Kegan Paul - A Victorian Imprint is a notable contribution to the scholarly discipline known as the history of the book. It is a detailed study of the establishment and growth of a Victorian publisher, and illustrates the way in which publishers acted as important gatekeepers in their culture by mediating between authors and readers, by selecting those texts that appeared in print, and by creating the physical formats in which they became familiar. The work exemplifies the way in which the history of an imprint can illuminate the cultural history of its time and place. Kegan Paul - A Victorian Imprint will be of great interest to students of Victorian cultural and literary history, to historians of publishing and specialists in women's writing, to bibliographers and librarians and to all who love fine books.
William Clark Russell wrote more than forty nautical novels. Immensely popular in their time, his works were admired by contemporary writers, such as Conan Doyle, Stevenson and Meredith, while Swinburne, considered him 'the greatest master of the sea, living or dead'. Based on extensive archival research, Nash explores this remarkable career.
Focusing on an era that both inherited and irretrievably altered the form and the content of earlier art production, The Art-Journal and Fine Art Publishing in Victorian England, 1850-1880 argues that fine art practices and the audiences and markets for them were influenced by the media culture of art publishing and journalism in substantial and formative ways, perhaps more than at any other time in the history of English art. The study centers on forms of Victorian picture-making and the art knowledge systems defining them, and draws on the histories of art, literature, journalism, and publishing. The historical example employed in the book is that of the more than 800 steel-plate prints after paintings published in the London-based Art-Journal between 1850 and 1880. The cultural phenomenon of the Art Journal print is shown to be a key connector in mid-Victorian art appreciation by drawing out specific tropes of likeness. This study also examines the important links between paint and print; the aesthetic values and domestic aspirations of the Victorian middle class; and the inextricable intertwining of fine art and 'trade' publishing.
Introduction Part One: The Novel Publishing World, 1830-1870 1. Novel Publishing 1830-1870 2. Mass Market and Big Business: Novel Publishing at Midcentury 3. Craft versus Trade: Novelists and Publishers Part Two: Novelists, Novels and their Publishers, 1830-1870 4. Henry Esmond: The Shaping Power of Contract 5. Westward Ho : 'A Popularly Successful Book' 6. Trollope: Making the First Rank 7. Lever and Ainsworth: Missing the First Rank 8. Dickens as Publisher 9. Marketing Middlemarch 10. Hardy: Breaking into Fiction Notes Index
For much of her own century, Elizabeth Gaskell was recognized as a voice of Victorian convention—-the loyal wife, good mother, and respected writer—-a reputation that led to her steady decline in the view of twentieth-century literary critics. Recent scholars, however, have begun to recognize that Mrs. Gaskell's high standing in Victorian society allowed her to effect change in conventional ideology. Linda K. Hughes and Michael Lund focus this reevaluation on issues pertaining to the Victorian literary marketplace. Victorian Publishing and Mrs. Gaskell's Work portrays an elusive and self-aware writer whose refusal to grant authority to a single perspective even while she recirculated the fundamental assumptions and debates of her era enabled her simultaneously to fulfill and deflect the expectations of the literary marketplace. While she wrote for money, producing periodical fiction, major novels, and nonfiction, Mrs. Gaskell was able to maintain a tone of warmth and empathy that allowed her to imagine multiple social and epistemological alternatives. Writing from within the established rubrics of gender, narrative, and publication format, she nevertheless performed important cultural work.
This book analyses relationships between writing and the financial structures of the 19th century. What emerges is a remarkable set of imaginative connections between literature and Victorian finance, including women and the culture of investment, the profits of a media age, and the uncomfortable relationship between literary and financial capital.
With over 900 biographical entries, more than 600 novels synopsized, and a wealth of background material on the publishers, reviewers and readers of the age the Longman Companion to Victorian Fiction is the fullest account of the period's fiction ever published. Now in a second edition, the book has been revised and a generous selection of images have been chosen to illustrate various aspects of Victorian publishing, writing, and reading life. Organised alphabetically, the information provided will be a boon to students, researchers and all lovers of reading. The entries, though concise, meet the high standards demanded by modern scholarship. The writing - marked by Sutherland's characteristic combination of flair, clarity and erudition - is of such a high standard that the book is a joy to read, as well as a definitive work of reference.
The Victorian era witnessed dramatic transformations in print culture, and this new anthology covers the exciting intellectual and social debates of the period. From first-person accounts of the lives of factory workers to Oscar Wilde’s aesthetic theory, and from narratives of British travelers in Africa and Asia to Havelock Ellis’s theories of “sexual inversion,” the surprising diversity of nineteenth-century nonfiction writing is represented. Illustrations from Victorian periodicals provide a vivid sense of the original reading experience. The book’s thematic organization emphasizes the social and historical contexts of prose writings, as well as the way in which these writings address each other. In addition to a general critical introduction, the anthology features new thematic introductions by experts in the field.
This book examines how Tennyson’s career was mediated, organised and directed by the publishing industry. Founded on neglected archival material, it examines the scale and distribution of Tennyson’s book sales in Britain and America, the commercial logic of publishing poetry, and how illustrated gift books and visual culture both promoted and interrogated the Poet Laureate and his life. Major publishers had become disillusioned with poetry by the time that Edward Moxon founded his business in 1830 but by the mid-1860s, his firm presided over a resurgence in poetry based on Tennyson’s work. Moxon not only orchestrated Tennyson’s rise to fame but was a major influence on how the Victorian public experienced the poetry of the Romantic period. This study reevaluates his crucial role, and examines how he repackaged poetry for the Victorian public.
An international trade emerged between 1870-1895 that incorporated the circulation of books among countries worldwide. A history of the social network and select agents who sold and distributed books overseas, this study demonstrates agents increasingly thought of the world as a negotiable, connected system and books as transnational commodities.
The National Book League was a precursor to the current Booktrust, issued Reader's Guides on a variety of subjects, each written by an author with expertise in that field. Originally published in 1947, this volume is devoted to Victorian fiction, covering a broad range of genres and subject matter.