Examines early practices of staged photography in visualizing queer forms of relation.   Body Language is the first in-depth study of the extraordinary interplay between George Platt Lynes and PaJaMa (Paul Cadmus, Jared French, and Margaret Hoening French). Nick Mauss and Angela Miller offer timely readings of how their practices of staging, collaboration, and psychological enactment through the body arced across the boundaries of art and life, private and public worlds, anticipating contemporary social media. Using the camera not to capture, but to actively perform, they renounced photography’s conventional role as mirror of the real, energizing forms of world-making via a new social framing of the self.

In the first collection devoted to mentoring relationships in British literature and culture, the editor and contributors offer a fresh lens through which to observe familiar and lesser known authors and texts. Employing a variety of critical and methodological approaches, which reflect the diversity of the mentoring experiences under consideration, the collection highlights in particular the importance of mentoring in expanding print culture. Topics include John Wilmot the Earl of Rochester's relationships to a range of role models, John Dryden's mentoring of women writers, Alexander Pope's problematic attempts at mentoring, the vexed nature of Jonathan Swift's cross-gender and cross-class mentoring relationships, Samuel Richardson's largely unsuccessful efforts to influence Urania Hill Johnson, and an examination of Elizabeth Carter and Samuel Johnson's as co-mentors of one another's work. Taken together, the essays further the case for mentoring as a globally operative critical concept, not only in the eighteenth century, but in other literary periods as well.

In the first collection devoted to mentoring relationships in British literature and culture, the editor and contributors offer a fresh lens through which to observe familiar and lesser known authors and texts. Employing a variety of critical and methodological approaches, which reflect the diversity of the mentoring experiences under consideration, the collection highlights in particular the importance of mentoring in expanding print culture. Topics include John Wilmot the Earl of Rochester's relationships to a range of role models, John Dryden's mentoring of women writers, Alexander Pope's problematic attempts at mentoring, the vexed nature of Jonathan Swift's cross-gender and cross-class mentoring relationships, Samuel Richardson's largely unsuccessful efforts to influence Urania Hill Johnson, and an examination of Elizabeth Carter and Samuel Johnson's as co-mentors of one another's work. Taken together, the essays further the case for mentoring as a globally operative critical concept, not only in the eighteenth century, but in other literary periods as well.

This collection presents fourteen essays on annotating eighteenth-century literature. Authored by editors and annotators of current standard editions—such as California’s Works of John Dryden, the Florida Edition of the Works of Laurence Sterne, and the Yale Edition of the Works of Samuel Johnson—this book explores theoretical perspectives on critical editing and the practical work of annotation. Through examples from their own editorial work, the contributors illuminate the personal dilemmas and decisions confronting the annotator of texts: What information in the text needs annotation? When does one stop annotating? How does one manage the annotation-versus-interpretation problem? Brimming with erudition, Notes on Footnotes showcases the precision and attentiveness of some of the world’s foremost editors and annotators. The book is necessary reading—not only for scholars of the eighteenth century but also for scholarly editors of texts of all historical periods, book historians, and book lovers in general. In addition to the editors, the contributors include Kate Bennett, Robert DeMaria Jr., Michael Edson, Robert D. Hume, Stephen Karian, Elizabeth Kraft, Thomas Lockwood, William McCarthy, Maximillian E. Novak, Shef Rogers, Robert G. Walker, and Marcus Walsh.

A cultural geographer and an art historian offer fresh interpretations of Muybridge’s famous motion studies through the lenses of mobility and race. In 1878, Eadweard Muybridge successfully photographed horses in motion, proving that all four hooves leave the ground at once for a split second during full gallop. This was the beginning of Muybridge’s decades-long investigation into instantaneous photography, culminating in his masterpiece Animal Locomotion. Muybridge became one of the most influential photographers of his time, and his stop-motion technique helped pave the way for the motion-picture industry, born a short decade later.   Coauthored by cultural geographer Tim Cresswell and art historian John Ott, this book reexamines the motion studies as historical forms of “mobility,� in which specific forms of motion are given extraordinary significance and accrued value. Through a lively, interdisciplinary exchange, the authors explore how mobility is contextualized within the transformations of movement that marked the nineteenth century and how mobility represents the possibilities of social movement for African Americans. Together, these complementary essays look to Muybridge’s works as interventions in knowledge and experience and as opportunities to investigate larger social ramifications and possibilities.  

