To send content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about sending content to .
To send content items to your Kindle, first ensure firstname.lastname@example.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about sending to your Kindle.
Note you can select to send to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
Though it comprised the most circulated and consumed artefacts of the nineteenth-century literary marketplace, Gothic ‘street’ fiction nonetheless has occupied a critical blindspot in literary histories. Notwithstanding their evanescence, short, cheap Gothic works proliferated from the 1770s to the 1880s, appearing in millions of copies to satisfy the demands of a rapidly expanding reading public. This chapter explores the development of street literature, from its early, short bluebook format (1780–1830) to its later incarnation as the penny blood serial (1840–1870). The origins of street Gothic in prose forms and the print culture dynamics are considered, alongside close analysis of key themes, plots and tropes of the bluebooks and penny bloods. The chapter concludes by considering the twilight of street Gothic, with the emergence of the penny dreadful (1860–1900), which was aimed at a juvenile male audience. While literary scholarship has dismissed both as minor, derivative examples of Gothic literature, the chapter argues for the significant contribution made by a rich and dynamic network of authors and publishers.
In the late 1960s and 1970s a confluence of anticolonial politics and publishing revitalized the Cairo–Beirut link, itself emblematic of the turn of the century Arab nahda. This connection saw a reverse flow, which advantaged Beirut by way of Cairo’s amassed expertise in the publishing industry. Emerging Arab nationalist Beirut-based publishers relied on expertise in the production of illustrated books and periodicals developed in Cairo. Chapter 4 examines the subsequent Cairo–Beirut circuit of graphic design modernism, while probing the political relations and cultures of the visual carried through the influx of this expertise. The analysis brings to light a visual culture that embodies a modernist double claim of aesthetic authenticity, articulating Arab socialist politics with processes of artistic decolonization in and through printed mass media. The analysis is focused on Helmi el-Touni’s move from Cairo to Beirut in 1974 and his settling there for a decade, tracing the aesthetic and political relations articulated in his graphic design practice, while analysing in particular two sustained consultancies he undertook with Beirut-based Arab nationalist institutions: Beirut’s Arabic Book Fair and the Arab Institute for Research and Publishing.
Chapter 3 is focused on the short-lived Silsilat al-Nafaʾis (Precious Books Series), published in Beirut by Dar an-Nahar between 1967 and 1971 under the direction of modernist poet Youssuf al-Khal. The series engaged prominent modern Arab artists such as Chafic Abboud, Paul Guiragossian, and Dia al-Azzawi and extended the vision of al-Khal’s journal Shiʿr to the ‘preciousness’ of art books. This publishing endeavour formed a node connecting transnational modernist art and literary circuits with book publishing and was thus paradigmatic of new forms of visuality of the Arabic book. The chapter demonstrates how this new materiality was enabled by a network of changes in the visual arts, printing technologies and the political economy of transnational publishing in late 1960s Beirut. Relations between these three fields are analysed through a multifaceted lens, focusing on the book as at once a product of intellectual and artistic practice, a translocal artefact of visual and print culture and a commodity in a capitalist economy of publishing. The analysis probes the political, intellectual and aesthetic modalities of key books from this series and maps the transnational networks of social relations and circuits of modernism that are interwoven in their undertaking.
The changing market for rare books forms the focus of this chapter, looking at the impact of the French Revolution not just on the dispersed libraries of the old regime, but the emergence of new ways of classifying and consuming historic editions. It identifies the expanded market for rare books from the 1790s: both the resourceful dealers who were able to exploit the demand for works by historic printing houses, and the restless bibliophiles who scavenged across the city on the hunt for rare editions. It reconsiders why this period saw the rise of the so-called bibliomaniac, as well as the growth in new ways to classify rare books (via bibliography) and new forms of bibliophile sociability. Touching on key figures such as Charles Nodier, Guilbert de Pixéricourt, Antoine-Augustin Renouard and Arthur-Marie-Henri Boulard, the chapter argues for a mode of book collecting that was self-consciously anachronistic, seeking to celebrate the pre-revolutionary world of elite learning.
Viennese courtly Kapellen were in decline by the time Beethoven began his career as a symphonist, with the result that one of the most important contexts for eighteenth-century symphonies was no longer available to the young generation of composers. This decline, along with various other developments in Viennese musical life during Beethoven’s lifetime, led to a reconfiguration of the symphony’s role. Public, rather than private concerts became the main platform for symphonic performance in Vienna and abroad by 1800. The organisation of Vienna’s concert life meant that symphonies were increasingly conceived as grand, individualistic works, rather than routine household entertainment music. Furthermore, select members of the Viennese aristocracy, including some of Beethoven’s supporters, continued to cultivate symphonies, with the result that Beethoven was better placed than some of his contemporaries for securing the performance and subsequent publication of symphonies. This chapter contextualises Beethoven’s first three symphonies within the broader culture of symphonic composition and performance at the turn of the nineteenth century.
