Printculture cannot be reduced
to one narrative; for example the introduction of printculture in
the Middle East or in India did not necessarily lead to the
development of a Western humanist mindset, but was instead often
adopted in order to attack colonial rule or secular values.
‘Printculture’ (as a kind of slogan) has also often
Peripheral printcultures in
Alexander S. Wilkinson
My first introduction to book history and indeed Irish literature came
in a second-year undergraduate English course at the University of St
Andrews. We read Seamus Heaney’s collection The haw lantern (1987),
and reflected on the poem ‘Terminus’, named after the admittedly rather
obscure Roman god of boundary markers. In ‘Terminus’, Heaney offers a
powerful image of a poet feeling his way through the seemingly irreconcilable demarcations in Ireland between unionist and nationalist, Anglo
Knowledge mobility and eighteenth-century military colonialism
Huw J. Davies
unknown, Devizes, 18 July 1756.
29 Gruber, ‘Education of Clinton’, p. 137.
30 See I. D. Gruber , Books and the British Army in the Age of the American Revolution ( Chapel Hill : University of North Carolina Press , 2014 ).
31 M. de Saxe , Reveries or Memoirs Concerning the Art of War ( Edinburgh : Printed for A. Donaldson , 1759 ), p. 96 .
32 See P. J. Speelman , Henry Lloyd and the Military Enlightenment of Eighteenth-Century Europe ( London : Praeger , 2002 ).
33 N. Ramsey, ‘Military history and eighteenth-century printculture
Advertising and the circulation of birth control knowledge
Claire L. Jones
likely that a small level of demand for this form of print came from an existing customer base of middle-class consumers, some of whom had neo-Malthusian sympathies.
‘Birth control is here to stay’? Contraceptive print in the interwar period
During the opening up of general printculture to articles on birth control and sex in the interwar years, contraceptive advertising began to be produced and circulated in greater volume, also becoming less opaque in content. The increasing discussability of birth control, following Margaret Sanger’s coining of the term in 1914
The medical marketplace, popular
medicine and printculture
The Subject Matter of our Discourse is the Art of Healing, which we have considered in a twofold Relation, to wit, Astrall and Physical: wherein we have laboured to
unfold the principal secrets thereof, in both general and special Terms, that so by a
plain and perspicious Method, we might make the matter intelligible, even to a very
mean understanding, and fit for ordinary use in Practise.1
n order to understand the importance of almanacs, it is necessary to begin
with a broader
The Case of Mary Ashford and the Cultural Context of Late-Regency Melodrama
This paper examines the historical context of the publication and reception of three dramas related to the murder of a gardener‘s daughter, Mary Ashford in Sutton Coldfield in 1817. George Ludlam‘s The Mysterious Murder was countered by a play called The Murdered Maid whose anonymous author is likely to have been a local clergyman. Both plays were locally written and published. When the case reached a national arena, John Kerr‘s Presumptive Guilt provided a London-based comment on the case. The paper examines the relationship between these metropolitan and provincial print cultures and the way in which dramatic form was used as a mode of mediation between public and legal discourse.
Although Catherine Livingston Garrettson (1752–1849) initially encountered feelings of isolation upon converting to Methodism, she discovered that the written word allowed her to engage in relational rather than solitary religious experiences. Over time, the written word helped her create a web of meaningful ties with imagined and actual kin and motivated her to form, develop and foster additional relationships in multiple contexts. Garrettson’s story thus demonstrates the need to consider how the real and imagined communities encountered through reading and constructed through writing have played a role in the spiritual development of early American women. Indeed, women’s experiences serve not simply to explain aspects of American social development, but to illuminate their broader world of connections – familial, religious, social and literary.
James Baldwin was a vocal critic of Hollywood, but he was also a cinephile, and his critique of film was not so much of the medium itself, but of the uses to which it was put. Baldwin saw in film the chance to transform both politics and art—if only film could be transformed itself. This essay blends readings of archival materials, literature, film, and print culture to examine three distinct modes in Baldwin’s ongoing quest to revolutionize film. First, I argue, literature served as a key site to practice being a filmmaker, as Baldwin adapted cinematic grammars in his fiction and frequently penned scenes of filmgoing in which he could, in effect, direct his own movies. Secondly, I show that starting in the 1960s, Baldwin took a more direct route to making movies, as he composed screenplays, formed several production companies, and attempted to work in both Hollywood and the independent film scene in Europe. Finally, I explore how Baldwin sought to change cinema as a performer himself, in particular during his collaboration on Dick Fontaine and Pat Hartley’s documentary I Heard It Through the Grapevine (1982). This little-known film follows Baldwin as he revisits key sites from the civil rights movement and reconnects with activist friends as he endeavors to construct a revisionist history of race in America and to develop a media practice capable of honoring Black communities.
This book is about Thomas Hood, a nineteenth-century writer and illustrator whose work is characterized by play. It argues that looking closely at Hood illuminates three areas of nineteenth-century cultural production that modern scholarship has yet fully to explore: the output of the years 1824-40; comic poetry; and the grotesque. These three areas of discomfort are linked, each of them threatens boundaries that are convenient for literary criticism. The book explores Hood's early career at the London Magazine, restoring the dynamic context in which he began experimenting with voice and genre. It examines the connection between the London's liberal politics and its culture of play. The book concerns with the effects of Hood's remarkably pluralistic approach to words, texts, and readers, both as material entities and as imaginative projections. It considers Hood's puns, their effects, their detractors, and the cultural politics of punning in the nineteenth century. The book examines the politics of Hood's play in relation to nineteenth-century debate about labour and leisure. Hood's work in relationship to the so-called 'minor' or 'illegitimate' theatre of the 1820s and 1830s is analyzed. Hood's work plays out the possibilities of an emergent cultural democracy: his poetry is practically and ideologically allied with the forms, subjects, and modes of illegitimate theatre. Hood's upbringing in a changing print culture makes him unsually alert to and appreciative of the play of language, the serendipitous intertextuality of the street where signs are in constant dialogue with one another.
Algernon Charles Swinburne is acknowledged to be one of the most important Victorian poets, a founding figure for British aestheticism, and the dominant influence for many fin-de-siècle and modernist poets. This book is a collection of essays that re-evaluate his literary contribution. It brings together some of the best new scholarship on Swinburne, resituating him in the light of current critical work on cosmopolitanism, politics, print culture, form, Victorian Hellenism, religious controversy, gender and sexuality, the arts, and aestheticism and its contested relation to literary modernism. The first section lays emphasis on Swinburne's embeddedness and centrality in a culture from which he has been partly written out. It examines Swinburne's involvement in the history of cosmopolitanism, a field of enquiry that is attracting growing attention among literary critics. This section provides complementary accounts of the difficult and often invisible dynamics behind influence and marginalisation, unveiling narratives of problematic acceptance and problematic rejection, by a female and a male poet respectively. Through a detailed examination of Swinburne's unpublished flagellatory poem 'The Flogging-Block', the book discovers a web of connections between the nineteenth-century culture of metrical discipline and the pedagogic discipline of minors portrayed through sexual fantasy. The last section of the book examines Swinburne's own influence on his modernist successors. The twin mechanics of poetic dialogue and cultural polemic is also discussed. T. S. Eliot's ambivalence towards Swinburne left a strong mark on twentieth-century criticism.