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This Element examines eighteenth-century manuscript forms, their
functions in the literary landscape of their time, and the
challenges and practices of manuscript study today. Drawing on both
literary studies and book history, Levy and Schellenberg offer a
guide to the principal forms of literary activity carried out in
handwritten manuscripts produced in the first era of print
dominance, 1730-1820. After an opening survey of sociable literary
culture and its manuscript forms, numerous case studies explore
what can be learned from three manuscript types: the verse
miscellany, the familiar correspondence, and manuscripts of
literary works that were printed. A final section considers issues
of manuscript remediation up to the present, focusing particularly
on digital remediation. The Element concludes with a brief case
study of the movement of Phillis Wheatley's poems between
manuscript and print. This title is also available as Open Access
on Cambridge Core.
Since the publication of his novel Pamela; or Virtue Rewarded in
1740, Samuel Richardson's place in the English literary tradition
has been secured. But how can that place best be described? Over
the three centuries since embarking on his printing career the
'divine' novelist has been variously understood as moral crusader,
advocate for women, pioneer of the realist novel and print
innovator. Situating Richardson's work within these social,
intellectual and material contexts, this new volume of essays
identifies his centrality to the emergence of the novel, the
self-help book, and the idea of the professional author, as well as
his influence on the development of the modern English language,
the capitalist economy, and gendered, medicalized, urban, and
national identities. This book enables a fuller understanding and
appreciation of Richardson's life, work and legacy, and points the
way for future studies of one of English literature's most
celebrated novelists.
Literary Coteries and the Making of Modern Print Culture offers the
first study of manuscript-producing coteries as an integral element
of eighteenth-century Britain's literary culture. As a corrective
to literary histories assuming that the dominance of print meant
the demise of a vital scribal culture, the book profiles four
interrelated and influential coteries, focusing on each group's
deployment of traditional scribal practices, on key individuals who
served as bridges between networks, and on the aesthetic and
cultural work performed by the group. The book also explores points
of intersection between coteries and the print trade, whether in
the form of individuals who straddled the two cultures; publishing
events in which the two media regimes collaborated or came into
conflict; literary conventions adapted from manuscript practice to
serve the ends of print; or simply poetry hand-copied from
magazines. Together, these instances demonstrate how scribal modes
shaped modern literary production. This title is also available as
Open Access.
Since the publication of his novel Pamela; or Virtue Rewarded in
1740, Samuel Richardson's place in the English literary tradition
has been secured. But how can that place best be described? Over
the three centuries since embarking on his printing career the
'divine' novelist has been variously understood as moral crusader,
advocate for women, pioneer of the realist novel and print
innovator. Situating Richardson's work within these social,
intellectual and material contexts, this new volume of essays
identifies his centrality to the emergence of the novel, the
self-help book, and the idea of the professional author, as well as
his influence on the development of the modern English language,
the capitalist economy, and gendered, medicalized, urban, and
national identities. This book enables a fuller understanding and
appreciation of Richardson's life, work and legacy, and points the
way for future studies of one of English literature's most
celebrated novelists.
Literary Coteries and the Making of Modern Print Culture offers the
first study of manuscript-producing coteries as an integral element
of eighteenth-century Britain's literary culture. As a corrective
to literary histories assuming that the dominance of print meant
the demise of a vital scribal culture, the book profiles four
interrelated and influential coteries, focusing on each group's
deployment of traditional scribal practices, on key individuals who
served as bridges between networks, and on the aesthetic and
cultural work performed by the group. The book also explores points
of intersection between coteries and the print trade, whether in
the form of individuals who straddled the two cultures; publishing
events in which the two media regimes collaborated or came into
conflict; literary conventions adapted from manuscript practice to
serve the ends of print; or simply poetry hand-copied from
magazines. Together, these instances demonstrate how scribal modes
shaped modern literary production. This title is also available as
Open Access.
Samuel Richardson (1689 1761) was a highly regarded printer and
influential novelist when he produced his final work of fiction,
The History of Sir Charles Grandison (1753). Like his other novels,
it was written in epistolary form, reflecting his lifelong interest
in letter writing and the letter as a genre. Covering the period
1750 1754, many of these fully annotated letters are published from
manuscript for the first time, or have been restored to their
complete original form. Recording Richardson's relationships with
leading cultural figures including Samuel Johnson, Colley Cibber
and Elizabeth Carter, the volume reveals his support for other
authors while struggling to complete his own 'story of a Good Man'.
This publishing saga also incorporates Richardson's responses to
the Irish piracy of his novel, and his exchanges with anonymous
fans, including those who attacked the novel's tolerance for
Catholicism and those who pleaded for a sequel."
The Professionalisation of Women Writers in Eighteenth Century
Britain is a full study of a group of women who were actively and
ambitiously engaged in a range of innovative publications at the
height of the eighteenth century. Using personal correspondence,
records of contemporary reception, research into contemporary print
culture and sociological models of professionalisation, Betty A.
Schellenberg challenges oversimplified assumptions of women's
cultural role in the period, focusing on those women who have been
most obscured by literary history, including Frances Sheridan,
Frances Brooke, Sarah Fielding and Charlotte Lennox.
The Professionalization of Women Writers in Eighteenth-Century
Britain is the first full study of a group of women who, though
they have been dismissed as mere domestic, conservative, and
imitative novelists, were actively and ambitiously engaged in a
wide range of innovative publication, as well as in creating the
formal and informal institutions of the republic of letters.
Working at the height of the century and contributing to its
proliferation of print materials from the 1740s onwards, these
women - Frances Sheridan, Frances Brooke, Sarah Scott, Sarah
Fielding, and Charlotte Lennox - were welcomed as participants in
the literary and even political public spheres. Using personal
correspondence, records of contemporary reception, research into
contemporary print culture, and sociological models of
professionalization, Betty A. Schellenberg challenges
oversimplified assumptions of women's cultural role in the
period...
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