BJPsych Open has come of age. This editorial celebrates the journal's fifth anniversary by reviewing the history of BJPsych Open, what we have accomplished, where we strive to go (our planned trajectory) and the passion of being an Editor-in-Chief.
This chapter offers a framework for understanding how the work gathered under the sign ‘J. M. Coetzee’ has reached – and been received – by multiple publics, from agents, editors, and publishers to a range of readers including critics, censors, interviewers, and literary prize judges. It considers the role of institutional mediation in the processes of making meaning, also highlighting some of the ways in which Coetzee has had to navigate amongst complex local and global value-conferring operations in the service of making a career, yet has sought too to disrupt the terms under which cultural capital accrues. Addressing the circuitous routes through which his first books, Dusklands and In the Heart of the Country, reached their first readers (and elicited a range of responses), the chapter also considers a number of controversies in the 1980s that served as flashpoints for Coetzee’s negotiation of the demand that a writer speak, in certain circumstances, in their own person. Finally, it assesses the impact of these processes and contexts for such later works as Elizabeth Costello and Diary of a Bad Year and occasions such as Coetzee’s Nobel Prize Acceptance Speech and his many public readings and other interventions since.
In internal medicine German authors tend to publish randomized controlled trials (RCTs) with non-significant findings in German journals, RCTs with significant findings in international journals. In the neurosciences a similar trend was seen but the findings were not statistically significant. The reason for this inconclusive finding might be the low number of RCTs published in German.
Arbitrary word limits on journal articles limit scholarly research, particularly when opportunities for publishing monographs are decreasing. This chapter argues that these limits should be relaxed or even eliminated. Removing arbitrary length limits will improve efficiency by allowing authors to spend less time worrying about said limits and strategizing ways to evade them, resulting in higher-quality articles. This claim is supported by observational evidence.
This chapter critically evaluates the system-wide practice of the peer review process, particularly the system for scholarly journal publications, and the implications of this practice for knowledge production. Production of knowledge in the social sciences is about the creation of social knowledge. The peer review process provides the ex ante assessment of journal publications by relying on the expertise of peer reviewers who take on the responsibility for assuring high quality standards. This system is not without its critics, however. This chapter entertains several proposals that may serve as alternatives, ranging from minor modifications to complete abolition of the system. Potential advantages and disadvantages of each alternative are explored.
Nineteenth-century Irish poetry, particularly ballad poetry, was often performed indoors and out as recitation or song. Audiences and readers varied and publications ranged from cheap broadsheets to expensive journals, edited collections or slim volumes published by Irish, English or Scottish publishers. Following the example of Moore’s popular Irish Melodies, theme, rhythm and verse-form, celebratory or nostalgic, could be shaped by older poems in Irish or by traditional tunes, many of them collected and published, and adapted to express differing personal, political and religious sentiments. Poets responsive to classical models, European Romanticism and English poets such as Tennyson could incorporate ballad forms and traditional and popular themes into a more ambitious poetics, aiming at a wider audience. Young Ireland balladists and generous-spirited journal and anthology editors, Catholic and Protestant, sensitive to sectarian and poetic diversity and different audiences, attempted to bring their readers together in a shared national culture.
This coda considers in dialogue two influential Irish publishers, The Irish Times and Tramp Press, that have successfully adapted to the digital age while maintaining a deep commitment to literature and readers. The Irish Times is a venerable newspaper of record founded in 1859 whose form and content reflect contemporary conditions, while Tramp Press is a small, independent press founded in 2014 whose venturesome publications have garnered enthusiastic critical praise. As divergent as their organisational structures and objectives, these publishers share a common mission in advocating literature, and particularly Irish literature, as an essential and durable cultural instrument – one that not only helps readers to apprehend their contemporary moment, but also encourages them to think critically about the past and to imagine possible futures.
This chapter addresses the history, evolution, and status of Irish texts for young people as well as trajectories of Irish publishing of youth literature. The significance of Irish children’s literature and the importance of a national literature produced by Irish authors for young Irish readers have been increasingly recognised and confirmed over the last four decades, for example by the establishment of the Children’s Literature Association of Ireland in the 1980s and the creation of Laureate na nÓg in 2010. Since the turn of the millennium, the emergence and commercial success of Irish young adult (YA) fiction and its exploration of adolescent turbulence have extended the imaginative territories addressed by Irish youth literature. The momentum of YA fiction has generated valuable opportunities for considering how youth is positioned within Irish society. This chapter considers what these contemporary works tell us about childhood and young adulthood from an Irish perspective.
