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Planned nine-volume series devoted to the exploration of popular print culture in English from the beginning of the sixteenth century to the present.
Uses fresh archival material to explore Jack London's publishing career outside of North America, illuminating the relationships with publishers and agents, principally in Britain, as a key to understanding the character, drive, and international success of this popular figure of twentieth-century American letters.
Challenging traditional gender expectations, thousands of girls of Gibson's generation not only aspired to public careers as writers, artists, educators, and even doctors but also began to experiment with new forms of "female masculinity" in attitude, bearing, behavior, dress, and sexuality--a pattern only gradually domesticated by the nonthreatening image of the "tomboy." Some, such as Gibson, at once realized and reenacted their dreams on the pages of antebellum story papers. This first modern scholarly edition of Mary Gibson's early fiction features ten tales of teenage girls (seemingly much like Gibson herself) who fearlessly appropriate masculine traits, defy contemporary gender norms, and struggle to fulfill high worldly ambitions.
Staged Readings studies the social consequences of 19th-century America’s two most prevalent leisure forms: theater and popular literature. In the midst of watershed historical developments—including numerous waves of immigration, two financial Panics, increasing wealth disparities, and the Civil War—American theater and literature were developing at unprecedented rates. Playhouses became crowded with new spectators, best-selling novels flew off the shelves, and, all the while, distinct social classes began to emerge. While the middle and upper classes were espousing conservative literary tastes and attending family matinees and operas, laborers were reading dime novels and watching downtown spectacle melodramas like Nymphs of the Red Sea and The Pirate’s Signal or, The Bridge of Death!!! As audiences traveled from the reading parlor to the playhouse (and back again), they accumulated a vital sense of social place in the new nation. In other words, culture made class in 19th-century America. Based in the historical archive, Staged Readings presents a panoramic display of mid-century leisure and entertainment. It examines best-selling novels, such as Harriet Beecher Stowe’s Uncle Tom’s Cabin and George Lippard’s The Quaker City. But it also analyzes a series of sensational melodramas, parlor theatricals, doomsday speeches, tableaux vivant displays, curiosity museum exhibits, and fake volcano explosions. These oft-overlooked spectacles capitalized on consumers’ previous cultural encounters and directed their social identifications. The book will be particularly appealing to those interested in histories of popular theater, literature and reading, social class, and mass culture.
This book explores the cultural and historical imaginary expressed in literary works that emphasize Latina/o world views. The essays here employ critical approaches based on discourse and cultural analyses that highlight individual and collective identity. They encompass a wide spectrum of topics that deal with border newspapers published early in the twentieth century and their function as a forum for conserving memory based on cultural values and religious beliefs; life writing and fictional rewritings of memory; autobiographical texts that emphasize the diasporic experience of immigrants; and the essay and the poetic/visual literary forms that recover border memory. The discussion of alternative life views presented here will be of interest to academics involved in the recovery of print culture and genre specialists in the area of autobiography, as well as readers who wish to become more familiar with literature from the US-Mexico border region.
New Orleans is unique – which is precisely why there are many Crescent Cities all over the world: for almost 150 years, writers, artists, cultural brokers, and entrepreneurs have drawn on and simultaneously contributed to New Orleans’s fame and popularity by recreating the city in popular media from literature, photographs, and plays to movies, television shows, and theme parks. Addressing students and fans of the city and of popular culture, Popular New Orleans examines three pivotal moments in the history of New Orleans in popular media: the creation of the popular image of the Crescent City during the late nineteenth century in the local-color writings published in Scribner’s Monthly/Century Magazine; the translation of this image into three-dimensional immersive spaces during the twentieth century in Disney’s theme parks and resorts in California, Florida, and Japan; and the radical transformation of this image following Hurricane Katrina in public performances such as Mardi Gras parades and operas. Covering visions of the Crescent City from George W. Cable’s Old Creole Days stories (1873-1876) to Disneyland’s "New Orleans Square" (1966) to Rosalyn Story’s opera Wading Home (2015), Popular New Orleans traces how popular images of New Orleans have changed from exceptional to exemplary.
Provocative account exploring how a population explosion transformed nineteenth-century European and American culture, creating shared narratives of urban life.
When the term 'dinosaur' was coined in 1842, it referred to fragmentary British fossils. In subsequent decades, American discoveries—including Brontosaurus and Triceratops—proved that these so-called 'terrible lizards' were in fact hardly lizards at all. By the 1910s 'dinosaur' was a household word. Reimagining Dinosaurs in Late Victorian and Edwardian Literature approaches the hitherto unexplored fiction and popular journalism that made this scientific term a meaningful one to huge transatlantic readerships. Unlike previous scholars, who have focused on displays in American museums, Richard Fallon argues that literature was critical in turning these extinct creatures into cultural icons. Popular authors skilfully related dinosaurs to wider concerns about empire, progress, and faith; some of the most prominent, like Arthur Conan Doyle and Henry Neville Hutchinson, also disparaged elite scientists, undermining distinctions between scientific and imaginative writing. The rise of the dinosaurs thus accompanied fascinating transatlantic controversies about scientific authority.