Ephemera

Ephemera are transitory creations not meant to be retained or preserved. The word has origins extending to Ancient Greece, although its current understanding was only established in the 20th century; then the presently sovereign definition was affixed: "the minor transient documents of everyday life". The categorisation of ephemera still remains ambiguous, and various interpretations have been offered. Menus, newspapers, postcards, posters, plastic champagne glasses, portable classrooms and stickers have all been described as ephemera.

For other uses, see Ephemera (disambiguation).
A historical example of ephemera.

The nature of ephemera is varied and vast, some having had production quantities of millions. Since the 15th century, following 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. Although disposability is a recurring and emphasised characteristic of ephemera in virtually all definitions, the quality of paper differs.

Ephemera has long been collected, with certain instances of ephemera intended to be collected. Victorian families pasted their collections of ephemera in scrapbooks. Hobbyists and institutions were among later collectors. In the 20th century, collectors of ephemera published literature on the matter and began to congregate, thus bolstering the cultural notice of ephemera. These collectors steered the decision towards preserving ephemera, which is now ubiquitous in archives and library special collections.

Ephemera has received academic attention. It has been studied in of itself and viewed as a beneficial prospect to other fields. Various scholars have identified ephemera as illustrating or providing insight into diverse matters, such as those of a sociological, cultural or anthropological background.

Etymology and categorisation
A piece of ephemera circa 1749–1751, a time when Samuel Johnson articulated notions of transient prints akin to that of ephemera

The etymological origin of Ephemera (ἐφήμερα) is the Greek epi (ἐπί) – "on, for" and hemera (ἡμέρα) – "day". This combination generated the term ephemeron in neuter gender; the neuter plural form is ephemera, the source of the modern word, which can be traced back to the works of Aristotle.[1] The initial sense extended to the mayfly and other short-lived insects and flowers, belonging to the biological order Ephemeroptera.[2] In 1751, Samuel Johnson used the term ephemerae in reference to "the papers of the day" – and is frequently cited as the term's creator.[3] This application of ephemera has been cited as the first example of aligning it with transient prints and has been credited with instigating the modern meaning.[4][5] In 1884, W. B. Yeats reflected upon transient human life in a poem entitled "Ephemera".[6] Ephemeral, by the mid-19th century, began to be used to generically refer to printed items; ephemera's present understanding was established the next century and entered prominence in either the 1960s or 1970s.[1][3]

Ephemera, ambiguous in nature, has been noted to have had a history of assorted applications, thus ephemerist Maurice Rickards provided the presently sovereign definition: "the minor transient documents of everyday life"[3][7] A hierarchy of printed material is established via the definition and ephemera's primary category is suggested to be that of mundanities.[3] "[E]veryday life" establishes a connection to popular culture and social history; ephemera is an important aspect of everyday life and the concept, according to Henry Jenkins, "emphasizes the disposability and perishability of everyday forms of culture".[8][9][10]

Scholar of material culture, Sarah Wasserman noted that the traditional form of ephemera is printed material, as paper is inherently able to either be discarded or withstand.[11] John Lewis posited that they're a type of graphic art.[3] With a virtual consensus between librarians that ephemera is "difficult", categorisation has burdened the field of library science and is similarly difficult for historiography due to the ambiguity of ephemera.[12][3][13] Various elements are invoked by librarians to conclude arrangement: purpose, field of use and geography are among them.[14]

Challenges pretaining to ephemera include determining its creator, purpose, date and location of origin and "what impact it had in its particular context".[15][16] The value of ephemera is a persistently relevant to its categorisation, with such a component distinguishing ephemera from jobbing print, as well does ephemera's emphasised temporality.[4][12] This value is often demarcates ephemera's ephemerality and further value is often only ascribed upon inclusion in a collection.[17][18] Ephemera and ephemerality have mutual connotations of "passing time, change, and the philosophically ultimate vision of our own existence".[19]

José Esteban Muñoz argued that "ephemera is always about specificity and resisting dominant systems of aesthetic and institutional classification" without being divorced from social experiences.[20] As the breadth of printed ephemera is vast, there's various "different textual complexity and meaning" present.[21] Wasserman, who defined ephemera as "objects destined for disappearance or destruction", categorised the following as ephemera:[22]

  • 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, 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 described as ephemera.[8][13][23] Artistic ephemera include sand paintings, sculptures composed of intentionally transient material; graffiti and guerrilla art.[24]

Curator Timothy Young wrote that "anything bearing text", such as cigarette packages and bottle caps, could befit an argument concerning categorisation as ephemera.[1] Alison Byerly described ephemera as items that are "more or less spontaneous manifestations of cultural preoccupations".[25] Over 500 categories are listed in The Encyclopedia of Ephemera, ranging from the 18th to 20th century.[25][26] Citing the likes of "aluminum foil haute couture", plastic champagne glasses and portable classrooms, Daniel Solomon, in a 1970 Design Quarterly article, wrote that "More and more of the man-made world is ephemera".[27]

