An erudite and popular librarian, Charles Edward Sayle (1864 1924) devoted his career to cataloguing and editing rare books in the University of Cambridge. His obituary praised him as 'a fine example of the type of man who likes to catalogue things in the right order'. This catalogue of incunabula and early printed books in the University Library was his most important project, taking over a decade to complete. Commissioned by the Library Syndicate in 1894, the catalogue was published in four volumes between 1900 and 1907. Even upon completion, Sayle's list was not final, as the rare book collections at the Library were undergoing a period of great expansion, having grown by a third during his cataloguing work, both through purchases and by donations or bequests. The first volume covers all books from 1475 1500, and books produced from 1501 to 1640 by the most important printers in London.

In this famous book, first published in 1832, Charles Babbage (1791 1871), the mathematician, philosopher, engineer and inventor who originated the concept of a programmable computer, surveys manufacturing practices and discusses the political, moral and economic factors affecting them. The book met with hostility from the publishing industry on account of Babbage's analysis of the manufacture and sale of books. Babbage describes the many different printing processes of the time, analyses the costs of book production and explains the publication process, before discussing the 'too large' profit margins of booksellers. Babbage succeeded in his aim 'to avoid all technical terms, and to describe in concise language', making this an eminently readable historical account. His analysis and promotion of mechanisation and efficient 'division of labour' (still known as the 'Babbage principle') continue to resonate strongly for modern industrial engineering.

This expanded second edition of a classic career guide offers fascinating insight into the publishing environment for the management discipline, drawing on a wealth of knowledge and experiences from leading scholars and top-level journal editors. Responding to the continuing emphasis on publishing in the top journals, this revised, updated and extended guide offers invaluable tips and advice for anyone looking to publish their work in these publications. This exciting and cutting-edge book includes brand new chapters on managing a research pipeline, positioning papers for publication and maximizing the chance of success with a novice editor as well as an in-depth look at research impact. Existing chapters provide additional insights into the value of peer review, the importance of your chosen methodology, ethics and integrity in the industry, securing repeat publication, tips on publishing in new disciplines and the nuances of special issues and open access publications. Offering an insider perspective and candid advice, this second edition once more takes you on a journey through the journal review process, providing behind-the-scenes insight into the potential pitfalls and advantages. This book will be a must-read for academics of all levels seeking to advance their career and expand their journal publication success. Contributors: P. Andries, J. Barney, Y. Baruch, J.E. Baur, D.D. Bergh, S.K. Bhaumik, B. Boyd, M.R. Buckley, P. Budhwar, T. Clark, J.G. Combs, B. Connelly, K.G. Corley, D. Cumming, S. Estrin, G.R. Ferris, D. Gioia, B. Harley, A.-W. Harzing, M.A. Hitt, G.P. Hodgkinson, R.D. Ireland, F.W. Kellermanns, D.J. Ketchen, Jr., B.T. Lamont, A. Leiponen, B. Martin, W. Mitchell, G. Molina Sieiro, T. Pedersen, P.L. Perrewe, A.L. Ranft, P.L. Roth, B. Schinoff, A. Smith, C.C. Snow, W.H. Starbuck, W.H. Stewart, Jr., S. Tallman, B. Taylor, S. Toms, R. van Dick, G. Wood, M. Wright, D. Yiu

Charles Knight's The Old Printer was first published in 1854 and is partly a biography of William Caxton and partly an account of the development of the printing press and its role in English literature from the fifteenth century. William Caxton was not only the first printer in England, but also a prolific translator and importer of books. He established a printing press at Westminster and among the books printed there were Chaucer's Canterbury Tales and The Subtil Histories and Fables of Esop. Knight describes Elizabethan reading habits and traces the development of the types of books, papers and magazines that were most popular with the reading public in the mid-nineteenth century. The author is particularly interested in the availability of cheap popular literature as he regards this as an indication of the democratisation of society.

