Leah Orr – författare

In the late seventeenth and eighteenth centuries, the 'woman writer' emerged as a category of authorship in England. Publishing the Woman Writer in England, 1670-1750 seeks to uncover how exactly this happened and the ways publishers tried to market a new kind of author to the public. Based on a survey of nearly seven hundred works with female authors from this period, this book contends that authorship was constructed, not always by the author, for market appeal, that biography often supported an authorial persona rooted in the genre of the work, and that authorship was a role rather than an identity. Through an emphasis on paratexts, including prefaces, title pages, portraits, and biographical notes, Leah Orr analyses the representation of women writers in this period of intense change to make two related arguments. First, women writers were represented in a variety of ways as publishers sought successful models for a new kind of writer in print. Second, a new approach is needed for studying early women writers and others who occupy gaps in the historical record. This book shows that a study of the material contexts of printed books is one way to work with the evidence that survives. It therefore begins with a very familiar kind of author-centric literary history and deconstructs it to conclude with a reception-centered history that takes a more encompassing view of authorship. In addition to analysis of many little-known and anonymous authors, case studies include Aphra Behn, Catharine Trotter/Cockburn, Laetitia Pilkington, Marie-Catherine d'Aulnoy, and Anne Dacier.

In the late seventeenth and eighteenth centuries, the ''woman writer'' emerged as a category of authorship in England. Publishing the Woman Writer in England, 1670-1750 seeks to uncover how exactly this happened and the ways publishers tried to market a new kind of author to the public. Based on a survey of nearly seven hundred works with female authors from this period, this book contends that authorship was constructed, not always by the author, for marketappeal, that biography often supported an authorial persona rooted in the genre of the work, and that authorship was a role rather than an identity.Through an emphasis on paratexts, including prefaces, title pages, portraits, and biographical notes, Leah Orr analyses the representation of women writers in this period of intense change to make two related arguments. First, women writers were represented in a variety of ways as publishers sought successful models for a new kind of writer in print. Second, a new approach is needed for studying early women writers and others who occupy gaps in the historical record. This book shows that astudy of the material contexts of printed books is one way to work with the evidence that survives. It therefore begins with a very familiar kind of author-centric literary history and deconstructs it to conclude with a reception-centered history that takes a more encompassing view of authorship. Inaddition to analysis of many little-known and anonymous authors, case studies include Aphra Behn, Catharine Trotter/Cockburn, Laetitia Pilkington, Marie-Catherine d''Aulnoy, and Anne Dacier.

In the late seventeenth and eighteenth centuries, the ''woman writer'' emerged as a category of authorship in England. Publishing the Woman Writer in England, 1670-1750 seeks to uncover how exactly this happened and the ways publishers tried to market a new kind of author to the public. Based on a survey of nearly seven hundred works with female authors from this period, this book contends that authorship was constructed, not always by the author, for marketappeal, that biography often supported an authorial persona rooted in the genre of the work, and that authorship was a role rather than an identity.Through an emphasis on paratexts, including prefaces, title pages, portraits, and biographical notes, Leah Orr analyses the representation of women writers in this period of intense change to make two related arguments. First, women writers were represented in a variety of ways as publishers sought successful models for a new kind of writer in print. Second, a new approach is needed for studying early women writers and others who occupy gaps in the historical record. This book shows that astudy of the material contexts of printed books is one way to work with the evidence that survives. It therefore begins with a very familiar kind of author-centric literary history and deconstructs it to conclude with a reception-centered history that takes a more encompassing view of authorship. Inaddition to analysis of many little-known and anonymous authors, case studies include Aphra Behn, Catharine Trotter/Cockburn, Laetitia Pilkington, Marie-Catherine d''Aulnoy, and Anne Dacier.

The eighteenth century British book trade marks the beginning of the literary marketplace as we know it. The lapsing of the Licensing Act in 1695 brought an end to pre-publication censorship of printed texts and restrictions on the number of printers and presses in Britain. Resisting the standard ""rise of the novel"" paradigm, Novel Ventures incorporates new research about the fiction marketplace to illuminate early fiction as an eighteenth-century reader or writer might have seen it. Through a consideration of all 475 works of fiction printed over the four decades from 1690 to 1730, including new texts, translations of foreign works, and reprints of older fiction, Leah Orr shows that the genre was much more diverse and innovative in this period than is usually thought.Contextual chapters examine topics such as the portrayal of early fiction in literary history, the canonization of fiction, concepts of fiction genres, printers and booksellers, the prices and physical manufacture of books, and advertising strategies to give a more complex picture of the genre in the print culture world of the early eighteenth century. Ultimately, Novel Ventures concludes that publishers had far more influence over what was written, printed, and read than authors did, and that they shaped the development of English fiction at a crucial moment in its literary history.

How did women in early modern England protect their investments in copyrights and realize profits from them? This new study explores the ways that women who owned copyright sought to turn manuscripts into money and protect their investments in intellectual property for themselves and their posterity. Through an analysis of previously unpublished archival sources and a new examination of print sources, this study shows that women copyright proprietors contributed to the establishment of copyright as a sellable commodity at a time when it was still undefined. Women Proprietors of Copyright charts a new history of copyright and women’s labor in the book trade at a crucial period of its development.