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This monograph explores transatlantic literary culture by tracing the proliferation of ‘new media,’ such as the anthology, the literary history and the magazine, in the period between 1750 and 1850. The fast-paced media landscape out of which these publishing genres developed produced the need of a ‘memory of literature’ and a concomitant rhetoric of remembering strikingly similar to what today is called a cultural memory debate. Thus, rather than depicting the emergence of an American national literature, The Rise of New Media(1750–1850) combines impulses from media history, the history of print, the sociology of literature and canon theory to uncover nascent forms and genres of literary self-reflectivity and early stirrings of a canon debate in the Atlantic World.
Through innovative use of little used archival material, Rothenberg finds that the relevant economic magnitudes - farm commodity prices, wages for day and monthly farm labor, and the determinants of rural wealth holding - behaved as if they had been formed in a market. This ground breaking discovery reveals how an agricultural economy that lacked both an important export staple and technological change could experience market-led growth. To understand this impressive economic development, Rothenberg discusses a number of provocative questions.
From the country's beginning, essayists in the United States have used their prose to articulate the many ways their individuality has been shaped by the politics, social life, and culture of this place. The Cambridge History of the American Essay offers the fullest account to date of this diverse and complex history. From Puritan writings to essays by Indigenous authors, from Transcendentalist and Pragmatist texts to Harlem Renaissance essays, from New Criticism to New Journalism: The story of the American essay is told here, beginning in the early eighteenth century and ending with the vibrant, heterogeneous scene of contemporary essayistic writing. The essay in the US has taken many forms: nature writing, travel writing, the genteel tradition, literary criticism, hybrid genres such as the essay film and the photo essay. Across genres and identities, this volume offers a stirring account of American essayism into the twenty-first century.
The American short story has always been characterized by exciting aesthetic innovations and an immense range of topics. This handbook offers students and researchers a comprehensive introduction to the multifaceted genre with a special focus on recent developments due to the rise of new media. Part I provides systematic overviews of significant contexts ranging from historical-political backgrounds, short story theories developed by writers, print and digital culture, to current theoretical approaches and canon formation. Part II consists of 35 paired readings of representative short stories by eminent authors, charting major steps in the evolution of the American short story from its beginnings as an art form in the early nineteenth century up to the digital age. The handbook examines historically, methodologically, and theoretically the coming together of the enduring narrative practice of compression and concision in American literature. It offers fresh and original readings relevant to studying the American short story and shows how the genre performs American culture.
Allyson May chronicles the history of the English criminal trial and the development of a criminal bar in London between 1750 and 1850. She charts the transformation of the legal process and the evolution of professional standards of conduct for the crimi
Transatlantic literary studies have provided important new perspectives on North American, British and Irish literature. They have led to a revision of literary history and the idea of a national literature. They have changed the perception of the Anglo-American literary market and its many processes of transatlantic production, distribution, reception and criticism. Rather than dwelling on comparisons or engaging with the notion of ‘influence,’ transatlantic literary studies seek to understand North American, British and Irish literature as linked with each other by virtue of multi-layered historical and cultural ties and pay special attention to the many refractions and mutual interferences that have characterized these traditions since colonial times. This handbook brings together articles that summarize some of the crucial transatlantic concepts, debates and topics. The contributions contained in this volume examine periods in literary and cultural history, literary movements, individual authors as well as genres from a transatlantic perspective, combining theoretical insight with textual analysis.
In the past two decades, a discourse of crisis has emerged about the democratic institutions and political culture of the US: many structures of authority which people had more or less taken for granted are facing a massive public loss of trust. This volume takes an interdisciplinary and historical look at the transformations of authority and trust in the United States. The contributors examine government institutions, political parties, urban neighborhoods, scientific experts, international leadership, religious communities, and literary production. Exploring the nexus between authority and trust is crucial to understand the loss of legitimacy experienced by political, social, and cultural institutions not only in the United States but in Western democracies at large.
"A much-needed contribution to and critique of debates in the newly emerging field of transparency studies from the perspective of American literary studies. In the twenty-first century, transparency has become an ambiguous buzzword both in the public and the private realms (e.g. Wikileaks and the Snowden affair; social media). This volume takes its cue from the emerging field of transparency studies, recent scholarly work in sociology, political theory, and cultural studies that identifies a hegemonic rhetoric of transparency in public and political life. While scholars in this new field routinely gesture toward literature as the realm where secrecy may be productive, they rarely engage with literature directly, and literary studies itself remains notably absent from their debates. This collection of essays seeks to redress that state of affairs by focusing on literary texts written in an American cultural tradition steeped in the interplay between transparency and exposure, fear and secrecy, security and surveillance, and information and disinformation. The essays draw on authors ranging from Whitman, James, and Ellison to Pynchon, Morrison, and Eggers to argue that American literature complicates theoretical assumptions about transparency made in other disciplines. They question the field's strong theoretical emphasis on present-day technopolitical practices and discourses as the location of hegemonic discourse on transparency, and instead historicize such phenomena and extend them to discursive spheres that have so far been neglected (such as issues of sexuality and race). Edited by Paula Martâin-Salvâan and Sascha Pèohlmann. Contributors: Tomasz Basiuk, Jesâus Blanco Hidalga, Cristina Chevere÷san, Julia Faisst, Michel Feith, Juliâan Jimâenez Heffernan, Tiina Kèakelèa, Juan L. Pâerez-de-Luque, Umberto Rossi, Jelena éSesniâc, Toon Staes, Julia Straub, Alice Sundman"--
This book argues that cosmopolitanism was a feature of early American discourses of nation formation and eighteenth-century colonialism. With the analysis of writings by Thomas Jefferson, Benjamin Franklin, Elizabeth Graeme Fergusson, Philip Mazzei, and Olaudah Equiano, the book reassesses the terms in which we understand cosmopolitanism, its relationship with local and transatlantic environments, and the way these representative writers from different segments of colonial society identified themselves and America within the transatlantic context. The book shows that the transnational and universalist appeal of the cosmopolitan not only accompanies empire building and defines a narrative that aligns the cosmopolitan perspective of global understanding and cooperation with western political ideology. The language of the cosmopolitan also forms the basis of a rhetoric that resists imperial expansion and allows writers in a variety of cultural, social, and political margins to find a voice to identify themselves, America, and the transatlantic world they imagine.