Adam James Smith – författare

This collection profiles understudied figures in the book and print trades of the seventeenth century. With an equal balance between women and men, it intervenes in the history of the trades, emphasising the broad range of material, cultural, and ideological work these people undertook. It offers a biographical introduction to each figure, placing them in their social, professional, and institutional settings. The collection considers varied print trade roles including that of the printer, publisher, paper-maker, and bookseller, as well as several specific trade networks and numerous textual forms. The biographies draw on extensive new archival research, with details of key sources for further study on each figure. Chronologically organised, this Element offers a primer both on numerous individual figures, and on the tribulations and innovations of the print trade in the century of revolution.

This collection profiles understudied figures in the book and print trades of the eighteenth century. With an explicit focus on intervening in the critical history of the trades, this volume profiles seven women and three men, emphasising the broad range of material, cultural, and ideological work these people undertook. It offers a biographical introduction to each figure, placing them in their social, professional, and institutional settings. The collection considers varied print trade roles including that of the printer, publisher, business-owner, and bookseller, as well as several specific trade networks and numerous textual forms. The biographies draw on extensive new archival research, with details of key sources for further study on each figure. Chronologically organised, this Element offers a primer both on individual figures and on the tribulations and innovations of the print trade in the century of national and print expansion.

An exploration of how contemporary horror films focusing on the internet engage with society’s material, functional and ideological reorientation to new digital realities, this book shows how subjects can resist the age of data capitalism and the authority of the algorithm. Upending the notion that the horror genre – arguably the seismograph of cultural unease – has remained unresponsive to the unprecedented dangers of the digital age, The Post-Internet Horror Film illustrates how the genre tackles the (un)representability of ubiquitous computing. With consideration of how ‘smart’ technologies and interconnectedness of all computing devises via the web destabilise conceptions of the internet, Max Jokschus examines to what extent contemporary internet horror films contribute to fostering awareness of the internet’s political economy – and how they, indeed, obscure it.Detailing a new phenomenon that will only become more urgent with time, and calling upon data-capitalism criticism, Jokschus provides a systemic analysis of this emerging genre, its semiotics, affects and ideologies. Breaking the genre down into first and second-wave internet horror cycles and covering themes ‘cyberphobia’, ‘datanoia’ and the dark web, the book makes case studies of such films as Strangeland (1999), Pulse (2001), The Lawnmower Man (1992), Chatroom (2010), Cyberbully (2015), Girl House (2016), Bedeviled (2016), Child’s Play (2019), Countdown (2018), Selfie From Hell (2018), and Dark Web: Descent into Hell (2021). Offering new ways to think, write and teach about the horror film, as well as modelling how critical internet studies and film studies can expand each other’s insights, The Post-Internet Horror Film explores a new kind of scary but also avenues for user agency and resistance.

Studies of the eighteenth-century periodical have long tended to understand the form according to the period’s own insistence on adhering to and promoting politeness. In contrast, this collection reads for impoliteness, revealing a more nuanced, granular, and dynamic view of eighteenth-century periodicals such as Addison and Steele’s popular The Spectator, and a fuller sense of their value within the societies that produced and consumed them. By inverting the traditional focus, this volume promotes a new history of the periodical characterized not as highbrow gatekeeper of literary taste, but as incongruent, idiosyncratic, and impolite. Impolite Periodicals thus brings together a range of perspectives on eighteenth-century periodical publication, not simply to argue that periodicals could be impolite, but to explore how readings of their potential impoliteness might affect our understanding of their literary and social significance. This collection relishes and lingers on signs of rudeness, inconsistency, impurity, and failure.With an afterword by Manushag N. Powell.Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

Studies of the eighteenth-century periodical have long tended to understand the form according to the period’s own insistence on adhering to and promoting politeness. In contrast, this collection reads for impoliteness, revealing a more nuanced, granular, and dynamic view of eighteenth-century periodicals such as Addison and Steele’s popular The Spectator, and a fuller sense of their value within the societies that produced and consumed them. By inverting the traditional focus, this volume promotes a new history of the periodical characterized not as highbrow gatekeeper of literary taste, but as incongruent, idiosyncratic, and impolite. Impolite Periodicals thus brings together a range of perspectives on eighteenth-century periodical publication, not simply to argue that periodicals could be impolite, but to explore how readings of their potential impoliteness might affect our understanding of their literary and social significance. This collection relishes and lingers on signs of rudeness, inconsistency, impurity, and failure.With an afterword by Manushag N. Powell.Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.

Print Culture, Agency, and Regionality in the Hand Press Period illuminates the diverse ways that people in the British regional print trades exerted their agency through interventions in regional and national politics as well as their civic, commercial, and cultural contributions.