=61–75|doi=10.1300/j105v25n04_07|s2cid=60723329 |issn=0146-2679|url-access=subscription}}</ref><ref>{{Cite book |title=From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic Narrative |publisher=De Gruyter |year=2015 |isbn=9783110427660 |editor-last=Stein |editor-first=Daniel |pages=310 |editor2-last=Thon |editor2-first=Jan-Noël}}</ref>{{sfn|Stone|2005|p=7}} [[Rick Prelinger]] noted that when a piece of ephemera is preserved, and greater value is placed upon it, the object then arguably stops being ephemera.<ref>{{Cite book |url=https://www.jstor.org/stable/j.ctt45kdjb |title=Films that Work: Industrial Film and the Productivity of Media |date=2009 |publisher=Amsterdam University Press |isbn=978-90-8964-013-0 |editor-last=Hediger |editor-first=Vinzenz |pages=51 |jstor=j.ctt45kdjb |editor-last2=Vonderau |editor-first2=Patrick}}</ref>

Categorising types of ephemera has presented difficulties to fixed systems in [[library science]] and [[historiography]] due to the ambiguity of the kinds of items that might be included.<ref name=":10">{{Cite journal|last=McDowell|first=Paula|date=2012|title=Of Grubs and Other Insects: Constructing the Categories of "Ephemera" and "Literature" in Eighteenth-Century British Writing|url=https://muse.jhu.edu/article/488252|journal=Book History|volume=15|issue=1|pages=48–70|doi=10.1353/bh.2012.0009|s2cid=143553893 |issn=1529-1499|url-access=subscription}}</ref><ref name=":6" /><ref name=":9" /> A piece of ephemera's purpose, field of use and geography are among the various elements relevant to its categorisation.<ref>{{Citation|last=Massip|first=Catherine|title=Ephemera|date=2020-10-01|url=http://oxfordhandbooks.com/view/10.1093/oxfordhb/9780190616922.001.0001/oxfordhb-9780190616922-e-8|work=The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century|pages=168–188|editor-last=Watt|editor-first=Paul|publisher=Oxford University Press|language=en|doi=10.1093/oxfordhb/9780190616922.013.8|isbn=978-0-19-061692-2|access-date=2021-12-11|editor2-last=Collins|editor2-first=Sarah|editor3-last=Allis|editor3-first=Michael|url-access=subscription}}</ref> Challenges pertaining to ephemera include determining its creator, purpose, date and location of origin and impact thereof.<ref name=":11">{{Cite journal|last=Reichard|first=David A.|date=2012|title=Animating Ephemera through Oral History: Interpreting Visual Traces of California Gay College Student Organizing from the 1970s|url=https://muse.jhu.edu/article/471290|journal=Oral History Review|volume=39|issue=1|pages=37–60|doi=10.1093/ohr/ohs042 |issn=1533-8592|url-access=subscription}}</ref>{{Sfn|Weaver|2010|p=6}} Determining its worth in a present context, distinct from its perhaps obscured purpose, is also of interest.{{Sfn|Eliot|Rose|2019|p=634}}