A cultural geographer and an art historian offer fresh interpretations of Muybridge's famous motion studies through the lenses of mobility and race. In 1878, Eadweard Muybridge successfully photographed horses in motion, proving that all four hooves leave the ground at once for a split second during full gallop. This was the beginning of Muybridge's decades-long investigation into instantaneous photography, culminating in his masterpiece Animal Locomotion. Muybridge became one of the most influential photographers of his time, and his stop-motion technique helped pave the way for the motion-picture industry, born a short decade later. Coauthored by cultural geographer Tim Cresswell and art historian John Ott, this book reexamines the motion studies as historical forms of "mobility," in which specific forms of motion are given extraordinary significance and accrued value. Through a lively, interdisciplinary exchange, the authors explore how mobility is contextualized within the transformations of movement that marked the nineteenth century and how mobility represents the possibilities of social movement for African Americans. Together, these complementary essays look to Muybridge's works as interventions in knowledge and experience and as opportunities to investigate larger social ramifications and possibilities.

Samuel Johnson's life was situated within a rich social and intellectual community of friendships-and antagonisms. Community and Solitude is a collection of ten essays that explores relationships between Johnson and several of his main contemporaries-including James Boswell, Edmund Burke, Frances Burney, Robert Chambers, Oliver Goldsmith, Bennet Langton, Arthur Murphy, Richard Savage, Anna Seward, and Thomas Warton-and analyzes some of the literary productions emanating from the pressures within those relationships. In their detailed and careful examination of particular works situated within complex social and personal contexts, the essays in this volume offer a "thick" and illuminating description of Johnson's world that also engages with larger cultural and aesthetic issues, such as intertextuality, literary celebrity, narrative, the nature of criticism, race, slavery, and sensibility.

""A Shoemaker's Story" is a brilliant book that fully conveys the richness of historical meaning common photographs can bring to light in the hands of a skillful interpreter. Anthony Lee's tale of multiple encounters among Yankee townspeople and factory owners, Chinese and French Canadian migrant laborers, and itinerant and studio photographers in North Adams, Massachusetts, is full of insight into the confluence of United States labor history, ethnic studies, and visual culture. Beautifully written as well, it will be required, desired, and inspired reading for anyone's list."--Laura Wexler, Yale University

"Combining extraordinary archival work, an acute eye for the visual and social logic of photographs, and knowledge of the experiential history of their subjects, Anthony Lee offers a riveting account of the complex uses of nineteenth-century photography. In his readings, the power of images becomes a matter of complex cultural transactions and negotiations, as images themselves are viewed as critical objects for histories of labor, economic life, racial community, and self-representation. This groundbreaking study will influence scholarship for a considerable time to come."--Sara Blair, author of "Harlem Crossroads"

"This book is a pleasure. Lee weaves together the many stories that run through these extraordinary photographs with exemplary deftness. Having dug deep in the archives, he cogently reconstructs the social dynamics of a forgotten community and a fascinating historical moment. His vivid tale should appeal to scholars and general readers alike."--Robin Kelsey, Harvard University

"Wonderfully innovative and original. Anthony Lee offers a fascinating story thatweaves together the history of manufacturing, labor, immigration, and photography. The photograph here becomes a new kind of historical evidence to be mined and untangled, a constellation of competing forces and desires. Beautifully written in remarkably lucid, playful prose. A real pleasure to read."--Shawn Michelle Smith, School of the Art Institute of Chicago