Published to mark the four hundredth anniversary of the first book to be printed in Cambridge by John Siberch in 1521, this book traces the development of the Press over four centuries. S.C. Roberts, who became Secretary to the Press Syndicate in 1922, blends archival research with an anecdotal style to produce this informative account. Appendices list the university printers up to 1921, including most famously Thomas Thomas, John Legate, Thomas Buck and John Baskerville, and the books published in each year between 1521 and 1750 by authors such as Erasmus, George Herbert, John Donne, John Milton, Isaac Newton and Thomas Browne. Aimed at the general reader, this lively account of the Press' major achievements is illustrated with a number of portraits and historical documents and remains a useful introduction to the history of the oldest publishing house in the world.

John Willis Clark, a noted academic and antiquarian, published this book in 1901 after completing his work on the architectural history of Cambridge. His carefully researched study (Clark personally visited and measured every building he described, and drew many of the illustrations), provides a wide-ranging account of the history of libraries from antiquity to the early modern period. Clark describes the buildings used to store books: churches, cloisters, and purpose-built libraries; the way collections were endowed, audited and protected; the development of library furniture, including lecterns, stalls, chaining systems and wall-cases; and the characteristics of monastic, collegiate, and private collections. The book is generously illustrated, and its approachable style means it will appeal not only to academic historians of libraries, but to a wider audience of those interested in books and reading culture, historic buildings and artefacts, and medieval, renaissance and early modern studies.

First published in 1901, this is a rich repository of typefaces (including English, Greek, Latin, Sanskrit, Arabic, Hebrew and Cyrillic), ornaments, borders and various decorative devices used in books printed at the University Press, Cambridge, until 1900. Highlights of the compilation include a wide range of historical typefaces (including Caslon, Marr, Figgins, Blake, and Miller and Richards), stylish borders, corners and head and tail pieces, university and college shields, and a detailed catalogue of Egyptian hieroglyphs. It also contains sections on accented letters and signs, 'poster founts' and ornately styled initial letters. Prefaced with a brief 'Historical Sketch' by J. W. Clark, a noted Cambridge academic and antiquarian, Specimens is a valuable archive of the craft of lettering and design before the advent of the digital age that will delight bibliophiles, typographers and collectors.

The Routledge Handbook of Spanish Phonology brings together leading experts in Spanish phonology to provide a state-of-the-art survey of the field. The five sections present current research on the phonological structure of Spanish including the most prominent segmental processes, suprasegmental features, the ways Spanish phonology interacts with other modules of grammar, the acquisition of Spanish phonology by first and second language learners, and an analysis of phonological variation and sound change. This volume provides comprehensive and detailed coverage of Spanish phonology. It addresses major burning questions and pressing issues that have arisen in the study of Spanish phonology, and is an essential reading resource for graduate students and researchers in the field.

The mid-nineteenth century brought a revolution in popular and scholarly understandings of old and second-hand books. Manuals introduced new ideas and practices to increasing numbers of collectors, exhibitions offered opportunities previously unheard of, and scholars worked together to transform how the history of printing was understood. These dramatic changes would have profound consequences for bibliographical study and collecting, accompanied as they were by a proliferation in means of access. Many ideas arising during this time would even continue to exert their influence in the digitised arena of today. This book traces this revolution to its roots in commercial and personal ties between key players in England, France and beyond, illuminating how exhibitions, libraries, booksellers, scholars and popular writers all contributed to the modern world of book studies. For students and researchers, it offers an invaluable means of orientation in a field now once again undergoing deep and wide-ranging transformations.

Museum and Gallery Publishing examines the theory and practice of general and scholarly publishing associated with museum and art gallery collections. Focusing on the production and reception of these texts, the book explains the relevance of publishing to the cultural, commercial and social contexts of collections and their institutions. Combining theory with case studies from around the world, Sarah Anne Hughes explores how, why and to what effect museums and galleries publish books. Covering a broad range of publishing formats and organisations, including heritage sites, libraries and temporary exhibitions, the book argues that the production and consumption of printed media within the context of collecting institutions occupies a unique and privileged role in the creation and communication of knowledge. Acknowledging that books offer functions beyond communication, Hughes argues that this places books published by museums in a unique relationship to institutions, with staff acting as producers and visitors as consumers.The logistical and ethical dimensions of museum and gallery publishing are also examined in depth, including consideration of issues such as production, the impact of digital technologies, funding and sponsorship, marketing, co-publishing, rights, and curators' and artists' agency. Focusing on an important but hitherto neglected topic, Museum and Gallery Publishing is key reading for researchers in the fields of museum, heritage, art and publishing studies. It will also be of interest to curators and other practitioners working in museums, heritage and science centres and art galleries.