The breadth of printed ephemera is vast and varied, often eluding simple definition.<ref name=":8">{{Cite journal |last=Russell |first=Gillian |date=2015 |title=Sarah Sophia Banks's Private Theatricals: Ephemera, Sociability, and the Archiving of Fashionable Life |url=https://muse.jhu.edu/article/584625 |journal=Eighteenth-Century Fiction |volume=27 |issue=3 |pages=535–555 |doi=10.3138/ecf.27.3.535 |issn=1911-0243 |s2cid=162841068|url-access=subscription }}</ref><ref name=":18">{{Cite journal |last=Stone |first=Richard |date=1998 |title=Junk mail: Printed ephemera and preservation of the everyday |url=https://doi.org/10.1080/14443059809387406 |journal=Journal of Australian Studies |volume=22 |issue=58 |pages=99–106 |doi=10.1080/14443059809387406 |issn=1444-3058|url-access=subscription }}</ref> Librarians often conflate ephemera with [[grey literature]] whereas collectors often broaden the scope and definition of ephemera.<ref>{{Cite journal |last=Marcum |first=James W. |date=2006 |title=Ephemeral Knowledge in the Visual Ecology |url=https://www.jstor.org/stable/42978851 |journal=Counterpoints |volume=231 |pages=89–106 |jstor=42978851 |issn=1058-1634}}</ref>{{Sfn|Eliot|Rose|2019|p=637}} [[José Esteban Muñoz]] considered the characteristics of ephemera to be subversion and social experience; [[Alison Byerly]] described ephemera as the response to cultural trends.<ref>{{Cite journal|last=Muñoz|first=José Esteban|date=1996-01-01|title=Ephemera as Evidence: Introductory Notes to Queer Acts|url=https://doi.org/10.1080/07407709608571228|journal=Women & Performance: A Journal of Feminist Theory|volume=8|issue=2|pages=5–16|doi=10.1080/07407709608571228|issn=0740-770X|url-access=subscription}}</ref><ref name=":17">{{cite journal |last=Byerly |first=Alison |date=2009 |title=What not to save: The future of ephemera. |url=http://web.mit.edu/comm-forum/legacy/mit6/papers/Byerly.pdf |journal= |pages=45–49}}</ref> Wasserman, who defined ephemera as "objects destined for disappearance or destruction", categorised the following as ephemera:{{sfn|Wasserman|2020|p=2, 236|pp=2–3}}  
{{columns-list|colwidth=20em|
* air transport labels
* bank checks
* bingo cards
* bookmarks
* broadsides
* bus tickets
* catalogs 
* envelopes
* flyers 
* maps 
* menus 
* newspapers
* pamphlets 
* paper dolls
* postcards
* receipts 
* sheet music 
* stamps
* theater programs
* ticket stubs
* valentines}}Further items that have been categorised as ephemera include: posters, album covers, [[Minutes|meeting minutes]], buttons, stickers, financial records and personal memorabilia;  announcements of events in a life, such as a birth, a death, a graduation or marriage, have been described as ephemera.<ref name=":28" /><ref name=":9" /><ref>{{Cite book|last=Ann|first=Cvetkovich|author-link=Ann Cvetkovich|url=http://worldcat.org/oclc/1139770505|title=An Archive of Feelings|publisher=[[Duke University Press]]|year=2003|isbn=978-0-8223-8443-4|pages=243|oclc=1139770505}}</ref> Textual material, uniformly, could be considered ephemera.<ref name=":122"/> Artistic ephemera include sand paintings, sculptures composed of intentionally transient material, graffiti, and guerrilla art.<ref name=":4">{{Cite journal|last=London|first=Justin|date=2013|title=Ephemeral Media, Ephemeral Works, and Sonny Boy Williamson's "Little Village"|url=https://doi.org/10.1111/j.1540-6245.2012.01540.x|journal=The Journal of Aesthetics and Art Criticism|volume=71|issue=1|pages=45–53|doi=10.1111/j.1540-6245.2012.01540.x|issn=0021-8529|url-access=subscription}}</ref> Historically, there has been various categories of ephemera.<ref name=":192">{{Cite journal |last=Andrews |first=Martin J. |date=2006 |title=The stuff of everyday life: a brief introduction to the history and definition of printed ephemera |url=https://www.cambridge.org/core/journals/art-libraries-journal/article/abs/stuff-of-everyday-life-a-brief-introduction-to-the-history-and-definition-of-printed-ephemera/9DB2C34164B19D4C862818709AA79780 |journal=Art Libraries Journal |language=en |volume=31 |issue=4 |pages=5–8 |doi=10.1017/S030747220001467X |issn=0307-4722 |s2cid=190490100|url-access=subscription }}</ref>{{Sfn|McAleer|MacKenzie|2015|p=150}} Genres may be defined by function or encompass and detail a specific item.<ref name=":122"/><ref name=":192" /> Over 500 categories are listed in ''The Encyclopedia of Ephemera'', ranging from the 18th to 20th century.<ref name=":17" /><ref name=":13">{{Cite journal|last1=Altermatt|first1=Rebecca|last2=Hilton|first2=Adrien|date=2012|title=Hidden Collections within Hidden Collections: Providing Access to Printed Ephemera|url=https://www.jstor.org/stable/23290585|journal=The American Archivist|volume=75|issue=1|pages=171–194 |doi=10.17723/aarc.75.1.6538724k51441161 |jstor=23290585 |issn=0360-9081|url-access=subscription}}</ref>

== Forms ==
{{blockquote|There is scarcely a subject that has not generated its own ephemera.<ref name=":16" />|Rickards and, the librarian, Julie Anne Lambert}}

