122 books about Books and reading and 9
start with W
When Novels Were Books
Jordan Alexander Stein Harvard University Press, 2019 Library of Congress PN3491.S68 2020 | Dewey Decimal 808.3
The novel was born religious, alongside Protestant texts produced in the same format by the same publishers. Novels borrowed features of these texts but over the years distinguished themselves, becoming the genre we know today. Jordan Alexander Stein traces this history, showing how the physical object of the book shaped the stories it contained.
Late Imperial Russia's revolution in literacy touched nearly every aspect of daily life and culture, from social mobility and national identity to the sensibilities and projects of the country's greatest writers. Within a few decades, a ragtag assembly of semi-educated authors, publishers, and distributors supplanted an oral tradition of songs and folktales with a language of popular imagination suitable for millions of new readers of common origins eager for entertainment and information. When Russia Learned to Read tells the story of this profound transformation of culture, custom, and belief.
With a new introduction that underscores its relevance to a post-Soviet Russia, When Russia Learned to Read addresses the question of Russia's common heritage with the liberal democratic market societies of Western Europe and the United States. This prize-winning book also exposes the unsuspected complexities of a mass culture little known and less understood in the West. Jeffrey Brooks brings out the characteristically Russian aspect of the nation's popular writing as he ranges through chapbooks, detective stories, newspaper serials, and women's fiction, tracing the emergence of secular, rational, and cosmopolitan values along with newly minted notions of individual initiative and talent. He shows how crude popular tales and serials of the era find their echoes in the literary themes of Dostoevsky, Tolstoy, and other great Russian writers, as well as in the current renaissance of Russian detective stories and thrillers.
In Whitman East and West, fifteen prominent scholars track the surprising ways in which Whitman's poetry and prose continue to be meaningful at the beginning of the twenty-first century. Covering a broad range of issues—from ecology to children's literature, gay identity to China's May 4th Movement, nineteenth-century New York politics to the emerging field of normality studies, Mao Zedong to American film—each original essay opens a previously unexplored field of study, and each yields new insights by demonstrating how emerging methodologies and approaches intersect with and illuminate Whitman's ideas about democracy, sexuality, America, and the importance of literature.
Confirming the growing international spirit of American studies, the essays in Whitman East and West developed out of a landmark conference in Beijing, the first major conference in China to focus on an American poet. Scholars from Asia, Europe, and North America set out to track the ways in which Whitman's poetry has become part of China's cultural landscape as well as the literary landscapes of other countries. By describing his assimilation into other cultures and his resulting transformation into a hybrid poet, these essayists celebrate Whitman's multiple manifestations in other languages and contexts.
Women readers, editors, librarians, authors, journalists, booksellers, and others are the subjects in this stimulating new collection on modern print culture. The essays feature women like Marie Mason Potts, editor of Smoke Signals, a mid-twentieth century periodical of the Federated Indians of California; Lois Waisbrooker, publisher of books and journals on female sexuality and women's rights in the decades after the Civil War; and Elizabeth Jordan, author of two novels and editor of Harper's Bazaar from 1900 to 1913. The volume presents a complex and engaging picture of print culture and of the forces that affected women's lives in the nineteenth and twentieth centuries.
Published in collaboration among the University of Wisconsin Press, the Center for the History of Print Culture in Modern America (a joint program of the University of Wisconsin–Madison and the Wisconsin Historical Society), and the University of Wisconsin–Madison General Library System Office of Scholarly Communication.
This volume explores the range of relationships among women writers, women detectives and women-centered mystery fiction, and women readers. Focusing on writers as diverse as Sara Paretsky, Joan Hess, Sarah Caudwell, P. D. James, Katherine V. Forrest, Mary Roberts Rinehart, Sue Grafton, D. R. Meredith, Dorothy L. Sayers, and Barbara Wilson, the authors analyze the development of detective fiction with a different agenda: the woman-authored woman detective.
The eleven essays concentrate new attention on the trio of reader, writer, and text when all three are modified by the terms “woman” and “mystery.”
