Natural language generation (NLG) is the process wherein computers produce output in readable human languages. Such output takes many forms, including news articles, sports reports, prose fiction, and poetry. These computer-generated texts are often indistinguishable from human-written texts, and they are increasingly prevalent. NLG is here, and it is everywhere. However, readers are often unaware that what they are reading has been computer-generated. This Element considers how NLG conforms to and confronts traditional understandings of authorship and what it means to be a reader. It argues that conventional conceptions of authorship, as well as of reader responsibility, change in instances of NLG. What is the social value of a computer-generated text? What does NLG mean for modern writing, publishing, and reading practices? Can an NLG system be considered an author? This Element explores such question, while presenting a theoretical basis for future studies.

What did the term 'author' denote for Lutheran musicians in the generations between Heinrich Schutz and Johann Sebastian Bach? As part of the Musical Performance and Reception series, this book examines attitudes to authorship as revealed in the production, performance and reception of music in seventeenth-century German lands. Analysing a wide array of archival, musical, philosophical and theological texts, this study illuminates notions of creativity in the period and the ways in which individuality was projected and detected in printed and manuscript music. Its investigation of musical ownership and regulation shows how composers appealed to princely authority to protect their publications, and how town councils sought to control the compositional efforts of their church musicians. Interpreting authorship as a dialogue between authority and individuality, this book uses an interdisciplinary approach to explore changing attitudes to the self in the era between Schutz and Bach.

Reviewing Political Criticism examines the rise of the 'review' form of journal publication, from the early eighteenth to the early twenty-first centuries. The review belongs to a long tradition of written political criticism that first advised, then revised, and with the increased confidence afforded to civil society by the rise of market capitalism, subsequently challenged and even transformed the state's view on what and how it governed. Chaves investigates the crucial nexus of intellectual debate with political judgment over this time, and highlights the review's central role in upholding this connection. Focusing upon critical moments that required the exercise of political judgment, the book explains this journal form as a means of political practice, one that essentially 're-views' the state's view of how society should be ordered. To understand critical activity, one must reflect on where this activity takes place-on the institutions of criticism that sustain it. Referred to by some as the 'natural habitat' of intellectuals, journals, as the institutionalized sites of theoretical discourse, are often overlooked. This groundbreaking book offers a concentrated critique of the review form of journal publication as a medium for political thought and action, as a decisive site for political judgment by the state's conservers and critics.

International news-agencies, such as Reuters, the Associated Press and Agence France-Presse, have long been 'unsung heroes' of the media sphere. From the mid-nineteenth century, in Britain, the US, France and, to a lesser extent, Germany, a small number of agencies have fed their respective countries with international news reports. They informed governments, businesses, media and, indirectly, the general public. They helped define 'news'. Drawing on years of archival research and first-hand experience of major news agencies, this book provides a comprehensive history of the leading news agencies based in the UK, France and the USA, from the early 1800s to the present day. It retraces their relations with one another, with competitors and clients, and the types of news, information and data they collected, edited and transmitted, via a variety of means, from carrier-pigeons to artificial intelligence. It examines the sometimes colourful biographies of agency newsmen, and the rise and fall of news agencies as markets and methods shifted, concluding by looking to the future of the organisations.

Mediated Narration in the Digital Age examines mediated narration from 1991 through 2018. Peter Joseph Gloviczki considers this pivotal period spanning the rise of the World Wide Web through the growth of social media to understand how contemporary media accounts storied everyday life and times of crisis. He uses examples across media culture to show that complicated issues benefit from a critical poststructuralist approach to journalism, which promotes a communitarian ethos of respect, inclusion, and dialogue. Textual analysis of a wide range of media narratives-from a 2012 YouTube clip outlining a time line of the Sandy Hook school shootings, to coverage of then-newly-discovered footage of President Roosevelt in a wheelchair in 2013, to the Cincinnati Enquirer's 2017 piece "Seven Days of Heroin"-illustrate how theoretical concepts work in practice while explaining the new media environment. In response to the lack of awareness of news as mediated narration, Gloviczki calls for journalists to be aware of their role in meaning-making and the attendant ethical responsibilities. He provides the analysis essential to effective practice that emphasizes the connection between the individual and the community in order to more fully represent the mediated body.

