This inaugural volume in the African Perspectives series features the workof new and well-established scholars on the diversity and heterogeneityof African newspapers published from 1880 through the present.Newspapers played a critical role in spreading political awareness amongreaders who were subject to European colonial rule, often engaging inanticolonial and nationalist discourse or popularizing support for Africannationalism and Pan-Africanism. Newspapers also served as incubatorsof literary experimentation and new and varied cultural communities. The contributors highlight the actual practices of newspaper productionat different regional sites and historical junctures, while also developinga set of methodologies and theories of wider relevance to socialhistorians and literary scholars. The first of four thematic sections,“African Newspaper Networks,” considers the work of newspapereditors and contributors in relating local events and concerns to issuesaffecting others across the continent and beyond. “Experiments withGenre” explores the literary culture of newspapers that nurtured thedevelopment of new literary genres, such as newspaper poetry, realistfiction, photoplays, and travel writing in African languages and inEnglish. “Newspapers and Their Publics” looks at the ways in whichAfrican newspapers fostered the creation of new kinds of communitiesand served as networks for public interaction, political and otherwise.The final section, “Afterlives,” is about the longue durée of history thatnewspapers helped to structure, and how, throughout the twentiethcentury, print allowed contributors to view their writing as material meantfor posterity.

Interactive journalism has transformed the newsroom. Emerging out of changes in technology, culture, and economics, this new specialty uses a visual presentation of storytelling that allows users to interact with the reporting of information. Today it stands at a nexus: part of the traditional newsroom, yet still novel enough to contribute innovative practices and thinking to the industry. Nikki Usher brings together a comprehensive portrait of nothing less than a new journalistic identity. Usher provides a history of the impact of digital technology on reporting, photojournalism, graphics, and other disciplines that define interactive journalism. Her eyewitness study of the field's evolution and accomplishments ranges from the interactive creation of Al Jazeera English to the celebrated data desk at the Guardian to the New York Times' Pulitzer-endowed efforts in the new field. What emerges is an illuminating, richly reported profile of the people coding a revolution that may reverse the decline and fall of traditional journalism.

This is the first book-length study of Tennyson's record of publication in Victorian periodicals. Despite Tennyson's supposed hostility to periodicals, Ledbetter shows that he made a career-long habit of contributing to them and in the process revealed not only his willingness to promote his career but also his status as a highly valued commodity. Tennyson published more than sixty poems in serial publications, from his debut as a Cambridge prize-winning poet with "Timbuctoo" in the Cambridge Chronicle and Journal to his last public composition as Poet Laureate with "The Death of the Duke of Clarence and Avondale" in The Nineteenth Century. In addition, poems such as "The Charge of the Light Brigade" were shaped by his reading of newspapers. Ledbetter explores the ironies and tensions created by Tennyson's attitudes toward publishing in Victorian periodicals and the undeniable benefits to his career. She situates the poet in an interdependent commodity relationship with periodicals, viewing his individual poems as textual modules embedded in a page of meaning inscribed by the periodical's history, the poet's relationship with the periodical's readers, an image sharing the page whether or not related to the poem, and cultural contexts that create new meanings for Tennyson's work. Her book enriches not only our understanding of Tennyson's relationship to periodical culture but the textual implications of a poem's relationship with other texts on a periodical page and the meanings available to specific groups of readers targeted by individual periodicals.

This topical, lively and wide-ranging book examines the material conditions under which the contemporary English novel is produced and consumed. Its starting point is the general economic emergency which showed up these conditions with unusual clarity in the early 1970s. The first section of the book, 'Crisis and Change', considers the changing patterns of institutional book-purchase, inflation and novel-production, the 'Americanisation' of the British book trade, and the present state of fiction reviewing. The second section, 'State Remedies', surveys such interventions, and failed interventions, as Public Lending Right, Arts Council patronage, and university support for creative writers. The third section, 'Trends, Mainly American', selects specific areas (paperback publishing, self-publishing, book-clubs, television work) which offer pointers to significant future developments in British literary culture. Fiction and the Fiction Industry pays close attention to actual novels, combining literary criticism with its examination of the book trade.

The emergence of music printing and publishing in the early 16th century radically changed how music was circulated, and how the musical source (printed or manuscript) was perceived, and used in performance. This series of close studies of the structure and content of 16th-century and early 17th-century editions (and some manuscripts) of music draws conclusions in a number of areas - printing techniques for music; the habits of different type-setters and scribes, and their view of performing practice; publishers' approaches to the musical market and its abilities and interests; apparent changes of plan in preparing editions; questions of authorship; evidence in editions and manuscripts for interpreting different levels of notation; ways in which scribes could influence performers' decisions, and others by which composers could exploit unusual sonorities.

