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" The Editor as Producer: "
Bartels, Gretchen Christine
Childers, Joseph W
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Latin Dissertation
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English
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| Record Number
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905127
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TL6dw3b1qm
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Bartels, Gretchen Christine
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The Editor as Producer:\ Bartels, Gretchen ChristineChilders, Joseph W
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UC Riverside
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| Date
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2013
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2013
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| Abstract
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To more fully understand nineteenth-century literary production, literary scholars must consider periodical editing as more than biographical footnotes to the lives of famous Victorian authors or secondary details in a text’s publishing history. In <i>The Editor as Producer: Nineteenth-Century British Literary Editors<i>, I seek to render more visible the work of the periodical editor, positing this figure as pivotal to the nineteenth-century literary scene. A single metanarrative of the editorial role is impossible to tell and undesirable insofar as it would necessarily flatten out a rich and varied history of practices and the influences particular men and women have had on literary texts, periodicals, and nineteenth-century print culture; however, critical work on editors has been too fragmented. My approach is to trace the historical trajectory of editorial roles through the nineteenth century but to focus in each period on a pair of editors to explore the editorial trends of professionalization, celebrity author-editorship, and responses to new technologies. </i></i><i><i>Pairing Francis Jeffrey of the <i>Edinburgh Review<i> and William Blackwood along with the fictional Christopher North of <i>Blackwood’s Edinburgh Magazine <i>, chapter 1 focuses on the struggle for professionalization in literary reviews and magazines during the early nineteenth century. In chapter 2, I draw on the figure of the naked editor to represent the emotional openness and literary intimacy audiences pursued in author-editors. William Makepeace Thackeray’s <i>Cornhill Magazine<i> and Ellen Wood’s <i>Argosy<i> form this chapter’s central set of periodicals. Finally, <i>The Editor as Producer<i> concludes with perhaps the most unlikely pairing: George Newnes’s popular magazine <i>Tit-Bits<i> and Henry Harland and Aubrey Beardsley’s artistic quarterly the <i>Yellow Book<i>. The editors of both periodicals responded to late-century changes in audience and technology, but while Newnes embraced the increased pace of modern life and shorter reader attention span, Harland and Beardsley focused on creating a periodical that was first and foremost an <i>objet d’art<i>. Chapter 3 emphasizes how the fitness of periodicals in their cultural environments was influenced by the editor’s vision.</i></i></i></i></i></i></i></i></i></i></i></i></i></i></i></i></i></i>
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Childers, Joseph W
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UC Riverside
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