Gender and Prestige in Literature: Contemporary Australian Book Culture explores the relationship between gender, power, reputation and book publishing's consecratory institutions in the Australian literary field from 1965-2015. Focusing on book reviews, literary festivals and literary prizes, this work analyses the ways in which these institutions exist in an increasingly cooperative and generative relationship in the contemporary publishing industry, a system designed to limit field transformation. Taking an intersectional approach, this research acknowledges that a number of factors in addition to gender may influence the reception of an author or a title in the literary field and finds that progress towards equality is unstable and non-linear. By combining quantitative data analysis with interviews from authors, editors, critics, publishers and prize judges Alexandra Dane maps the circulation of prestige in Australian publishing, addressing questions around gender, identity, literary reputation, literary worth and the resilience of the status quo that have long plagued the field.

Revisions form a natural part of the writing process, but is the concept of revision actually an intrinsic part of the formation of the novel genre? Through the recovery and analysis of material from novel manuscripts and post-publication revisions, Hilary Havens identifies a form of 'networked authorship'. By tracing authors' revisions to their novels, the influence of familial and literary circles, reviewers, and authors' own previous writings can be discerned. Havens focuses on the work of Samuel Richardson, Frances Burney, Jane Austen, and Maria Edgeworth to challenge the individualistic view of authorship that arose during the Romantic period, and argues that networked authorship shaped the composition of eighteenth-century novels. Exploring these themes of collaboration and social networks, as well as engaging with the burgeoning trend towards textual recovery, this work is an important contribution in the study of eighteenth-century novels and their manuscript counterparts.

At a number of moments in history, political communication has undergone radical changes. Today, the Internet is the latest and most conspicuous change in the media landscape. However, it is shortsighted to imagine that the processes of media change and media convergence have fully run their course after the hectic ascendance of the Internet. To better organize our thinking about the forms and implications of contemporary media change, the present compilation also explores the long-term history of political communication.

Henrik Ibsen, the 'Father of Modern Drama', came from a seemingly inauspicious background. What are the key contexts for understanding his appearance on the world stage? This collection provides thirty contributions from leading scholars in theatre studies, literary studies, book history, philosophy, music, and history, offering a rich interdisciplinary understanding of Ibsen's work, with chapters ranging across cultural and aesthetic contexts including feminism, scientific discovery, genre, publishing, music, and the visual arts. The book ends by charting Ibsen's ongoing globalization and gives valuable overviews of major trends within Ibsen studies. Accessibly written, while drawing on the most recent scholarship, Ibsen in Context provides unique access to Ibsen the man, his works, and their afterlives across the world.

Reprinting, republishing and re-covering old books in new clothes is an established publishing practice. How are books that have fallen out of taste and favour resituated by publishers, and recognised by readers, as relevant and timely? This Element outlines three historical textures within British culture of the late 1970s and early 1980s - History, Remembrance and Heritage - that enabled Virago's reprint publishing to become a commercial and cultural success. With detailed archival case studies of the Virago Reprint Library, Testament of Youth and the Virago Modern Classics, it elaborates how reprints were profitable for the publisher and moved Virago's books - and the Virago brand name - from the periphery of culture to the centre. Throughout Virago's reprint publishing - and especially with the Modern Classics - the epistemic revelation that women writers were forgotten and could, therefore, be rediscovered, was repeated, again and again, and made culturally productive through the marketplace.

Drawing on comparative literary studies, postcolonial book history, and multiple, literary, and alternative modernities, this collection approaches the study of alternative literary modernities from the perspective ofcomparative print culture. The term comparative print culture designates a wide range of scholarly practices that discover, examine, document, and/or historicize various printed materials and their reproduction, circulation, and uses across genres, languages, media, and technologies, all within a comparative orientation. This book explores alternative literary modernities mostly by highlighting the distinct ways in which literary and cultural print modernities outside Europe evince the repurposing of European systems and cultures of print and further deconstruct their perceived universality.

The Frankfurt Book Fair is the leading global industry venue for rights sales, facilitating business-to-buzzness deals and international networks. In this Element, we pursue an Ullapoolist approach to excavate beneath the production of bestsellers at the Fair. Our investigation involved three consecutive years of fieldwork (2017-2019) including interviews and autoethnographic, arts-informed interventions. The Element argues that buzz at the Fair exists in two states: as market-ready media reports and partial, lived experiences linked to mood. The physical structures and absences of the Fair enact its power relations and direct the flow of books and buzz. Further, the Fair is not only a site for commercial exchange but a carnival of sorts, marked by disruptive historical events and problematic socio-political dynamics. Key themes emerging from the Element are the presence of excess, the pseudo(neo)liberal self-satisfaction of book culture, and the interplay of optimism and pessimism in contemporary publishing.