This title is a study of the export of books from Britain to early-independent Spanish America, which considers all phases of production, distribution, reading and re-writing of British books in the region, and explores the role that these works played in the formation of national identities in the new countries. Analysing in particular the publishing house of Rudolph Ackermann, which dominated the export of British books in Spanish to the former colonies in the 1820s, it discusses the ways in which the printed form of these publications affected the knowledge conveyed by them. early-independent Spanish America and the trends in the import of European books in the region, the author examines the operation of Ackermann's publishing enterprise. She shows how the collaborative nature of this enterprise, involving a number of Spanish American diplomats as sponsors and Spanish exiles as writers and translators, shaped the characteristics of its publications, and how the notion of useful knowledge conveyed by them was deployed in the service of both commercial and educational concerns. and retailing in Spanish America in the 1820s are also analysed, as is the way in which the significance of the knowledge transmitted by those books shifted in the course of their production and distribution. The author examines how the question-and answer form of Ackermann's textbooks constrained both publishers and writers and oriented their readers' relation with the texts. She then looks at the various ways in which foreign knowledge was appropriated in the construction of individual, social, national, and continental identities; this is done through the study of a number of individual reading experiences and through the analysis of the editions and adaptations of Ackermann's textbooks during the 19th century. be of interest both to book historians and to Latin American scholars, as well as to historians of education, historians of science, and scholars interested in processes of internationalisation, transmission, and appropriation of knowledge.

Drawing on research into the book-production records of twelve publishers-including George Bell & Son, Richard Bentley, William Blackwood, Chatto & Windus, Oliver & Boyd, Macmillan, and the book printers William Clowes and T&A Constable - taken at ten-year intervals from 1836 to 1916, this book interprets broad trends in the growth and diversity of book publishing in Victorian Britain. Chapters explore the significance of the export trade to the colonies and the rising importance of towns outside London as centres of publishing; the influence of technological change in increasing the variety and quantity of books; and how the business practice of literary publishing developed to expand the market for British and American authors. The book takes examples from the purchase and sale of popular fiction by Ouida, Mrs. Wood, Mrs. Ewing, and canonical authors such as George Eliot, Wilkie Collins, and Mark Twain. Consideration of the unique demands of the educational market complements the focus on fiction, as readers, arithmetic books, music, geography, science textbooks, and Greek and Latin classics became a staple for an increasing number of publishing houses wishing to spread the risk of novel publication.

The radical weekly newspaper or pamphlet was the leading print organ of popular radical expression during what has been called the heroic age of popular Radicalism; the years of public agitation for parlimentary reform between 1815 and 1820. This work reprints the original runs of the rarest periodicals.

By the mid-nineteenth century music publishing was no longer the provenance of shopkeepers, instrument makers or individual scholars, but a business enterprise undertaken by a new breed of Victorian entrepreneur. Two such were Vincent Novello and his son Alfred, whose music publishing house enjoyed significant growth between 1829 and 1866. Victoria Cooper builds up a picture of Novello during this period and the socio-economic and cultural climate that influenced the company's business decisions. Looking in detail at some of the editions Novello published, she analyzes the editing style of the firm and how this was dictated by Novello's main audience of amateur musicians and choral societies. Scrutiny of Novello's stockbook indicates the financial fortunes of these editions, while correspondence between the firm and composers such as Mendelssohn reveals how Vincent and Alfred went about acquiring new compositions. With its focus on the development of a music publishing business, this study brings a fresh dimension to musicological research. Novello was able to combine business practice with a commitment to disseminate music of educational and artistic value, and the history of the company provides illuminating evidence of the commodification of music in nineteenth-century Britain.

Is a facsimile an edition? In answering this question in relation to Shakespeare, and to early modern writing in general, the author explores the interrelationship between the beginning of the conventional process of collecting and editing Shakespeare's plays and the increasing sophistication of facsimiles. While recent scholarship has offered a detailed account of how Shakespeare was edited in the eighteenth century, the parallel process of the 'exact' reproduction of his texts has been largely ignored. The author will explain how facsimiles moved during the eighteenth and nineteenth century from hand drawn, traced, and type facsimiles to the advent of photographical facsimiles in the mid nineteenth century. Facsimiles can be seen as a barometer of the reverence accorded to the idea of an authentic Shakespeare text, and also of the desire to possess, if not original texts, then reproductions of them.

Theoretically there has never been a better time to become a published writer. But for anyone looking to venture into today's publishing landscape, it can be a daunting prospect - self-publish? Look for an agent? Go direct to an indie publisher? And what exactly is digital-first publishing? 'How to Be Published' is the first book to offer an unbiased guide to the pros and cons of self-publishing versus traditional publishing, along with all the myriad options in between - helping an author navigate the complex world of publishing and find the best path for them, their book and their writing aspirations.