This book examines commercial and personal connections in the early modern book trade in Paris and northwestern France, ca. 1450-1550. The book market, commercial trade, and geo-political ties connected the towns of Paris, Caen, Angers, Rennes, and Nantes, making this a fertile area for the transference of different fields of knowledge via book culture. Diane Booton investigates various aspects of book production (typography and illustration), market (publishers and booksellers), and ownership (buyers and annotators) and describes commercial and intellectual dissemination via established pathways, drawing on primary and archival sources.

Imad Moosa?s thought-provoking book explores the contemporary doctrine that plagues the academic sphere: the principle of publish or perish. This book identifies the pressures placed upon academics to either publish their work regularly, or suffer the consequences, including lack of promotion, or even redundancy. Imad Moosa argues that this concept is a result of globalisation and the neo-liberal idea of treating higher education as a private good. Providing one of the first extensive analyses of this doctrine, the author identifies the overwhelmingly negative unintended consequences stemming from the pressure to publish research. He explores the detrimental effects of this burden, which includes the impact of drawing away the focus from educating students, to the declining quality of published research. The hazardous activity of journal ranking and resource-wasting research evaluation programmes are also considered, with the author ultimately proposing that the solution to this controversial issue is to go back to days gone by, prior to the dominance of the free market ideology. Innovative, provocative, and timely, this book will be a stimulating read for academics worldwide, as well as non-university researchers, university administrators, policymakers and government officials operating within the fields of higher education, science, and technology.

Open Access in Theory and Practice investigates the theory-practice relationship in the domain of open access publication and dissemination of research outputs. Drawing on detailed analysis of the literature and current practice in OA, as well as data collected in detailed interviews with practitioners, policymakers, and researchers, the book discusses what constitutes 'theory', and how the role of theory is perceived by both theorists and practitioners. Exploring the ways theory and practice have interacted in the development of OA, the authors discuss what this reveals about the nature of the OA phenomenon itself and the theory-practice relationship. Open Access in Theory and Practice contributes to a better understanding of OA and, as such, should be of great interest to academics, researchers, and students working in the fields of information science, publishing studies, science communication, higher education policy, business, and economics. The book also makes an important contribution to the debate of the relationship between theory and practice in information science, and more widely across different fields of the social sciences and humanities

Between 1880 and 1914, England saw the emergence of an unprecedented range of new literary forms from Modernism to the popular thriller. Not coincidentally, this period also marked the first overt references to an art/market divide through which books took on new significance as markers of taste and class. Though this division has received considerable attention relative to the narrative structures of the period's texts, little attention has been paid to the institutions and ideologies that largely determined a text's accessibility and circulated format and thus its mode of address to specific readerships. Hammond addresses this gap in scholarship, asking the following key questions: How did publishing and distribution practices influence reader choice? Who decided whether or not a book was a 'classic'? In a patriarchal, class-bound literary field, how were the symbolic positions of 'author' and 'reader' affected by the increasing numbers of women who not only bought and borrowed, but also wrote novels? Using hitherto unexamined archive material and focussing in detail on the working practices of publishers and distributors such as Oxford University Press and W.H. Smith and Sons, Hammond combines the methodologies of sociology, literary studies and book history to make an original and important contribution to our understanding of the cultural dynamics and rhetorics of the fin-de-siecle literary field in England.