Forms

There is scarcely a subject that has not generated its own ephemera.[28]

— Rickards and, the librarian, Julie Anne Lambert

Printed ephemera
Ephemera related to the temperance movement which resulted in a vast amount of ephemera

Per the common understanding, printed ephemera does not exceed "more than thirty-two pages in length", although some understandings posit it as all printed materials which are not books or the "antithesis of litera[ture]".[29][30][31][lower-alpha 1] Ephemera is chiefly observed as single page materials, although it can manifest in a manifold of material differences, however with pervading characteristics.[8][33] The range of printed ephemera is complex and often eludes simple definition.[32] The material usage of printed ephemera is very often minimal and much are without art; some are highly decorated and make use of a distinct design lexicon, with there existing significant amounts of art which could be classified as ephemera. Fine art has at times been associated with ephemera, such as William Hogarth's early trade cards.[1][28][34] Trade cards engraved and printed intaglio acquired prestige.[35] Other notable artists who produced ephemera include: Francesco Rosselli, Albrecht Dürer, Stefano della Bella, Francesco Bartolozzi and Giovanni Battista Piranesi.[34] Conversely, early ephemera indicates a greater access to printing from common people.[36] Bold design details found in ephemera denote an advertising element, the opposite or united element being information; design elements, which are typically indicative of the period of origin, likely changed in accordance to higher literacy rates.[8][37] Ephemera's "generic legibility" was achieved through the use of visuals.[38] Display typefaces were an advertising component present promiently in 19th-century ephemera.[39]

Various forms of printed ephemera, such as chapbooks, dime novels and penny dreadfuls, deteriorate quickly. Disposability is a recurring and emphasised characteristic of ephemera in "Nearly all working definitions over time" and the survival rate of material before 1800 is low, although ephemera had still been broad.[3][4][40] The quality of paper varies between ephemera.[39] The temperance movement instigated instances of ephemera with robust ubiquity; some printed ephemera have had production quantities of millions.[41][13][lower-alpha 2] Such temperance ephemera was promient enough to elicit contemporaneous sentimentality and disdain.[43] Assignats saw widespread contempt on account of their low-quality, thus they "might seem the most ephemeral of ephemera".[44] By this point, ephemera was printed by various establishments, having likely become a major element of some.[36]

Distinct from more literary types – such as the fitful relation to poetry – some printed ephemera feature a "cultural function": funeral elegies and invitations are among them.[29][45][46][47] Ephemera is notably utilitarian, those of that category remaining solely printed in black, as was the norm before the early 19th century.[25][48] Art ephemera is that which promotes a showcase of art.[49] Specific genres, those that include postcards, broadsides, and posters, are defined by their function.[1] Broadsides, themselves, have been identified as a genre: the graphic arts, manuscript material and substantial pamphlets have been articulated as the three other major genres.[49] Other types of ephemera, the resultingly modern replications of duplicating machines and photocopiers, differ from the previous transactional approach in being chiefly informative.[1] Some ephemera has been deemed avant-garde.[50]

Ephemera has functioned as a substantial means of disseminating information, evident in public sectors such as tourism, finance, law and recreation.[51] Administrative elements have been present since the late 17th century.[52] Certain printed ephemera: newspapers, playbills and tickets were used, during the 19th century, as a "mediating element between the absolute ephemerality of the performance event itself and more 'permanent' historical and literary records".[53] Printed ephemera such as handbills were prominent in the French Revolution as a means to mobilise and disperse political messages.[13] In mid-18th century England, a considerable amount of ephemera was iconoclastic in their critique of the nation's opulence.[54][lower-alpha 3] Health and social norms were established in 1970s Ireland via ephemera pertaining to health education.[56] Post-World War II, ephemera become instrumental to the "American kitchen"; houses and markets were inundated by ephemera.[6][57] Alongside other white nationalist organisations, the Ku Klux Klan have utilised ephemera for means of recruitment and intimidation; black immigrants in 1970s and 80s Britain, according to Paul Gilroy, used ephemera to counter "racial dispossesion".[58][59]

Smoking related ephemera depicting a Marten

Martin Andrews and Gillian Russell – printing historian and English professor, respectively – identified the mid-15th century as the origin of ephemera, following the Printing Revolution.[4][49] The ephemera that is playbills became a fixture in London theatres by the late 17th century.[60] According to Andrews, the first product of Western printing was ephemera; among the earliest printed ephemera is religious indulgences.[19][49] Streets remain a significant means of dispersing ephemera and demand for ephemera corresponded with an increasing scale of towns.[33][61] Printed ephemera's present and mundane ubiquity is a relatively modern phenomenon, evidenced by Henri Béraldi's writings on ephemera and his amazement at its proliferation.[62] Ubiquitous descriptions of printed ephemera have extended back to the 1840s.[63]