===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=1–16|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=1–5|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=66–67}}{{Sfn|MacKenzie|1984|p=21}}{{Sfn|Eliot|Rose|2019|pp=635–636}} 17th century ephemera incorporated administrative elements and more visuals.<ref>{{Cite book |last=De Mûelenaere |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=50–51 |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=66–67}}{{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=208–221|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=22–24|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=125–127|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=174–186|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=41–50}}}} 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=66–67}}[[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=210–212 |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=429–449 |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=707–743 |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=Seán |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=114–129 |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=187–216 |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 (1849–1865)|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=241–268|doi=10.1353/srm.2015.0024|s2cid=162589631 |issn=2330-118X|url-access=subscription}}</ref>{{sfn|Bellows|2020|p=159–160}} [[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 Béraldi]]'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=19–33 |doi=10.2979/jmodelite.43.1.02 |issn=1529-1464 |s2cid=213899584|url-access=subscription }}</ref>{{Sfn|Eliot|Rose|2019|pp=472–473}} 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>

===Digital ephemera===
In 1998, librarian Richard Stone wrote that the internet "can be seen as the ultimate in ephemera with its vast amount of information and advertising which is extremely transitory and volatile in nature, and vulnerable to change or deletion".<ref name=":18" /> Multiple academics have described digital ephemera as being possibly more vulnerable than traditional forms.<ref name=":31" /><ref>{{Cite journal|last=Hammond|first=Catherine|date=2016|title=Escaping the digital black hole: e-ephemera at two Auckland art libraries|url=http://dx.doi.org/10.1017/alj.2016.10|journal=Art Libraries Journal|volume=41|issue=2|pages=107–114|doi=10.1017/alj.2016.10|s2cid=191357158 |issn=0307-4722|url-access=subscription}}</ref> Internet memes and selfies have been described as forms of ephemera and various modern print ephemera features a digital component.<ref name=":26">{{Cite journal |last=Callaghan |first=Holly |date=2013 |title=Electronic ephemera: collection, storage and access in Tate Library |url=http://dx.doi.org/10.1017/s0307472200017843 |journal=Art Libraries Journal |volume=38 |issue=1 |pages=27–31 |doi=10.1017/s0307472200017843 |issn=0307-4722|url-access=subscription }}</ref><ref>{{Cite journal |last=Govil |first=Nitin |date=2022 |title=Keanu's late style: the ubiquitous art of short-form celebrity |url=https://doi.org/10.1080/19392397.2022.2063402 |journal=Celebrity Studies |volume=13 |issue=2 |pages=214–227 |doi=10.1080/19392397.2022.2063402 |s2cid=248289457 |issn=1939-2397|url-access=subscription }}</ref> Commonly printed ephemera increasingly only manifests digitally.<ref name=":30">{{Cite journal|last1=Deutch|first1=Samantha|last2=McKay|first2=Sally|date=2016|title=The Future of Artist Files: Here Today, Gone Tomorrow|url=https://www.jstor.org/stable/26557039|journal=Art Documentation: Journal of the Art Libraries Society of North America|volume=35|issue=1|pages=27–42|doi=10.1086/685975 |jstor=26557039 |s2cid=112265150 |issn=0730-7187|url-access=subscription}}</ref> The [[Tate Britain|Tate Library]] defines "e-ephemera" as the digital-born content and [[paratext]] of an email, typically of a promotional variety, produced by cultural institutions; similar in nature, monographs, catalogues and micro-sites are excluded, per being considered e-books.<ref name=":26" /> Websites, such as those of an administrative nature, have seen description as ephemera.<ref>{{Cite journal|last=Slania|first=Heather|date=2013|title=Online Art Ephemera: Web Archiving at the National Museum of Women in the Arts|url=https://www.journals.uchicago.edu/doi/10.1086/669993|journal=Art Documentation: Journal of the Art Libraries Society of North America|language=en|volume=32|issue=1|pages=112–126|doi=10.1086/669993|s2cid=58248647 |issn=0730-7187|url-access=subscription}}</ref><ref>{{cite book|last=Bardiot|first=Clarisse|year=2021|title=Performing Arts and Digital Humanities: From Traces to Data|publisher=[[Wiley (publisher)|Wiley]]|volume=5|pages=26|isbn=9781119855569}}</ref> The likes of [[Instagram]] feature accounts dedicated to displaying graphically designed ephemera.<ref>{{Cite magazine |last=Lange |first=Alexandra |date=2015-03-24 |title=Instagram's Endangered Ephemera |url=http://www.newyorker.com/culture/cultural-comment/instagrams-beautiful-ephemera |access-date=2022-05-21 |magazine=[[The New Yorker]] |language=en-US}}</ref>