"Through his reading of a single photograph taken of Chinese strikebreakers acquired to work in a shoe factory, Lee leads us on a fascinating exploration of the historical circumstances and social relations that gave rise to that photograph. The book shows an exemplary ambition in its methodological attempts to bring together close reading of visual texts, historical analysis, and archival research. An unflaggingly pleasurable read."--Gary Y. Okihiro, Columbia University

This collection presents fourteen essays on annotating eighteenth-century literature. Authored by editors and annotators of current standard editions-such as California's Works of John Dryden, the Florida Edition of the Works of Laurence Sterne, and the Yale Edition of the Works of Samuel Johnson-this book explores theoretical perspectives on critical editing and the practical work of annotation. Through examples from their own editorial work, the contributors illuminate the personal dilemmas and decisions confronting the annotator of texts: What information in the text needs annotation? When does one stop annotating? How does one manage the annotation-versus-interpretation problem? Brimming with erudition, Notes on Footnotes showcases the precision and attentiveness of some of the world's foremost editors and annotators. The book is necessary reading-not only for scholars of the eighteenth century but also for scholarly editors of texts of all historical periods, book historians, and book lovers in general. In addition to the editors, the contributors include Kate Bennett, Robert DeMaria Jr., Michael Edson, Robert D. Hume, Stephen Karian, Elizabeth Kraft, Thomas Lockwood, William McCarthy, Maximillian E. Novak, Shef Rogers, Robert G. Walker, and Marcus Walsh.

The essays collected in Samuel Johnson Among the Modernists frame this major writer in an unfamiliar milieu and company: high modernism and its aftermath. By bringing Johnson to bear on the various authors and topics gathered here, the book foregrounds some aspects of modernism and its practitioners that would otherwise remain hidden and elusive, even as it sheds new light on Johnson. Writers discussed include T. S. Eliot, Virginia Woolf, Ezra Pound, Joseph Conrad, James Joyce, Samuel Beckett, Jorge Luis Borges, and Vladimir Nabokov. Chapter contributors include major scholars in their field, including Melvyn New, Jack Lynch, Thomas M. Curley, Greg Clingham and Clement Hawes. These ground-breaking essays offer a vital and exciting interrogation of Modernism from a wholly fresh perspective.

"While Berenice Abbott, Margaret Bourke-White, and Alfred Steiglitz photographed New York's sleek skyscrapers, Arthur Fellig (called Weegee) documented the seamy underside of depression-era New York. In this extraordinary book, Richard Meyer and Anthony Lee tell a gripping tale, filled with historical detail about Weegee's transformation from freelance newspaper photographer to fine artist with the publication of his enormously successful book "Naked City," in 1945."--Cecile Whiting, author of "Pop L.A.: Art and the City in the 1960s"
"Lee and Meyer return Weegee to his 'working world' by exploring the multiple contexts of his production-the Photo League, the tabloids, the exhibition galleries, and the book market. The volume adds an important dimension to our understanding of how Weegee straddled the worlds of popular culture, photojournalism, and left politics."--Miles Orvell, author of "American Photography" and "John Vachon's America: Photographs and Letters from the Depression to World War II" (UC Press)
"Groundbreaking. Anthony Lee and Richard Meyer delve deeply into a rich archive of media and exhibition history, criticism, and biography to arrive at original interpretations of the most enigmatic photographer in modern visual and print culture."--Jordana Mendelson, author of "Documenting Spain: Artists, Exhibition Culture, and the Modern Nation, 1929-1939"