Lottery tickets, followed by playbills, were the most prominent printed ephemera of the late Georgian era; illustrated trade cards were among the most common ephemera in the United States during the mid-to-late 19th century – the range of ephemera in the nation increased from there onwards.[64][65] In Russia, around this time, "Saccharine images of young peasants were particularly common in confectionary ephemera".[66] Panoramic paintings were a far-reaching class of ephemera, few remaining as a result.[67] Junk mail is a contemporary example of prominent ephemera.[51]

Smoking related ephemera – such as publications and collectable cards – via encyclopedic-style facts "aided the proliferation of print media as an exchange of information".[68] Discussing an increase in ephemera by the mid-19th century, 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.[69]

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".[32] Multiple academics have described digital ephemera as being possibly more vulnerable than traditional forms.[40][70] Within the context of modern media dissemination, YouTube videos, viral emails and photos have been identified as ephemeral and various modern print ephemera features a digital component.[24][71] Commonly printed ephemera increasingly only manifests digitally.[72] The 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.[71] Websites have, however, been described as ephemera.[73]

Distinguishing between printed ephemera, Byerly said that further ephemera will need to be dismissed in its time as to be valid, although she questioned as to what is neglected on the internet; Russell, five years later, conversely wrote that ephemera was likely to become more prominent, on account of digital renewal.[4][25] Digital ephemera is of comparable nature to printed ephemera, although is even more prevalent and subject to altering perceptions of ephemera.[72][74][75] Literature scholar James Mussell saw both united in how they defy intended neglectance.[76] Holly Callaghan of the Tate Library noted a proliferation of "e-ephemera".[71] Citing ostensibly infinite digital storage, Wasserman conversely said that "the internet seems poised to eradicate the very existence of ephemera", ultimately preserving it.[77]

Collecting

Ephemera has long been collected. "[T]he full spectrum of printed ephemera" had been collected since the 17th century.[21] Victorian families pasted their collections of ephemera, particularly acquiring chromolithographic trade cards, in scrapbooks.[78] Victorian scraps were an instance of ephemera intended for scrapbooks.[79] Of late 19th century ephemera, women and children composed one of the three general groups of collectors.[80] Hobbyists and institutions were the other two. It was a private endeavour, with little outward cultural presence, although an eminent interpersonal function.[80][81] Professor of English, Susan Zieger determined that the first instance of printed ephemera that was intended to be collected was cigarette cards.[82][lower-alpha 4] Janet S. Byrne, curator in the department of prints and photographs at the Metropolitan Museum of Art, wrote that ephemera constituted some of the museum's "most important prints".[34]

Ephemera is ubiquitous in archives and library special collections, although often is without the categorisation: ephemera.[83] Archivist Jim Burant noted that although his peers may be dismissive of ephemera "we are probably all ephemera collectors within our own institutions".[84] One example of an ephemera archive, accepted in 1968, thus among the first to be accepted by a major library, is the John Johnson Collection of Printed Ephemera at the Bodleian Library, Oxford.[3] Johnson, who acquired 1.5 million pieces of ephemera, has been called "the most significant English ephemerist of the twentieth century".[85] For a significant time now, ephemera has been considered for archive.[86] Ephemera collections can be difficult to peruse and those that are digital were said to be rare, by the late 2000s; Byerly wrote that digital archiving of ephemera renders its "aura" void.[25][86] Wasserman later posed a similar question.[87] Later literature from librarians has argued in favour of digitalisation; efficiency and wider dissemenation were among Lambert's positions for digitalisation.[3][88]

Collectors steered the decision towards preserving ephemera, following publications by them, in the 1960s and 70s, about their collections.[3] From 1972 onwards, the conceptualisation of a sufficient manner of collecting ephemera began to be discussed.[89] A decade earlier, Printed Ephemera by John Lewis was released, bolstering ephemera's cultural notice – as did the formation of ephemera societies in Britain and America by 1980.[4][80] Around this time, professional associations dedicated to ephemera arose. By the early 1990s there would be "little established practice" for collecting ephemera, although this decade did see gradual improvement.[3][32] Most major collections are idiosyncratic and sequential in nature and ephemera persevered can be among the only remaining reproductions.[25][90]

Ephemera of Britain (left) and America (right), the two countries most prominent in the interest of ephemera

The late Georgian era saw significant archiving, particularly of playbills, an overal much presrved item; British librarians have placed particular value on collecting ephemera and significantly influenced the practice, the history going back to the mid-17th century with John Selden.[28][64][86][60] Johnson and Bella Clara Landauer initiated "comprehensive collections of printed ephemera" in Britain and America, respectively, where interest in ephemera is chiefly present, according to Lambert and Rickards.[28] Ephemera does exist globally, such as the Japanese genre kibyōshi, and its reach extends to expeditions to the Antarctica.[91][92]