This book is the first full-length critical study to explore the rapidly growing cadre of amateur-authored, independently-published, and niche-market picture books that have been released during the opening decades of the twenty-first century. Emerging from a powerful combination of the ease and affordability of desktop publishing software; the promotional, marketing, and distribution possibilities allowed by the Internet; and the tremendous national divisiveness over contentious socio-political issues, these texts embody a shift in how narratives for young people are being creatively conceived, materially constructed, and socially consumed in the United States. Abate explores how titles such as My Parents Open Carry (about gun laws), It's Just a Plant (about marijuana policy), and My Beautiful Mommy (about the plastic surgery industry) occupy important battle stations in ongoing partisan conflicts, while they are simultaneously changing the landscape of American children's literature. The book demonstrates how texts like Little Zizi and Me Tarzan, You Jane mark the advent of not simply a new commercial strategy in texts for young readers; they embody a paradigm shift in the way that narratives are being conceived, constructed, and consumed. Niche market picture books can be seen as a telling barometer about public perceptions concerning children and the social construction of childhood, as well as the function of narratives for young readers in the twenty-first century. At the same time, these texts reveal compelling new insights about the complex interaction among American print culture, children's reading practices, and consumer capitalism. Amateur-authored, self-published, and specialty-subject titles reveal the way in which children, childhood, and children's literature are both highly political and heavily politicized in the United States. The book will be of interest to scholars and students in the fields of American Stud

A remarkably diverse treasury of literary celebrations, Books and Libraries is sure to take pride of place on the shelves of the book-obsessed. Books have long captured the imagination of readers everywhere, commanding their love, earning their veneration. For Emily Dickinson they are frigates that 'take us Lands away'; for Wordsworth they are 'a substantial world, both pure and good'; Alberto Rios calls them 'the deli offerings of civilization itself'. This affection extends to the hallowed gathering places of the written word: libraries where one can best hear "a choir of authors murmuring inside their books," as Billy Collins has it; bookshops, especially second-hand ones, 'too small for the worlds they hold, where words that sing you to sleep, stories that stalk your dreams, open like windows in a wall' (Gillian Clarke). The poets collected here include Catullus, Horace, T'ao Ch'ien, Dante, Petrarch, Boccaccio, Ronsard, Lope de Vega, Shakespeare, Marvell, Blake, Pope and Keats; more recent luminaries include Brecht, Cavafy, Gabriela Mistral, Dylan Thomas, Iku Takenaka, Pablo Neruda, Wislawa Szymborska, Anne Stevenson, Maya Angelou, Derek Walcott, John Burnside and Ian McMillan.

Anne Scott has never housed her books in order of theme or author yet she knows where each of them is and the kind of life it has led. Some have been gifts but most have been chosen in bookshops unique in their style and possibilities. They have been observers of discovery, decisions, and marvels with her, following the line of her time and place. Some are everyday shops with a shelf of books in a corner, some are beginning again after long lives as churches, printing presses, medieval houses, a petrol-station. There are a few the author is too late to see: early print-houses and booksellers here too in this book, searched for and described, side by side with all the bookshops open now and busy with readers. Not one is like another. In one way, the book is a sequence about writing. But first it is a map of books and a life.

Escrita por completo en espanol, la Enciclopedia de Linguistica Hispanica proporciona un tratamiento detallado de los campos principales y subsidiarios de la linguistica hispanica. Las entradas se organizan alfabeticamente en tres secciones principales: La parte 1 cubre las disciplinas, enfoques y metodologias linguisticas. La parte 2 incluye varios aspectos de la gramatica del espanol, cubriendo sus componentes fonologicos, morfosintacticos y semanticos. La parte 3 reune los factores, historicos, psicologicos y aplicados en la evolucion y distribucion del espanol. Basada en las aportaciones de un amplio espectro de expertos del ambito hispano parlante, la Enciclopedia de Linguistica Hispanica es una obra de referencia indispensable para los estudiantes de espanol en los niveles de grado y posgrado y para cualquier persona con interes academico o profesional en el espanol y la linguistica hispanica. Javier Gutierrez-Rexach es catedratico de Linguistica Hispanica en The Ohio State University Written exclusively in Spanish, the Enciclopedia de Linguistica Hispanica provides comprehensive coverage of the major and subsidiary fields of Hispanic Linguistics. Entries are arranged alphabetically within three main sections: Part 1 covers linguistic disciplines, approaches and methodologies. Part 2 includes several aspects of the grammar of Spanish, covering its phonological, morphosyntactic and semantic components. Part 3 brings together the historical, social, psychological and applied factors in the evolution and distribution of Spanish. Drawing on the expertise of a wide range of contributors from across the Spanish-speaking world the Enciclopedia de Linguistica Hispanica is an indispensable reference for undergraduate and graduate student