Samuel Johnson’s life was situated within a rich social and intellectual community of friendships—and antagonisms. Community and Solitude is a collection of ten essays that explore relationships between Johnson and several of his main contemporaries—including James Boswell, Edmund Burke, Frances Burney, Robert Chambers, Oliver Goldsmith, Bennet Langton, Arthur Murphy, Richard Savage, Anna Seward, and Thomas Warton—and analyzes some of the literary productions emanating from the pressures within those relationships. In their detailed and careful examination of particular works situated within complex social and personal contexts, the essays in this volume offer a “thick� and illuminating description of Johnson’s world that also engages with larger cultural and aesthetic issues, such as intertextuality, literary celebrity, narrative, the nature of criticism, race, slavery, and sensibility. Contributors: Christopher Catanese, James Caudle, Marilyn Francus, Christine Jackson-Holzberg, Claudia Thomas Kairoff, Elizabeth Lambert, Anthony W. Lee, James E. May, John Radner, and Lance Wilcox. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

When, in 1907, Alfred Stieglitz took a simple picture of passengers on a ship bound for Europe, he could not have known that "The Steerage", as it was soon called, would become a modernist icon and, from today's vantage, arguably the most famous photograph made by an American photographer. In complementary essays, a photo historian and a photographer reassess this important picture, rediscovering the complex social and aesthetic ideas that informed it and explaining how over the years it has achieved its status as a masterpiece. What aspects of Stieglitz's ideas and sometimes-murky ambitions help us understand the picture's achievements? How should we assess the photograph in relation to Stieglitz's many writings about it? The authors of this book explore what "The Steerage" might mean in at least two senses - by itself, as a grand and self-sufficient work, and also ineluctably bound up with the many stories told about it. They make the photograph, today, what Stieglitz himself made it over the years - a photo-text work.

"Lee and Young have admirably elucidated this foundational volume in the history of American photography by developing references that emerge from prior readings of these images, as well as thoughtfully producing new ways of seeing the landscapes Gardner presents. The book makes available to a wide audience one of the most important photographic records of any war and certainly the most interesting visual record of the American Civil War. This is superior scholarship."--Shirley Samuels, author of "Facing America: Iconography and the Civil War"
"Anthony Lee and Elizabeth Young's deceptively slim volume is a complex, enlightening, and elegant study of a significant Civil War-era document that also greatly enhances our understanding of nineteenth-century visual culture. The analysis and format of this collaborative effort will serve as a model for cultural scholarship for years to come."--Joshua Brown, author of "Beyond the Lines: Pictorial Reporting, Everyday Life, and the Crisis of Gilded Age America"
"In this beautifully written analysis of one of the most important works of nineteenth-century American photography, Lee and Young restore Gardner's "Sketch Book" to its rightful place as a key document of American history. At once a report of a newsworthy event and a meditation on its historical meaning, Gardner's album is less unmediated reportage than a carefully constructed argument. In clear, lucid prose, Lee and Young help us understand just how Gardner made this work that helped fix the Civil War in American memory."--Martha A. Sandweiss, author of "Print the Legend: Photography and the American West"

Samuel Johnson famously referred to his future biographer, the unsociable magistrate Sir John Hawkins, as “a most unclubbable man." Conversely, this celebratory volume gathers distinguished eighteenth-century studies scholars to honor the achievements, professional generosity, and sociability of Greg Clingham, taking as its theme textual and social group formations. Here, Philip Smallwood examines the “mirrored minds� of Johnson and Shakespeare, while David Hopkins parses intersections of the general and particular in three key eighteenth-century figures. Aaron Hanlon draws parallels between instances of physical rambling and rhetorical strategies in Johnson’s Rambler, while Cedric D. Reverand dissects the intertextual strands uniting Dryden and Pope. Contributors take up other topics significant to the field, including post-feminism, travel, and seismology. Whether discussing cultural exchange or textual reciprocities, each piece extends the theme, building on the trope of relationship to organize and express its findings. Rounding out this collection are tributes from Clingham’s former students and colleagues, including original poetry.  

