By Scott Hess
Drawing upon historicist and cultural reviews ways to literature, this publication argues that the Romantic building of the self emerged out of the expansion of business print tradition and the growth and fragmentation of the interpreting public starting in eighteenth-century Britain. Arguing for continuity among eighteenth-century literature and the increase of Romanticism, this groundbreaking e-book lines the impact of latest print industry stipulations at the improvement of the Romantic poetic self.
Read Online or Download Authoring the Self: Self-Representation, Authorship and the Print Market (Literary Criticism and Cultural Theory) PDF
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Extra info for Authoring the Self: Self-Representation, Authorship and the Print Market (Literary Criticism and Cultural Theory)
Under this system, the monarchy and the Stationers had worked together during the Restoration to impose the old, pre-Revolutionary regulation of the press, beneficial to both parties because it simultaneously policed against seditious printing and allowed the Stationers to define and protect their property—the traditional, exclusive right to print the books, or “copies,” entered under a publishers name in the Stationers’ Register. 70 With the lapse of the Licensing Act, however, the Stationers’ monopoly on the regulation of printing expired and their exclusive property rights over these “copies” were brought into question.
54 The so-called “penny weeklies” began to appear in large numbers, as with the founding of The Penny Magazine, Saturday Magazine, and Chamber’s Edinburgh Journal in 1832, circulating at up to ten times or more the typical three thousand to nine thousand copy runs of the quarterly periodicals at that time. 58 The “mass” in “mass market” is a relative term, so debate over when a “mass market” begins is of little use. The dramatic expansion of the print market and its public throughout the period of this study, however, is incontestable, and seems to escalate in stages, with sharp increases in the late 1690s and early decades of the eighteenth century, leveling off somewhat until a further increase in the late 1740s, then rising steadily with major escalations in the 1790s and 1830s.
Such poems never just represent print market conditions, but in the manner of dreams are often symbolically overdetermined—Wordsworth’s Pedlar, for instance, has many, overlapping significances—and they often offer a kind of poetic wish-fulfillment which symbolically alters and thereby attempts to control those conditions. To use the vocabulary of psychoanalysis, the print market often appears in such poems in displaced or condensed forms. In any case, it is important to remember that the precise “reality” of the print market situation is itself a historical construct, which different writers registered in different ways depending on their particular social positions and personalities.
Authoring the Self: Self-Representation, Authorship and the Print Market (Literary Criticism and Cultural Theory) by Scott Hess