This book uses the methodologies of cultural studies and the history of the book to show how editors and readers of the Sixteenth through the early Nineteenth century successively remade Piers Plowman and its author according to their own ideologies of the Middle Ages.

This is an important study of the publishing of contemporary writing in Britain. It analyzes the changing social, economic and cultural environment of the publishing industry in the 1990s-2000s, and investigates its impact on genre, authorship and reading. It includes case studies of Trainspotting and the His Dark Materials trilogy.

Deals with challenges to the maintenance of minority (or community) languages in this era of globalization and increasing transnational movements of people. The contributors, experts in language policy, language maintenance and multilingualism offer complementary perspectives from Australia and Europe on the maintenance of linguistic diversity.

For over five hundred years in the West, a particular form of the book-the printed codex-has been woven into the fabric of our lives. It has been the default medium for publicly circulating information and entertainment, and has structured the work, leisure and religious devotion of countless people. Now, as the cultural centrality of the printed book is challenged, we are prompted to reassess its value and its place in the history of media change. Readable but rooted in current scholarship, this introductory guide to book history tries not to privilege any one disciplinary perspective or historical period. Rather, the guide and its accompanying anthology aim to help the reader to find his or her bearings within the field, and to provide a map with which to navigate book history more widely.

The extraordinary life and legacy of legendary journalist Cokie Roberts-a trailblazer for women-remembered by her friends and family. Through her visibility and celebrity, Cokie Roberts was an inspiration and a role model for innumerable women and girls. A fixture on national television and radio for more than 40 years, she also wrote five bestselling books focusing on the role of women in American history. She was portrayed on Saturday Night Live, name checked on the West Wing, and featured on magazine covers. She joked with Jay Leno, balanced a pencil on her nose for David Letterman, and was the answer to numerous crossword puzzle clues. Many dogs, and at least one dairy cow, were named for her. When the legendary 1980s Spy Magazine ran a diagram documenting all her connections with the headline "Cokie Roberts - Moderately Well-Known Broadcast Journalist or Center of the Universe?" they were only half-joking. Cokie had many roles in her lifetime: Daughter. Wife. Mother. Journalist. Advocate. Historian. Reflecting on her life, those closest to her remember her impressive mind, impish wit, infectious laugh, and the tenacity that sent her career skyrocketing through glass ceilings at NPR and ABC. They marvel at how she often put others before herself and cared deeply about the world around her. When faced with daily decisions and dilemmas, many still ask themselves the question, 'What Would Cokie Do?' In this loving tribute, Cokie's husband of 53 years and bestselling-coauthor Steve Roberts reflects not only on her many accomplishments, but on how she lived each day with a devotion to helping others. For Steve, Cokie's private life was as significant and inspirational as her public one. Her commitment to celebrating and supporting other women was evident in everything she did, and her generosity and passion drove her personal and professional endeavors. In Cokie, he has a simple goal: "To tell stories. Some will make you cheer or laugh or cry. And some, I hope, will inspire you to be more like Cokie, to be a good person, to lead a good life."

The revival of independent bookselling has already begun and is one of the amazing stories of our times. Bookseller Andy Laties wrote the first edition of Rebel Bookseller six years ago, hoping it would spark a movement. Now, with this second edition, Laties's book can be a rallying cry for everyone who wants to better understand how the rise of the big bookstore chains led irrevocably to their decline, and how even in the face of electronic readers from three of America's largest and most successful companies--Apple, Amazon, and Google--the movement to support locally owned independent stores, especially bookstores, is on the rise. From the mid-1980s to the present, Andy Laties has been an independent bookseller, starting out in Chicago, teaching along the way at the American Booksellers Association, and finally running the bookshop at the Eric Carle Museum in Amherst, Massachusetts. His innovations were adapted by Barnes & Noble, Zany Brainy, and scores of independent stores. In Rebel Bookseller, Laties tells how he got started, how he kept going, and why he believes independent bookselling has a great future. He alternates his narrative with short anecdotes, interludes between the chapters that give his credo as a bookseller. Along the way, he explains the growth of the chains, and throws in a treasure trove of tips for anyone who is considering opening up a bookstore. Rebel Bookseller is a must read for those in the book biz, a testament to the ingeniousness of one man man's story of making a life out of his passionate commitment to books and bookselling.

How did academic and literary writers living in rural Britain in the 1680s establish their careers and find audiences for their work? What factors influenced the choices of essayists and dramatists who lived outside London and the university cities? Who read the works of regional poets and natural scientists and how were they circulated?

In this engaging study of the development of literary industry and authorship in early modern Britain, Margaret Ezell examines the forces at work at a time when print technology was in competition with older manuscript authorship practices and the legal status of authors was being transformed. She also explores the literary concepts that subsequently developed out of new commercial practices, such as the rise of the "classic" text and the marketing of uniform series editions.

