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Abstract: In Paris, in 1535, a songbook was published that would have a long-lasting impact on the market for French printed songs without music notation. Most noteworthy is that this songbook was the first of its kind to demonstrate considerable overlap in repertoire selection between printed songs pertaining to a category of affordable, popular literature on the one hand, and contemporary music books on the other. It therefore offers a valuable gateway to investigate the interrelations between the early sixteenth-century markets for printed songbooks with and without music.1Song texts without music belonged to a category of print that is generally characterized by terms such as “popular” or “cheap.” This category is hard ... Read More PubDate: 2023-05-15T00:00:00-05:00
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Abstract: 1757 was a busy year in the Reverend Noah Hobart’s life.1 After three attempts, the minister from Fairfield, Connecticut, finally married Priscilla Lathrop, a woman whom he had loved since his student days at Harvard. That year they celebrated another union: his daughter married Priscilla’s son from a previous marriage. In September, his son graduated from Yale College.2 At some point in 1757, Hobart received his copy of the second edition of A Voyage to the South Seas. He had subscribed to the printing of this volume a year earlier, and maybe he was glad to settle down with a good book after all the excitement. He had most likely seen the proposals to print by subscription in the September 18, 1756, issue of the ... Read More PubDate: 2023-05-15T00:00:00-05:00
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Abstract: Reflecting on the reading history of late nineteenth-century Australia, Julieanne Lamond asks how we might study imagined communities of taste or interest who do not necessarily self-identify as such—that is, “readers who are unselfconsciously similar in terms of what they have read, and when and where they have read it.” “This kind of community of readers,” she maintains, “might tell us something about the culture of a time and place. But how would we study it'”1 Moving beyond an Australian national frame requires still further methodological reflection. How can we account for the spatial and temporal distances across which texts circulate or move' In comparing communities of readers from within the ... Read More PubDate: 2023-05-15T00:00:00-05:00
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Abstract: In its February 11, 1859, issue, The Weekly Magazine, a London penny weekly published by Ward and Lock, began advertising that it would publish a new novel, The Hidden Hand by American author E. D. E. N. South-worth (1819–1899), as a periodic supplement.1 Two weeks later, the Weekly informed readers that their edition of the novel wasthe only correct and unabridged edition, as from the pen of the Author [ . . . ]. Other tales, purporting to be the same, are being issued but they differ considerably from the original, strange license having been taken with many of the most interesting scenes, in one instance, a negro, with his peculiarly racy sayings, has been changed into an Irishman!2Without naming its penny ... Read More PubDate: 2023-05-15T00:00:00-05:00
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Abstract: For most of the nineteenth century, British travelers would recognize at a glance the red binding and gold lettering of John Murray’s Handbooks for Travellers. His travel guidebooks, which set the standard for later serialized guides like those equally vivid Baedekers that E. M. Forster and others would gently mock at the turn of the century, were uniform in appearance, authoritative in scope, and deliberately linked to their creator’s name. These qualities served to set “Murrays” apart as a print form that provided clarity, consistency, and stability in the face of a globalizing and more accessible world. Murray popularized and demarcated a genre that was at the very least amorphous at the time of his publication. ... Read More PubDate: 2023-05-15T00:00:00-05:00
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Abstract: One early spring morning in 1860, a group of compositors squatted outside a gazette publisher’s southern Beijing premises and hunted for wooden types to fill their printing frames.1 Once arranged, imprints would be taken from the frames onto coarse, unbleached bamboo paper. The results were just readable. Within the tightly packed columns of crude carved characters, common characters were blurred and rarer terms often replaced by substitutes. In ten-page sets, the pages were folded into slim, yellow-covered pamphlets fixed with twists of paper. Outward from this shop on Iron Stork Hutong, hawkers delivered and sold the gazettes throughout the city. The next day, upon receipt of a fresh sheath of official texts from ... Read More PubDate: 2023-05-15T00:00:00-05:00
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Abstract: How did genre fiction arise' “Genre fiction” is a familiar phrase today, widely used to designate certain kinds of fiction: crime stories, romance novels, Westerns, science fiction, and so on. For Mark McGurl, genre fiction has now become so ubiquitous as to be “the heart of the matter of literature in the Age of Amazon.”1 Yet the origins of genre fiction remain only vaguely understood. Some of its constituent genres could, on some accounts, be traced back centuries—by treating, say, Frankenstein as science fiction or Pride and Prejudice as an archetypal romance—but the idea of genre fiction comes much later. The term “genre fiction” has little currency before the 1970s, and no earlier equivalent is to be found.2 ... Read More PubDate: 2023-05-15T00:00:00-05:00
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