Browsing by Subject "Publishing"
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Item A cultural history beneath the left : politics, art, and the emergence of the underground during the Cold War(2016-04-13) Cashbaugh, Sean Francis; Lewis, Randolph, 1966-; Bremen, Brian; Hartigan, John; Hoelscher, Steven D.; Kornhaber, Donna; Mickenberg, JuliaWhen critics use “underground” to describe cultural matters today, its meaning is clear: it describes something obscure, transgressive, and opposed to the “mainstream.” This is a relatively recent understanding of the term. It was not used to describe cultural practices until after World War II. Before then, it denoted an imagined space linked to allegedly deviant ways of life. After the war, artists claimed this imagined space as one of political and creative possibility. By the mid-1960s, underground film, music, comics, literature, and newspapers were recognizable cultural forms with their own institutions of production and exchange, a multifaceted alternative culture known as “the underground.” Both the history of “the underground” as a distinct cultural formation and the history of the idea of “underground culture” have received inadequate attention by scholars. In response, this dissertation traces the cultural history of the underground, detailing its emergence, consolidation, and collapse. In chapter one, I argue its appearance must be understood as the irruption of a political-aesthetic imaginary that valued radical social exteriority and the historical agency attributed to criminality. Chapter two explains how it first appeared in the postwar era among black ex-Communists, anti-totalitarians, and amateur psychoanalysts who rejected Marxist proletarianism and celebrated the historical agency of criminals. Chapter three explores how white hipsters of the 1950s imagined the underground as an alternative nation organized around identities the Cold War imaginary rendered deviant: non-whites, queer people, and the allegedly mad. As detailed in chapter four, they inspired artists of the 1960s to reject dominant cultural institutions and aesthetic ideologies in the name of subterranean autonomy. They established independent institutions committed to exploring taboo subjects, resulting in their prosecution under various obscenity laws. This reoriented the underground around obscenity, and led many to embrace the obscene as an aesthetic principle. As explored in chapter five, by the late 1960s, underground institutions expanded so much that its claims to radical exteriority became untenable, leading many to question the notion and ultimately reject it. I conclude with a discussion of how the collapse of the underground enabled the emergence of the generic idea of underground culture.Item The Art of the Poetry Chapbook(2023-08-14) Bastone, GinaChapbooks – small booklets often made by hand – are essential to American Poetry. Chapbooks provide poets an inexpensive, accessible way to showcase their work in a small format, and often serve as a calling card for up-and-coming poets looking to find a publisher for their first full-length collection. Chapbooks also allow for experimentation and artistry in the book arts. The UT Poetry Center has collected chapbooks for over 50 years, and this exhibit highlights the forms, experimentation, and genre found in these little books.Item The British experience with American independent photography, 1944-1980(2014-05) Jones, Andrew Wyn; Hoelscher, Steven D.; Abzug, Robert H; Lewis, Randolph; Hake, Sabine; Meikle, Jeffrey LThis dissertation explores the ways in which US-based photographic practices shaped British independent photography from the late stages of the Second World War to the beginning of the 1980s. America had become the center of the Western artistic and literary universes by the late 1940s, and the US had led the way in photography from at least the 1930s and arguably from the 1910s. American photographic technology, education, and aesthetics looked enviously advanced to Britons for most of the twentieth century, and those on the photographic vanguard in Britain cultivated relationships with their transatlantic counterparts in the hope of effecting change in British institutions. During the period studied, photographic traffic mostly emanated from the US, accompanying a broader stream of ideas, capital and cultural products that were eagerly consumed by many and resisted in other quarters as the pernicious products of American cultural imperialism. As ideas, images, and technology flowed into Britain from the US, photographic collections and personnel from Britain flowed out. American photographic practice in Britain was promulgated as much by its British recipients as their US counterparts. Influential professionals like magazine editor Bill Jay, Arts Council officer Barry Lane and freelance photographer Tony Ray-Jones sought to stimulate British independent photography by importing American institutional and aesthetic models. This catalytic process had the effect of invigorating photography in Britain which both developed along and ultimately diverged from American models. This work contributes to a larger body of scholarship examining the transnational lineages of artistic and cultural production through analyzing how actors in this flow of information sought to rework and domesticate artistic forms and ideas to suit their own purposes.Item Cita : a feminist open-access digital library and print-on-demand publisher(2018-05-07) Castro Varón, Juliana; Park, Jiwon, M.F.A.; Gorman, CarmaMost of the nineteenth century’s feminist literature is now in the public domain, but many of these writings are not being republished by commercial publishers. When publishers do reprint public-domain texts, they rarely do so in open-access book formats. Because commercial publishers invest in curating and marketing well designed collections of reprints, they frequently commission original annotations or introductions from scholars, which in turn enables them to