By examining the spaces where authors, printers and readers interact, Negotiating the Jacobean Printed Book highlights the manner in which contemporary culture and canon not only co-existed but mutually nourished and affected one another. An international group of book history scholars look beyond the traditional literary and canonical texts to explore, amongst other things, the physical nature of books and their place in Jacobean society. The contributors interrogate not just the texts themselves, but the habits, proclamations, letters and problems encountered by authors, printers and readers. Ranging from the funding of perhaps the most important book of the early Jacobean period, the 1611 AV Bible, and the ways in which it changed the balance of power in the King's Printers, to how the importation of Continental drill manuals by professional soldiers influenced the Privy council, the essays focus on the fissures which open up between practice and proclamation, between manuscript and press, and between print and parliament. Together these essays nuance our understanding of how print culture affected, and was affected by, wider cultural concerns; the volume constitutes a compelling contribution to both literary and historical studies of early modern England.

The publisher Edward Lloyd (1815-1890) helped shape Victorian popular culture in ways that have left a legacy that lasts right up to today. He was a major pioneer of both popular fiction and journalism but has never received extended scholarly investigation until now. Lloyd shaped the modern popular press: Lloyd's Weekly Newspaper became the first paper to sell over a million copies. Along with publishing songs and broadsides, Lloyd dominated the fiction market in the early Victorian period issuing Gothic stories such as Varney the Vampire (1845-7) and other 'penny dreadfuls', which became bestsellers. Lloyd's publications introduced the enduring figure of Sweeney Todd whilst his authors penned plagiarisms of Dickens's novels, such as Oliver Twiss (1838-9). Many readers in the early Victorian period may have been as likely to have encountered the author of Pickwick in a Lloyd-published plagiarism as in the pages of the original author. This book makes us rethink the early reception of Dickens. In this interdisciplinary collection, leading scholars explore the world of Edward Lloyd and his stable of writers, such as Thomas Peckett Prest and James Malcolm Rymer. The Lloyd brand shaped popular taste in the age of Dickens and the Chartists. Edward Lloyd and his World fills a major gap in the histories of popular fiction and journalism, whilst developing links with Victorian politics, theatre and music.

The book trade historically tended to operate in a spirit of co-operation as well as competition. Networks between printers, publishers, booksellers and related trades existed at local, regional, national and international levels and were a vital part of the business of books for several centuries. This collection of essays examines many aspects of the history of book-trade networks, in response to the recent 'spatial turn' in history and other disciplines. Contributors come from various backgrounds including history, sociology, business studies and English literature. The essays in Part One introduce the relevance to book-trade history of network theory and techniques, while Part Two is a series of case studies ranging chronologically from the Middle Ages to the twentieth century. Topics include the movement of early medieval manuscript books, the publication of Shakespeare, the distribution of seventeenth-century political pamphlets in Utrecht and Exeter, book-trade networks before 1750 in the English East Midlands, the itinerant book trade in northern France in the late eighteenth century, how an Australian newspaper helped to create the Scottish public sphere, the networks of the Belgian publisher Murquardt, and transatlantic radical book-trade networks in the early twentieth century.

Key Terms in Comics Studies is a glossary of over 300 terms and critical concepts currently used in the Anglophone academic study of comics, including those from other languages that are currently adopted and used in English. Written by nearly 100 international and contemporary experts from the field, the entries are succinctly defined, exemplified, and referenced. The entries are 250 words or fewer, placed in alphabetical order, and explicitly cross-referenced to others in the book. Key Terms in Comics Studies is an invaluable tool for both students and established researchers alike.