More than sixty years after its initial publication in Irish, Máirtín Ó Cadhain’s epic novel Cré na Cille appeared in an English translation: two of them, in fact – each published within a year of the other and by the same publisher, Yale University Press. This chapter takes this unusual circumstance as a stimulus to investigate the wider literary landscape and to give a nuanced overview of pertinent issues and emerging trends in Irish-language literature. Special attention is given to the role of translation, both to and from Irish, in the publication, mediation, and reception of Irish-language literature. Although much is often made of the literary afterlives of Irish-language texts in English, the author contends that these issues are best examined and understood in a multilingual context.
Legal Information Management has reached 50 years since it was launched, under a different name, by the British and Irish Association of Law Librarians (BIALL). In this article the current editor of the journal, David Wills, reviews the history of the journal from its launch in spring 1970 when it took the name The Law Librarian, and describes how it has evolved, often reflecting the changing nature of the legal information profession in those intervening years. He follows the journey as this periodical developed from small beginnings, explains how it was enhanced by successive editors, why it became necessary to change its title in 2001 and describes the move to the current publisher, Cambridge University Press in 2004. He reflects on the current status of the journal, as an electronic product while also retaining its profile in print and, finally, he draws attention to some possible challenges for the future.
Emerging in the latter decades of the 18th century, New York periodical literature established and maintained a major relationship with the city and its people over the course of major historical, social, political, and cultural change. During this period, New York was one part of a literary triumvirate with Philadelphia and Boston in which periodical writing flourished. This periodical power soon shifted, however, to New York, with the founding of the New-York Magazine; or, Literary Repository (1790) by brothers Thomas and James Swords. The New–York Magazine preceded one of the most influential periodical publications in the history of New York writing by over a quarter of a century: the Knickerbocker (1833). New York was quickly becoming the centre of the American publishing world and the periodical was at the heart of this literary uprising. But, as this chapter argues, New York periodical literature first demonstrated its influence on New York society decades before in the final years of the 18th century.
Emerging in the latter decades of the 18th century, New York periodical literature established and maintained a major relationship with the city and its people over the course of major historical, social, political, and cultural change. During this period, New York was one part of a literary triumvirate with Philadelphia and Boston in which periodical writing flourished. This periodical power soon shifted, however, to New York, with the founding of the New-York Magazine; or, Literary Repository (1790) by brothers Thomas and James Swords. The New-York Magazine preceded one of the most influential periodical publications in the history of New York writing by over a quarter of a century: the Knickerbocker (1833). New York was quickly becoming the centre of the American publishing world and the periodical was at the heart of this literary uprising. But, as this chapter argues, New York periodical literature first demonstrated its influence on New York society decades before in the final years of the 18th century.
This chapter explores the emergence of black and Asian British writing as it began to become institutionalised: in school curricula, universities and higher education, as well as on the lists of educational and mainstream publishing houses. Examining the material conditions impacting on the recognition of this writing across Britain’s arts and educational cultures, it focuses on the second half of the twentieth century, especially the turbulent political period from the late 1970s onwards, to the present day. Though evidence of this history remains uneven, it is important to view the institutionalisation alongside specific political, cultural, and material contexts, in particular the policies of anti-racism, multiculturalism, and cultural diversity as well as government-driven enquiries like the crucial investigation into structural racial inequalities following the Stephen Lawrence murder in the 1999 Macpherson Report. Examining the political and educational initiatives behind arts funding, the chapter highlights how the growing interest in postcolonial studies since the 1990s has also created a wider market for black and Asian British writing, both for publishers and on university courses.
Partly due to their British colonial education, many writers were lured to the postwar metropolis to find publishers and a wider audience for their work. This chapter discusses the contradictory stances of the publishing industry in the 1950s and 1960s. It traces the interactions between editors, audiences, and other cultural networks that made London an international publishing capital for ‘new’ Commonwealth authors (as they were then known). It was in London that Amos Tutuola or Wilson Harris were first noticed by Faber and Faber, and Sam Selvon’s A Brighter Sun (1952) or George Lamming’s In the Castle of My Skin (1953) first appeared. This interest soon waned, however, as issues of race, nation, and identity began to dominate, and sharp divisions were apparent, partially due to the myopia of some publishers and the parochial reception of some critics. The chapter also points forwards to the social and political contexts which provoked the vital growth of smaller and more radical publishing houses such as New Beacon (1966) in the 1970s and 1980s.