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This fully annotated edition sheds much light on eighteenth-century British literary and publishing history.
The new biography of the publisher and bookseller who premiered the work of Alexander Pope and Samuel Johnson deftly integrates Dodsley's life story with the literary transition from court patronage to the age of print that paved the way for the Romantic movement of the 19th century. Solomon (English, Auburn U.) details the unique circumstances that led Dodsley from his position as a weaver's apprentice to his career as a playwright, culminating in his last incarnation as one of the most influential literary forces of his time. Annotation copyright by Book News, Inc., Portland, OR
The only collection of all known letters of Christopher Smart provides the best psychological explanation to date of that complex and elusive eighteenth-century poet. The significant characteristics that distinguish Smart’s prose letters from his poetry, Betty Rizzo and Robert Mahony note, are that his letters were requests for assistance while his verses were bequests, gifts in which he set great store. Indeed, it was Smart’s lifelong conviction that he was a poet of major importance. As Smart biographer Karina Williamson notes, "The splendidly informative and vivaciously written accounts of the circumstances surrounding each letter, or group of letters, add up to what is in effect a miniature biography."
The studies presented in this volume concentrate on aspects of Late Modern English correspondence in the usage of individuals belonging to different social classes, writing for different purposes, and finding themselves in different social contexts, both in Britain and in its colonies. As the growing body of research published in recent years has shown, analysing the language of letters presents both a challenge and an opportunity to obtain access to as full a range of styles as would be possible for a period for which we only have access to the language in its written form. It is an area of study in which all the contributors have considerable expertise, which affords them to present data findings while discussing important methodological issues. In addition, in most cases data derive from specially-designed 'second-generation' corpora, reflecting state-of-the-art approaches to historical sociolinguistics and pragmatics. Theoretical issues concerning letters as a text type, their role in social network analysis, and their value in the identification of register or variety specific traits are highlighted, alongside issues concerning the (often less than easy) relationship between strictly codified norms and actual usage on the part of speakers whose level of education could vary considerably.
The Work of Print traces a shift in the very definition of literature, from one that encompasses the material conditions of the production and distribution of books to the more familiar emphasis on the solitary author's ownership of an abstract text. Drawing on contemporary accounts of those involved in the trade - printers, booksellers, publishers, and distributors - Lisa Maruca examines attitudes about the creative process and approaches to the commodification of writing. The "work of print" describes the labors through which literature was produced: both the physical labor of making books and the underlying cultural work performed by a set of ideologies about who counted as a maker of texts. Printers' manuals, tracts on typography, legal documents, and booksellers' autobiographies reveal that print workers conceived of their roles as central to the production of literature. Maruca's insightful readings of these documents alongside traditional works of fiction and authors' correspondence show that the claims of print workers and booksellers were part of a struggle for ownership and control as the concept of author as proprietor of his or her intellectual property began to take hold in the mid-1700s, gradually eclipsing print workers' contributions to the process of textual creation. The print trade asserted its authority using a rhetoric of hierarchical and binary sexuality and gender, which affected women working in the industry and limited the type of work they were allowed to perform. In response, women developed strategies to redeploy conventional ideas of gender to gain concessions for themselves as publishers and distributors of printed material, strategies that formed a foundation for the rise of female authorship later in the eighteenth century. Encompassing the histories of literature, labor, technology, publishing, and gender, The Work of Print ultimately offers significant insights into the ideology of authorship and intellectual property and our understanding of textuality and print in the digital age.
What happens when an actor owns shares in the stage on which he performs and the newspapers that review his performances? Celebrity that lasts over 240 years. From 1741, David Garrick dominated the London theatre world as the progenitor of a new 'natural' style of acting. From 1747 to 1776, he was a part-owner and manager of Drury Lane, controlling most aspects of the theatre's life. In a spectacular foreshadowing of today's media convergences, he also owned shares in papers including the St James's Chronicle and the Public Advertiser, which advertised and reviewed Drury Lane's theatrical productions. This book explores the nearly inconceivable level of cultural power generated by Garrick's entrepreneurial manufacture and mediation of his own celebrity. Using new technologies and extensive archival research, this book uncovers fresh material concerning Garrick's ownership and manipulation of the media, offering timely reflections for theatre history and media studies.
"Edmund Burke PC (12 January [NS] 1729[1]? 9 July 1797) was an Irish statesman, author, orator, political theorist and philosopher, who, after moving to England, served for many years in the House of Commons of Great Britain as a member of the Whig party. He is mainly remembered for his support of the cause of the American Revolutionaries, and for his later opposition to the French Revolution. The latter led to his becoming the leading figure within the conservative faction of the Whig party, which he dubbed the "Old Whigs", in opposition to the pro?French Revolution "New Whigs", led by Charles James Fox. Burke was praised by both conservatives and liberals in the 19th century. Since the 20th century, he has generally been viewed as the philosophical founder of modern conservatism, as well as a representative of classical liberalism."--Wikipedia.
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