Digital ephemera is of comparable nature to printed ephemera, although it is even more prevalent and subject to altering perceptions of ephemera.<ref name=":30" />{{Sfn|Iskin|Salsbury|2019|p=125}}{{Sfn|Wasserman|2020|p=236}} Holly Callaghan of the Tate Library noted a proliferation of "e-ephemera"; an increased reliance upon this form of ephemera has engendered concern, with note to later accessibility and a difficulty to those outside of the intended recipients.<ref name=":26" /><ref>{{Cite journal |last1=Russell |first1=Edmund |last2=Kane |first2=Jennifer |date=2008 |title=The Missing Link : Assessing the Reliability of Internet Citations in History Journals |url=https://www.jstor.org/stable/40061522 |journal=Technology and Culture |volume=49 |issue=2 |pages=420–429 |doi=10.1353/tech.0.0028 |jstor=40061522 |hdl=1808/13144 |s2cid=111270449 |issn=0040-165X|hdl-access=free }}</ref><ref>{{Cite book |url=https://books.google.com/books?id=8jUXEAAAQBAJ |title=The New Art Museum Library |publisher=[[Rowman & Littlefield Publishers]] |year=2021 |isbn=978-1538135709 |editor-last=Nelson |editor-first=Amelia |pages=51 |editor2-last=Timmons |editor2-first=Traci E.}}</ref> Citing ostensibly infinite digital storage, Wasserman said that the category, ''ephemera'', may cease to exist, its contents having been ultimately preserved.{{Sfn|Wasserman|2020|p=231}}

== Collecting ==
[[file:Coughs and Sneezes Spread Diseases - British Ministry of Health.jpg|thumb|20th-century ephemera from the UK |alt=British Ministry of Health poster.]]
Ephemera has long been substantially collected, both with and without intention, presevering what may be the only remaining reproductions.<ref name=":8" /><ref>{{Cite journal |last=Slate |first=John H. |date=2001 |title=Not Fade Away |url=https://doi.org/10.1300/J105v25n04_06 |journal=Collection Management |volume=25 |issue=4 |pages=51–59 |doi=10.1300/J105v25n04_06 |issn=0146-2679 |s2cid=57187993|url-access=subscription }}</ref><ref name=":32" />{{Sfn|Stone|2005|p=13}} [[Victorian era|Victorian]] families pasted their [[collecting|collections]] of ephemera, acquiring the likes of scraps and trade cards, in scrapbooks whereas Georgian curators thoroughly archived ephemera.<ref name=":3" /><ref>{{Cite journal|last=Snyder|first=Terry|date=2014|title=Spectacular Ephemera|url=https://www.jstor.org/stable/10.5325/trajincschped.24.1-2.0101|journal=Transformations: The Journal of Inclusive Scholarship and Pedagogy|volume=24|issue=1–2|pages=101–109|jstor=10.5325/trajincschped.24.1-2.0101 |issn=1052-5017}}</ref>{{sfn|Field|2019|p=81}} It was a private endeavour, with little outward cultural presence, although an eminent interpersonal function.{{sfn|Zieger|2018|p=2}} [[Cigarette card]]s were widely collected, by-design.<ref name=":0">{{Cite journal|last=Salmon|first=Richard|date=2020|title=Consuming Ephemera|url=https://muse.jhu.edu/article/764107|journal=Criticism|volume=62|issue=1|pages=151–155|doi=10.13110/criticism.62.1.0151 |s2cid=235488621 |issn=1536-0342|url-access=subscription}}</ref>{{sfn|MacKenzie|1984|p=17}}{{efn|In an overview of ephemera, Rickards and Lambert wrote that the specification of cigarette cards as collectable means they should not be classified as ephemera, though rarely is this distinction acknowledged.<ref name=":16" />}}

