Enfilade

From De Gruyter:

Kate Parker and Miriam Wallace, eds., Teaching the Eighteenth Century Now: Pedagogy as Ethical Engagement (Lewisburg, PA: Bucknell University Press, 2024), 196 pages, ISBN: ‎ 978-1684485048 (hardcover) / ISBN: ‎978-1684485031 (paperback), $38.

In this timely collection, teacher-scholars of ‘the long eighteenth century’, a Eurocentric time frame from about 1680 to 1832, consider what teaching means in this historical moment: one of attacks on education, a global contagion, and a reckoning with centuries of trauma experienced by Black, Indigenous, and immigrant peoples. Taking up this challenge, each essay highlights the intellectual labor of the classroom, linking textual and cultural materials that fascinate us as researchers with pedagogical approaches that engage contemporary students. Some essays offer practical models for teaching through editing, sensory experience, dialogue, or collaborative projects. Others reframe familiar texts and topics through contemporary approaches, such as the health humanities, disability studies, and decolonial teaching. Throughout, authors reflect on what it is that we do when we teach—how our pedagogies can be more meaningful, more impactful, and more relevant.

Kate Parker, professor and chair of English, teaches pre-1800 English and European cultural studies and feminism and sexuality studies at the University of Wisconsin–La Crosse, a regional comprehensive university in the University of Wisconsin System.

Miriam L. Wallace, formerly professor of English and gender studies at New College of Florida, is dean of the College of Liberal Arts and Social Sciences at the University of Illinois-Springfield.

c o n t e n t s

Introduction: Situating Teaching in/about/around the Eighteenth Century — Kate Parker and Miriam L. Wallace
1  Creating Teaching Editions, Teaching through Editing — Tiffany Potter
2  Performing against History: Teaching Behn’s The Widdow Ranter — Ziona Kocher
3  Let’s Talk about (Early Modern) Sex . . . Online — Kate Parker
4  The Chocolate Project: Recontextualizing Eighteenth-Century Studies in a Time of Downsizing — Teri Doerksen
5  Enlightened Exchanges: An Interdisciplinary Approach to Teaching the Scottish Enlightenment — Christine D. Myers
6  Design, Pedagogy, and Pandemic Teaching Tools in an Interdisciplinary History of Science Course — Diana Epelbaum
7  It Was Sickness and Poverty Together: Teaching Inequality and Health Humanities in Austen’s Emma — Matthew L. Reznicek
8  Teaching Hurts — Travis Chi Wing Lau
9  Anticolonial Approaches to Teaching Colonial Art Histories — Emily C. Casey
Coda: Teaching (in) the Eighteenth(-)Century Now — Eugenia Zuroski

Acknowledgments
Bibliography
Notes on Contributors
Index

Newly available in paperback from Liverpool UP:

Caroline Archer-Parré and Malcolm Dick, eds., Pen, Print, and Communication in the Eighteenth Century (Liverpool: Liverpool University Press, 2020), 256 pages, ISBN: 978-1789622300 (hardcover), $150 / ISBN: 978-1802078800 (paperback), $50.

During the eighteenth century there was a growing interest in recording, listing, and documenting the world, whether for personal interest and private consumption, or general record and the greater good. Such documentation was done through both the written and printed word. Each genre had its own material conventions and spawned industries which supported these practices. This volume considers writing and printing in parallel: it highlights the intersections between the two methods of communication; discusses the medium and materiality of the message; considers how writing and printing were deployed in the construction of personal and cultural identities; and explores the different dimensions surrounding the production, distribution, and consumption of private and public letters, words, and texts during the eighteenth-century. In combination the chapters in this volume consider how the processes of both writing and printing contributed to the creation of cultural identity and taste, assisted in the spread of knowledge and furthered personal, political, economic, social, and cultural change in Britain and the wider-world. This volume provides an original narrative on the nature of communication and brings a fresh perspective on printing history, print culture, and the literate society of the Enlightenment.