A Waterstones 'Best Books of 2022: Biography' The Bookshop in Wigtown is a bookworm's idyll - with thousands of books across nearly a mile of shelves, a real log fire, and Captain, the bookshop cat. You'd think after twenty years, owner Shaun Bythell would be used to the customers by now. Don't get him wrong - there are some good ones among the antiquarian erotica-hunters, die-hard Arthurians, people who confuse bookshops for libraries and the toddlers just looking for a nice cosy corner in which to wee. He's sure there are. There must be some good ones, right? Filled with the pernickety warmth and humour that has touched readers around the world, stuffed with literary treasures, hidden gems and incunabula, Remainders of the Day is Shaun Bythell's latest entry in his bestselling diary series.

What is a magazine? For decades, women's magazines were regularly published, print-bound guidebooks aimed at neatly defined segments of the female audience. Crisp pages, a well-composed visual aesthetic, an intimate tone, and a distinctive editorial voice were among the hallmarks of women's glossies up through the turn of this century. Yet amidst an era of convergent media technologies, participatory culture, and new demands from advertisers, questions about the identity of women's magazines have been cast up for reflection. Remake, Remodel: Women's Magazines in the Digital Age offers a unique glimpse inside the industry and reveals how executives and content creators are remaking their roles, their audiences, and their products at this critical historic juncture. Through in-depth interviews with women's magazine producers, an examination of hundreds of trade press reports, and in-person observations at industry summits, Brooke Erin Duffy chronicles a fascinating shift in print culture and technology from the magazine as object to the magazine as brand. She draws on these findings to contribute to timely debates about media producers' labor conditions, workplace hierarchies, and creative processes in light of transformed technologies and media economies.

Mass communication theories were largely built when we had mass media audiences. The number of television, print, film or other forms of media audiences were largely finite, concentrating people on many of the same core content offerings, whether that be the nightly news or a popular television show. What happens when those audiences splinter? The Rise and Fall of Mass Communication surveys the aftermath of exactly that, noting that very few modern media products have audiences above 1-2% of the population at any one time. Advancing a new media balkanization theory, Benoit and Billings neither lament nor embrace the new media landscape, opting instead to pinpoint how we must consider mass communication theories and applications in an era of ubiquitous choice.

In the 25 years since the last edition of Thornton and Tully's Scientific Books, Libraries and Collectors was published, scientific publishing has mushroomed, developed new forms, and the academic discipline and popular appreciation of the history of science have grown apace. This fourth edition discusses these changes and ponders the implications of developments in publishing at the end of the twentieth century, while concentrating its gaze upon the dissemination of scientific ideas and knowledge from Antiquity to the industrial age. In this shift of focus it departs from previous editions, and for the first time a chapter on Islamic science is included. Recurrent themes in several of the ten essays in the present volume are the definition of 'science' itself, and its transmutation by publishing media and the social context. Two essays on the collecting of scientific books provide a counterpoint, and the book is grounded on a rigorous chapter on bibliographies. The timely publication of Scientific Books, Libraries and Collectors comes at the coincidence of the advent of electronic publishing and the millennium, a dramatic moment at which to take stock.

Written with an intimacy and spontaneity even more revealing than her celebrated memoirs, Diana Athill's correspondence with the American poet Edward Field covers thirty years of pleasure and pain, fame and gossip, relationships and ailments. Edited, selected and introduced by Athill, this collection of those letters covers her career as an editor and the adventure of her retirement, revealing a sharply intelligent woman with a keen eye for the absurd, a brilliant turn of phrase and a wicked sense of humour. Vivid, direct and entertaining, Instead of a Book is a wonderful insight into a woman growing older without ever losing her zest for life.

This text examines the publishing industry from an international perspective reflecting the growing interdependency of the publishing world.

Despite her family's ailing finances, Diana Athill's childhood - spent in a lovely house in Norfolk - was blissful. In 1932, she fell in love with Paul: an undergraduate who tutored her younger brother. Within several years, she had moved to Oxford to study and they were engaged to be married. Then everything fell apart in the cruellest possible way. Athill's debut is also her most personal: a dissection of personal tragedy and the struggle to rebuild her life amid severe disappointment and loneliness. Unfolding throughout the Second World War, Instead of a Letter is an inspiring story of love and loss, heartbreak and hope, and a testament to her strength of character - her vivacity, honesty and perspicacity.

In Early Modern Europe the first readers of a book were not those who bought it. They were the scribes who copied the author's or translator's manuscript, the censors who licensed it, the publisher who decided to put this title in his catalogue, the copy editor who prepared the text for the press, divided it and added punctuation, the typesetters who composed the pages of the book, and the proof reader who corrected them. The author's hand cannot be separated from the printers' mind. This book is devoted to the process of publication of the works that framed their readers' representations of the past or of the world. Linking cultural history, textual criticism and bibliographical studies, dealing with canonical works - like Cervantes' "Don Quixote" or Shakespeare's plays - as well as lesser known texts, Roger Chartier identifies the fundamental discontinuities that transformed the circulation of the written word between the invention of printing and the definition, three centuries later, of what we call 'literature'.