Bøker i Anthem Studies in Book History, Publishing and Print Culture-serien

‘Reading by Numbers: Recalibrating the Literary Field’ proposes and demonstrates a new digital approach to literary history. Drawing on bibliographical information on the Australian novel in the AustLit database, the book addresses debates and issues in literary studies through a method that combines book history’s pragmatic approach to literary data with the digital humanities’ idea of computer modelling as an experimental and iterative practice. As well as showcasing this method, the case studies in ‘Reading by Numbers’ provide a revised history of the Australian novel, focusing on the nineteenth century and the decades since the end of the Second World War, and engaging with a range of themes including literary and cultural value, authorship, gender, genre and the transnational circulation of fiction. The book’s findings challenge established arguments in Australian literary studies, book history, feminism and gender studies, while presenting innovative ways of understanding literature, publishing, authorship and reading, and the relationships between them. More broadly, by demonstrating critical ways in which the growing number of digital archives in the humanities can be mined, modelled and visualised, ‘Reading by Numbers’ offers new directions and scope for digital humanities research.

Publishing is in crisis. Publishing has always been in crisis, but today's version, fuelled by the digital boom, has some frightening symptoms. Trade publishers see their mid-lists hollowed, academic customers face budgetary pressures from higher education spending cuts, and educational publishers encounter increased competition across their markets. But over the centuries, forced change has been the norm for publishers. Somehow, they continue to adapt.This ground-breaking study, the first of its kind, outlines a theory of publishing that allows publishing houses to focus on their core competencies in difficult times while building a broader notion of what they are capable of. Tracing the history of publishing from the press works of fifteenth-century Germany to twenty-first-century Silicon Valley, via Venice, Beijing, Paris and London, 'The Content Machine' offers a new understanding of media and literature, analysing their many connections to technology and history. In answer to those who insist that publishing has no future in a digital age, this book gives a rejuvenated identity to this ever-changing industry and demonstrates how it can survive and thrive in a period of unprecedented challenges.

This anthology explores the relationships and interdependencies between literary production and distinctions of taste by examining how the material aspects of literary texts, such as the cover, binding, typography, and paper stock, reflect or even determine their cultural status. In the nineteenth century, for example, the industrialization of printing made possible a wide range of cheap formats, such as dime novels, pulp magazines, and paperbacks, which made literature available to a mass reading public. The increased demand for new content effectively lowered the cultural entrance level, which resulted in a tremendous expansion of popular or trivial fiction. These developments were often perceived as a threat to traditional literary institutions, which increasingly relied on material distinctions as a way of preserving their cultural authority, and some publishers even attempted to mimic the conventions of exclusivity by creating deluxe editions that were designed to preserve the privileged status of so-called "highbrow" texts. In many cases, the distinctions between "highbrow" and "lowbrow" taste actually had little to do with the content of the texts themselves, as books more often functioned as markers of socioeconomic status, like clothing or home décor. At the risk of being provocative, one might even go so far as to say that the concept of literary taste was more closely related to fashion sense than critical judgment. The anthology seeks to address this claim by examining how the tensions between consumerism and prestige reflect fundamental historical changes with regard to the development of technology, literacy, and social power.

Offering the first comparative study of 1920s' US and Canadian print cultures, 'Imagining Gender, Nation and Consumerism in Magazines of the 1920s' examines the highly influential 'Ladies' Home Journal' (1883-2014) and the often-overlooked 'Canadian Home Journal' (1905-1958). American magazines were, in the main, established earlier than their Canadian counterparts, and the 'Ladies' Home Journal' was pioneering in the development of the stylistic and economic model of the modern mass-market magazine. Unsurprisingly the 'Canadian Home Journal' - and Canadian magazines more generally - made use of the tried-and-tested methods developed south of the 49th parallel. This, combined with comparatively far smaller circulations, has led to the unflattering assumption that Canadian magazines were merely derivative of their American predecessors. The present book argues that this is not the case, but that both magazines make use of - and manipulate - the conventions of the magazine form in notably different ways, as they work to construct their imagined audiences. The issues published during the 1920s are particularly fascinating in this respect, since at this time both magazines were changing rapidly in response to technological modernity, altering gender economies and the burgeoning of consumer culture. This context underpins the presentation of ideals in each magazine: of self-improvement and aspiration, the home and domesticity, and fashion and beauty. Through detailed multilevel analysis, the book uncovers the complexities of the two magazines, opening out into broader conclusions about interwar mainstream magazines more generally. In the process, it also demonstrates the value of working at the intersection of humanities and social science disciplines. Engaging with the latest advances in periodical studies, 'Imagining Gender, Nation, and Consumerism in Magazines of the 1920s' considers these magazines as collaborative literary texts, cultural artefacts and commercial products. It brings together literary perspectives with consumer culture theory in order to analyse how the 'Ladies' Home Journal' and 'Canadian Home Journal' negotiated competing literary and commercial demands and how they constructed their imagined audience as readers, consumers and citizens.