Discussing how digital ephemera will be collected, Garner said that "like print ephemera, [it] will survive in part accidentally, and in other cases because it has been intentionally archived".[3] A decade earlier, Byerly, conversely, wrote that its difficult to determine the interest in preserving digital ephemera, even for contemporary purposes.[25] Institutions, including the Library of Congress, have attempted to preserve digital ephemera; a partnership between Twitter and the Library of Congress arose for this purpose, although the project became unfeasible as a result of the vast scope.[93] In 2006, the Tate Library began to compile and collect emails they deemed ephemera.[71]

Multiple scholars articulated a connection to the past, such as nostalgia, as a key motivation for ephemera collecting.[25][94][84][95] Furthermore, such a connection has been described as evocative and atmospheric; the memory as collective and cultural; the nostalgia as populist.[96][32][49][90] The fading nature of ephemera means they become associated with a "projected past" and "what we have forgotten" and can be used as "apt ciphers for expressing melancholic feelings".[97][98][lower-alpha 5] Small-scale collections of ephemera from 19th century American patrons were assembled in the hopes of "guarantee[ing] permanence", although ephemera naturally avoids "our desires for permanence", thus they "die"; Johnson rarely collected preemptively, believing that the persistence of ephemera should be incidental.[100][88][101] Rickards said that ephemera collectors seek to highlight "social history that often get[s] negelected", poisiting a dichotomy of historiography between "library shelves" and "wastebins".[84] John Pull of the Library of Congress posited that the appeal of ephemera is a mutual relation to the ephemerality of human life.[102] Zieger described the practicing of collecting ephemera as "paradoxical" and "the enigma at the heart of ephemera".[103]

Academia

In the 21st century, Victorian era ephemera has seen renewed visibility via digital archives; material such as newspapers, postcards and advertisements are made accessible for cultural and academic attention.[82] Digitisation of ephemera strongly aids in the accessibility of ephemera for education.[88] By the turn of the century, there were "few writings" pertaining to ephemera; it has since become auxiliary to conceptions of sociological histories, although the use of ephemera is limited, as its insights are impressionistic and ostensibly precarious.[96][3][8][88][104][105] The perception of its value to sociology is mixed.[32][31][106]

Since its inception, the study of print ephemera has seen much contention; various viewpoints and interpretations have been proposed from scholars.[107] The literature around ephemera has placed focus upon on the production of ephemera.[33] The markedly sparse existence of ephemera before 1800 has led to the 19th and 20th century being predominantly identified with ephemera by scholars, as the scale of ephemera before then is burdensome to determine.[33][108] Trade cards were among the first variations of ephemera to be earnestly examined by scholars; broadside ballads, chapbooks, almanacs, and newspapers predominantly constitute recent literature on ephemera.[61][109]

Depictions of African Americans in ephemera (left, 1880s; right, 1890s).

Various scholars have identified ephemera as illustrating or providing insight into diverse matters. During the Victorian era, ephemera was intended to teach them about pictures, colour and form.[80] Ephemera has been credited with illustrating social dynamics, including daily life, communication, social mobility and the enforcement of social norms.[1][49] Furthermore, varied culture can be assessed via ephemera, as can the sundry histories of working-class people, women, African Americans and immigrants – Zieger wrote that temperance ephemera "helped shape modern mass culture".[1][26][49][110][lower-alpha 6] Transient groups can be resultingly documented from ephemera.[15]

Ephemera studies is frequently said to have begun with John Lewis, a now burgeoning academic field.[3][31] Major collectors of ephemera were among its first scholars.[112] English scholar, Dianne Dugaw considered the analytic framework of folklore studies to be analogous with the study of ephemera: both subject matters evoke "remembrance and echoed retellings".[7] Stone said similar regarding popular culture studies. Both disciplines use "definition[s] by example", then work outwards; both disciplines contend that which is more prestigious.[32] Art historians study the artistic component of ephemera.[104] Bill Douglas Cinema Museum curator Phil Wickham vouched for the value of ephemera to film scholars.[113] Rickard and Young identified the prospecting contributions of ephemera to cultural studies, Young also highlighting folklore.[1][3]

Ephemera has been seen as "crucial" to the remit of both performance studies and black print culture studies.[86][114][lower-alpha 7] Expanding upon the scholarly argument that ephemera, when securely collected, contributes to an inclusive historical record, Garner argued that if ephemera was to be absent from collection planning then "traces of black culture" could be erased from the historical record.[3] Ephemera has been significant to the creation of queer archives and has a notable presence in queer studies and theory.[21][13] Art historian, Tara Burk described ephemera as an "invaluable primary source".[118]

