Gatewatching and News Curation: Journalism, Social Media, and the Public Sphere documents an emerging news media environment that is characterised by an increasingly networked and social structure. In this environment, professional journalists and non-professional news users alike are increasingly cast in the role of gatewatcher and news curator, and sometimes accept these roles with considerable enthusiasm. A growing part of their everyday activities takes place within the spaces operated by the major social media providers, where platform features outside of their control affect how they can post, find, access, share, curate, and otherwise engage with news, rumours, analysis, comments, opinion, and related forms of information. If in the current social media environment the majority of users are engaged in sharing news; if the networked structure of these platforms means that users observe and learn from each other's sharing practices; if these practices result in the potential for widespread serendipitous news discovery; and if such news discovery is now overtaking search engines as the major driver of traffic to news sites-then gatewatching and news curation are no longer practiced only by citizen journalists, and it becomes important to fully understand the typical motivations, practices, and consequences of habitual news sharing through social media platforms. Professional journalism and news media have yet to fully come to terms with these changes. The first wave of citizen media was normalised into professional journalistic practices-but this book argues that what we are observing in the present context instead is the normalisation of professional journalism into social media.

The Cambridge bookseller Gustave David (1860-1936) was a key feature of the Cambridge landscape from the late nineteenth century until his death. This small volume, first published in 1937, collects together several obituaries written by David's friends in academia, including Sir Arthur Quiller-Couch. This book will be of value to anyone with an interest in the history of one of Cambridge's enduring personalities.

A Divinity for All Persuasions uncovers the religious signifiance of early America's most ubiquitous popular genre. Other than a Bible and perhaps a few schoolbooks and sermons, almanacs were the only printed items most Americans owned before 1820. Purchased annually, the almanac was a calendar and astrologically-based medical handbook surrounded by poetry, essays, anecdotes, and a variety of practical information. Employing a wealth of archival material, T.J. Tomlin analyzes the pan-Protestant sensibility distributed through the almanac's pages between 1730 and 1820. By disseminating a collection of Protestant concepts regarding God's existence, divine revelation, the human condition, and the afterlife, almanacs played an unparalleled role in early American religious life. Influenced by readers' opinions and printers' pragmatism, the religious content of everyday print supports an innovative interpretation of early American cultural and religious history. In sharp contrast to a historiography centered on intra-Protestant competition, Tomlin shows that most early Americans relied on a handful of Protestant "essentials" rather than denominational specifics to define and organize their religious lives.

Throughout human history the world's knowledge, and fruits of the creative imagination, have been produced, circulated, and received through the medium of the material text. This Companion provides a wide-ranging account of the history of the book and its ways of thinking about works from ancient inscription to contemporary e-books, discussing thematic, chronological and methodological aspects of this interdisciplinary field. The first section considers book cultures from local, national and global perspectives. Section two, organized around the dynamic relationship between the material book and the mutable text, develops a loosely chronological narrative from early writing, through manuscript and early printing, to the institution of a mechanized book trade, and on to the globalization of publishing and the introduction of the electronic book. A third section takes a practical turn, discussing methods, sources and approaches: bibliographical, archival and reading experience methodologies, as well as pedagogical strategies.

The story of Oxford University Press spans five centuries of printing and publishing. Beginning with the first presses set up in Oxford in the fifteenth century and the later establishment of a university printing house, it leads through the publication of bibles, scholarly works, and the Oxford English Dictionary, to a twentieth-century expansion that created the largest university press in the world, playing a part in research, education, and language learning in more than 50 countries. With access to extensive archives, the four-volume History of OUP traces the impact of long-term changes in printing technology and the business of publishing. It also considers the effects of wider trends in education, reading, and scholarship, in international trade and the spreading influence of the English language, and in cultural and social history - both in Oxford and through its presence around the world. In the decades after 1970 Oxford University Press met new challenges but also a period of unprecedented growth. In this concluding volume, Keith Robbins and 21 expert contributors assess OUP's changing structure, its academic mission, and its business operations through years of economic turbulence and continuous technological change. The Press repositioned itself after 1970: it brought its London Business to Oxford, closed its Printing House, and rapidly developed new publishing for English language teaching in regions far beyond its traditional markets. Yet in an increasingly competitive worldwide industry, OUP remained the department of a major British university, sharing its commitment to excellence in scholarship and education. The resulting opportunities and sometimes tensions are traced here through detailed consideration of OUP's business decisions, the vast range of its publications, and the dynamic role of its overseas offices. Concluding in 2004 with new forms of digital publishing, The History of OUP sheds new light on the cultural, educational, and business life of the English-speaking world in the late twentieth century.

