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This collection presents fourteen essays on annotating eighteenth-century literature. Authored by editors and annotators of current standard editions—such as California's Works of John Dryden, the Florida Edition of the Works of Laurence Sterne, and the Yale Edition of the Works of Samuel Johnson—this book explores theoretical perspectives on critical editing and the practical work of annotation. Through examples from their own editorial work, the contributors illuminate the personal dilemmas and decisions confronting the annotator of texts: What information in the text needs annotation? When does one stop annotating? How does one manage the annotation-versus-interpretation problem?Brimming with erudition, Notes on Footnotes showcases the precision and attentiveness of some of the world's foremost editors and annotators. The book is necessary reading—not only for scholars of the eighteenth century but also for scholarly editors of texts of all historical periods, book historians, and book lovers in general.In addition to the editors, the contributors include Kate Bennett, Robert DeMaria Jr., Michael Edson, Robert D. Hume, Stephen Karian, Elizabeth Kraft, Thomas Lockwood, William McCarthy, Maximillian E. Novak, Shef Rogers, Robert G. Walker, and Marcus Walsh.

This collection presents fourteen essays on annotating eighteenth-century literature. Authored by editors and annotators of current standard editions—such as California's Works of John Dryden, the Florida Edition of the Works of Laurence Sterne, and the Yale Edition of the Works of Samuel Johnson—this book explores theoretical perspectives on critical editing and the practical work of annotation. Through examples from their own editorial work, the contributors illuminate the personal dilemmas and decisions confronting the annotator of texts: What information in the text needs annotation? When does one stop annotating? How does one manage the annotation-versus-interpretation problem?Brimming with erudition, Notes on Footnotes showcases the precision and attentiveness of some of the world's foremost editors and annotators. The book is necessary reading—not only for scholars of the eighteenth century but also for scholarly editors of texts of all historical periods, book historians, and book lovers in general.In addition to the editors, the contributors include Kate Bennett, Robert DeMaria Jr., Michael Edson, Robert D. Hume, Stephen Karian, Elizabeth Kraft, Thomas Lockwood, William McCarthy, Maximillian E. Novak, Shef Rogers, Robert G. Walker, and Marcus Walsh.

Samuel Johnson famously referred to his future biographer, the unsociable magistrate Sir John Hawkins, as “a most unclubbable man.'Conversely, this celebratory volume gathers distinguished eighteenth-century studies scholars to honor the achievements, professional generosity, and sociability of Greg Clingham, taking as its theme textual and social group formations. Here, Philip Smallwood examines the “mirrored minds” of Johnson and Shakespeare, while David Hopkins parses intersections of the general and particular in three key eighteenth-century figures. Aaron Hanlon draws parallels between instances of physical rambling and rhetorical strategies in Johnson's Rambler, while Cedric D. Reverand dissects the intertextual strands uniting Dryden and Pope. Contributors take up other topics significant to the field, including post-feminism, travel, and seismology. Whether discussing cultural exchange or textual reciprocities, each piece extends the theme, building on the trope of relationship to organize and express its findings. Rounding out this collection are tributes from Clingham's former students and colleagues, including original poetry.

Almost immediately after the invention of photography, Scottish photographers took their clunky cameras on the road to capture the stories of peoples and communities touched by the forces of British imperialism. For the next thirty years, their journeys would take them far from their homes in the Lowlands to the Canadian wilderness and the treaty ports and rivers of China. The Global Flows of Early Scottish Photography is about the interplay between these photographers'ambitions and the needs and desires of the people they met. Anthony Lee tracks the work of several famous innovators of the art form, including the pioneering team of D.O. Hill and Robert Adamson in Edinburgh; Canada's first great photographers, the Scottish immigrants William Notman and Alexander Henderson in Montreal; the globetrotting John Thomson in Hong Kong; and Lai Afong, the first widely known Chinese photographer. Lee reveals their pictures in the context of migration and the social impact wrought by worldwide trade and competing nationalisms. A timely book, it tells of an era when cameras emerged to give shape and meaning to some of the most defining moments brought about by globalization in the nineteenth century. Beautifully written and richly illustrated in full colour, The Global Flows of Early Scottish Photography weaves stories together to show that even the earliest pictures were sites of fierce historical struggle.

The essays collected in Samuel Johnson Among the Modernists frame this major writer in an unfamiliar milieu and company: high modernism and its aftermath. By bringing Johnson to bear on the various authors and topics gathered here, the book foregrounds some aspects of modernism and its practitioners that would otherwise remain hidden and elusive, even as it sheds new light on Johnson. Writers discussed include T. S. Eliot, Virginia Woolf, Ezra Pound, Joseph Conrad, James Joyce, Samuel Beckett, Jorge Luis Borges, and Vladimir Nabokov. Chapter contributors include major scholars in their field, including Melvyn New, Jack Lynch, Thomas M. Curley, Greg Clingham and Clement Hawes. These ground-breaking essays offer a vital and exciting interrogation of Modernism from a wholly fresh perspective.

