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Recent years have witnessed a growing fascination with the printed annotations accompanying eighteenth-century texts. Previous studies of annotation have revealed the margins as dynamic textual spaces both shaping and shaped by diverse aesthetic, historical, and political sensibilities. Yet previous studies have also been restricted to notes by or for canonical figures; they have neglected annotation’s relation to developments in reading audiences and the book trade; and they have overlooked the interaction, even tension, between prose notes and poetry, a tension reflecting eighteenth-century views of poetry as aesthetically superior to prose. Annotation in Eighteenth-Century Poetry addresses these oversights through a substantial introduction and eleven essays analyzing the printed endnotes and footnotes accompanying poems written or annotated between 1700 and 1830. Drawing on methods and critical developments in book history and print culture studies, this collection explores the functions that annotation performed on and through the printed page. By analyzing the annotation specific to poetry, these essays clarify the functions of notes among the other paratexts, including illustrations, by which scholars have mapped poetry’s relation to the expanding book trade and the class-specific production of different formats. Because the reading and writing of poetry boasted social and pedagogical functions that predate the rise of the note as a print technology, studying the relation of notes to poetry also reveals how the evolving layout of the eighteenth-century book wrought significant changes not only on reading practices and reception, but on the techniques that booksellers used to make new poems, steady-sellers, and antiquarian discoveries legible to new readers. Above all, analyzing notes in poetry volumes contributes to larger inquiries into canon formation and the rise of literary studies as a discipline in the eighteenth century.
Explores how the idea of rare books was shaped by collectors, traders and libraries from the sixteenth to the nineteenth centuries. Using examples from across Europe, David McKitterick looks at how rare books developed from being desirable objects of largely private interest to become public and even national concerns.
The first comprehensive study of the eighteenth-century response to the Elizabethan poet Edmund Spenser, from editions to influence.
The Imprisoned Traveler is a fascinating portrait of a unique book, its context, and its elusive author. Joseph Forsyth, traveling through an Italy plundered by Napoleon, was unjustly imprisoned in 1803 by the French as an enemy alien. Out of his arduous eleven-year “detention” came his only book, Remarks on Antiquities, Arts, and Letters during an Excursion in Italy (1813). Written as an (unsuccessful) appeal for release, praised by Forsyth’s contemporaries for its originality and fine taste, it is now recognized as a classic of Romantic period travel writing. Keith Crook, in this authoritative study, evokes the peculiar miseries that Forsyth endured in French prisons, reveals the significance of Forsyth’s encounters with scientists, poets, scholars, and ordinary Italians, and analyzes his judgments on Italian artworks. He uncovers how Forsyth’s allusiveness functions as a method of covert protest against Napoleon and reproduces the hitherto unpublished correspondence between the imprisoned Forsyth and his brother. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
The eighteenth century witnessed the publication of an unprecedented number of voyages and travels, genuine and fictional. Within a genre distinguished by its diversity, curiosity, and experimental impulses, Katrina O'Loughlin investigates not just how women in the eighteenth century experienced travel, but also how travel writing facilitated their participation in literary and political culture. She canvases a range of accounts by intrepid women, including Lady Mary Wortley Montagu's Turkish Embassy Letters, Lady Craven's Journey through the Crimea to Constantinople, Eliza Justice's A Voyage to Russia, and Anna Maria Falconbridge's Narrative of Two Voyages to the River Sierra Leone. Moving from Ottoman courts to theatres of war, O'Loughlin shows how gender frames access to people and spaces outside Enlightenment and Romantic Britain, and how travel provides women with a powerful cultural form for re-imagining their place in the world.
“A lively survey…her research and insights make us conscious of how we, today, use books.”—John Sutherland, The New York Times Book Review Two centuries before the advent of radio, television, and motion pictures, books were a cherished form of popular entertainment and an integral component of domestic social life. In this fascinating and vivid history, Abigail Williams explores the ways in which shared reading shaped the lives and literary culture of the eighteenth century, offering new perspectives on how books have been used by their readers, and the part they have played in middle-class homes and families. Drawing on marginalia, letters and diaries, library catalogues, elocution manuals, subscription lists, and more, Williams offers fresh and fascinating insights into reading, performance, and the history of middle-class home life. “Williams’s charming pageant of anecdotes…conjures a world strikingly different from our own but surprisingly similar in many ways, a time when reading was on the rise and whole worlds sprang up around it.”—TheWashington Post
Spectacular Suffering focuses on commodification and discipline, two key dimensions of Atlantic slavery through which black bodies were turned into things in the marketplace and persons into property on plantations. Mallipeddi approaches the problem of slavery as a problem of embodiment in this nuanced account of how melancholy sentiment mediated colonial relations between English citizens and Caribbean slaves. The book’s first chapters consider how slave distress emerged as a topic of emotional concern and political intervention in the writings of Aphra Behn, Richard Steele, and Laurence Sterne. As Mallipeddi shows, sentimentalism allowed metropolitan authors to fashion themselves as melancholy witnesses to racial slavery by counterposing the singular body to the abstract commodity and by taking affective property in slaves against the legal proprietorship of slaveholders. Spectacular Suffering then turns to the practices of the enslaved, tracing how they contended with the effects of chattel slavery. The author attends not only to the work of African British writers and archival textual materials but also to economic and social activities, including slaves’ petty production, recreational forms, and commemorative rituals. In examining the slaves’ embodied agency, the book moves away from spectacular images of suffering to concentrate on slow, incremental acts of regeneration by the enslaved. One of the foremost contributions of this study is its exploration of the ways in which the ostensible objects of sentimental compassion—African slaves—negotiated the forces of capitalist abstraction and produced a melancholic counterdiscourse on slavery. Throughout, Mallipeddi’s keen reading of primary texts alongside historical and critical work produce fresh and persuasive insights. Spectacular Suffering is an important book that will alter conceptions of slave agency and of sentimentalism across the long eighteenth century.