Contemporary Publishing and the Culture of Books is a comprehensive resource that builds bridges between the traditional focus and methodologies of literary studies and the actualities of modern and contemporary literature, including the realities of professional writing, the conventions and practicalities of the publishing world, and its connections between literary publishing and other media. Focusing on the relationship between modern literature and the publishing industry, the volume enables students and academics to extend the text-based framework of modules on contemporary writing into detailed expositions of the culture and industry which bring these texts into existence; it brings economic considerations into line alongside creative issues, and examines how employing marketing strategies are utilized to promote and sell books. Sections cover: The standard university-course specifications of contemporary writing, offering an extensive picture of the social, economic, and cultural contexts of these literary genres The impact and status of non-literary writing, and how this compares with certain literary genres as an index to contemporary culture and a reflection of the state of the publishing industry The practicalities and conventions of the publishing industry Contextual aspects of literary culture and the book industry, visiting the broader spheres of publishing, promotion, bookselling, and literary culture Carefully linked chapters allow readers to tie key elements of the publishing industry to the particular demands and features of contemporary literary genres and writing, offering a detailed guide to the ways in which the three core areas of culture, economics, and pragmatics intersect in the world of publishing. Further to being a valuable resource for those studying English or Creative Writing, the volume is a key text for degrees in which Publishing is a component, and is relevant to those aspects of Media Studies that look at interactions between the media and literature/publishing.

The Washington Star: The Rise and Fall of a Great American Newspaper is the story of the 129-year history of one of the preeminent newspapers in journalism history when city newspapers across the country were at the height of their power and influence. The Star was the most financially successful newspaper in the Capital and among the top ten in the country until its decline in the 1970s. The paper began in 1852 when the capital city was a backwater southern town. The Star’s success over the next century was due to its singular devotion to local news, its many respected journalists, and the historic times in which it was published. The book provides a unique perspective on more than a century of local, national and international history. The book also exposes the complex reasons for the Star’s rise and fall from dominance in Washington’s newspaper market. The Noyes and Kauffmann families who owned and operated the Star for a century play an important role in that story. Patriarch Crosby Noyes’ life and legacy is the most fascinating –a classic Horatio Alger story of the illegitimate son of a Maine farmer who by the time of his death was a respected newspaper publisher and member of Washington’s influential elite. In 1974 his descendants sold the once-great newspaper Noyes built to Joseph Allbritton. Allbritton and then Time, Inc. tried to save the Star but failed.

As we rely increasingly on digital resources, and libraries discard large parts of their older collections, what is our responsibility to preserve 'old books' for the future? David McKitterick's lively and wide-ranging study explores how old books have been represented and interpreted from the eighteenth century to the present day. Conservation of these texts has taken many forms, from early methods of counterfeiting, imitation and rebinding to modern practices of microfilming, digitisation and photography. Using a comprehensive range of examples, McKitterick reveals these practices and their effects to address wider questions surrounding the value of printed books, both in terms of their content and their status as historical objects. Creating a link between historical approaches and the emerging technologies of the future, this book furthers our understanding of old books and their significance in a world of emerging digital technology.

Media and Metamedia Management has contributions from seven prestigious experts, who offer their expertise and the view from their vantage point on communication, journalism, advertising, audiovisual, and corporate, political, and digital communication, paying special attention to the role of new technologies, the Internet and social networks, also from an ethics and legal dimension. A total of 118 authors belonging to 31 universities from Spain, Portugal, England and Ecuador have contributed to this book edited, coordinated and introduced by professors Francisco Campos-Freire and Xose Lopez-Garcia, from the University of Santiago de Compostela, Jose Ruas-Araujo, from the University of Vigo, and Valentin A. Martinez-Fernandez, from the University of A Coruna. Readers may also enjoy 66 articles, grouped into diverse chapters, on Journalism and cyberjournalism, audiovisual sector and media economy, corporate and institutional communication, and new media and metamedia.