See also

Notes
  1. A qualifier from the National Library of Australia, devised in 1992, virtually excluded material of more than five pages.[32]
  2. Ephemera relating to beer, wine and drinking is vast and developed in accordance with drinking movements.[42]
  3. Soon after, political propaganda arose as a category of ephemera.[55]
  4. 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.[28]
  5. The "melancholic beauty of ephemera" was profound to John Keats.[99]
  6. 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".[111]
  7. Ephemera attributed to the 19th century painter William Sidney Mount, alongside his life and art, has been said to "provide contemporaneous, precisely observed documentation on the blackface experience".[115] Ephemera produced in America by this time and soon after featured imagery, namely for white consumers, of enslaved and emancipated African Americans.[116] The portrayal of African Americans in culinary ephemera has frequently been derogatory, with caricature-esque features.[117]

References
Citations
  1. Young, Timothy G. (2003). "Evidence: Toward a Library Definition of Ephemera". RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage. 4 (1): 11–26. doi:10.5860/rbm.4.1.214. ISSN 2150-668X.
  2. Wasserman 2020, p. 2.
  3. Garner, Anne (2021). "State of the Discipline: Throwaway History: Towards a Historiography of Ephemera". Book History. 24 (1): 244–263. doi:10.1353/bh.2021.0008. ISSN 1529-1499.
  4. Russell, Gillian (2014). "The neglected history of the history of printed ephemera". Melbourne Historical Journal. 42 (1): 7–37.
  5. Russell 2020, p. 30.
  6. Wasserman 2020, p. 29.
  7. Dugaw, Dianne (2020). "Transcendent Ephemera: Performing Deep Structure in Elegies, Ballads, and Other Occasional Forms". Eighteenth-Century Life. 44 (2): 17–42. ISSN 1086-3192.
  8. Anghelescu, Hermina G. B. (2001). "A Bit of History in the Library Attic". Collection Management. 25 (4): 61–75. doi:10.1300/j105v25n04_07. ISSN 0146-2679.
  9. Stein, Daniel; Thon, Jan-Noël, eds. (2015). From Comic Strips to Graphic Novels: Contributions to the Theory and History of Graphic Narrative. De Gruyter. p. 310. ISBN 9783110427660.
  10. Stone 2005, p. 7.
  11. Wasserman 2020, p. 2.
  12. McDowell, Paula (2012). "Of Grubs and Other Insects: Constructing the Categories of "Ephemera" and "Literature" in Eighteenth-Century British Writing". Book History. 15 (1): 48–70. doi:10.1353/bh.2012.0009. ISSN 1529-1499.
  13. Russell, Gillian (2018). "Ephemeraphilia". Angelaki. 23 (1): 174–186. doi:10.1080/0969725x.2018.1435393. ISSN 0969-725X.
  14. Massip, Catherine (2020-10-01), Watt, Paul; Collins, Sarah; Allis, Michael (eds.), "Ephemera", The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century, Oxford University Press, pp. 168–188, doi:10.1093/oxfordhb/9780190616922.013.8, ISBN 978-0-19-061692-2, retrieved 2021-12-11
  15. Reichard, David A. (2012). "Animating Ephemera through Oral History: Interpreting Visual Traces of California Gay College Student Organizing from the 1970s". Oral History Review. 39 (1): 37–60. ISSN 1533-8592.
  16. Weaver 2010, p. 6.
  17. Iskin & Salsbury 2019, p. 14.
  18. Pecorari, Marco (2021). Fashion Remains: Rethinking Ephemera in the Archive. Bloomsbury Publishing. p. 4. ISBN 9781350074774.
  19. Roylance, Dale (1976). "Graphie Americana: The E. Lawrence Sampter Collection of Printed Ephemera". The Yale University Library Gazette. 51 (2): 104–114. ISSN 0044-0175.
  20. Muñoz, José Esteban (1996-01-01). "Ephemera as Evidence: Introductory Notes to Queer Acts". Women & Performance: a journal of feminist theory. 8 (2): 5–16. doi:10.1080/07407709608571228. ISSN 0740-770X.
  21. Russell, Gillian (2015). "Sarah Sophia Banks's Private Theatricals: Ephemera, Sociability, and the Archiving of Fashionable Life". Eighteenth-Century Fiction. 27 (3): 535–555. ISSN 1911-0243.
  22. Wasserman 2020, p. 2, 236.
  23. Ann, Cvetkovich (2003). An Archive of Feelings. Duke University Press. p. 243. ISBN 978-0-8223-8443-4. OCLC 1139770505.