Caroline Archer-Parré is Professor of Typography at Birmingham City University, Director of the Centre for Printing History & Culture, and Chairman of the Baskerville Society. She is the author of The Kynoch Press, 1876–1982: The Anatomy of a Printing House (British Library, 2000); Paris Underground (MBP, 2004); and Tart Cards: London’s Illicit Advertising Art (MBP, 2003). Caroline is currently co-investigator on the AHRC-funded project Letterpress Printing: Past, Present, Future.

Malcolm Dick is Director of the Centre for West Midlands History at the University of Birmingham. He directed two history projects in Birmingham between 2000 and 2004: the Millennibrum Project, which created a multi-media archive of post-1945 Birmingham history, and Revolutionary Players, which produced an online resource of the history of the West Midlands region. Malcolm has published books on Joseph Priestley, Matthew Boulton, and the history of Birmingham. He co-directs the Centre for Printing History & Culture.

c o n t e n t s

List of Illustrations
Acknowledgements

Introduction — Caroline Archer-Parré and Malcolm Dick
1  The Growth of Copperplate Script: Joseph Champion and The Universal Penman — Nicolas Barker
2  Authorship in Script and Print: The Example of Engraved Handwriting Manuals of the Eighteenth Century — Giles Bergel
3  Writing and the Preservation of Cultural Identity: The Penmanship Manuals of Zaharija Orfelin — Persida Lazarević Di Giacomo
4  ‘The Most Beautiful Hand’: John Byrom and the Aesthetics of Shorthand — Timothy Underhill
5  An Archaeology of the Letter Writing: The Correspondence of Aristocratic Women in Late Eighteenth- and Early Nineteenth-Century England — Ruth Larsen
6  Private Pleasures and Portable Presses: Do-It-Yourself Printers in the Eighteenth Century — Caroline Archer-Parré
7  Performance and Print Culture: Two Eighteenth-Century Actresses and Their Image Control — Joanna Jarvis
8  Script, Print, and the Public/Private Divide: Sir David Ochterlony’s Dying Words — Callie Wilkinson
9  Identity, Enigma, Assemblage: John Baskerville’s Vocabulary, or Pocket Dictionary — Lynda Muggleston
10  Marigolds Not Manufacturing: Plants, Print, and Commerce in Eighteenth-Century Birmingham — Elaine Mitchell
11  Tourist Experience and the Manufacturing Town: James Bisset’s Magnificent Directory of Birmingham — Jenni Dixon
12  Forging an Identity on the Periphery of the Enlightenment: Malta in Print in the Eighteenth-Century — Robert Thake
13  Perceptions of England: The Production and Reception of English Theatrical Publications in Germany and the Netherlands during the Eighteenth Century — Emil Rybczak
14  Print Culture and Distribution: Circulating the Federalist Papers in Post-Revolutionary America — Peter Pellizzari
15  The Serif-less Letters of John Soane — Jon Melton

Notes on the Contributors
Index

From Cambridge UP:

Cristina Martinez and Cynthia Roman, eds., Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century: The Imprint of Women, c. 1700–1830 (Cambridge: Cambridge University Press, 2024), 292, pages, ISBN: 978-1108844772 (hardcover), $110 / ISBN: 978-1108953535 (online).

A ground-breaking contribution that broadens our understanding of the history of prints, this edited volume assembles international senior and rising scholars and showcases an array of exciting new research that reassesses the history of women in the graphic arts c. 1700 to 1830. Sixteen essays present archival findings and insightful analyses that tell compelling stories about women across social classes and nations who persevered against the obstacles of their gender to make vital contributions as creative and skilled graphic artists, astute entrepreneurs, and savvy negotiators of copyright law in Britain, France, Germany, Holland, Italy, and the United States. The book is a valuable resource for both students and instructors, offers important new perspectives for print scholars and aims to provide impetus for further research. This title is part of the Flip it Open Programme and may also be available Open Access. Check our website Cambridge Core for details.

