Writing across the Color Line: U.S. Print Culture and the Rise of Ethnic Literature, 1877-1920. Lucas A. Dietrich

MELUS ◽  
2022 ◽  
Author(s):  
Allison Fagan
Keyword(s):  
Print Culture ◽  
Ethnic Literature ◽  
Color Line

Printing the Color Line in The Crisis

2016 ◽  
Author(s):  
Donal Harris
Keyword(s):  
African American ◽  
Print Culture ◽  
The Political ◽  
Color Line ◽  
Intellectual Community ◽  
Du Bois ◽  
American Intellectual

W.E.B. Du Bois’ and Jessie Fauset’s interest in new printing technologies – multigraphs, linotypes, and halftone reproduction – are crucial for understanding the political and aesthetic missions of The Crisis. They envision the magazine as both constituting and creating an archive of a national African American intellectual community; at the same time Du Bois' essays, Fauset's fiction, and Frank Walt's illustrations thematize the technological and political roadblocks for establishing a recognizably black print culture in the 1910s and 1920s.

Mass Production: Impossible London’s Criminal Subjects

2018 ◽  
Author(s):  
Ted Geier
Keyword(s):  
Print Culture ◽  
Mass Production ◽  
History Of ◽  
Mass Events

Considers mass readership and the ‘tastes’ it produces. Maps the history of criminals and execution spectacles, particularly as addressed by the London ‘public’ voices of Defoe and Dickens. Connects these mass events to the new mass print culture and circulation forms, such as the penny dreadfuls and their Newgate novel precursor. This shows the development of the public’s ‘taste for blood’, anxieties at an encroaching nonhumanity, and an infatuation with the inhuman from Jack Sheppard to Sweeney Todd and Dracula.

Of Travellers, Messengers and Foundlings – Fictionality, Authorship, and Textual Property in Thomas More’s Paratexts

Moreana ◽  
2016 ◽  
Vol 53 (Number 205- (3-4) ◽  
pp. 17-44
Author(s):  
Gabriela Schmidt
Keyword(s):  
Present Article ◽  
Print Culture ◽  
Thomas More ◽  
Recent Scholarship ◽  
One Step

Paratexts have attracted increasing attention in recent scholarship as an especially privileged tool for managing the reception of a text in early print culture, and Thomas More was certainly an exceptionally versatile user of this strategic publishing device. Not only does he make ample use of conventional paratextual techniques such as prefaces, marginal glosses and commendatory poems, he also takes the medium one step further by making his paratexts part of the narrative setting of his works, especially in the literary dialogues. In creating a plethora of (semi-)fictional voices and contexts, he effectively blurs the line between text and context, fact and fiction, and author and editor/printer. While this textual game of hide-and-seek has been extensively studied in Utopia and has often been seen as a typically ‘humanist’ feature of the text, the present article explores similar techniques throughout More’s work, thus overcoming the alleged rift between his pre- and post-reformation writings.

Macaronics as What Eludes Translation

Paragraph ◽  
2015 ◽  
Vol 38 (2) ◽  
pp. 214-230
Author(s):  
Haun Saussy
Keyword(s):  
Print Culture ◽  
The Other ◽  
Digital Code ◽  
Avant Garde ◽  
The Moment

‘Translation’ is one of our all-purpose metaphors for almost any kind of mediation or connection: we ask of a principle how it ‘translates’ into practice, we announce initiatives to ‘translate’ the genome into predictions, and so forth. But the metaphor of translation — of the discovery of equivalents and their mutual substitution — so attracts our attention that we forget the other kinds of inter-linguistic contact, such as transcription, mimicry, borrowing or calque. In a curious echo of the macaronic writings of the era of the dawn of print, the twentieth century's avant-garde, already foreseeing the end of print culture, experimented with hybrid languages. Their untranslatability under the usual definitions of ‘translation’ suggests a revival of this avant-garde practice, as the mainstream aesthetic of the moment invests in ‘convergence’ and the subsumption of all media into digital code.

Whispers on the Color Line

2001 ◽  
Author(s):  
Gary Alan Fine ◽  
Patricia A. Turner
Keyword(s):  
Color Line
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