Almost immediately after the invention of photography, Scottish photographers took their clunky cameras on the road to capture the stories of peoples and communities touched by the forces of British imperialism. For the next thirty years, their journeys would take them far from their homes in the Lowlands to the Canadian wilderness and the treaty ports and rivers of China. The Global Flows of Early Scottish Photography is about the interplay between these photographers' ambitions and the needs and desires of the people they met. Anthony Lee tracks the work of several famous innovators of the art form, including the pioneering team of D.O. Hill and Robert Adamson in Edinburgh; Canada's first great photographers, the Scottish immigrants William Notman and Alexander Henderson in Montreal; the globetrotting John Thomson in Hong Kong; and Lai Afong, the first widely known Chinese photographer. Lee reveals their pictures in the context of migration and the social impact wrought by worldwide trade and competing nationalisms. A timely book, it tells of an era when cameras emerged to give shape and meaning to some of the most defining moments brought about by globalization in the nineteenth century. Beautifully written and richly illustrated in full colour, The Global Flows of Early Scottish Photography weaves stories together to show that even the earliest pictures were sites of fierce historical struggle.

The move to a new publisher has given The Age of Johnson: A Scholarly Annual the opportunity to recommit to what it does best: present to a wide readership cant-free scholarly articles and essays and searching book reviews, all featuring a wide variety of approaches, written by both seasoned scholars and relative newcomers. Volume 24 features commentary on a range of Johnsonian topics: his reaction to Milton, his relation to the Allen family, his notes in his edition of Shakespeare, his use of Oliver Goldsmith in his Dictionary, and his always fascinating Nachleben. The volume also includes articles on topics of strong interest to Johnson: penal reform, Charlotte Lennox's professional literary career, and the "conjectural history" of Homer in the eighteenth century. For more than two decades, The Age of Johnson has presented a vast corpus of Johnsonian studies "in the broadest sense," as founding editor Paul J. Korshin put it in the preface to Volume 1, and it has retained the interest of a wide readership. In thousands of pages of articles, review essays, and reviews, The Age of Johnson has made a permanent contribution to our understanding of the eighteenth century, and particularly of Samuel Johnson, his circle, and his interests, and has also served as an outlet for writers who are not academics but have something important to say about the eighteenth century.   ISSN 0884-5816.

The latest volume in the "Defining Moments in American Photography" series, "Trauma and Documentary Photography of the FSA" proposes that we reconsider the work of the Farm Security Administration and its most beloved photographers in light of various forms of trauma in the 1930s. The authors offer new ways to understand this body of work by exploring a more variable idea of documentary photography than what the New Dealers proposed. Taking a critical look at the FSA photography project, they identify its goals, biases, contradictions, and ambivalences, while discerning strikingly independent directions among its photographers. Blair and Rosenberg discuss how, in the hands of socially minded photographers seeking to address and publicize suffering, photography and trauma mixed. In the volatility of that mixture, they argue, competing ideas for documentary took shape. Among the key figures studied here are some of the most beloved in American photography, including Walker Evans, Ben Shahn, and Aaron Siskind.

Volume 25 of 1650-1850: Ideas, Aesthetics, and Inquiries in the Early Modern Era investigates the local textures that make up the whole cloth of the Enlightenment. Ranging from China to Cheltenham and from Spinoza to civil insurrection, volume 25 celebrates the emergence of long-eighteenth-century culture from particularities and prodigies. Unfurling in the folds of this volume is a special feature on playwright, critic, and literary theorist John Dennis. Edited by Claude Willan, the feature returns a major player in eighteenth-century literary culture to his proper role at the center of eighteenth-century politics, art, publishing, and dramaturgy. This celebration of John Dennis mingles with a full company of essays in the character of revealing case studies. Essays on a veritable world of topics-on Enlightenment philosophy in China; on riots as epitomes of Anglo-French relations; on domestic animals as observers; on gothic landscapes; and on prominent literati such as Jonathan Swift, Arthur Murphy, and Samuel Johnson-unveil eye-opening perspectives on a 'long' century that prized diversity and that looked for transformative events anywhere, everywhere, all the time. Topping it all off is a full portfolio of reviews evaluating the best books on the literature, philosophy, and the arts of this abundant era.