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Download Colour'd Shadows: Contexts in Publishing, Printing, and by T. Hoagwood, K. Ledbetter PDF

By T. Hoagwood, K. Ledbetter

A wide physique of nineteenth-century British women's literature highlights using verbal illusions, even whereas its essence is still the idea of inward and private adventure. within the age of industrial distribution, the nonequivalence of non-public feeling and revealed product is typically rendered bitterly, yet occasionally that nonequivalence conjures up the opulence of artifice. "Colour'd Shadows" is a series of arguments approximately such relationships of fabric shape and fabric alternate with literary which means, continuing from particular examples within the writings and careers of ladies writers and numerous publishing genres, together with Victorian periodicals and literary annuals.

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Extra info for Colour'd Shadows: Contexts in Publishing, Printing, and Reading Nineteenth-Century British Women Writers

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In 1788 he became the proprietor of a newspaper, The Star and Evening Advertiser, the first evening daily in England. Its prospectus proclaims the paper’s purpose: “to provide a reliable medium of advertising for their own products”—that is, Lane’s publications (Blakey, 11). In 1789, Lane dismissed his newspaper’s printer, Peter Stuart, for political reasons; during the controversy over the Regency Bill, the paper declared their wish to remain “palpably in favour of Mr. ” In a printed protest, Stuart blamed Lane and another publisher, John Murray, for his dismissal, alleging that he had been ordered “to support Mr.

Gosnell, in several books published by Lane suggests a connection of Gosnell with the Minerva Press. Though the Minerva Press had its own printing operation, Lane and his successor Newman did sometimes hire other printers. Gosnell was evidently among the printers hired but not acknowledged by the Minerva operation. Lane and then Newman acquired (by whatever means) remainder sheets from various printers, and, as I have said, issued them with a new title-page. In the case of the 1813 Sappho and Phaon that bears the imprint of the Minerva Press, the phrase “printed by John Darling/Leadenhall-Street” seems to refer to the entire book, which is accordingly called “A New Edition” on its title-page; but in fact, all that Darling printed was the title-page.

S. Newton,” Hemans wrote the unheroic couplets to face an engraving by J. H. Robinson after a painting by G. S. Newton. Implicating further fragmentation, print sellers marketed the engravings without Hemans’s poem, according to annuals editor Alaric Alfred Watts: “There was . . ”14 The poem, which is also fragmentary, objectifies the “lady” and celebrates its own derivative character: She touched the silver strings, while her dark eye Grew to more perfect beauty, when the sigh Past from the chords, sweet as it loved the hand Ruling their music with such soft command.

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