  24. London, Justin (2013). "Ephemeral Media, Ephemeral Works, and Sonny Boy Williamson's "Little Village"". The Journal of Aesthetics and Art Criticism. 71 (1): 45–53. doi:10.1111/j.1540-6245.2012.01540.x. ISSN 0021-8529.
  25. Byerly, Alison (2009). "What not to save: The future of ephemera" (PDF): 45–49. {{cite journal}}: Cite journal requires |journal= (help)
  26. Altermatt, Rebecca; Hilton, Adrien (2012). "Hidden Collections within Hidden Collections: Providing Access to Printed Ephemera". The American Archivist. 75 (1). ISSN 0360-9081.
  27. Solomon, Daniel (1970). "Easy Come, Easy Go: Notes on Ephemera". Design Quarterly (76): 2–25. doi:10.2307/4047342. ISSN 0011-9415.
  28. Lambert, Julie Anne; Rickards, Maurice (2003), "Ephemera, printed", Oxford Art Online, retrieved 2021-11-28
  29. Jung, Sandro (2020). "Literary Ephemera: Understanding the Media of Literacy and Culture Formation". Eighteenth-Century Life. 44 (2): 1–16. ISSN 1086-3192.
  30. Cocks, Harry G.; Rubery, Matthew (2012). "Introduction". Media History. 18 (1): 1–5. doi:10.1080/13688804.2011.634650. ISSN 1368-8804.
  31. Russell 2020, p. 3.
  32. Stone, Richard (1998). "Junk mail: Printed ephemera and preservation of the everyday". Journal of Australian Studies. 22 (58): 99–106. doi:10.1080/14443059809387406. ISSN 1444-3058.
  33. Harris, Michael (2010). "Printed Ephemera". In Suarez, Michael F.; Woudhuysen, H.R. (eds.). The Oxford companion to the book. Oxford University Press. ISBN 978-0-19-957014-0. OCLC 502389441.
  34. Byrne, Janet S. (1989). "Ephemera and the Print Room". Metropolitan Museum Journal. 24: 285–303. doi:10.2307/1512886. ISSN 0077-8958.
  35. Suarez & Turner 2010, p. 77.
  36. Suarez & Turner 2010, p. 66–67.
  37. Stone 2005, p. 6; Suarez & Turner 2010, p. 66–67.
  38. Murphy & O'Driscoll 2013, p. 199.
  39. Osbaldestin, David Joseph (2020). "The Art of Ephemera: Typographic Innovations of Nineteenth-Century Midland Jobbing Printers". Midland History. 45 (2): 208–221. doi:10.1080/0047729x.2020.1767975. ISSN 0047-729X.
  40. Quirk, Linda (2016). "Proliferating Ephemera in Print and Digital Media". ESC: English Studies in Canada. 42 (3): 22–24. doi:10.1353/esc.2016.0027. ISSN 1913-4835.
  41. Linley, Margaret (2019). "The Mediated Mind: Affect, Ephemera, and Consumerism in the Nineteenth Century by Susan Zieger (review)". Victorian Studies. 62 (1): 125–127. ISSN 1527-2052.
  42. Weaver 2010, p. 41–50.
  43. Zieger 2018, p. 16.
  44. The Multigraph Collective (2018). Interacting with Print: Elements of Reading in the Era of Print Saturation. University of Chicago Press. p. 131. ISBN 9780226469287.
  45. Hoffman, Daniel (1995). "Edgar Allan Poe: The Artist of the Beautiful". The American Poetry Review. 24 (6): 11–18. ISSN 0360-3709.
  46. Hilder, Jamie (2013). "Concrete Poetry and Conceptual Art: A Misunderstanding". Contemporary Literature. 54 (3): 578–614. ISSN 0010-7484.
  47. Hadjiafxendi, Kyriaki (2011). "Introduction: George Eliot and the Poetics of Disbelief". George Eliot - George Henry Lewes Studies (60/61): 7–16. ISSN 2372-1901.
  48. Suarez & Turner 2010, p. 82.
  49. Andrews, Martin J. (2006). "The stuff of everyday life: a brief introduction to the history and definition of printed ephemera". Art Libraries Journal. 31 (4): 5–8. doi:10.1017/S030747220001467X. ISSN 0307-4722.
  50. Sherin, Aaris (2014). Elaine Lustig Cohen: Modernism Re-Imagined. RIT Press. p. 47. ISBN 978-1-939125-06-4.
  51. Stone 2005, p. 6.
  52. Suarez & Turner 2010, p. 74.
  53. Newman, Ian; Russell, Gillian (2019). "Metropolitan Songs and Songsters: Ephemerality in the World City". Studies in Romanticism. 58 (4): 429–449. doi:10.1353/srm.2019.0034. ISSN 2330-118X.
  54. Craske, Matthew (1999). "Plan and Control: Design and the Competitive Spirit in Early and Mid-Eighteenth-Century England". Journal of Design History. 12 (3): 187–216. ISSN 0952-4649.
  55. Suarez & Turner 2010, p. 78.
