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Paperback. Condizione: Very Good. No Jacket. May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less.

Paperback. Condizione: new. Paperback. Publishing houses are nearly invisible in modernist studies. Looking beyond little magazines and other periodicals, this collection highlights the importance of book publishers in the diffusion of modernism. It also participates in the transnational turn in modernist studies, demonstrating that book publishers created new markets for modernist texts in the United States, Europe and the rest of the world. Publishing houses are nearly invisible in modernist studies. Looking beyond little magazines and other periodicals, this collection highlights the importance of book publishers in the diffusion of modernism. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condizione: New. Publishing houses are nearly invisible in modernist studies. Looking beyond little magazines and other periodicals, this collection highlights the importance of book publishers in the diffusion of modernism. It also participates in the transnational turn in modernist studies, demonstrating that book publishers created new markets for modernist texts in the United States, Europe and the rest of the world.…

Condizione: very_good. Fast Free Shipping â" Very Good condition book with a firm cover and clean pages. Shows normal use and some light wear or limited notes markings. A solid, nice copy to enjoy.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Condizione: new.

PAP. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condizione: New. The first sustained account of cheap series of reprints that transformed literary modernism from a little-read movement into a mainstream phenomenonWe often think of Mrs Dalloway or A Portrait of the Artist as a Young Man as difficult books, originally published in small print runs for a handful of readers. But from the mid-1920s, these texts and others were available in cheap format across Europe. Uniform series of reprints such as the Travellers' Library, the Phoenix Library, Tauchnitz and Albatross sold modernism to a wide audience - thus transforming a little-read "highbrow" movement into a popular phenomenon. The expansion of the readership for modernism was not only vertical (from "high" to "low") but also spatial - since publisher's series were distributed within and outside metropolitan centres in Britain, continental Europe and elsewhere. Many non-English native speakers discovered texts by Joyce, Woolf and others in the original language - a fact that has rarely been mentioned in histories of modernism. Drawing on extensive work in neglected archives, Cheap Modernism will be of interest to all those who want to know how the new literature became a global commercial hit.Key FeaturesThe first account of European reprint series that sold modernism to a wide, international public at the beginning of the twentieth centuryDraws on extensive work in neglected publishers' archivesSheds new light on the relationship between publishers and major modernist writers (including Virginia Woolf, T. S. Eliot, James Joyce and Wyndham Lewis)Prompts a rethinking of modernist institutions, away from small presses and little magazines and towards large-scale publishing enterprises.…

Condizione: New. pp. 288.

Paperback. Condizione: new. Paperback. The first sustained account of cheap series of reprints that transformed literary modernism from a little-read movement into a mainstream phenomenonWe often think of Mrs Dalloway or A Portrait of the Artist as a Young Man as difficult books, originally published in small print runs for a handful of readers. But from the mid-1920s, these texts and others were available in cheap format across Europe. Uniform series of reprints such as the Travellers' Library, the Phoenix Library, Tauchnitz and Albatross sold modernism to a wide audience thus transforming a little-read "highbrow" movement into a popular phenomenon. The expansion of the readership for modernism was not only vertical (from "high" to "low") but also spatial since publisher's series were distributed within and outside metropolitan centres in Britain, continental Europe and elsewhere. Many non-English native speakers discovered texts by Joyce, Woolf and others in the original language a fact that has rarely been mentioned in histories of modernism. Drawing on extensive work in neglected archives, Cheap Modernism will be of interest to all those who want to know how the new literature became a global commercial hit.Key FeaturesThe first account of European reprint series that sold modernism to a wide, international public at the beginning of the twentieth centuryDraws on extensive work in neglected publishers' archivesSheds new light on the relationship between publishers and major modernist writers (including Virginia Woolf, T. S. Eliot, James Joyce and Wyndham Lewis)Prompts a rethinking of modernist institutions, away from small presses and little magazines and towards large-scale publishing enterprises Drawing on extensive work in neglected archives, Cheap Modernism will be of interest to all those who want to know how the new literature became a global commercial hit. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condizione: new.

Condizione: As New. Unread book in perfect condition.

Condizione: New.

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Condizione: New. pp. 184.

Paperback. Condizione: New.

HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.

Condizione: New. 2020. Paperback. . . . . .

Condizione: new.

Paperback. Condizione: New.

Condizione: New. pp. 288.

Condizione: New. pp. 184.

Condizione: New. 2018. Reprint. Paperback. . . . . .

Condizione: New. pp. 288.

Paperback / softback. Condizione: New. New copy - Usually dispatched within 4 working days.

Condizione: New. pp. 184.

Condizione: New. 2020. Paperback. . . . . . Books ship from the US and Ireland.

Hardcover. Condizione: new. Hardcover. How many times have you heard that creative writing programmes are factories that produce the same kind of writers, isolated from real life? Only by escaping academia can writers be completely free. Universities are profoundly conservative places, designed to favour a certain way of writing-preferably informed by literary theory. Those who reject the creative/ critical discourse of academia are the true rebels, condemned to live (or survive) in a tough literarymarketplace. Conformity is on the side of academia, the story goes, and rebellion is on the other side.This book argues against the notion that creative writing programmes are drivenby conformity. Instead, it shows that these programmes in the United States and Britain were founded and developed by literary outsiders, who left an enduring mark on their discipline. To this day, creative writing occupies a marginal position in Anglo-American universities. The multiplication of new programmes, accompanied by rising student enrolments, has done nothing to change that positioning. As a discipline, creative writing strives on opposition to the mainstream university, whilebenefiting from what the university has to offer. Historically, this opposition to scholars was so virulent that it often led to the separation of creative writing and literature departments. The IowaWriters' Workshop, founded in the 1930s, separated from the English department three decades later--and it still occupies a different building on campus, with little communication between writers and scholars. This model of institutional division is less common in Britain, where the discipline formally emerged in the late 1960s and early 1970s. But even when creative writing is located within literature departments, relationships with scholars remain uneasy. Creative writers and scholars arenot, and have never been, natural bedfellows. A history of creative writing programmes in British and American universities, from the 1930s onwards, that argues against the notion that creative writing programmes are driven by conformity. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…