Women in Print 1: Design and Identities: 2 (Printing History and Culture)

Product Information

Dangerous Intruders’: Women Compositors and Nineteenth-Century Print Trade Unionists – the Case of Perth (Helen S. Williams) I think a lot of the changes will affect everyone, not just women but we do have a great opportunity to use the changes to try and get more women into the industry! Also I’m not convinced home working has necessarily benefited our female employees who have children, I think they have been given a near impossible task, working whilst managing childcare and home schooling. I am amazed and impressed by how they are still functioning on both fronts, a superhuman effort. The series editors of Women in Print 1 are indebted to several individuals and organizations for both contributing to and supporting the book. The chapters were originally a set of papers delivered at the University of Birmingham on 13 and 14 September 2018. Organized by the Centre for Printing History & Culture, the conference, ‘Women in Print’, was designed to review and reassess the contribution made by women to printing and print culture from its origins to the present day. We were convinced that the contributors deserved a wider audience and were pleased that Peter Lang was keen to publish an edited book in two volumes on the subject as part of its ‘Printing History and Culture’ series. Our main thanks are due to the volume editors, Dr Artemis Alexiou and Dr Rose Roberto, who oversaw this complex project from inception to completion, and all the individual contributors who were actively involved throughout this journey. Yes – we require all films to be 6 minutes or under, to be entirely original dialogue, to not feature brand logos and most importantly, to only use music with the written consent of the performer and/or publisher either personally or via the PRS system https://www.prsformusic.com/ .

Figure 1.1. Fragment of a broadside on the Popish and Meal-Tub Plots and other events of the time; with eight of twelve scenes: Popish Damnable Plot against Our Religious and Liberties, Lively Delineated in Several of Its Branches, With an Account of the Manner of the Execution of William Viscount Stafford on Tower-Hill. London, 1680. Reproduced by permission from the British Museum. Women in Print 2 reflects the efforts and expertise of many people. We hope that the publication justifies their commitment and not only provides ←xi | xii→ a reflection of the importance of women in print but also encourages further research into the history of women in the printing trade. TRAVEL: The University of Birmingham is accessible by train, bus, car, bicycle and on foot. Directions and maps can be found HERE. Figure 3.1. Plympton, Letitia Byrne (etcher) and Joseph Farington (painter), Memoirs of the Life of Sir Joshua Reynolds: With Some Observations on His Talents and Character, Joseph Farington, 1819, London: T. Cadell and W. Davies, frontispiece. Image courtesy of the Victoria and Albert Museum, London.

Summary

The Woman Thoroughly Dominates’: Lene Schneider-Kainer (1885–1971) and Weimar Lesbian Erotica (Abbey Rees-Hales) Female Agency in the Social Network of the Early Modern English Print Trade, c.1623–41 (Joseph Saunders)

Sensible Footwear: A Girl’s Guide: A graphic guide to lesbian and queer history 1950-2020 by Kate Charlesworth (Myriad Editions) Figure 5.4. a. Advertising poster for T. Gerrans, Auctioneer &c, Heard and Sons, 1847; b. Advertising poster for W. Salter, Heard and Sons, 1839. Images used with the permission of the Royal Institution of Cornwall, Courtney Library (Heard Collection).

1. Why are there so few females in the print industry?

These women have built legacies that have aided and inspired generations of women. From writers like Shelagh Delaney to political reformists such as Amy Ashwood Garvey; from the Pankhursts to comedy legend Victoria Wood the work of women from the north of England has and continues to shape the world we live in today. I feel like a lot of women are raised to be very humble, and when people give us compliments, we’re supposed to be like, ‘Oh, no, it’s not that big a deal’,” said Sutanto. “Yesterday, my husband said to our five-year-old, ‘Mama did an amazing thing, she is certified the funniest female author in an entire country’. And my five-year-old was like, wow, and I said ‘Oh, no, Papa is just exaggerating’. He said, ‘I’m literally not’, and then it hit me and I had to have a moment because that’s just too big. I needed to have a moment to let it sink in.”

The printing industry has historically been male-dominated, but there is now a far wider range of opportunities for women across print workplaces where roles and opportunities have been dramatically altered by technology. The editors of Women in Print 2 are indebted to several individuals and organizations for both contributing to and supporting the book. The chapters were originally a set of papers delivered at the University of Birmingham on 13 and 14 September 2018. Organized by the Centre for Printing History & Culture, the conference, ‘Women in Print’, was designed to review and reassess the contribution made by women to printing and print culture from its origins to the present day. We were convinced that the contributors deserved a wider audience and were pleased that Peter Lang Ltd were keen to publish an edited collection in two volumes on the subject as part of its ‘Printing History and Culture’ series. Our main thanks are due to the individual authors of the chapters in this volume who accepted advice, responded to requests for changes to their drafts and supplied the images to illustrate their chapters.

Excerpt

Interest in women and their involvement in printing dates from the 1970s, when Alison Adburgham’s study of Women in Print: Writing Women and Women’s Magazines from the Restoration to the Accession of Victoria was published. 3 The subject of ‘“Second Wave” Feminist Printers in Britain’, the final contribution to this volume, is contemporary with Adburgham’s 1972 study. In it Jess Baines surveys the feminist printing workshops in Britain established in the 1970s, and their progress into the early twenty-first century. The ‘do-it-yourself’ ethos of the feminist movement was allied to a desire to reclaim the conventionally male-dominated spaces of print production processes. Using interviews with participants, and archival material related to the printshops in London, Manchester and Sheffield, Baines explores the social and political landscape in which these screen-printing and offset-lithography printshops were established and run. Covid, whilst challenging, has allowed us the opportunity to leap out of the 90s and jump headlong into the 21 st century in terms of smarter working practices. Enforced home working, combined with the greater burden of childcare, has really road tested the opportunity for flexible working and proven that it is possible, although challenging, to do both roles. Other individuals have assisted in the process. Dr Connie Wan, Dr Kate Croft and Rebecca Howson were responsible for the on-the-ground organization of the 2018 conference; without their dedication to the project the event would not have happened. The Bibliographical Society kindly supported the conference to allow the participation of postgraduate students as both speakers and audience, and Birmingham City University generously supported the production of the book. The 2020 titles reflect a range of surprising heroines that made the judges laugh in different ways,” Lederer said. “From empowerment to dentistry and chip shops – it’s all here.” PLEASE NOTE THE CHANGE OF VENUE: Day One, G33 Small Lecture Theatre, School of Education, University of Birmingham; Day Two, Lecture Room 3, Arts Building, University of Birmingham

Women’s Contribution to Manuscript Textbook Production in Thirteenth- and Fourteenth-Century Bologna (Rosa Smurra) We can all choose to challenge and call out gender bias and inequality. We can all choose to seek out and celebrate women's achievements. Collectively, we can all help create an inclusive world.”Women in Print 1 reflects the efforts and expertise of many people. We hope that the publication justifies their commitment and provides not only a reflection of the importance of women in print but also offers opportunities for future studies of women in the printing trade. It was her husband, who is English, who suggested she write about her family because “they’re just so out there”. “But every time I tried, the drama hit too close to home, and I wasn’t having fun writing it, I was getting stressed out. So I thought, well, what if I leaned into making it really, really ridiculous, and just threw in a dead body and saw what happened,” she said. “It turned out that was the ingredient that I was missing.” Dial A for Aunties is set in California, around a family of Chinese-Indonesian wedding planners. The first exhibition launched at Rudy’s Pizza, Ancoats in 2016 and featured 16 prints, each one a creative response to a woman who had lived or worked in Greater Manchester or contributed to the area in someway including;