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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.

Of all the cultural \"revolutions\" brought about by the development of printing technology during the sixteenth century, perhaps the most remarkable but least understood is the purported rise of European vernacular languages. It is generally accepted that the invention of printing constitutes an event in the history of language that has profoundly shaped modernity, and yet the exact nature of this transformation—the mechanics of the event—has remained curiously unexamined.In The Prosthetic Tongue, Katie Chenoweth explores the relationship between printing and the vernacular as it took shape in sixteenth-century France and charts the technological reinvention of French across a range of domains, from typography, orthography, and grammar to politics, pedagogy, and poetics. Under François I, the king known in his own time as the \"Father of Letters, \" both printing and vernacular language emerged as major cultural and political forces. Beginning in 1529, French underwent a remarkable transformation, as printers and writers began to reimagine their mother tongue as mechanically reproducible. The first accent marks appeared in French texts, the first French grammar books and dictionaries were published, phonetic spelling reforms were debated, modern Roman typefaces replaced gothic scripts, and French was codified as a legal idiom.This was, Chenoweth argues, a veritable \"new media\" moment, in which the print medium served as the underlying material apparatus and conceptual framework for a revolutionary reinvention of the vernacular. Rather than tell the story of the origin of the modern French language, however, she seeks to destabilize this very notion of \"origin\" by situating the cultural formation of French in a scene of media technology and reproducibility. No less than the paper book issuing from sixteenth-century printing presses, the modern French language is a product of the age of mechanical reproduction.

Between the two world wars, at a time when both sexual repression and sexual curiosity were commonplace, New York was the center of the erotic literature trade in America. The market was large and contested, encompassing not just what might today be considered pornographic material but also sexually explicit fiction of authors such as James Joyce, Theodore Dreiser, and D.H. Lawrence; mail-order manuals; pulp romances; and \"little dirty comics.\"Bookleggers and Smuthoundsvividly brings to life this significant chapter in American publishing history, revealing the subtle, symbiotic relationship between the publishers of erotica and the moralists who attached them-and how the existence of both groups depended on the enduring appeal of prurience. By keeping intact the association of sex with obscenity and shameful silence, distributors of erotica simultaneously provided the antivice crusaders with a public enemy.Jay Gertzman offers unforgettable portrayals of the \"pariah capitalists\" who shaped the industry, and of the individuals, organizations, and government agencies that sought to control them. Among the most compelling personalities we meet are the notorious publisher Samuel Roth, \"the Prometheus of the Unprintable,\" and his nemesis, John Sumner, head of the New York Society for the Suppression of Vice, a man aggressive in his pursuit of pornographers and in his quest for a morally united-and ethnically homogeneous-America.

Publishing tycoon Henry Luce famously championed many conservative causes, and his views as a capitalist and cold warrior were reflected in his glossy publications. Republican Luce aimed squarely for the Middle American masses, yet his magazines attracted intellectually and politically ambitious minds who were moved by the democratic aspirations of the New Deal and the left. Much of the best work of intellectuals such as James Agee, Archibald MacLeish, Daniel Bell, John Hersey, and Walker Evans owes a great debt to their experiences writing for Luce and his publications.Intellectuals Incorporatedtells the story of the serious writers and artists who worked for Henry Luce and his magazinesTime,Fortune, andLifebetween 1923 and 1960, the period when the relationship between intellectuals, the culture industry, and corporate capitalism assumed its modern form. Countering the notions that working for corporations means selling out and that the true life of the mind must be free from institutional ties, historian Robert Vanderlan explains how being embedded in the corporate culture industries was vital to the creative efforts of mid-century thinkers. Illuminating their struggles through careful research and biographical vignettes, Vanderlan shows how their contributions to literary journalism and the wider political culture would have been impossible outside Luce's media empire. By paying attention to how these writers and photographers balanced intellectual aspiration with journalistic perspiration,Intellectuals Incorporatedadvances the idea of the intellectual as a connected public figure who can engage and criticize organizations from within.

Books and Readers in Early Modern Englandexamines readers, reading, and publication practices from the Renaissance to the Restoration. The essays draw on an array of documentary evidence-from library catalogs, prefaces, title pages and dedications, marginalia, commonplace books, and letters to ink, paper, and bindings-to explore individual reading habits and experiences in a period of religious dissent, political instability, and cultural transformation. Chapters in the volume cover oral, scribal, and print cultures, examining the emergence of the \"public spheres\" of reading practices. Contributors, who include Christopher Grose, Ann Hughes, David Scott Kastan, Kathleen Lynch, William Sherman, and Peter Stallybrass, investigate interactions among publishers, texts, authors, and audience. They discuss the continuity of the written word and habits of mind in the world of print, the formation and differentiation of readerships, and the increasing influence of public opinion. The work demonstrates that early modern publications appeared in a wide variety of forms-from periodical literature to polemical pamphlets-and reflected the radical transformations occurring at the time in the dissemination of knowledge through the written word. These forms were far more ephemeral, and far more widely available, than modern stereotypes of writing from this period suggest.

Between the two world wars, at a time when both sexual repression and sexual curiosity were commonplace, New York was the center of the erotic literature trade in America. The market was large and contested, encompassing not just what might today be considered pornographic material but also sexually explicit fiction of authors such as James Joyce, Theodore Dreiser, and D.H. Lawrence; mail-order manuals; pulp romances; and \"little dirty comics.\"Bookleggers and Smuthounds vividly brings to life this significant chapter in American publishing history, revealing the subtle, symbiotic relationship between the publishers of erotica and the moralists who attached them-and how the existence of both groups depended on the enduring appeal of prurience. By keeping intact the association of sex with obscenity and shameful silence, distributors of erotica simultaneously provided the antivice crusaders with a public enemy.Jay Gertzman offers unforgettable portrayals of the \"pariah capitalists\" who shaped the industry, and of the individuals, organizations, and government agencies that sought to control them. Among the most compelling personalities we meet are the notorious publisher Samuel Roth, \"the Prometheus of the Unprintable,\" and his nemesis, John Sumner, head of the New York Society for the Suppression of Vice, a man aggressive in his pursuit of pornographers and in his quest for a morally united-and ethnically homogeneous-America.

No detailed description available for \"The Application of Expert Systems in Libraries and Information Centres\".

In this provocative work, Roger Chartier continues his extraordinarily influential consideration of the forms of production, dissemination, and interpretation of discourse in Early Modern Europe. Chartier here examines the relationship between patronage and the market, and explores how the form in which a text is transmitted not only constrains the production of meaning but defines and constructs its audience.

No detailed description available for \"Nonchemical Treatment Processes for Disinfestation of Insects and Fungi in Library Collections\".

What is a book in the study of print culture? For the scholar of material texts, it is not only a singular copy carrying the unique traces of printing and preservation efforts, or an edition, repeated and repeatable, or a vehicle for ideas to be abstracted from the physical copy. But when the bibliographer situates a book copy within the methods of book history, Joseph A. Dane contends, it is the known set of assumptions which govern the discipline that bibliographic arguments privilege, repeat, or challenge. \"Book history,\" he writes, \"is us.\" InBlind Impressions, Dane reexamines the field of material book history by questioning its most basic assumptions and definitions. How is print defined? What are the limits of printing history? What constitutes evidence? His concluding section takes form as a series of short studies in theme and variation, considering such matters as two-color printing, the composing stick used by hand-press printers, the bibliographical status of book fragments, and the function of scholarly illustration in the Digital Age. Meticulously detailed, deeply learned, and often contrarian,Blind Impressionsis a bracing critique of the way scholars define and solve problems.