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The antebellum period has long been identified with the belated emergence of a truly national literature. And yet, as Meredith L. McGill argues, a mass market for books in this period was built and sustained through what we would call rampant literary piracy: a national literature developed not despite but because of the systematic copying of foreign works. Restoring a political dimension to accounts of the economic grounds of antebellum literature, McGill unfolds the legal arguments and political struggles that produced an American \"culture of reprinting\" and held it in place for two crucial decades.In this culture of reprinting, the circulation of print outstripped authorial and editorial control. McGill examines the workings of literary culture within this market, shifting her gaze from first and authorized editions to reprints and piracies, from the form of the book to the intersection of book and periodical publishing, and from a national literature to an internally divided and transatlantic literary marketplace. Through readings of the work of Dickens, Poe, and Hawthorne, McGill seeks both to analyze how changes in the conditions of publication influenced literary form and to measure what was lost as literary markets became centralized and literary culture became stratified in the early 1850s.American Literature and the Culture of Reprinting, 1834-1853delineates a distinctive literary culture that was regional in articulation and transnational in scope, while questioning the grounds of the startlingly recent but nonetheless powerful equation of the national interest with the extension of authors' rights.

The Middle East was one of the most literate civilizations during the high and late medieval period and home to bustling book markets, voluminous libraries and sophisticated book production. After the \"paper revolution\" of the ninth and tenth centuries, the number of books and the availability of the written word increased dramatically. In the scholarly world the written word played an increasingly prominent role and reading was taken up by wider sections of the population.

In a recent sale catalog, one bookseller apologized for the condition of a sixteenth-century volume as \"rather soiled by use.\" When the book was displayed the next year, the exhibition catalogue described it as \"well and piously used [with] marginal notations in an Elizabethan hand [that] bring to life an early and earnest owner\"; and the book's buyer, for his part, considered it to be \"enlivened by the marginal notes and comments.\" For this collector, as for an increasing number of cultural historians and historians of the book, a marked-up copy was more interesting than one in pristine condition.William H. Sherman recovers a culture that took the phrase \"mark my words\" quite literally. Books from the first two centuries of printing are full of marginalia and other signs of engagement and use, such as customized bindings, traces of food and drink, penmanship exercises, and doodles. These marks offer a vast archive of information about the lives of books and their place in the lives of their readers.Based on a survey of thousands of early printed books, Used Books describes what readers wrote in and around their books and what we can learn from these marks by using the tools of archaeologists as well as historians and literary critics. The chapters address the place of book-marking in schools and churches, the use of the \"manicule\" (the ubiquitous hand-with-pointing-finger symbol), the role played by women in information management, the extraordinary commonplace book used for nearly sixty years by Renaissance England's greatest lawyer-statesman, and the attitudes toward annotated books among collectors and librarians from the Middle Ages to the present.This wide-ranging, learned, and often surprising book will make the marks of Renaissance readers more visible and legible to scholars, collectors, and bibliophiles.

Information is power. For more than five hundred years the success or failure of nations has been determined by a country's ability to acquire knowledge and technical skill and transform them into strength and prosperity. Leading historian Jeremy Black approaches global history from a distinctive perspective, focusing on the relationship between information and society and demonstrating how the understanding and use of information have been the primary factors in the development and character of the modern age. Black suggests that the West's ascension was a direct result of its institutions and social practices for acquiring, employing, and retaining information and the technology that was ultimately produced. His cogent and well-reasoned analysis looks at cartography and the hardware of communication, armaments and sea power, mercantilism and imperialism, science and astronomy, as well as bureaucracy and the management of information, linking the history of technology with the history of global power while providing important indicators for the future of our world.

Why do Americans read contemporary fiction? This question seems simple, but is it? Do Americans read for the purpose of aesthetic appreciation? To satisfy their own insatiable intellectual curiosities? While other forms of media have come to monopolize consumers' leisure time, in the past two decades book clubs have proliferated, Amazon has sponsored thriving online discussions, Oprah Winfrey has inspired millions of viewers to read both contemporary works and classics, and novels have retained their devoted following within middlebrow communities. InReading as Therapy, Timothy Aubry argues that contemporary fiction serves primarily as a therapeutic tool for lonely, dissatisfied middle-class American readers, one that validates their own private dysfunctions while supporting elusive communities of strangers unified by shared feelings. Aubry persuasively makes the case that contemporary literature's persistent appeal depends upon its capacity to perform a therapeutic function. Aubry traces the growth and proliferation of psychological concepts focused on the subjective interior within mainstream, middle-class society and the impact this has had on contemporary fiction. The prevailing tendency among academic critics has been to decry the personal emphasis of contemporary fiction as complicit with the rise of a narcissistic culture, the ascendency of liberal individualism, and the breakdown of public life.Reading as Therapy, by contrast, underscores the varied ideological effects that therapeutic culture can foster. To uncover the many unpredictable ways in which contemporary literature answers the psychological needs of its readers, Aubry considers several different venues of reader-response-including Oprah's Book Club and Amazon customer reviews-the promotional strategies of publishing houses, and a variety of contemporary texts, ranging from Khaled Hosseini'sThe Kite Runnerto Anita Shreve'sThe Pilot's Wifeto David Foster Wallace'sInfinite Jest. He concludes that, in the face of an atomistic social landscape, contemporary fiction gives readers a therapeutic vocabulary that both reinforces the private sphere and creates surprising forms of sympathy and solidarity among strangers.