The dispersal of the library amassed by George Spencer-Churchill (1766-1840), Marquess of Blandford and later fifth Duke of Marlborough, is most commonly cited today as a preservative against folly. The collection contained some of the most sought-after incunabula of a period defined by the high prices paid for early printed books. It included a fine selection of Caxtons, spectacular botanical and emblem books, and the iconic Valdarfer Boccaccio - the first edition of the Decameron, purchased by Blandford in 1812 for the unprecedented sum of GBP2,260. The Boccaccio was symptomatic of the profligate expenditure of its buyer. By 1819 his spendthrift ways had ruined him, leading to the sale of his opulent estate at Whiteknights, near Reading, and the dispersal of one of the key libraries in the era of bibliomania. Reissued here together are the two parts of the auction catalogue, both annotated by an auction attendee who recorded details of the purchasers and the prices paid. Ed Potten, Head of Rare Books at Cambridge University Library, has provided a new introduction that places the catalogue in its wider context.

This is the first history of the book in Britain from the Norman Conquest until the early fifteenth century. The twenty-six expert contributors to this volume discuss the manuscript book from a variety of angles: as physical object (manufacture, format, writing and decoration); its purpose and readership (books for monasteries, for the Church's liturgy, for elementary and advanced instruction, for courtly entertainment); and as the vehicle for particular types of text (history, sermons, medical treatises, law and administration, music). In all of this, the broader, changing social and cultural context is kept in mind, and so are the various connections with continental Europe. The volume includes a full bibliography and 80 black and white plates.

This volume covers the history of printing and publishing from the lapse of government licensing of printed works in 1695 to the development of publishing as a specialist commercial undertaking and the industrialization of book production around 1830. During this period, literacy rose and the world of print became an integral part of everyday life, a phenomenon that had profound effects on politics and commerce, on literature and cultural identity, on education and the dissemination of practical knowledge. Written by a distinguished international team of experts, this study examines print culture from all angles: readers and authors, publishers and booksellers; books, newspapers and periodicals; social places and networks for reading; new genres (children s books, the novel); the growth of specialist markets; and British book exports, especially to the colonies. Interdisciplinary in its perspective, this book will be an important scholarly resource for many years to come. "

Volume 4 of The Cambridge History of the Book in Britain covers the years between the incorporation of the Stationers' Company in 1557 and the lapsing of the Licensing Act in 1695. In a period marked by deep religious divisions, civil war and the uneasy settlement of the Restoration, printed texts - important as they were for disseminating religious and political ideas, both heterodox and state approved - interacted with oral and manuscript cultures. These years saw a growth in reading publics, from the developing mass market in almanacs, ABCs, chapbooks, ballads and news, to works of instruction and leisure. Atlases, maps and travel literature overlapped with the popular market but were also part of the project of empire. Alongside the creation of a literary canon and the establishment of literary publishing there was a tradition of dissenting publishing, while women's writing and reading became increasingly visible.

The years 1830 1914 witnessed a revolution in the manufacture and use of books as great as that in the fifteenth century. Using new technology in printing, paper-making and binding, publishers worked with authors and illustrators to meet ever-growing and more varied demands from a population seeking books at all price levels. The essays by leading book historians in this volume show how books became cheap, how publishers used the magazine and newspaper markets to extend their influence, and how book ownership became universal for the first time. The fullest account ever published of the nineteenth-century revolution in printing, publishing and bookselling, this volume brings the Cambridge History of the Book in Britain up to a point when the world of books took on a recognisably modern form. "

Between roughly 1350 and 1500, the English vernacular became established as a language of literary, bureaucratic, devotional and controversial writing; metropolitan artisans formed guilds for the production and sale of books for the first time; and Gutenberg's and eventually Caxton's printed books reached their first English consumers. This book gathers the best work on manuscript books in England made during this crucial but neglected period. Its authors survey existing research, gather intensive new evidence and develop new approaches to key topics. The chapters cover the material conditions and economy of the book trade; amateur production both lay and religious; the effects of censorship; and the impact on English book production of manuscripts and artisans from elsewhere in the British Isles and Europe. A wide-ranging and innovative series of essays, this volume is a major contribution to the history of the book in medieval England.