  56. Holmes, Nina (2019). "Maternal subjects: representations of women in Irish government health ephemera, 1970s-1980s". The History of the Family. 24 (4): 707–743. doi:10.1080/1081602X.2019.1610667. ISSN 1081-602X.
  57. Weaver 2010, p. 2.
  58. Berger, J M; Aryaeinejad, Kateira; Looney, Seán (2020). "There and Back Again: How White Nationalist Ephemera Travels Between Online and Offline Spaces". The RUSI Journal. 165 (1): 114–129. doi:10.1080/03071847.2020.1734322. ISSN 0307-1847.
  59. Franks, Matthew (2020). Subscription Theater: Democracy and Drama in Britain and Ireland, 1880-1939. University of Pennsylvania Press. p. 23. ISBN 9780812297416.
  60. Suarez & Turner 2010, p. 69.
  61. Suarez & Turner 2010, p. 68.
  62. Iskin & Salsbury 2019, p. 119.
  63. Zieger 2018, p. 14.
  64. Russell, Gillian (2015). ""Announcing each day the performances": Playbills, Ephemerality, and Romantic Period Media/Theater History". Studies in Romanticism. 54 (2): 241–268. doi:10.1353/srm.2015.0024. ISSN 2330-118X.
  65. Bellows 2020, p. 159–160.
  66. Bellows 2020, p. 168.
  67. Teukolsky, Rachel (2020). Picture World: Image, Aesthetics, and Victorian New Media (1 ed.). Oxford University Press. pp. 100, 357. doi:10.1093/oso/9780198859734.001.0001. ISBN 978-0-19-885973-4.
  68. Grisham, Leah (2019). "The Mediated Mind: Affect, Ephemera, and Consumerism in the Nineteenth Century by Susan Zieger (review)". Victorian Periodicals Review. 52 (1): 210–212. doi:10.1353/vpr.2019.0011. ISSN 1712-526X.
  69. Fyfe, Paul (2015). By Accident or Design: Writing the Victorian Metropolis. Oxford University Press. p. 165. doi:10.1093/acprof:oso/9780198732334.001.0001. ISBN 978-0-19-873233-4.
  70. Hammond, Catherine (2016). "Escaping the digital black hole: e-ephemera at two Auckland art libraries". Art Libraries Journal. 41 (2): 107–114. doi:10.1017/alj.2016.10. ISSN 0307-4722.
  71. Callaghan, Holly (2013). "Electronic ephemera: collection, storage and access in Tate Library". Art Libraries Journal. 38 (1): 27–31. doi:10.1017/s0307472200017843. ISSN 0307-4722.
  72. Deutch, Samantha; McKay, Sally (2016). "The Future of Artist Files: Here Today, Gone Tomorrow". Art Documentation: Journal of the Art Libraries Society of North America. 35 (1): 27–42. doi:10.2307/26557039. ISSN 0730-7187.
  73. Slania, Heather (2013). "Online Art Ephemera: Web Archiving at the National Museum of Women in the Arts". Art Documentation: Journal of the Art Libraries Society of North America. 32 (1): 112–126. doi:10.1086/669993. ISSN 0730-7187.
  74. Iskin & Salsbury 2019, p. 125.
  75. Wasserman 2020, p. 236.
  76. Zieger 2018, p. 7.
  77. Wasserman 2020, p. 231.
  78. Snyder, Terry (2014). "Spectacular Ephemera". Transformations: The Journal of Inclusive Scholarship and Pedagogy. 24 (1–2): 101–109. doi:10.5325/trajincschped.24.1-2.0101. ISSN 1052-5017.
  79. Field 2019, p. 81.
  80. Haug, Mary-Elise (1995). "The Life Cycle of Printed Ephemera: A Case Study of the Maxine Waldron and Thelma Mendsen Collections". Winterthur Portfolio. 30 (1): 59–72. ISSN 0084-0416.
  81. Zieger 2018, p. 2.
  82. Salmon, Richard (2020). "Consuming Ephemera". Criticism. 62 (1): 151–155. ISSN 1536-0342.
  83. Slate, John H. (2001). "Not Fade Away". Collection Management. 25 (4): 51–59. doi:10.1300/J105v25n04_06. ISSN 0146-2679.
  84. Burant, Jim (1995). "Ephemera, Archives, and Another View of History". Archivaria. 40: 189–198. ISSN 1923-6409.
  85. Russell 2020, p. 1.
  86. Bashford, Christina (2008). "Writing (British) Concert History: The Blessing and Curse of Ephemera". Notes. 64 (3): 458–473. doi:10.1353/not.2008.0023. ISSN 1534-150X.
  87. Wasserman 2020, p. 34.
  88. Lambert, Julie Anne (2017). "Immortalizing the Mayfly: Permanent Ephemera: An Illusion or a (Virtual) Reality?". RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage. 9 (1): 142–156. doi:10.5860/rbm.9.1.304.