This book includes a selection of peer-reviewed papers presented at the 10th China Academic Conference on Printing and Packaging, which was held in Xi'an, China, on November 14-17, 2019. The conference was jointly organized by the China Academy of Printing Technology, Beijing Institute of Graphic Communication, and Shaanxi University of Science and Technology. With 9 keynote talks and 118 papers on graphic communication and packaging technologies, the conference attracted more than 300 scientists. The proceedings cover the latest findings in a broad range of areas, including color science and technology, image processing technology, digital media technology, mechanical and electronic engineering, Information Engineering and Artificial Intelligence Technology, materials and detection, digital process management technology in printing and packaging, and other technologies. As such, the book appeals to university researchers, R&D engineers and graduate students in the graphic arts, packaging, color science, image science, material science, computer science, digital media, and network technology.

Book, Text, Medium: Cross Sectional Reading for a Digital Age utilizes codex history, close reading, and language philosophy to assess the transformative arc between medieval books and today's e-books. It examines what happens to the reading experience in the twenty-first century when the original concept of a book is still held in the mind of a reader, if no longer in the reader's hand. Leading critic Garrett Stewart explores the play of mediation more generally, as the concept of book moves from a manufactured object to simply the language it puts into circulation. Framed by digital poetics, phonorobotics, and the rising popularity of audiobooks, this study sheds new light on both the history of reading and the negation of legible print in conceptual book art.

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.

Edited collections are widely supposed to contain lesser work than scholarly journals; to be incoherent as volumes, no more than the sum of their parts; and to be less visible to potential readers once published. It is also often taken as axiomatic that those who make decisions in relation to hiring, promotion, tenure, and funding do so agree. To publish in or edit an essay collection is thought to risk being penalised for the format before even a word is read. After examining the origins of this critique, this Element explores the modern history of the edited collection and the particular roles it has played. It examines each component part of the critique, showing that they are either largely unfounded or susceptible of solution. It proposes the edited collection as a model of one possible idea of scholarly community: collaboration, trust, and mutual obligation in pursuit of a wider good.

This collection is founded on the premise that the physical book is far from exhausted as informational medium, art object, or conceptual resource. The contributors to The Unfinished Book identify the many ways in which study of books - of their compounding of matter and meaning, of their global travels and historical transitions, of their shaping of and by new media technologies - remains unfinished business for humanist scholarship generally, and literary studies in particular. The collection's 32 chapters demonstrate in tandem how much book history has to gain in turn from engaging the most vital and innovative literary-critical modes of the 21st-century. Book studies thus intersects here with scholarship on empire, the environment, disability, and affect, as well as with work in African-American and Indigenous studies. Literary study is uniquely positioned, this collection asserts, to honour books' distinctive ways of both meaning things and being things. The chapters span a terrain that extends from the earliest surviving writings of the Indus Valley to Cicero's 1st-century B.C.E. library to the latest videogames. Some model new ways of thinking about the form, edges, and boundaries of the book as they demonstrate how seldom the book's history as a material object is terminated at the moment of its manufacture. Other chapters highlight the provisionality that makes the book's conceptual boundaries fuzzy, unfinished, and variable; many seek to overturn triumphalist histories that recount the story of the book as though it were Western and white. Overall, this collection launches a new generation of scholarship as it introduces provocative new approaches about the nature, place, and time of books.

