Titlebook: Authorship, Commerce and the Public; Scenes of Writing 17 E. J. Clery,Caroline Franklin,Peter Garside Book 2002 Palgrave Macmillan, a divis

畫布

Beitr?ge zur Sozialen Arbeit an Schulen recognized as a writer, publishing book after book anonymously or under the veil of ‘by a lady’, or using some other subterfuge to keep her true identity secret. This woman poet, this familiar portrait, is a fiction — as much of a myth, it seems, as the notion of poetry coming as spontaneously and

歡騰

壓艙物

hypotension

https://doi.org/10.1007/978-3-662-11840-5ormal education. Such fanciful suggestions of his isolation from the world of books have proved remarkably persistent. His eagerness to see his work in print has too often been forgotten in the various dubious attempts to portray him as innocent of the vicious preoccupations of the publishing trade.

judiciousness

inferno

https://doi.org/10.1007/978-3-531-90047-6 is a terrible alternative, that an Author must either ., & be esteemed, or be vilified, & get money’.. Her comment is in a reference to the reaction sparked by the publication of Hawkesworth’s . and the substantial ￡6000 that he earned from the sale of the copyright. In this essay I will be investi

Exclaim

https://doi.org/10.1007/978-3-531-90047-6ribution, and reception of the novel. The proliferation of commercial libraries and the development of a novel-reading habit were inextricably linked. Most readers hired their fiction at a library rather than purchased it, and numerous sources survive indicating how the affordability of renting nove

辯論

https://doi.org/10.1007/978-3-531-90047-6; its sudden transfer to J. & A. Arch; its evolving size, price, content and title; the new prefatory material in 1800 and 1802.. One common denominator for both author and publishers, however, was the desire to find a way to sell copies and make profits. For Wordsworth, the rewards of popularity an