  89. Smith, Kai Alexis (2016). "Digitizing Ephemera Reloaded: A Digitization Plan for an Art Museum Library". Art Documentation: Journal of the Art Libraries Society of North America. 35 (2): 329–338. doi:10.1086/688732. ISSN 0730-7187.
  90. Stone 2005, p. 13.
  91. Lunning, Frenchy, ed. (2012). Mechademia 7: Lines of Sight. University of Minnesota Press. p. 107. doi:10.5749/minnesota/9780816680498.001.0001. ISBN 978-0-8166-8049-8.
  92. Weaver 2010, p. 2; Blum 2019, p. xix.
  93. Doster, Adam (2016). "Saving Digital Ephemera". American Libraries. 47 (1/2): 18–18. ISSN 0002-9769.
  94. Giannachi, Gabriella (2016). Archive Everything: Mapping the Everyday. The MIT Press. p. 76. doi:10.7551/mitpress/9780262035293.001.0001. ISBN 978-0-262-03529-3.
  95. Weaver 2010, p. 135, 188.
  96. Mussell, James (2012). "The Passing of Print". Media History. 18 (1): 77–92. doi:10.1080/13688804.2011.637666. ISSN 1368-8804.
  97. Wasserman 2020, p. 9, 23.
  98. Blum 2019, p. 3.
  99. Andrea Henderson (2009). "Mastery and Melancholy in Suburbia". The Eighteenth Century. 50 (2–3): 221–244. doi:10.1353/ecy.0.0034. ISSN 1935-0201.
  100. Bold, Christine, ed. (2011). The Oxford History of Popular Print Culture: Volume Six: US Popular Print Culture 1860-1920. Oxford University Press. p. 150. doi:10.1093/acprof:osobl/9780199234066.001.0001. ISBN 978-0-19-923406-6.
  101. Wasserman 2020, p. 230.
  102. Raine, Henry (2017). "From Here to Ephemerality: Fugitive Sources in Libraries, Archives, and Museums: The 48th Annual RBMS Preconference". RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage. 9 (1): 14–17. doi:10.5860/rbm.9.1.293.
  103. Zieger 2018, pp. 24–25.
  104. Hadley, Nancy (2001). "Access and Description of Visual Ephemera". Collection Management. 25 (4): 39–50. doi:10.1300/j105v25n04_05. ISSN 0146-2679.
  105. Wasserman 2020, p. 3.
  106. Franks, Matthew (2017). "Laboratory, Library, Database: London's Avant-Garde Drama Societies and Ephemeral Repertoire". Modernism/modernity. 24 (3). doi:10.1353/mod.2017.0049. ISSN 1080-6601.
  107. Randall, David (2004). "Recent Studies in Print Culture: News, Propaganda, and Ephemera". Huntington Library Quarterly. 67 (3): 457–472. doi:10.1525/hlq.2004.67.3.457. ISSN 0018-7895.
  108. Suarez & Turner 2010, p. 67.
  109. Vareschi, Mark; Burkert, Mattie (2016). "Archives, Numbers, Meaning: The Eighteenth-Century Playbill at Scale". Theatre Journal. 68 (4): 597–613. doi:10.1353/tj.2016.0108. ISSN 1086-332X.
  110. Zieger 2018, p. 22.
  111. Lippert, Amy DeFalco (2018). Consuming Identities. Oxford University Press. p. 319. doi:10.1093/oso/9780190268978.001.0001. ISBN 978-0-19-026897-8.
  112. Iskin & Salsbury 2019, p. 118.
  113. Wickham, Phil (2010). "Scrapbooks, soap dishes and screen dreams: ephemera, everyday life and cinema history". New Review of Film and Television Studies. 8 (3): 315–330. doi:10.1080/17400309.2010.499775. ISSN 1740-0309.
  114. Benjamin, Shanna Greene (2015). "Intimacy and Ephemera: In Search of Our Mother's Letters". MELUS: Multi-Ethnic Literature of the U.S. 40 (3): 16–27. ISSN 1946-3170.
  115. Smith, Christopher J. (2013). Recovering the Creole Synthesis: The Roots of Blackface Minstrelsy. The Creolization of American Culture. University of Illinois Press. p. 2. doi:10.5406/illinois/9780252037764.003.0001. ISBN 978-0-252-03776-4.
  116. Bellows 2020, p. 175.
  117. Weaver, William Woys (2006). "The Dark Side of Culinary Ephemera: The Portrayal of African Americans". Gastronomica. 6 (3): 76–81. doi:10.1525/gfc.2006.6.3.76. ISSN 1529-3262.
  118. Murphy & O'Driscoll 2013, p. 196.
Bibliography

Further reading
  • Printed Ephemera: The Changing Uses of Type and Letterforms in English and American Printing, 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.
  • Fragments of the Everyday: A Book of Australian Ephemera by Richard Stone (2005, ISBN 0-642-27601-3)
  • Twyman, Michael (August 2002). "Ephemera: whose responsibility are they?". Library and Information Update. 1 (5): 54–55. ISSN 1476-7171.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.