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Reproduction of the original: Americanisms and Briticisms by Brander Matthews
Uncle Tom's Cabin continues to provoke impassioned discussions among scholars; to serve as the inspiration for theater, film, and dance; and to be the locus of much heated debate surrounding race relations in the United States. It is also one of the most remarkable print-based texts in U.S. publishing history. And yet, until now, no book-length study has traced the tumultuous publishing history of this most famous of antislavery novels. Among the major issues Claire Parfait addresses in her detailed account are the conditions of female authorship, the structures of copyright, author-publisher relations, agency, and literary economics. To follow the trail of the book over 150 years is to track the course of American culture, and to read the various editions is to gain insight into the most basic structures, formations, and formulations of literary culture during the period. Parfait interrelates the cultural status of this still controversial novel with its publishing history, and thus also chronicles the changing mood and mores of the nation during the past century and a half. Scholars of Stowe, of American literature and culture, and of publishing history will find this impressive and compelling work invaluable.
William Dean Howells and the Ends of Realism helps us to see him as a writer very much aware of his limitations and of his enormous importance in the development of an American literary tradition.
More than 300 patterns of American pressed glass are documented, described, and illustrated in this comprehensive reference guide for collectors. In this informative and fully illustrated guide, Bob H. Batty—a noted collector of pressed glass—covers more than three hundred glass patterns. Two hundred of which are identified and illustrated for the first time for the first time. Artist John Hendricks’ drawings depict the design and character of the various patterns and in many cases highlight special design and detail of notable patterns. All of the works shown are from Batty’s personal collection, which numbers more than 2,700 pieces representing some 1,900 patterns. Batty, who has pursued his glass collecting with scholarly attention to historical accuracy and detail, has named many of the previously uncatalogued patterns after cities and landmarks throughout his native South. A number of foreign patterns are also included, with precise measurements given for every piece depicted.