Contemporarily, institutions have attempted to preserve digital ephemera, although problems may exist in regards to scope and interest.<ref name=":17" /><ref name=":26" /><ref>{{Cite journal |last=Doster |first=Adam |date=2016 |title=Saving Digital Ephemera |url=https://www.jstor.org/stable/24604193 |journal=American Libraries |volume=47 |issue=1/2 |pages=18 |issn=0002-9769 |jstor=24604193}}</ref> Ephemera has been considered for curation since the 1970s, due in part to collectors, at which point [[Learned society|societies]], [[professional association]]s and publications regarding ephemera arose.<ref name=":6" /><ref>{{Cite journal |last=Smith |first=Kai Alexis |date=2016 |title=Digitizing Ephemera Reloaded: A Digitization Plan for an Art Museum Library |url=https://www.journals.uchicago.edu/doi/abs/10.1086/688732 |journal=Art Documentation: Journal of the Art Libraries Society of North America |volume=35 |issue=2 |pages=329–338 |doi=10.1086/688732 |issn=0730-7187 |s2cid=113743222|url-access=subscription }}</ref><ref name="Haug">{{Cite journal |last=Haug |first=Mary-Elise |date=1995 |title=The Life Cycle of Printed Ephemera: A Case Study of the Maxine Waldron and Thelma Mendsen Collections |url=https://www.jstor.org/stable/4618482 |journal=Winterthur Portfolio |volume=30 |issue=1 |pages=59–72 |doi=10.1086/wp.30.1.4618482 |issn=0084-0416 |jstor=4618482 |s2cid=163616019|url-access=subscription }}</ref> Although ephemera is a global occurrence, interest is chiefly present in Britain and America.<ref name=":16" />{{Sfnm|1a1=Weaver|1y=2010|1pp=34–35|1p=2|2a1=Blum|2y=2019|2p=xix}} Ephemera collections can be idiosyncratic, sequential and difficult to peruse.<ref name=":17" /><ref name=":5">{{Cite journal |last=Bashford |first=Christina |date=2008 |title=Writing (British) Concert History: The Blessing and Curse of Ephemera |url=https://muse.jhu.edu/article/232019 |journal=Notes |volume=64 |issue=3 |pages=458–473 |doi=10.1353/not.2008.0023 |issn=1534-150X |s2cid=162396585|url-access=subscription }}</ref>

Multiple scholars articulated a connection to the past, such as [[nostalgia]], as a key motivation for ephemera collecting.<ref name=":17" /><ref>{{Cite book|last=Giannachi|first=Gabriella|url=http://mitpress.universitypressscholarship.com/view/10.7551/mitpress/9780262035293.001.0001/upso-9780262035293|title=Archive Everything: Mapping the Everyday|date=2016|publisher=The MIT Press|isbn=978-0-262-03529-3|pages=76|language=en|doi=10.7551/mitpress/9780262035293.001.0001}}</ref><ref name=":32">{{Cite journal |last=Burant |first=Jim |date=1995 |title=Ephemera, Archives, and Another View of History |url=https://archivaria.ca/index.php/archivaria/article/view/12105 |journal=Archivaria |language=en |volume=40 |pages=189–198 |issn=1923-6409}}</ref>{{Sfn|Weaver|2010|p=135, 188}} Such a connection has been described as evocative and atmospheric; the memory as [[Collective memory|collective]] and [[Cultural memory|cultural]]; the nostalgia as [[Populism|populist]] and the ephemera associated with melancholy.<ref name=":14">{{Cite journal|last=Mussell|first=James|date=2012|title=The Passing of Print|url=https://doi.org/10.1080/13688804.2011.637666|journal=Media History|volume=18|issue=1|pages=77–92|doi=10.1080/13688804.2011.637666|s2cid=161174759 |issn=1368-8804}}</ref><ref name=":18" /><ref name=":192"/>{{Sfn|Stone|2005|p=13}}{{Sfn|Wasserman|2020|p=230}} Aesthetics, academic advancement and existential [[ephemerality]] have also been seen as motivation.<ref name=":32" /><ref>{{Cite journal |last=Tschabrun |first=Susan |date=2003 |title=Off the Wall and into a Drawer: Managing a Research Collection of Political Posters |journal=The American Archivist |volume=66 |issue=2 |pages=303–324 |doi=10.17723/aarc.66.2.x482536031441177 |jstor=40294235 |issn=0360-9081|doi-access=free }}</ref><ref>{{Cite journal |last=Raine |first=Henry |date=2017 |title=From Here to Ephemerality: Fugitive Sources in Libraries, Archives, and Museums: The 48th Annual RBMS Preconference |url=https://rbm.acrl.org/index.php/rbm/article/view/293 |journal=RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage |language=en-US |volume=9 |issue=1 |pages=14–17 |doi=10.5860/rbm.9.1.293|doi-access=free }}</ref>

