Graphic Design, Print Culture, and the Eighteenth-Century Novel

Sprednja platnica
Cambridge University Press, 5. jun. 2003 - 296 strani
The uniformity of the eighteenth-century novel in today's paperbacks and critical editions no longer conveys the early novel's visual exuberance. Janine Barchas explains how during the genre's formation in the first half of the eighteenth century, the novel's material embodiment as printed book rivalled its narrative content in diversity and creativity. Innovations in layout, ornamentation, and even punctuation found in, for example, the novels of Richardson, an author who printed his own books, help shape a tradition of early visual ingenuity. From the beginning of the novel's emergence in Britain, prose writers including Daniel Defoe, Jonathan Swift, and Henry and Sarah Fielding experimented with the novel's appearance. Illustrated with more than 100 graphic features found in eighteenth-century editions, this study aims to recover the visual context in which the eighteenth-century novel was produced and read.

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Expanding the literary text a textual studies approach
The frontispiece counterfeit authority and the author portrait
The title page advertisement identity and deceit
Clarissas musical score a novels politics engraved on copper plate
The space of time graphic design and temporal distortion
Sarah Fieldings David Simple a case study in the interpretive significance of punctuation
The list and index a culture of collecting imprints upon the novel
Works cited
Avtorske pravice

Druge izdaje - Prikaži vse

Pogosti izrazi in povedi

Priljubljeni odlomki

Stran 273 - A True Collection of the Writings of the Author of 'The True Born Englishman.

O avtorju (2003)

Janine Barchas is Assistant Professor in the Department of English at University of Texas at Austin. She is the editor of The Annotations in Lady Bradshaigh's Copy of Clarissa (1998), and has contributed to Essays on Eighteenth-Century Genre and Culture (2001).

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