Samuel Johnson's life was situated within a rich social and intellectual community of friendships—and antagonisms. Community and Solitude is a collection of ten essays that explore relationships between Johnson and several of his main contemporaries—including James Boswell, Edmund Burke, Frances Burney, Robert Chambers, Oliver Goldsmith, Bennet Langton, Arthur Murphy, Richard Savage, Anna Seward, and Thomas Warton—and analyzes some of the literary productions emanating from the pressures within those relationships. In their detailed and careful examination of particular works situated within complex social and personal contexts, the essays in this volume offer a “thick” and illuminating description of Johnson's world that also engages with larger cultural and aesthetic issues, such as intertextuality, literary celebrity, narrative, the nature of criticism, race, slavery, and sensibility. Contributors: Christopher Catanese, James Caudle, Marilyn Francus, Christine Jackson-Holzberg, Claudia Thomas Kairoff, Elizabeth Lambert, Anthony W. Lee, James E. May, John Radner, and Lance Wilcox. Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

New Essays on Samuel Johnson: Revaluation is a collection of essays by various hands that examines its point of focus, the inexhaustible English author Samuel Johnson, from a variety of different critical perspectives. The book also simultaneously interrogates particular texts (such as the Dictionary, the Lives of the Poets) alongside general themes (such as Johnson and intertextuality, Johnson and autobiography). The word “revaluation” from the title connotes both the deployment of specifically au courant approaches—viewing, for example, Johnson in relation to climate change, or Johnson and the notion of “osmology”—as well as more general reflections upon Johnson's importance to our present cultural and temporal moment.

Dead Masters: Mentoring and Intertextuality in Samuel Johnson examines the dual issues of mentoring and intertextuality as an integrated phenomenon. Through a series of fresh and novel readings of Johnsonian and Boswellian texts, the book offers insight not only into these two issues, but further advances our awareness of the formal complexities of Johnson's writings and the psychological substratum from which they issue.Lee utilizes a variety of critical perspectives—for example, the tools of Bloomean anxiety of influence, post-colonial and deconstructive criticism, and explicative analysis—under the generalized and flexible rubric of mentoring to explore the processes of textual influence, mentoring relationships, and cultural authority within Johnson's work. The goals of this book include the consolidation of mentoring as a fruitful critical perspective from which to understand Johnson; the establishment of an intertextual framework for understanding Johnson; and the effort to offer a series of readings of Johnson that more fully divulge the power and complexity of his writing. The book further seeks to effect, via the mediation of a series of pragmatic readings, a rapprochement between the theoretical divide separating psychological interpretations of Johnson (interpersonal mentoring encounters) and linguistic and formal interpretations (especially intertextuality).

In the first collection devoted to mentoring relationships in British literature and culture, the editor and contributors offer a fresh lens through which to observe familiar and lesser known authors and texts. Employing a variety of critical and methodological approaches, which reflect the diversity of the mentoring experiences under consideration, the collection highlights in particular the importance of mentoring in expanding print culture. Topics include John Wilmot the Earl of Rochester's relationships to a range of role models, John Dryden's mentoring of women writers, Alexander Pope's problematic attempts at mentoring, the vexed nature of Jonathan Swift's cross-gender and cross-class mentoring relationships, Samuel Richardson's largely unsuccessful efforts to influence Urania Hill Johnson, and an examination of Elizabeth Carter and Samuel Johnson's as co-mentors of one another's work. Taken together, the essays further the case for mentoring as a globally operative critical concept, not only in the eighteenth century, but in other literary periods as well.

This visually and intellectually exciting book brings the history of San Francisco's Chinatown alive by taking a close look at images of the quarter created during its first hundred years, from 1850 to 1950. Picturing Chinatown contains more than 160 photographs and paintings, some well known and many never reproduced before, to illustrate how this famous district has acted on the photographic and painterly imagination. Bringing together art history and the social and political history of San Francisco, this vividly detailed study unravels the complex cultural encounter that occurred between the women and men living in Chinatown and the artists who walked its streets, observed its commerce, and visited its nightclubs. Artistic representations of San Francisco's Chinatown include the work of some of the city's most gifted artists, among them the photographers Laura Adams Armer, Arnold Genthe, Dorothea Lange, Eadweard Muybridge, and Carleton Watkins and the painters Edwin Deakin, Yun Gee, Theodore Wores, and the members of the Chinese Revolutionary Artists'Club. Looking at the work of these artists and many others, Anthony Lee shows how their experiences in the district helped encourage, and even structured, some of their most ambitious experiments with brush and lens. In addition to discussing important developments in modern art history, Lee highlights the social and political context behind these striking images. He demonstrates the value of seeing paintings and photographs as cultural documents, and in so doing, opens a fascinating new perspective on San Francisco's Chinatown.

The boldly political mural projects of Diego Rivera and other leftist artists in San Francisco during the 1930s and early 1940s are the focus of Anthony W. Lee's fascinating book. Led by Rivera, these painters used murals as a vehicle to reject the economic and political status quo and to give visible form to labor and radical ideologies, including Communism.Several murals, and details of others, are reproduced here for the first time. Of special interest are works by Rivera that chart a progress from mural paintings commissioned for private spaces to those produced as a public act in a public space: Allegory of California, painted in 1930-31 at the Stock Exchange Lunch Club; Making a Fresco, Showing the Building of a City, done a few months later at the California School of Fine Arts; and Pan American Unity, painted in 1940 for the Golden Gate International Exposition.Labor itself became a focus of the new murals: Rivera painted a massive representation of a construction worker just as San Francisco's workers were themselves organizing; Victor Arnautoff, Bernard Zakheim, John Langley Howard, and Clifford Wight painted panels in Coit Tower that acknowledged the resolve of the dockworkers striking on the streets below. Radical in technique as well, these muralists used new compositional strategies of congestion, misdirection, and fragmentation, subverting the legible narratives and coherent allegories of traditional murals.Lee relates the development of wall painting to San Francisco's international expositions of 1915 and 1939, the new museums and art schools, corporate patronage, and the concerns of immigrants and ethnic groups. And he examines how mural painters struggled against those forces that threatened their practice: the growing acceptance of modernist easel painting, the vagaries of New Deal patronage, and a wartime nationalism hostile to radical politics.