This book presents a cultural history of Latin America as seen through a symbolic good and a practice - the book, and the act of publication - two elements that have had an irrefutable power in shaping the modern world. The volume combines multiple theoretical approaches and empirical landscapes with the aim to comprehend how Latin American publishers became the protagonists of a symbolic unification of their continent from the 1930s through the 1970s. The Latin American focus responds to a central point in its history: the effective interdependence of the national cultures of the continent. Americanism, until the 1950s, or Latin Americanism, from the onset of the Cold War, were moral frameworks that guided publishers' thinking and actions and had concrete effects on the process of regional integration. The illustration of how Latin American publishing markets were articulated opens up broader and comparative questions regarding the ways in which the ideas embodied in books also sought to unify other cultural areas. The intersection of cultural, political and economic themes, as well as the style of writing, makes this book an interest to a wide reading public with historical and sociological sensitivity and global cultural curiosity.

This volume presents a new aspect in the study of Sir Arthur Conan Doyle: a case study of the publishing history of his works. Since Doyle's works before 1890 could not be copyrighted in the United States, various unauthorized versions of Holmes stories appeared in print in America from 1890 through 1930. Picking up where other bibliographers left off, Redmond traces the origins and subsequent printings and reprintings of these pirated manuscripts, relating the American editions to their sources and to each other. The American issues are described in detail, with defects and inconsistencies clearly documented. More than just a list of editions, this book is a detective story in the history of Sherlock Holmes. The author provides extensive descriptive lists of the American editions of A Study in Scarlet and The Sign of the Four, raising such questions as who pirated from whom and why textual mistakes have lasted for ninety years. The study looks at the copyright background that enabled piracy to occur, the printing processes that corrupted the text, some of the firms involved in this piracy, and the various issues of A Study in Scarlet and The Sign of the Four and the relationships among them. Also included is a genealogical tree that traces the editions of these novels and detailed examples of their textual variations. The work provides a further inquiry into the history of Sherlock Holmes, as well as serving as a fascinating study of American publishing at the turn of the century. It will be an invaluable publication for collectors of Holmes material and students of publishing history, and an important addition to academic and public libraries.

Yamamoto Sanehiko's (1885-1952) achievements as a publisher, writer, politician and entrepreneur in the interwar period served as both a catalyst and a critical template for developments in the postwar period. Yamamoto produced the comprehensive magazine Kaizo that challenged the status quo, he introduced the inexpensive and revolutionary enpon books, he brought important Western figures to Japan for speaking tours, he interpreted China for his contemporaries, and he served as a politician. While exploring the accomplishments the compelling figure, this study sheds new light on the social, cultural, and political changes that occurred in postwar Japan.

Evelina, the first novel by Frances Burney, published in 1778, enjoys lasting popularity among the reading public. Tracing its publication history through 174 editions, adaptations, and reprints, many of them newly discovered and identified, this book demonstrates how the novel’s material embodiment in the form of the printed book has been reshaped by its publishers, recasting its content for new generations of readers. Four main chapters vividly describe how during 240 years, Evelina, a popular novel of manners, metamorphosed without any significant alterations to its text into a Regency “rambling� text, a romantic novel for “lecteurs délicats,� a cheap imprint for circulating libraries, a yellow-back, a book with a certain aesthetic cachet, a Christmas gift-book, finally becoming an integral part of the established literary canon in annotated scholarly editions. This book also focuses on the remodelling and transformation of the paratext in this novel, written by a woman author, by the heavily male-dominated publishing industry. Shorter Entr’acte sections discuss and describe alterations in the forms of Burney’s name and the title of her work, the omission and renaming of her authorial prefaces, and the redeployment of the publisher’s prefatorial apparatus to support particular editions throughout almost two-and-a-half centuries of the novel’s existence. Illustrated with reproductions of covers, frontispieces, and title pages, the book also provides an illuminating insight into the role of Evelina’s visual representation in its history as a marketable commodity, highlighting the existence of editions targeting various segments of the book market: from the upper-middle-class to mass-readership. The first comprehensive and fully updated bibliography of English and translated editions, adaptations, and reprints of Evelina published in 13 languages and scripts appears in an appendix.

The Novel as Network: Forms, Ideas, Commodities engages with the contemporary Anglophone novel and its derivatives and by-products such as graphic novels, comics, podcasts, and Quality TV. This collection investigates the meaning of the novel in the larger system of contemporary media production and (post-)print culture, viewing the novel through the lens of actor network theory as a node in the novel network. Chapters underscore the deep interconnection between all the aspects of the novel, between the novel as a (literary) form, as an idea, and as a commodity. Bringing together experts from American, British, and Postcolonial Studies, as well as Book, Publishing, and Media Studies, this collection offers a new vantage point to view the novel in its multifaceted expressions today.

Basic copyright laws and enforcements have been in effect for hundreds of years. However, laws with such extensive histories can often make understanding them complicated. As publishing moves into a digital arena, copyright laws have become increasingly complex. Authors, Copyright, and Publishing in the Digital Era not only addresses the current complexities that aries with authors and copyright laws when publishing digitally, but it also sheds light on the current processes and procedures in place concerning copyright options for digital publishers. This publication addresses a global audience in the manner in which it discusses traditional methods used in publishing before segueing into new model and strategies for both a business and an author in this ever-expanding digital world.