Ezell's interdisciplinary approach draws together the history of the book and cultural history. The result allows the reader a glimpse of literary life as practiced by "social" authors in the context of the development of commercial publishing and the formalization of copyright laws defining texts and authors. Ezell examines how early modern publishers went about choosing books to publish and why some groups of writers--"social" authors--were successful without relying on the growing publishing and bookselling industries. She concludes that, especially for writers living away from large cities, privately produced and circulated manuscripts remained the best means of transmitting literary or academic work and achieving recognition as an author. An underlying question, Ezell notes, is whether the Internet will inspire the reemergence of the "social" author, whose work can be circulated to readers without the assistance of a publishing firm.

When does a book that is merely old become a rarity and an object of desire? David McKitterick examines, for the first time, the development of the idea of rare books, and why they matter. Studying examples from across Europe, he explores how this idea took shape in the sixteenth and seventeenth centuries, and how collectors, the book trade and libraries gradually came together to identify canons that often remain the same today. In a world that many people found to be over-supplied with books, the invention of rare books was a process of selection. As books are one of the principal means of memory, this process also created particular kinds of remembering. Taking a European perspective, McKitterick looks at these interests as they developed from being matters of largely private concern and curiosity, to the larger public and national responsibilities of the first half of the nineteenth century.

Journalists, TV producers, and other media workers are members of newly powerful occupations. Media Occupations and Professions is the first book in the field to provide a broad selection of research studies on media workers, from studies of career entry patterns and job security in the various media occupations through to studies of the media moguls and media stars, from the historical origins of the various media occupations to an analysis of the differences between media occupations in different countries.

The internet has transformed the ways in which scholars and scientists share their findings with each other and the world, creating a scholarly communication environment that is both radically more complex and tremendously more effective than was the case just a few years ago. "Scholarly communication" itself has become an umbrella term for the increasingly complex ecosystem of publications, platforms, and tools that scholars, scientists, and researchers use to share their work with each other and with other interested readers. Scholarly Communication: What Everyone Needs to Know (R) offers an accessible overview of the current landscape, examining the state of affairs in the worlds of journal and book publishing, copyright law, emerging access models, digital archiving, university presses, metadata, and much more. Anderson discusses many of the problems that arise due to conflicts between the various values and interests at play within these systems: values that include the public good, academic freedom, the advancement of science, and the efficient use of limited resources. The implications of these issues extend far beyond academia. Organized in an easy-to-use question-and-answer format, this book provides a lively and helpful summary of some of the most important issues and developments in the world of scholarly communication-a world that affects our everyday lives far more than we may realize.

What is metadata? When do you need to archive digital content? How does electronic publication affect copyrights? How can XML and PDF improve your workflow and your publications? There is a digital dimension to virtually all publishing today. Beyond the obvious electronic media -- the music and movies we take for granted, the increasingly indispensable Web, the eBooks that most of us will take for granted in a few years -- almost everything we read, even on paper, was produced digitally. This new digital world offers a steadily increasing number of choices. It is this rich and rapidly changing publishing environment for which "The Columbia Guide to Digital Publishing" was created. Although there is a vast amount of information on a host of topics relevant to digital production and publishing available -- some in print, more on the Web -- there has been, until now, no single resource to which those involved in any dimension of publishing could turn for guidance. "The Columbia Guide to Digital Publishing" fills that need.

The Guide is definitive: written by experts in the broad array of subjects it covers, it provides reliable, authoritative, user-friendly information about a vast number of topics. Designed to be the first place to go to learn about any of the numerous interrelated issues that define the digital publishing landscape, it offers readers a multilevel approach, from a brief glossary definition of a technical term or acronym (sometimes all a user needs), to a concise discussion of a topic (comprehensible to the lay person, yet useful for the technical expert). It puts a subject in the context of other topics and broader issues, with real-world examples, liberal cross-references, and pointers to sources of further information in print or electronic form.

The study investigates imaginary libraries in literary works of the 16th and 17th centuries and their status in the context of the history of ideas. Since the invention of printing there had been a headlong increase in the production of texts, accompanied by a corresponding information overload. These were the preconditions required for certain feats of the imagination to become possible in the first place. In the form of thought-experiments, contemporary literary figures and scholars attempted to outline solutions for the urgent problems involved in imposing order on the unmanageable plethora of texts and assuring the progress of knowledge in the face of the untrammeled abundance of factual information.

Founder of the Left Bank bookstore Shakespeare and Company and the first publisher of James Joyce's "Ulysses," Sylvia Beach had a legendary facility for nurturing literary talent. In this first collection of her letters, we witness Beach's day-to-day dealings as bookseller and publisher to expatriate Paris. Friends and clients include Ernest Hemingway, Gertrude Stein, H. D., Ezra Pound, Janet Flanner, William Carlos Williams, F. Scott Fitzgerald, James Joyce, and Richard Wright. As librarian, publicist, publisher, and translator, Beach carved out a unique space for herself in English and French letters.