=== Academia ===
The study of print ephemera has seen much contention; various viewpoints and interpretations have been proposed from scholars, with comparisons to [[folklore studies]] and popular culture studies, due to the invoking of "remembrance and echoed retellings" and contending that which is more prestigious, respectively.<ref name=":7" /><ref name=":18" /><ref>{{Cite journal |last=Randall |first=David |date=2004 |title=Recent Studies in Print Culture: News, Propaganda, and Ephemera |journal=Huntington Library Quarterly |volume=67 |issue=3 |pages=457–472 |doi=10.1525/hlq.2004.67.3.457 |issn=0018-7895 |jstor=10.1525/hlq.2004.67.3.457}}</ref> Literature around ephemera concern its production, varieties: trade cards, broadside ballads, chapbooks, almanacs, and newspapers; scholars predominately examine ephemera post-19th century due to greater quantities thereof.<ref name=":22" />{{sfn|Suarez|Turner|2010|p=68}}<ref name=":25">{{Cite journal |last1=Vareschi |first1=Mark |last2=Burkert |first2=Mattie |date=2016 |title=Archives, Numbers, Meaning: The Eighteenth-Century Playbill at Scale |url=https://muse.jhu.edu/article/645398 |journal=Theatre Journal |volume=68 |issue=4 |pages=597–613 |doi=10.1353/tj.2016.0108 |issn=1086-332X |s2cid=151711494|url-access=subscription }}</ref> A significant amount of scholars have been collectors, archivists and amateurs, particularly at the inception of ephemera studies, a now burgeoning academic field.{{sfn|Russell|2020|p=3}}<ref name=":33">{{Cite book |last1=Sèbe |first1=Berny |url=https://www.taylorfrancis.com/books/edit/10.4324/9780429029363/decolonising-europe-berny-s%C3%A8be-matthew-stanard |title=Decolonising Europe?: Popular Responses to the End of Empire |last2=Stanard |first2=Matthew G. |publisher=[[Routledge]] |year=2020 |isbn=9780429029363 |pages=201 |doi=10.4324/9780429029363 |s2cid=216189182}}</ref>{{sfn|Iskin|Salsbury|2019|p=118}} Digitisation of ephemera has provided accessibility and spurred renewed interest, following the "few writings" present at the start of the 21st century.<ref name=":0" /><ref name=":27">{{Cite journal |last=Hadley |first=Nancy |date=2001 |title=Access and Description of Visual Ephemera |url=http://dx.doi.org/10.1300/j105v25n04_05 |journal=Collection Management |volume=25 |issue=4 |pages=39–50 |doi=10.1300/j105v25n04_05 |issn=0146-2679 |s2cid=62713439|url-access=subscription }}</ref><ref name=":24">{{Cite journal |last=Lambert |first=Julie Anne |date=2017 |title=Immortalizing the Mayfly: Permanent Ephemera: An Illusion or a (Virtual) Reality? |url=https://rbm.acrl.org/index.php/rbm/article/view/304 |journal=RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage |volume=9 |issue=1 |pages=142–156 |doi=10.5860/rbm.9.1.304|doi-access=free }}</ref>

As a source, ephemera has been widely accepted.<ref name=":192"/> Ephemera has been credited with illustrating social dynamics, including daily life, communication, social mobility and the enforcement of social norms.<ref name=":122"/><ref name=":192"/> Furthermore, varied cultures from differing groups can be assessed via ephemera.<ref name=":122"/><ref name=":11" /><ref name=":13" /><ref name=":192"/>{{Sfn|Zieger|2018|p=22}}{{efn|Following the [[California Gold Rush]] of 1849, by means of visual ephemera, the citizens of San Francisco, regardless of race or class, "were exposed to one another".<ref>{{Cite book|last=Lippert|first=Amy DeFalco|url=https://oxford.universitypressscholarship.com/view/10.1093/oso/9780190268978.001.0001/oso-9780190268978|title=Consuming Identities|date=2018|volume=1 |publisher=Oxford University Press|isbn=978-0-19-026897-8|pages=319|language=en|doi=10.1093/oso/9780190268978.001.0001}}</ref>}} Ephemera, to Rickards, documents "the other side of history...[which] contains all sorts of human qualities that would otherwise be edited out".<ref name=":33" />

== See also ==
* ''[[Bibliothèque Bleue]]''
* [[Ephemeris]]
* [[Ephemeral]]
* [https://www.ephemerasociety.org/ Ephemeral Society of America.]
* [[Found Footage Festival]]
* [[Prelinger Archives]]
* ''[[The Show with No Name]]''