Legal Publishing in Antebellum America presents a history of the law book publishing and distribution industry in the United States. Part business history, part legal history, part history of information diffusion, M. H. Hoeflich shows how various developments in printing and bookbinding, the introduction of railroads, and the expansion of mail service contributed to the growth of the industry from an essentially local industry to a national industry. Furthermore, the book ties the spread of a particular approach to law, that is, the 'scientific approach', championed by Northeastern American jurists to the growth of law publishing and law book selling and shows that the two were critically intertwined.

As more and more of our cultural heritage migrates into digital form and as increasing amounts of literature and art are created within digital environments, it becomes more important than ever before for us to understand how the medium affects the text. The expert contributors to this volume provide a clear, engrossing and accessible insight into how the texts we read and study are created, shaped and transmitted to us. They outline the theory behind studying texts in many different forms and offer case studies demonstrating key methodologies underlying the vital processes of editing and presenting texts. Through their multiple perspectives they demonstrate the centrality of textual scholarship to current literary studies of all kinds and express the sheer intellectual excitement of a crucial scholarly discipline entering a new phase of its existence.

As more and more of our cultural heritage migrates into digital form and as increasing amounts of literature and art are created within digital environments, it becomes more important than ever before for us to understand how the medium affects the text. The expert contributors to this volume provide a clear, engrossing and accessible insight into how the texts we read and study are created, shaped and transmitted to us. They outline the theory behind studying texts in many different forms and offer case studies demonstrating key methodologies underlying the vital processes of editing and presenting texts. Through their multiple perspectives they demonstrate the centrality of textual scholarship to current literary studies of all kinds and express the sheer intellectual excitement of a crucial scholarly discipline entering a new phase of its existence.

Shakespeare and the Book Trade follows on from Lukas Erne's groundbreaking Shakespeare as Literary Dramatist to examine the publication, constitution, dissemination and reception of Shakespeare's printed plays and poems in his own time and to argue that their popularity in the book trade has been greatly underestimated. Erne uses evidence from Shakespeare's publishers and the printed works to show that in the final years of the sixteenth century and the early part of the seventeenth century, 'Shakespeare' became a name from which money could be made, a book-trade commodity in which publishers had significant investments and an author who was bought, read, excerpted and collected on a surprising scale. Erne argues that Shakespeare, far from indifferent to his popularity in print, was an interested and complicit witness to his rise as a print-published author. Thanks to the book trade, Shakespeare's authorial ambition started to become bibliographic reality during his lifetime.

First published in 1880, this is a complete catalogue of the traders and products that featured in an exhibition at London's Agricultural Hall, 5 17 July 1880. The focus of the exhibition was printing, stationery, papermaking and related trades, and around 200 organisations participated, displaying items such as printing appliances, papermaking machinery, stationery materials, packaging, and precision instruments. The catalogue's editor, journalist Lucien Wolf (1857 1930), prefaces it with an informative overview of trade exhibitions, examining their history and future, and their role in bringing together producers, retailers, buyers, wholesalers and importers to assess competition, compare products and evaluate the state and progress of their trades. The main body of the catalogue contains information on exhibitors and their products, and a range of authentic advertisements. Providing a revealing snapshot of industrial England, this work remains of interest to historians and scholars interested in Victorian trade.