Women in 16th- and 17th-century Britain read, annotated, circulated, inventoried, cherished, criticized, prescribed, and proscribed books in various historically distinctive ways. Yet, unlike that of their male counterparts, the study of women’s reading practices and book ownership has been an elusive and largely overlooked field.
In thirteen probing essays, Women’s Bookscapesin Early Modern Britain brings together the work of internationally renowned scholars investigating key questions about early modern British women’s figurative, material, and cultural relationships with books. What constitutes evidence of women’s readerly engagement? How did women use books to achieve personal, political, religious, literary, economic, social, familial, or communal goals? How does new evidence of women’s libraries and book usage challenge received ideas about gender in relation to knowledge, education, confessional affiliations, family ties, and sociability? How do digital tools offer new possibilities for the recovery of information on early modern women readers?
The volume’s three-part structure highlights case studies of individual readers and their libraries; analyses of readers and readership in the context of their interpretive communities; and new types of scholarly evidence—lists of confiscated books and convent rules, for example—as well as new methodologies and technologies for ongoing research. These essays dismantle binaries of private and public; reading and writing; female and male literary engagement and production; and ownership and authorship.
Interdisciplinary, timely, cohesive, and concise, this collection’s fresh, revisionary approaches represent substantial contributions to scholarship in early modern material culture; book history and print culture; women’s literary and cultural history; library studies; and reading and collecting practices more generally.
"The Word On the Street invites humanities scholars to move beyond the classroom and the monograph to share the pleasures of art in ways that engage the intelligence of the common reader, cultivating the critical imagination so vital to American cultural democracy. Lively and thought-provoking, Teres lays out contemporary debates and wades into them with gusto."
---Nancy Cantor, Syracuse University
"At a moment when questions about the literary, 'bookishness,' and the future of print are being urgently raised, with incessant national attention to the perceived crises of literacy and reading, Teres' thoughtful, broadly democratic, but also tough-minded examination of both 'common readers' and academic readers makes a real contribution to the debate."
---Julie Ellison, University of Michigan
Despite significant changes since the mid-twentieth century in American critical culture---the culture emanating from the serious review of books, ideas, and the arts---it attracts only a small and declining minority of Americans. However productive this culture has been, American society has not approached the realization of Emerson's or Dewey's vision of a highly participatory American cultural democracy. Such a culture requires critics who are read by the average citizen, but the migration of critics and intellectuals from the public to the academy has resulted in fewer efforts to engage with ordinary citizens. The Word on the Street investigates this disjunction between the study of literature in the academy and the interests of the common reader and society at large, arguing the vital importance of publicly engaged scholarship in the humanities. Teres chronicles how the once central function of the humanities professorate---to teach students to appreciate and be inspired by literature---has increasingly been lost to literary and cultural studies in the last thirty years.
The Word on the Street argues for a return to an earlier model of the public intellectual and a literary and cultural criticism that is accessible to ordinary citizens. Along the way, Teres offers an illuminating account of the current problem and potential solutions, with the goal of prompting a future vision of publicly engaged scholarship that resonates with the common reader and promotes an informed citizenry.
Harvey Teres is Associate Professor of English at Syracuse University.
Cover image: Ruth Fremson/The New York Times/Redux
During the 19th century, throughout the Anglophone world, most fiction was first published in periodicals. In Australia, newspapers were not only the main source of periodical fiction, but the main source of fiction in general. Because of their importance as fiction publishers, and because they provided Australian readers with access to stories from around the world—from Britain, America and Australia, as well as Austria, Canada, France, Germany, New Zealand, Russia, South Africa, and beyond—Australian newspapers represent an important record of the transnational circulation and reception of fiction in this period.
Investigating almost 10,000 works of fiction in the world’s largest collection of mass-digitized historical newspapers (the National Library of Australia’s Trove database), A World of Fiction reconceptualizes how fiction traveled globally, and was received and understood locally, in the 19th century. Katherine Bode’s innovative approach to the new digital collections that are transforming research in the humanities are a model of how digital tools can transform how we understand digital collections and interpret literatures in the past.