copyright and profit from their new editions. In contrast, Internet-based archives such as Google Books, HathiTrust, and Archive.org make an enormous corpus of public-domain books available for free online, but do so as scans or in poorly designed digital formats. Moreover, internet archives usually do not make their collections particularly navigable or appealing to non-scholarly audiences, nor do they make it properly designed and easy to print. Responding to the lack of well designed, affordable public-domain reprints, Cita is an open-access feminist digital library and print-on-demand publisher that promotes and distributes the writings of female authors whose works are open-licensed or in the public domain. Cita’s network of scholars and designers works to make and distribute free, high-quality editions that readers can view online using any device, or download, print, and—following simple instructions—bind for personal, library, museum, or school use.Item Editoriales globales, bibliodiversidad y escritura transnacional : un análisis de la narrativa de Enrique Vila-Matas y Roberto Bolaño(2013-05) Navarro Serrano, José Enrique; Lindstrom, Naomi, 1950-This dissertation explores from an interdisciplinary point of view the textual impact of globalization processes and their concurrent transformation of the cultural industry in the Spanish-language novel of the late 20th and early 21st centuries. Here it is argued that the elimination of barriers to capital flows and foreign investment, in conjunction with changes in intellectual property laws and the implementation of new communication and information technologies, have led to the creation of multinational media conglomerates able to restrict the choices made by individuals on not only of what can be read, but also what can be listened to and watched. This work defends the idea that the metafictional frame found in works by the Chilean Roberto Bolaño (1953-2003) and the Spaniard Enrique Vila-Matas (1948) epitomizes a novel approach to transnational writing. In their narratives, both authors portray and resist globalization by proposing a bricolage of stateless literati scattered across the globe in search of enigmatic writers, tantamount in my interpretation to out of print or unpublished books. Coincidentally, both novelists began their career in the same independent publishing house, the Barcelona-based Anagrama, and were later published under major imprints. Moreover, these recognized novelists, both recipients of the prestigious Herralde and Rómulo Gallegos literary prizes, have become points of reference for the next generation of Latin American and Spanish authors.Item Producing young adult literature in the 21st century(2012-08) Appell, Stephanie Ann; Immroth, Barbara Froling; Abbott, StephanieThe book publishing industry experienced a period of drastic change during the final decades of the twentieth century. Small publishing companies consolidated and were purchased by large, profit-minded media conglomerates. The widespread adoption of digital media technologies prompted many questions about the very future of the book itself. Yet at the pinnacle of these changes, the American young adult publishing market gradually began to experience not a decline, but a renaissance. In this report, I explore ways that changes in book publishing have manifested themselves in contemporary young adult literature through two case studies. Are today’s young adult books works of literature or commercial products? Is their increased popularity due to widening readership or more savvy marketing? Are the companies producing them more concerned with the public good or their own profit margins?Item Spirited media : revision, race, and revelation in nineteenth-century America(2014-08) Gray, Nicole Haworth; Carton, Evan; Winship, Michael, 1950-"Spirited Media" analyzes distributed structures of authorship in the reform literature of the nineteenth-century United States. The literature that emerged out of reform movements like abolitionism often was a product of complex negotiations between speech and print, involving multiple people working across media in relationships that were sometimes collaborative, sometimes cooperative, and sometimes antagonistic. The cultural authority of print and individual authorship, often unquestioned in studies that focus on major or canonical figures of the nineteenth century, has tended to obscure some of this complexity. Moving from phonography, to Josiah Henson and Uncle Tom’s Cabin, to spiritualism, to Sojourner Truth and Walt Whitman, I consider four cases in which reporters, amanuenses, spirit mediums, and poets revived and remediated the voices of abolitionists, fugitive slaves, and figures from American history. By separating publication into events—speech, inscription, revision, and print—I show that "authorship" consisted of a series of interactions over time and across media, but that in the case of reform, the stakes for proving that authorship was a clear and indisputable characteristic of print were high. For abolitionist, African American, and spiritualist speakers and writers, authority depended on authorship, which in turn depended on the transparency of the print or the medium, or the perception of a direct relationship between speaker and reader. Like authorship, this transparency was constructed by a variety of social actors for whom the author was a key site of empowerment. It was authorized by appeals to revelation and race, two constructs often sidelined in media histories, yet central to discussions of society and politics in nineteenth-century America. Thinking of authorship as a distributed phenomenon disrupts models of the unitary subject and original genius, calling attention instead to uncanny acts of reading and writing in nineteenth-century literature. This dissertation argues that we should think about the transformative power of U.S. literature as located in revelation, not just creation, and in congregating people, not just representing them.