Most publishers keep a "slushpile" - the stack of unsolicited manuscripts which contains a large percentage of preposterous or frightening book proposals, which might just conceal that one jewel of a bestseller or classic novel lying near the bottom. Authors discovered via the slush pile include Roddy Doyle, J. K. Rowling and Philip Roth. Stephenie Meyer sent 15 query letters about her teenage-vampire saga and got nearly 10 rejection letters; one even arrived after she signed with an agent and received a three-book deal from Little, Brown. Kathryn Stockett's The Help was turned down 60 times over 31/2 years before becoming a best seller. Sadly though, these are the exceptions... Written by a reader with over a decade of slush pile experience, Something Nasty in the Slushpile takes a tour through the 'do's and 'don't's of book proposal, including many examples of hilarious, misguided and plain weird approaches. The contents include: Offputing greetings: Dear honourable reader, dear potential agent, friend and colleague, dear colleagues etc. Famous first lines: After ten books of criticism, I am turning my attention to a subject close to my heart, the illustrated story of my own life ... I don't really need to explain ... it would make this letter too long Firstly may I apologise for not getting this to you sooner after our conversation last week, however an unexpected funeral cropped up. Someone is killing literary agents ... I would have e-mailed you, but I am not allowed access to such facilities as I have just been sectioned. I should be out soon. Barmy USPs: It's like a British male version of Eat, Pray, Love. But less shrill and more believable. There are echoes of Paul Theroux and parallels with The Alchemist and Siddhartha My book is just about me, just an ordinary 'Jo Bloggs' chipping away relentlessly at the big roadblocks put in my way ... I want 10,000 people to be reading my book at the same time all over the world. I want the light to go on for them, the penny to drop and the wheel of change to start turning ... One person can make a difference and I want that person to be me. How not to respond to constructive criticism: Dear so-called publisher... I have shown my manuscript to my spiritual guide and he agrees that you are utterly wrong...

The Handbook of Journal Publishing is a comprehensive reference work written by experienced professionals, covering all aspects of journal publishing, both online and in print. Journals are crucial to scholarly communication, but changes in recent years in the way journals are produced, financed, and used make this an especially turbulent and challenging time for journal publishers - and for authors, readers, and librarians. The Handbook offers a thorough guide to the journal publishing process, from editing and production through marketing, sales, and fulfilment, with chapters on management, finances, metrics, copyright, and ethical issues. It provides a wealth of practical tools, including checklists, sample documents, worked examples, alternative scenarios, and extensive lists of resources, which readers can use in their day-to-day work. Between them, the authors have been involved in every aspect of journal publishing over several decades and bring to the text their experience working for a wide range of publishers in both the not-for-profit and commercial sectors.

The finest books produced during the quarter century prior to the outbreak of the Great War were almost invariably printed by the private presses, but post-war, with the development of new technology, the accolade of excellence passed into the hands of a small number of commercial firms, with the Curwen Press very much to the fore. Like those earlier printers, Harold Curwen was inspired by the Morrisian ideal, but he did not adhere to the tenet that 'hand made' was necessarily better than 'machine made', which led him to become one of the pioneering figures in the technical revolution that transformed the printing industry. Harold Curwen joined the family firm in 1908 and by 1916 had instigated a general replanning of the works and, aided by the wartime staff shortage, felt able to push ahead with the installation of modern machinery. He was in the forefront of the development of offset lithography, which ensured that the Curwen Press would be in the vanguard of fine colour printing throughout the next decade. Harold also pioneered, as far as England was concerned, the pochoir technique of hand-stencilling. 1922, was the beginning of the Curwen Press' golden decade, during which it produced "The Woodcutter's Dog", the English language edition of Julius Meier-Graefe's two volume biography of Van Gogh for the "Medici Society", the exhibition catalogue of books and manuscripts for "The First Edition Club", Goldoni's "Four Comedies" and the delightful little pocket engagement book, "The Four Seasons", illustrated by Albert Rutherston. Rutherston was later to illustrate Thomas Hardy's Yuletide in a "Younger World", the first of the Ariel Poems for Faber & Gwyer which were to become a feature of the collaboration between the two firms. In addition there was the 'Safety First' Calendar, adorned with Lovat Fraser's cautionary illustrations. Following restructuring in 1933, the Curwen Press had a further forty years of distinguished work ahead both in the printing of books, particularly those illustrated by Barnett Freedman, as well as jobbing work, including some of the finest posters for the London Underground by Bawden, Wadsworth, John Banting, Betty Swanwick, Barnett Freedman and others. "E. McKnight Kauffer, Design" contains over 150 illustrations, many from original artworks, and work not before reproduced. With descriptions by Brian Webb and an introductory essay by Peyton Skipwith. The "Design" series is the winner of the Brand/Series Identity Category at the British Book Design and Production Awards 2009, judges said: 'A series of books about design, they had to be good and these are. The branding is consistent, there is a good use of typography and the covers are superb.'