What was the relationship between power and the public sphere in early modern society? How did the printed media inform this relationship? Contributors to this volume address those questions by examining the interaction of print and power in France and England during the 'hand-press period'. Four interconnected and overlapping themes emerge from these studies, showing the essential historical and contextual considerations shaping the strategies both of power and of those who challenged it via the written word during this period. The first is reading and control, which examines the relationship between institutional power and readers, either as individuals or as a group. A second is propaganda on behalf of institutional power, and the ways in which such writings engage with the rhetorics of power and their reception. The Academy constitutes a third theme, in which contributors explore the economic and political implications of publishing in the context of intellectual elites. The last theme is clientism and faction, which examines the competing political discourses and pressures which influenced widely differing forms of publication. From these articles there emerges a global view of the relationship between print and power, which takes the debate beyond the narrowly theoretical to address fundamental questions of how print sought to challenge, or reinforce, existing power-structures, both from within and from without.

This book reports the results of a comparative survey of journalism students in university-level institutions in 22 countries of the major world regions. The survey and analysis are guided by a critical discussion of concepts of journalistic professionalism and the role played by education and training in developing such ideas. The book explores the origins and motivations of students, and the ambitions they have as future journalists. The students had three different concepts of the role of the press: the enlightenment model in which the prime functions is to educate and inform; the power model, ensuring the views of socially powerful groups are publicized; and the entertainment model, which provides the audience with distractions. With a strong desire for professional status, they believe that the form of media ownership dominant in their own society is a major threat to press freedom.

A series of personal, curated interviews with internationally-acclaimed literary editors. This book is the chance to widen your horizons as a writer, discovering new and established literary journals across the world. Sit down with these experienced editors to find out what they really want from a submission, and allow them to demystify the publishing process, across a wide range of genres.; "Accessible and informative, In Conversation with... Literary Journals is an essential tool for emerging and established writers, publishing their work across all genres. Make space for it on your bookshelf." - Dr Jenna Clake, Senior Lecturer in Creative Writing at Teesside University

Prior to the Civil War, publishing in America underwent a transformation from a genteel artisan trade supported by civic patronage and religious groups to a thriving, cut-throat national industry propelled by profit. Literary Dollars and Social Sense represents an important chapter in the historical experience of print culture, it illuminates the phenomenon of amateur writing and delineates the access points of the emerging mass market for print for distributors consumers and writers. It challenges the conventional assumptions that the literary public had little trouble embracing the new literary marketing that emerged at mid-century. The book uncover the tensions that author's faced between literature's role in the traditional moral economy and the lure of literary dollars for personal gain and fame. This book marks an important example in how scholars understand and conduct research in American literature.

In early nineteenth-century America, the production and commercial distribution of reading matter came face-to-face with social literary practices. As mass readerships emerged, so did a mass authorship grasping after newly available literary dollars. Yet they did not immediately embrace market values. Instead, writers - even heavily promoted literary celebrities -- struggled to preserve some semblance of social sense, rooted in social authorship and dissemination practices. Summoning a host of ordinary Americans' voices in diaries and letters, the Zborays uncover a neglected, yet pivotal moment in modern mass-market publishing between its elite-driven past and its corporate-directed future. Literary Dollars & Social Sense shows common Americans apprehending the newly industrialized literary marketplace through their reading and gossiping, addressing it through their writing and editing, and serving it through their vending and distributing. This history encompasses not only popular authorship and dissemination of books, but, as is conventional in history-of-the-book scholarship, all forms of imprints, including newspapers and magazines. literary historicism, the book also offers to general readers renewed faith in literature as something socially valuable beyond--and above--monetary reward. AUTHORBIO: Ronald J. Zboray is Associate Professor of Communication and of History at the University of Pittsburgh. Among his books are A Fictive People: Antebellum Economic Development and the American Reading Public (Oxford). Mary Saracino Zboray is an independent scholar; she is coauthor, with Ron Zboray, of A Handbook for the Study of Book History in the United States (Library of Congress).

This book focuses on the different forms in which authorship came to be expressed in eighteenth-century Italian publishing. It analyses both the affirmation of the "author function", and, above all, its paradoxical opposite: the use of anonymity, a centuries-old practice present everywhere in Europe but often neglected by scholarship. The reasons why authors chose to publish their works anonymously were manifold, including prudence, fear of censorship, modesty, fear of personal criticism, or simple divertissement. In many cases, it was an ethical choice, especially for ecclesiastics. The Italian case provides a key perspective on the study of anonymity in the European context, contributing to the analysis of an overlooked topic in academic studies.

Bookshelves in the Age of the COVID-19 Pandemic provides the first detailed scholarly investigation of the cultural phenomenon of bookshelves (and the social practices around them) since the start of the pandemic in March 2020. With a foreword by Lydia Pyne, author of Bookshelf (2016), the volume brings together 17 scholars from 6 countries (Australia, Canada, Germany, the Netherlands, the UK, and the USA) with expertise in literary studies, book history, publishing, visual arts, and pedagogy to critically examine the role of bookshelves during the current pandemic. This volume interrogates the complex relationship between the physical book and its digital manifestation via online platforms, a relationship brought to widespread public and scholarly attention by the global shift to working from home and the rise of online pedagogy. It also goes beyond the (digital) bookshelf to consider bookselling, book accessibility, and pandemic reading habits.

This book addresses print-based modes of adaptation that have not conventionally been theorized as adaptations-such as novelization, illustration, literary maps, pop-up books, and ekphrasis. It discusses a broad range of image and word-based adaptations of popular literary works, among them The Wizard of Oz, Alice in Wonderland, Daisy Miller, The Strange Case of Dr. Jekyll and Mr. Hyde, Moby Dick, and Adventures of Huckleberry Finn. The study reveals that commercial and franchise works and ephemera play a key role in establishing a work's iconography. Newell argues that the cultural knowledge and memory of a work is constructed through reiterative processes and proposes a network-based model of adaptation to explain this. Whereas most adaptation studies prioritize film and television, this book's focus on print invites new entry points for the study of adaptation.