1,720,973 research outputs found
Opening page of Nella Larsen’s “Sanctuary,” with Winold Reiss’s illustration (1930)
No full textColor illustration to accompany Barbara Hochman's chapter, "Imitation, Racialization, and Interpretive Norms: Larsen's 'Plagiarized' Story in the Forum" in Infrastructures of African American Print, edited by Brigitte Fielder and Jonathan Senchyne (University of Wisconsin Press, 2019). Image courtesy of the Connecticut State Library
REVIEW: The Intimacy of Paper in Early and Nineteenth-Century American Literature
No full textJonathan Senchyne, The Intimacy of Paper in Early and Nineteenth-Century American Literature, Studies in Print Culture and the History of the Book (Amherst: University of Massachusetts Press, 2020), 194 pp., ISBN 978-1-62534-474-8 (paperback
Print Culture
Full text linkThoreau’s relation to print culture was complicated and at times contradictory, but from his writing life to his family business, he was shaped by it. Scholars note that he was both successful and a failure as a professional author. He published books and articles made possible by technological changes in papermaking and printing to his west on the Housatonic River, and business and market developments in publishing to his east in Boston. Some of these changes brought him a measure of money and renown, and others left him surrounded in his own home by an “inert mass” of unsold paper and print. He wanted to publish in the periodical press and with successful book publishers, and he sold graphite to printers to supply the making of plates. Yet, at the same time he also argued that print offered an insufficient secondhand experience of the world of bodies and things. Nineteenth-century American print culture offered challenges and openings to Transcendentalist thinkers. Noting the ever-expanding scale of print production of print in their lifetimes, Emerson lamented that one could no longer hope to read everything printed, and Thoreau argued against reading anything except the world itself. Both continued to publish their work in books and periodicals. “Much is published, but little printed,” Thoreau writes in “Sounds,” leaving readers to wonder what it meant to leave an impression on the world in the middle of the nineteenth century (W 111).
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Rags Make Paper, Paper Makes Money: Material Texts and Metaphors of Capital
Full text linkBecause nineteenth-century paper was made from rags, the materiality of paper money became a likely ground from which to debate the nature of value in modern capitalism. On one hand, if paper money was backed by nothing but itself, then it was worth little more than itself: a gathering of lowly rags. On the other hand, the process of turning trashed rags into valuable paper modeled how capital could seem to grow out of nothing. Two nineteenth-century literary narratives provide examples of how rags performed considerable social and metaphorical work in the construction of an epistemology of capitalism and its "paper technologies.
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Chapter 8. Bottles of Ink and Reams of Paper: Clotel, Racialization, and the Material Culture of Print
No full text
Under Pressure: Reading Material Textuality in the Recovery of Early African American Print Work
Full text linkFrom 1756 until his death in the early 1790s, Primus Fowle, an enslaved African American, performed typographical and press work involved the in the publication of The New-Hampshire Gazette and other materials printed at the press owned by Daniel Fowle. With the archive of print Primus Fowle created as its object of study, this essay historicizes the exclusion of enslaved people from the study of the history of the book, and theorizes a method of reading non-alphabetic marks in the material texts through which we encounter the presence of figures like Primus Fowle
- …
