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Offering a unique perspective on the American Revolution and early American print culture, Revolutionary Networks reveals how these men and women managed political upheaval through a commercial lens.
"Explores Benjamin Franklin's network of partnerships and business relationships with printers. His network altered practices in both European and American colonial printing trades by providing capital and political influence to set up working partnerships with James Parker, Francis Childs, Benjamin Mecom, Benjamin Franklin Bache, David Hall, Anthony Armbruster, and others"--Provided by publisher.
The true scale of paper production in America from 1690 through the end of the nineteenth century was staggering, with a range of parties participating in different ways, from farmers growing flax to textile workers weaving cloth and from housewives saving rags to peddlers collecting them. Making a bold case for the importance of printing and paper technology in the study of early American literature, Jonathan Senchyne presents archival evidence of the effects of this very visible process on American writers, such as Anne Bradstreet, Herman Melville, Lydia Sigourney, William Wells Brown, and other lesser-known figures. The Intimacy of Paper in Early and Nineteenth-Century American Literature reveals that book history and literary studies are mutually constitutive and proposes a new literary periodization based on materiality and paper production. In unpacking this history and connecting it to cultural and literary representations, Senchyne also explores how the textuality of paper has been used to make social and political claims about gender, labor, and race.
"A bibliography of poetry composed in what is now the United States of America and printed in the form of books or pamphlets before 1821"--Provided by publisher.
Although frequently attacked for their partisanship and undue political influence, the American media of today are objective and relatively ineffectual compared to their counterparts of two hundred years ago. From the late eighteenth to the late nineteenth century, newspapers were the republic's central political institutions, working components of the party system rather than commentators on it. The Tyranny of Printers narrates the rise of this newspaper-based politics, in which editors became the chief party spokesmen and newspaper offices often served as local party headquarters. Beginning when Thomas Jefferson enlisted a Philadelphia editor to carry out his battle with Alexander Hamilton for the soul of the new republic (and got caught trying to cover it up), the centrality of newspapers in political life gained momentum after Jefferson's victory in 1800, which was widely credited to a superior network of papers. Jeffrey L. Pasley tells the rich story of this political culture and its culmination in Jacksonian democracy, enlivening his narrative with accounts of the colorful but often tragic careers of individual editors.
What can and can't be copied is a matter of law, but also of aesthetics, culture, and economics. The act of copying, and the creation and transaction of rights relating to it, evokes fundamental notions of communication and censorship, of authorship and ownership - of privilege and property. This volume conceives a new history of copyright law that has its roots in a wide range of norms and practices. The essays reach back to the very material world of craftsmanship and mechanical inventions of Renaissance Italy where, in 1469, the German master printer Johannes of Speyer obtained a five-year exclusive privilege to print in Venice and its dominions. Along the intellectual journey that follows, we encounter John Milton who, in his 1644 Areopagitica speech 'For the Liberty of Unlicensed Printing', accuses the English parliament of having been deceived by the 'fraud of some old patentees and monopolizers in the trade of bookselling' (i.e. the London Stationers' Company). Later revisionary essays investigate the regulation of the printing press in the North American colonies as a provincial and somewhat crude version of European precedents, and how, in the revolutionary France of 1789, the subtle balance that the royal decrees had established between the interests of the author, the bookseller, and the public, was shattered by the abolition of the privilege system. Contributions also address the specific evolution of rights associated with the visual and performing arts. These essays provide essential reading for anybody interested in copyright, intellectual history and current public policy choices in intellectual property. The volume is a companion to the digital archive Primary Sources on Copyright (1450-1900), funded by the UK Arts and Humanities Research Council (AHRC): www.copyrighthistory.org.