BOOK HISTORYReading WomenLiterary Figures and Cultural Icons from the Victorian Age to the PresentEdited by Janet Badia and Jennifer PhegleySTUDIES IN BOOK AND PRINT CULTURELiterary and popular culture has <strong>of</strong>ten focused itsattention on women readers, particularly since earlyVictorian times. In Reading Women, an esteemedgroup <strong>of</strong> new and established scholars provide aclose study <strong>of</strong> the evolution <strong>of</strong> the woman reader byexamining a wide range <strong>of</strong> nineteenth- and twentieth-centurymedia, including Antebellum scientifictreatises, Victorian paintings, and OphrahWinfrey’s televised book club, as well as the writings<strong>of</strong> Charlotte Brontë, Harriet Beecher Stowe, andZora Neale Hurston.Attending especially to what, how, and whywomen read, Reading Women brings together a richarray <strong>of</strong> subjects that sheds light onthe defining role the womanreader has played in the formationnot only <strong>of</strong> literaryhistory, but <strong>of</strong> British andAmerican culture. The contributorsbreak new groundby focusing on the impactrepresentations <strong>of</strong> womenreaders have had onunderstandings <strong>of</strong> literacyand certain readingpractices, the development<strong>of</strong> books and print culture,and the categorization <strong>of</strong> texts intohigh and low cultural forms.Janet Badia is an assistant pr<strong>of</strong>essor in theDepartment <strong>of</strong> English at Marshall <strong>University</strong>.Jennifer Phegley is an assistant pr<strong>of</strong>essor in theDepartment <strong>of</strong> English at the <strong>University</strong> <strong>of</strong>Missouri – Kansas City.ContributorsSuzanne M. AshworthJanet BadiaMichele CrescenzoKate FlintRuth HobermanBarbara HochmanMary R. LambAntonia LosanoJennifer PhegleyElizabeth Fekete TrubeyTuire ValkeakariSarah A. WadsworthAlso from the Studies in Book andPrint Culture series:Approx. 340 pp / 6 x 9 / May <strong>2005</strong>16 halftonesCloth ISBN 0-8020-8928-3 £40.00 $60.00 EThe Book UnboundEditing and Reading MedievalManuscripts and TextsEdited by Siân Echard andStephen Partridge0-8020-8756-6 / £32.00 /$50.00 / 2004Title page vignette from A Garland for Girls by Louisa May Alcott (1908).26
BOOK HISTORY‘Paper-contestations’ andTextual Communities inEngland, 1640–1675Elizabeth SauerSTUDIES IN BOOK AND PRINT CULTUREThe mass production and dissemination <strong>of</strong> printedmaterials were unparalleled in England during the1640s and 50s. While theatrical performance traditionallydefined literary culture, print steadilygained ground, becoming more prevalent andenabling the formation <strong>of</strong> various networks <strong>of</strong> writers,readers, and consumers <strong>of</strong> books.In conjunction with an evolving print culture,seventeenth-century England experienced a rise <strong>of</strong>political instability and religious dissent, the closing<strong>of</strong> the theatres, and the emergence <strong>of</strong> a middle class.Elizabeth Sauer examines how this played out in thenation’s book and print industry with an emphasison performative writings, their materiality, reception,and their extra-judicial function. ‘Paper-contestations’and Textual Communities in England challengestraditional readings <strong>of</strong> literary history, <strong>of</strong>fersnew insights into drama and its transgression <strong>of</strong>boundaries, and proposes a fresh approach to thepolitics <strong>of</strong> consensus and contestation that animatedseventeenth-century culture and that distinguishescurrent scholarly debates about this period.Elizabeth Sauer is a pr<strong>of</strong>essor in the Department <strong>of</strong>English at Brock <strong>University</strong>.Prints for BooksIllustration in France, 1760–1800Antony GriffithsTHE BRITISH LIBRARY – PANIZZI LECTURES, VOLUME 19The second half <strong>of</strong> the eighteenth century in Francewas one <strong>of</strong> the great ages <strong>of</strong> book illustration, andsaw the meeting <strong>of</strong> top-quality engraving, fine printing,and high bibliophily. In this new book, AntonyGriffiths explores the interrelationship <strong>of</strong> these elements.The vogue began with a public demand thatnew poems, plays, and novels should be illustratedwith high-quality prints, and authors had torespond. The pr<strong>of</strong>its to be made tempted engravers,draughtsmen, and a new breed <strong>of</strong> art entrepreneurto undertake projects <strong>of</strong> their own. In the 1780s,fashion shifted to a passionate interest in book collectingand fine printing. Griffiths demonstrateshow the business responded to the new situation,and to the effects <strong>of</strong> the Revolution in the 1790s.Based on the Panizzi lectures given in theBritish Library in November 2003, the text hasbeen considerably augmented for publication.There are more than 200 footnotes and 90 illustrations,as well as an appendix giving the actual period<strong>of</strong> production <strong>of</strong> some <strong>of</strong> the most importantbooks <strong>of</strong> the period.Antony Griffiths is the keeper <strong>of</strong> the Department <strong>of</strong>Prints and Drawings at the British Museum.Approx. 255 pp / 6 x 9 / June <strong>2005</strong>10 halftonesCloth ISBN 0-8020-3884-0 £28.00 $45.00 EApprox. 190 pp / 5 1 /2 x 8 1 /2 / March <strong>2005</strong>90 illustrationsCloth ISBN 0-7123-4874-3 $40.00 EDISTRIBUTION RIGHTS FOR NORTH AND SOUTH AMERICA ONLY.OTHER RIGHTS HELD BY THE BRITISH LIBRARY.27