==Notes==
{{notelist}}

== References ==
;Citations
{{reflist}}

;Bibliography
*{{Cite book|last=Bellows|first=Amanda Brickell|date=2020|url=https://northcarolina.universitypressscholarship.com/view/10.5149/northcarolina/9781469655543.001.0001/upso-9781469655543|title=American Slavery and Russian Serfdom in the Post-Emancipation Imagination|publisher=University of North Carolina Press|isbn=978-1-4696-5554-3|language=en|doi=10.5149/northcarolina/9781469655543.001.0001|s2cid=225964519 }}
*{{Cite book|last=Blum|first=Hester|url=https://muse.jhu.edu/book/65200|title=The News at the Ends of the Earth: The Print Culture of Polar Exploration|date=2019|publisher=Duke University Press|isbn=978-1-4780-0448-6}}
*Buday, György. (1971). ''The History of the Christmas Card''. Salisbury Square.
*{{Cite book |url=https://www.worldcat.org/oclc/1099543594 |title=A Companion to the History of the Book |publisher=[[Wiley (publisher)|Wiley]] |year=2019 |isbn=978-1-119-01821-6 |editor-last=Eliot |editor-first=Simon |edition=2nd |location= |oclc= 1099543594|editor-last2=Rose |editor-first2=Jonathan}}
*{{Cite book|last=Field|first=Hannah|url=https://muse.jhu.edu/book/66674|title=Playing with the Book: Victorian Movable Picture Books and the Child Reader|date=2019|publisher=University of Minnesota Press|isbn=978-1-4529-5958-0}}
*{{Cite book|date=2019|editor-last=Iskin|editor-first=Ruth E.|editor2-last=Salsbury|editor2-first=Britany|title=Collecting Prints, Posters, and Ephemera|url=https://www.bloomsbury.com/uk/collecting-prints-posters-and-ephemera-9781501338496/|access-date=2021-12-19|publisher=[[Bloomsbury Publishing]]|language=en}}
*{{Cite book |title=Exhibiting the Empire: Cultures of Display and the British Empire |publisher=[[Manchester University Press]] |year=2015 |isbn=978-0-7190-9109-4 |editor-last=McAleer |editor-first=John  |editor-last2=MacKenzie |editor-first2=John }}
*{{Cite book |last=MacKenzie |first=John |url=https://www.worldcat.org/oclc/10208219 |title=Propaganda and Empire: The Manipulation of British Public Opinion, 1880-1960 |publisher=Manchester University Press |year=1984 |isbn=0-7190-1499-9|oclc=10208219 }}
*{{Cite book|url=https://www.worldcat.org/oclc/812254905|title=Studies in Ephemera : Text and Image in Eighteenth-Century Print|date=2013|publisher=[[Bucknell University Press]]|isbn=978-1-61148-494-6|oclc=812254905 |editor-last=Murphy|editor-first=Kevin |editor2-last=O'Driscoll|editor2-first=Sally}}
*{{Cite book |url=https://www.jstor.org/stable/10.1163/j.ctv2gjwnfd |title=Broadsheets: Single-sheet Publishing in the First Age of Print |publisher=[[Brill Publishers]] |year=2017 |jstor=10.1163/j.ctv2gjwnfd |isbn=978-90-04-34030-5 |editor-last=Pettegree |editor-first=Andrew }}
*{{Cite book|last=Russell|first=Gillian|url=https://www.cambridge.org/core/books/ephemeral-eighteenth-century/4F9B8D61D476ED883A5B739C720BBD4F|title=The Ephemeral Eighteenth Century: Print, Sociability, and the Cultures of Collecting|date=2020|publisher=Cambridge University Press|isbn=978-1-108-48758-0|series=Cambridge Studies in Romanticism}}
*{{Cite book|last=Stone|first=Richard|url=https://catalogue.nla.gov.au/Record/3413498|title=Fragments of the Everyday: A Book of Australian Ephemera|date=2005|publisher=National Library of Australia|isbn=978-0-642-27601-8}}
*{{Cite book|title=[[The Cambridge History of the Book in Britain]]|isbn=9781139056069|editor-last=Suarez|editor-first=Michael F. SJ|volume=5|date=2010|publisher=Cambridge University Press |doi=10.1017/chol9780521810173|editor2-last=Turner|editor2-first=Michael L.}}
*{{Cite book|last=Wasserman|first=Sarah|url=https://muse.jhu.edu/book/78266|title=The Death of Things: Ephemera and the American Novel|date=2020|publisher=University of Minnesota Press|isbn=978-1-4529-6414-0|location=Minneapolis}}
*{{Cite book|last=Weaver|first=William Woys|url=https://www.worldcat.org/oclc/794663706|title=Culinary Ephemera : an Illustrated History|date=2010|publisher=University of California Press|isbn=978-0-520-94706-1|oclc=794663706}}
*{{Cite book|last=Zieger|first=Susan|url=https://muse.jhu.edu/book/59089|title=The Mediated Mind: Affect, Ephemera, and Consumerism in the Nineteenth Century|date=2018|publisher=Fordham University Press|isbn=978-0-8232-7985-2}}