The original essays in Oxford Twenty-First Century Approaches to Literature mean to provoke rather than reassure, to challenge rather than codify. Instead of summarizing existing knowledge, scholars working in the field aim at opening fresh discussion; instead of emphasizing settled consensus they direct their readers to areas of enlivened and unresolved debate. Booksellers, authors, and academics have been talking about world literature since Goethe made the term fashionable in the early nineteenth century. Yet amidst all the talk of books that 'circulate' and literature as a kind of universal property that can function as a 'window on the world', how do we account for the people who live in real places, and who write, translate, market, and read the texts that travel on these global journeys? World Authorship breaks new ground by showing how to bring together the real-world contexts of authorship with the literary worlds of fiction. Written by world-leading academics and creative professionals including authors, translators, publishers, editors, prize jurors, and literary festival organizers, World Authorship updates Michael Foucault's 'author function' by significantly expanding the network of people and practices involved in literature. It covers keyword aspects of world authorship, grounding them in the study of actual literary texts to illuminate how literature is shared and made in different parts of the world and at different times in history. At the heart of all contributions, however, is one key question: where is the human element in world literature? By covering everything from 'Beginnings' to 'Voice', World Authorship provides the answer.

This book introduces the fast-developing field of book history. James Raven, a leading historian of the book, offers a fresh and accessible guide to the global study of the production, dissemination and reception of written and printed texts across all societies and in all ages. Students, teachers, researchers and general readers will benefit from the book s investigation of the subject s origins, scope and future direction. Based on original research and a wide range of sources, What is the History of the Book? shows how book history crosses disciplinary boundaries and intersects with literary, historical, communications, media, library and conservation studies. Raven uses examples from around the world to explore different traditions in bibliography, palaeography and manuscript studies. He analyses book history s growing global ambition and demonstrates how the study of reading practises opens up new horizons in social history and the history of knowledge. He shows how book history is contributing to debates about intellectual and popular culture, colonialism and the communication of ideas. The first global, accessible introduction to the field of book history from ancient to modern times, What is the History of the Book? is essential reading for all those interested in one of society s most important cultural artefacts.

This volume examines the emergence of modern popular culture between the 1830s and the 1860s, when popular storytelling meant serial storytelling and when new printing techniques and an expanding infrastructure brought serial entertainment to the masses. Analyzing fiction and non-fiction narratives from the United States, France, Great Britain, Germany, Austria, Turkey, and Brazil, Popular Culture-Serial Culture offers a transnational perspective on border-crossing serial genres from the roman feuilleton and the city mystery novel to abolitionist gift books and world's fairs.

Quickly established as an essential and enduring companion for aspiring writers when it was first published, Betsy Lerner's sharp, funny, and insightful guide has been meticulously updated and revised to address the dramatic changes that have reshaped the publishing industry in the decade since. From blank page to first glowing (or gutting) review, Betsy Lerner is a knowing and sympathetic coach who helps writers discover how they can be more productive in the creative process and how they can better their odds of not only getting published, but getting published well. This is an essential trove of advice for writers and an indispensable user's manual to both the inner life of the writer and the increasingly anxious place where art and commerce meet: the boardrooms and cubicles of the publishing house.

The modernist bookshop, best exemplified by Sylvia Beach's Shakespeare & Co. and Harold Monro's Poetry Bookshop, has received scant attention outside these more prominent examples. This writing will review how bookshops like David Archer's on Parton Street (London) in the 1930s were sites of distribution, publication, and networking. Parton Street, which also housed Lawrence & Wishart publishers and a briefly vibrant literary scene, will be approached from several contexts as a way of situating the modernist bookshop within both the book trade and the literary communities which it interacted with and made possible.

Jerry Rose, a young journalist and photographer in Vietnam, exposed the secret beginnings of America's Vietnam War in the early 1960s. Putting his life in danger, he interviewed Vietnamese villagers in a countryside riddled by a war of terror and intimidation and embedded himself with soldiers on the ground, experiences that he distilled into the first major article to be written about American troops fighting in Vietnam. His writing was acclaimed as "war reporting that ranks with the best of Ernest Hemingway and Ernie Pyle," and in the years to follow, Time, The New York Times, The Reporter, New Republic, and The Saturday Evening Post regularly published his stories and photographs. In spring 1965, Jerry's friend and former doctor, Phan Huy Quat, became the new Prime Minister of Vietnam, and he invited Jerry to become an advisor to his government. Jerry agreed, hoping to use his deep knowledge of the country to help Vietnam. In September 1965, while on a trip to investigate corruption in the provinces of Vietnam, he died in a plane crash in Vietnam, leaving behind a treasure trove of journals, letters, stories, and a partially completed novel. The Journalist is the result of his sister, Lucy Rose Fischer, taking those writings and crafting a memoir in "collaboration" with her late brother-giving the term "ghostwritten" a whole new meaning.