The successful transmediation of books and documents through digitization requires the synergetic partnership of many professional figures, that have what may sometimes appear as contrasting goals at heart. On one side, there are those who look after the physical objects and strive to preserve them for future generations, and on the other those involved in the digitization of the objects, the information that they contain, and the management of the digital data. These complementary activities are generally considered as separate and when the current literature addresses both fields, it does so strictly within technical reports and guidelines, concentrating on procedures and optimal workflow, standards, and technical metadata. In particular, more often than not, conservation is presented as ancillary to digitization, with the role of the conservator restricted to the preparation of items for scanning, with no input into the digital product, leading to misunderstanding and clashes of interests. Surveying a variety of projects and approaches to the challenging conservation-digitization balance and fostering a dialogue amongst practitioners, this book aims at demonstrating that a dialogue between apparently contrasting fields not only is possible, but it is in fact desirable and fruitful. Only through the synergetic collaboration of all people involved in the digitization process, conservators included, can cultural digital objects that represent more fully the original objects and their materiality be generated, encouraging and enabling new research and widening the horizons of scholarship.

The book lays out the history of diversity in the veterinary profession, in the context of historical changes and actions within US society. An overview of selected strategies from dental, pharmacy, and (human) medical schools is then offered. The impact of social constructs on career interest development is explored using the examples of race, gender, sexual orientation, and gender identity. Practical strategies for attracting preschool through undergraduate students to careers in the veterinary profession are presented, as well as metrics and tools to assess the impact of diversity and inclusiveness strategies. A systems approach to diversity and inclusiveness in the veterinary profession is called for in a manner that frames barriers as opportunities for improvement and progress. There is much that needs to happen to achieve professional inclusiveness and cultural competency, but the path to achieving this is clear. System-wide commitment, planning, execution, and continuous assessment will position the profession to better suit the population of the nation and the world that will be served. This book is a call to action for consistent championship and cohesive approaches, and it provides a road map to building a sustainably inclusive future.

When Henry Vizetelly was imprisoned in 1889 for publishing the novels of Émile Zola in English, the problem was not just Zola's French candour about sex - it was that Vizetelly's books were cheap, and ordinary people could read them. Censored exposes the role that power plays in censorship. In twenty-five chapters focusing on a wide range of texts, including the Bible, slave narratives, modernist classics, comic books, and Chicana/o literature, Matthew Fellion and Katherine Inglis chart the forces that have driven censorship in the United Kingdom and the United States for over six hundred years, from fears of civil unrest and corruptible youth to the oppression of various groups - religious and political dissidents, same-sex lovers, the working class, immigrants, women, racialized people, and those who have been incarcerated or enslaved. The authors also consider the weight of speech, and when restraints might be justified. Rich with illustrations that bring to life the personalities and the books that feature in its stories, Censored takes readers behind the scenes into the courtroom battles, legislative debates, public campaigns, and private exchanges that have shaped the course of literature. A vital reminder that the freedom of speech has always been fragile and never enjoyed equally by all, Censored offers lessons from the past to guard against threats to literature in a new political era.

The eighteenth century has long been associated with realism and objective description, modes of representation that deemphasize writing. But in the middle decades of the century, Christina Lupton observes, authors described with surprising candor the material and economic facets of their own texts' production. InKnowing BooksLupton examines a variety of eighteenth-century sources, including sermons, graffiti, philosophical texts, and magazines, which illustrate the range and character of mid-century experiments with words announcing their status as physical objects. Books that \"know\" their own presence on the page and in the reader's hand become, in Lupton's account, tantalizing objects whose entertainment value competes with that of realist narrative.Knowing Booksintroduces these mid-eighteenth-century works as part of a long history of self-conscious texts being greeted as fashionable objects. Poststructuralist and Marxist approaches to literature celebrate the consciousness of writing and economic production as belonging to revolutionary understandings of the world, but authors of the period under Lupton's gaze expose the facts of mediation without being revolutionary. On the contrary, their explication of economic and material processes shores up their claim to material autonomy and economic success. Lupton uses media theory and close reading to suggest the desire of eighteenth-century readers to attribute sentience to technologies and objects that entertain them. Rather than a historical study of print technology,Knowing Booksoffers a humanist interpretation of the will to cede agency to media. This horizon of theoretical engagement makesKnowing Booksat once an account of the least studied decades of the eighteenth century and a work of relevance for those interested in new attitudes toward media in the twenty-first.

Between about 1830 and the outbreak of the First World War, print culture, reading, and writing transformed cultural life in Western Europe in many significant ways. Book production and consumption increased dramatically, and practices such as letter- and diary-writing were widespread. This study demonstrates the importance of the nineteenth century in French cultural change and illustrates the changing priorities and concerns ofl'histoire du livresince the 1970s. From the 1830s on, book production experienced an industrial revolution which led to the emergence of a mass literary culture by the close of the century. At the same time, the western world acquired mass literacy. New categories of readers became part of the reading public while western society also learned to write.Reading Culture and Writing Practices in Nineteenth-Century Franceexamines how the concerns of historians have shifted from a search for statistical sources to more qualitative assessments of readers' responses. Martyn Lyons argues that autobiographical sources are vitally important to this investigation and he considers examples of the intimate and everyday writings of ordinary people. Featuring original and intriguing insights as well as references to material hitherto inaccessible to English readers, this study presents a form of 'history from below' with emphasis on the individual reader and writer, and his or her experiences and perceptions.