By Andrew Piper
On the flip of the 19th century, publishing homes in London, manhattan, Paris, Stuttgart, and Berlin produced books in ever larger numbers. however it used to be not only the arrival of mass printing that created the era’s “bookish” tradition. based on Andrew Piper, romantic writing and romantic writers performed an important function in adjusting readers to this more and more foreign and overflowing literary atmosphere. studying the right way to use and to need books happened via greater than the technological, advertisement, or felony stipulations that made the starting to be proliferation of books attainable; the making of such bibliographic fantasies was once importantly a made from the symbolic operations contained inside of books as well.
interpreting novels, severe variants, present books, translations, and illustrated books, in addition to the groups who made them, Dreaming in Books tells a wide-ranging tale of the book’s id on the flip of the 19th century. In so doing, it exhibits what number of the main urgent smooth communicative matters aren't precise to the electronic age yet emerged with a selected experience of urgency through the bookish upheavals of the romantic period. In revisiting the book’s upward thrust in the course of the prism of romantic literature, Piper goals to revise our assumptions approximately romanticism, the medium of the broadcast publication, and, eventually, the way forward for the ebook in our so-called electronic age.
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Extra info for Dreaming in Books: The Making of the Bibliographic Imagination in the Romantic Age
The bibliographic format of the miscellany through which Goethe organized the Travels’ prepublication would not, however, serve as a passing interest, a kind of early generic stage through which he passed on the way to a more developed or advanced genre of the novel. As I will show at the conclusion of this chapter, the media poetics of the cut enacted through the deployment of the excerpt would play a key role in the later composition of the second version of the novel. Far from simple marketing devices, the Networking / 31 novellas and the miscellany established an important bibliographic scene against which the Travels would come to understand itself.
The close of my book argues that the future of the book—and by extension the future of the humanities—depend upon facilitating what we might call an intermedial literacy, the overlap of the dual categories of media and translation that were so integral to the romantic moment. In arguing for the necessary alignment of a media and linguistic comparativism, I not only want to contribute to the ongoing challenge to disciplinary boundaries today. 75 How do books participate in the shaping of other media today and how does the book’s relationship to other media shape how we think about books and how we “speak” in books?
From the miscellany’s promotion of the page as a site of numerous hands, to the publisher-driven nature of the collected edition, to the translator’s ventriloquism, to the perorations of nineteenth-century editors to justify the proper balance of recension and emendation as they translated a vernacular manuscript tradition into print, romantic literature and romantic books were marked by a persistent sense of a crisis of the genitive. 16 / Introduction Finally, if this book is driven by a greater attention to a variety of border-crossings in the world of romantic books, whether of format, nation, language, or gender, I want to apply this same focus to the category of the book itself that is my ultimate subject here.
Dreaming in Books: The Making of the Bibliographic Imagination in the Romantic Age by Andrew Piper