This collection reveals Beach's charm and resourcefulness, sharing her negotiations with Marianne Moore to place Joyce's work in "The Dial"; her battle to curb the piracy of "Ulysses" in the United States; her struggle to keep Shakespeare and Company afloat during the Depression; and her complicated affair with the French bookstore owner Adrienne Monnier. These letters also recount Beach's childhood in New Jersey; her work in Serbia with the American Red Cross; her internment in a German prison camp; and her friendship with a new generation of expatriates in the 1950s and 1960s. Beach was the consummate American in Paris and a tireless champion of the avant-garde. Her warmth and wit made the Rue de l'Od?on the heart of modernist Paris.

The Paul Zsolnay publishing house was established in Vienna in the late fall of 1923. It was Austria's leading literary publisher in the years between the two World Wars and focused on literature from abroad alongside works in German. The present study draws on material from the extensive company archives. It describes the establishment of the firm, the development of its publishing program, the production conditions prevailing, the intensive relations between publisher and authors, and the interconnections between literature and politics up to the end of the War. The appendix contains a complete listing of the works published by Zsolnay between 1924 and 1945.

What would an anatomy of the book look like? There is the main text, of course, the file that the author proudly submits to their publisher. But around this, hemming it in on the page or enclosing it at the front and back of the book, there are dozens of other texts-page numbers and running heads, copyright statements and errata lists-each possessed of particular conventions, each with their own lively histories. To consider these paratexts-recalling them from the margins, letting them take centre stage-is to be reminded that no book is the sole work of the author whose name appears on the cover; rather, every book is the sum of a series of collaborations. It is to be reminded, also, that not everything is intended for us, the readers. There are sections that are solely directed at others-binders, librarians, lawyers-parts of the book that, if they are working well, are working discreetly, like a theatrical prompt, whispering out of the audience's ear-shot Book Parts is a bold and imaginative intervention in the fast growing field of book history: it pulls the book apart. Over twenty-two chapters, Book Parts tells the story of the components of the book: from title pages to endleaves; from dust jackets to indexes-and just about everything in between. Book Parts covers a broad historical range that runs from the pre-print era to the digital, bringing together the expertise of some of the most exciting scholars working on book history today in order to shine a new light on these elements hiding in plain sight in the books we all read.

In tracing the history of writings on music printing and publishing, this book discusses the theory of music bibliography. It examines such major topics as historical surveys of music printing and musical commerce and property; and surveys specific subjects ranging from type-specimen books to patent registrations, from the history of music libraries to bibliophilic editions.

For this collection, a number of contemporary poets, distinguished by their energy and thoughtfulness, were asked to write on aspects of the working processes of poetry in whatever ways they believed would be helpful to readers. The result is an invaluable account of their reflections on writing and its conditions, on their enthusiasms, and on their sense of the directions of others' poetry as well as of their own. Some poems, preoccupied by the questions of this book, are included. A scarcely-documented history of sustained work in Britain, non-parochial and outside a restricted "mainstream" is illuminated in these essays; many of the contributors here are or have been small-press publishers and journal editors too. This engaging book will serve as an introduction to the work of some fine writers, as it debates questions of significance for readers and writers of contemporary poetry.

A superbly crafted study of Hunter S. Thompson's literary formation, achievement, and continuing relevance. Savage Journey is a "supremely crafted" study of Hunter S. Thompson's literary formation and achievement. Focusing on Thompson's influences, development, and unique model of authorship, Savage Journey argues that his literary formation was largely a San Francisco story. During the 1960s, Thompson rode with the Hell's Angels, explored the San Francisco counterculture, and met talented editors who shared his dissatisfaction with mainstream journalism. Peter Richardson traces Thompson's transition during this time from New Journalist to cofounder of Gonzo journalism. He also endorses Thompson's later claim that he was one of the best writers using the English language as both a musical instrument and a political weapon. Although Thompson's political commentary was often hyperbolic, Richardson shows that much of it was also prophetic. Fifty years after the publication of Fear and Loathing in Las Vegas, and more than a decade after his death, Thompson's celebrity continues to obscure his literary achievement. This book refocuses our understanding of that achievement by mapping Thompson's influences, probing the development of his signature style, and tracing the reception of his major works. It concludes that Thompson was not only a gifted journalist, satirist, and media critic, but also the most distinctive American voice in the second half of the twentieth century.

Just how many-sided the life and works of Daniel Chodowiecki were becomes apparent when we look at his various professions. He was a decorator, genre painter, illustrator, engraver, craftsman, entrepreneur and art expert. Historically oriented art and literature scholars have regarded this as an invitation to approach Chodwiecki from a variety of different angles, for here is a man who patently led an 'interdisciplinary' life and who thus deserves to be read and appreciated from an interdisciplinary perspective. Precisely this is what the present volume sets out to do.