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A thorough rethinking of a field deserves to take a shape that is in itself new. Interacting with Print delivers on this premise, reworking the history of print through a unique effort in authorial collaboration. The book itself is not a typical monograph—rather, it is a “multigraph,” the collective work of twenty-two scholars who together have assembled an alphabetically arranged tour of key concepts for the study of print culture, from Anthologies and Binding to Publicity and Taste. Each entry builds on its term in order to resituate print and book history within a broader media ecology throughout the eighteenth and nineteenth centuries. The central theme is interactivity, in three senses: people interacting with print; print interacting with the non-print media that it has long been thought, erroneously, to have displaced; and people interacting with each other through print. The resulting book will introduce new energy to the field of print studies and lead to considerable new avenues of investigation.
In The Nature of the Book, a tour de force of cultural history, Adrian Johns constructs an entirely original and vivid picture of print culture and its many arenas—commercial, intellectual, political, and individual. "A compelling exposition of how authors, printers, booksellers and readers competed for power over the printed page. . . . The richness of Mr. Johns's book lies in the splendid detail he has collected to describe the world of books in the first two centuries after the printing press arrived in England."—Alberto Manguel, Washington Times "[A] mammoth and stimulating account of the place of print in the history of knowledge. . . . Johns has written a tremendously learned primer."—D. Graham Burnett, New Republic "A detailed, engrossing, and genuinely eye-opening account of the formative stages of the print culture. . . . This is scholarship at its best."—Merle Rubin, Christian Science Monitor "The most lucid and persuasive account of the new kind of knowledge produced by print. . . . A work to rank alongside McLuhan."—John Sutherland, The Independent "Entertainingly written. . . . The most comprehensive account available . . . well documented and engaging."—Ian Maclean, Times Literary Supplement
A comprehensive historical reference on metropolitan Chicago encompasses more than 1,400 entries on such topics as neighborhoods, ethnic groups, cultural institutions, and business history, and furnishes interpretive essays on the literary images of Chicago, the built environment, and the city's sports culture.
In eighteenth- and nineteenth-century Britain, books of travel and exploration were much more than simply the printed experiences of intrepid authors. They were works of both artistry and industry—products of the complex, and often contested, relationships between authors and editors, publishers and printers. These books captivated the reading public and played a vital role in creating new geographical truths. In an age of global wonder and of expanding empires, there was no publisher more renowned for its travel books than the House of John Murray. Drawing on detailed examination of the John Murray Archive of manuscripts, images, and the firm’s correspondence with its many authors—a list that included such illustrious explorers and scientists as Charles Darwin and Charles Lyell, and literary giants like Jane Austen, Lord Byron, and Sir Walter Scott—Travels into Print considers how journeys of exploration became published accounts and how travelers sought to demonstrate the faithfulness of their written testimony and to secure their personal credibility. This fascinating study in historical geography and book history takes modern readers on a journey into the nature of exploration, the production of authority in published travel narratives, and the creation of geographical authorship—a journey bound together by the unifying force of a world-leading publisher.
The Author's Due offers an institutional and cultural history of books, the book trade, and the bibliographic ego. Joseph Loewenstein traces the emergence of possessive authorship from the establishment of a printing industry in England to the passage of the 1710 Statute of Anne, which provided the legal underpinnings for modern copyright. Along the way he demonstrates that the culture of books, including the idea of the author, is intimately tied to the practical trade of publishing those books. As Loewenstein shows, copyright is a form of monopoly that developed alongside a range of related protections such as commercial trusts, manufacturing patents, and censorship, and cannot be understood apart from them. The regulation of the press pitted competing interests and rival monopolistic structures against one another—guildmembers and nonprofessionals, printers and booksellers, authors and publishers. These struggles, in turn, crucially shaped the literary and intellectual practices of early modern authors, as well as early capitalist economic organization. With its probing look at the origins of modern copyright, The Author's Due will prove to be a watershed for historians, literary critics, and legal scholars alike.
Homer in Print traces the print transmission and literary reception of the Iliad and the Odyssey from the fifteenth through the twentieth century. Over 175 mini essays provide new details of each included edition's textual, intellectual, and publishing history. Three long-form essays contributed by scholars Glenn W. Most and David Wray, and collector M. C. Lang, place these editions within a wider context, exploring their role in ancient and modern philology, translation studies, and the history of printing. An extensive and strikingly illustrated testament to the power and popularity of Homer over the past five hundred years, Homer in Print is an essential text for students and teachers of classics, classical reception, comparative literature, and book history. This volume, a product of new research and sharp scholarship, evidences Homer's ability to captivate the imaginations of poets, editors, and readers throughout the centuries.