==Further reading==
*''Printed Ephemera: The Changing Uses of Type and Letterforms in English and American Printing'', [[John Lewis (typographer)|John Lewis]], Ipswich, Suffolk, Eng.: W. S. Cowell, 1962
*''The Encyclopedia of Ephemera: A Guide to the Fragmentary Documents of Everyday Life for the Collector, Curator, and Historian'' by Maurice Rickards et alia. London: The British Library; New York: Routledge, 2000.
* ''[http://www.nla.gov.au/apps/onlineshop?action=OLSDisplay&id=nla.int-ls27601-bk Fragments of the Everyday: A Book of Australian Ephemera]'' by Richard Stone (2005, {{ISBN|0-642-27601-3}})
*{{cite journal|last=Twyman|first=Michael|author-link=Michael Twyman|title=Ephemera: whose responsibility are they?|journal=Library and Information Update|date=August 2002|volume=1|issue=5|pages=54–55|issn=1476-7171}}

==External links==
{{wiktionary|ephemeron}}
{{Commons category|Ephemera}}
* [http://www.ephemerasociety.org.au/ Ephemera Society of Australia]
* [http://www.ephemera-society.org.uk/ The Ephemera Society]
* [http://www.ephemerasociety.org/ Ephemera Society of America]
*[https://www.loc.gov/collections/broadsides-and-other-printed-ephemera/about-this-collection/ Printed Ephemera] in the [https://www.loc.gov/rr/rarebook/ Rare Book and Special Collections Division] of the [[Library of Congress]]
* [http://alga.org.au/the-collection#ephemera Australian Lesbian and Gay Archives – Ephemera Collection] {{Webarchive|url=https://web.archive.org/web/20190115235646/http://alga.org.au/the-collection#ephemera |date=2019-01-15 }}
* [http://www.nla.gov.au/find/ephemera.html National Library of Australia – Ephemera Collection]
* [https://www.ggarchives.com/ GG Archives – Ephemera Collection] 
* [http://www.bl.uk/onlinegallery/onlineex/evancoll/index.html British Library – Evanian Collection of Ephemera] {{Webarchive|url=https://web.archive.org/web/20170713133624/http://www.bl.uk/onlinegallery/onlineex/evancoll/index.html |date=2017-07-13 }} 
* [http://www.slv.vic.gov.au/our-collections/what-we-collect/ephemera State Library of Victoria – Ephemera] {{Webarchive|url=https://web.archive.org/web/20140430125804/http://www.slv.vic.gov.au/our-collections/what-we-collect/ephemera |date=2014-04-30 }} 
* [http://www.liswa.wa.gov.au/waephemera.html State Library of Western Australia – Ephemera]
*[http://www.johngrossmancollection.com/ The John Grossman Collection of Antique Images] 
*[https://web.archive.org/web/20081028232252/http://newzealandephemerist.org/ New Zealand Ephemera Society website] 
*[https://www.bnf.fr/fr/les-collections-dimagerie-et-dephemera Bibliothèque Nationale de France – Ephemera]
*[http://www.ephemerastudies.org ephemerastudies.org] at Louisiana Tech University
*{{cite web |first1=Dick |last1=Sheaff |work=Ephemera |url=http://www.sheaff-ephemera.com/ |title=Sheaff: Ephemera |access-date=12 December 2011}}
*[http://bdh.bne.es/bnesearch/Search.do?destacadas1=Ephemera&home=true&languageView=en Collection of digitized ephemera] at [[Biblioteca Digital Hispánica]], [[Biblioteca Nacional de España]]
*[http://www.ephemerajournal.org Ephemerajournal. theory & politics of organization]

[[Category:Ephemera| ]]
[[Category:Book collecting]]
[[Category:Documents]]
[[Category:Greek words and phrases]]