Cristina S. Martinez is an art historian at the University of Ottawa, specialising in British eighteenth-century art and copyright history. She is the author of the entry on Jane Hogarth in the Oxford Dictionary of National Biography and has received several awards including a Bodleian Library fellowship.

Cynthia E. Roman is Curator of Prints, Drawings and Paintings at the Lewis Walpole Library, Yale University. She is an active and widely published scholar of British art of the eighteenth century. Her work focuses on the history of prints and print collecting, and the work of women and amateur artists.

c o n t e n t s

List of Figures
List of Contributors
Acknowledgments
Frontispiece Figure

Introduction: Hidden Legacies — Cristina S. Martinez and Cynthia E. Roman

Part I | Self-Presentation and Self-Promotion
1  Show-offs: Women’s Self-Portrait Prints, c. 1700 — Madeleine C. Viljoen
2  Maria Hadfield Cosway’s ‘Genius’ for Print: A Didactic, Commercial, and Professional Path — Paris A. Spies-Gans
3  Caroline Watson and the Theatre of Printmaking — Heather McPherson
4  ‘Talent and Untiring Diligence’: The Print Legacy of Angelika Kauffmann, Marie Ellenrieder, and Maria Katharina Prestel — F. Carlo Schmid

Part II | Spaces of Production
5  ‘Living in the Bosom of a Numerous and Worthy Family’: Women Printmakers Learning to Engrave in Late Eighteenth-Century London — Hannah Lyons
6  Divine Secrets of a Printmaking Sisterhood: The Professional and Familial Networks of the Horthemels and Hémery Sisters — Kelsey. D. Martin
7  Yielding an Impression of Women Printmakers in Eighteenth-Century France — Rena M. Hoisington
8  Laura Piranesi ‘Incise’: A Woman Printmaker Following in Her Father’s Footsteps — Rita Bernini
9  Etchings by Ladies, ‘Not Artists’ — Cynthia E. Roman

Part III | Competing in the Market: Acumen in Business and Law
10  Mary Darly, Fun Merchant and Caricaturist — Sheila O’Connell
11  A Changing Industry: Women Publishing and Selling Prints in London, 1740–1800 — Amy Torbert
12  Jane Hogarth: A Printseller’s Imprint on Copyright Law — Cristina S. Martinez
13  Shells to Satire: The Career of Hannah Humphrey (1750–1818) — Tim Clayton
14  Encouraging Rowlandson – The Women Who Mattered — Nicholas JS Knowles
15  Female Printmakers and Printsellers in the Early American Republic: Eliza Cox Akin and Mary Graham Charles — Allison M. Stagg

Index

Book Cover Image: Lou McKeever, 2023, inspired by the title page from Darly’s Comic-Prints of Characters, Caricatures, Macaronies, &c, 1776.

Part of the Princeton Economic History of the Western World, from Princeton UP:

Geoffrey Hodgson, The Wealth of a Nation: Institutional Foundations of English Capitalism (Princeton: Princeton University Press, 2023), 304 pages, ISBN: 978-0691247014, £35 / $40.

How the development of legal and financial institutions transformed Britain into the world’s first capitalist country

Modern capitalism emerged in England in the eighteenth century and ushered in the Industrial Revolution, though scholars have long debated why. Some attribute the causes to technological change while others point to the Protestant ethic, liberal ideas, and cultural change. The Wealth of a Nation reveals the crucial developments in legal and financial institutions in the seventeenth and eighteenth centuries that help to explain this dramatic transformation.

Offering new perspectives on the early history of capitalism, Geoffrey Hodgson describes how, for the emerging British economy, pressures from without were as important as evolution from within. He shows how intensive military conflicts overseas forced the state to undertake major financial, administrative, legal, and political reforms. The resulting institutional changes not only bolstered the British war machine—they fostered the Industrial Revolution. Hodgson traces how Britain’s war capitalism led to an expansion of its empire and a staggering increase in the slave trade, and how the institutional innovations that radically transformed the British economy were copied and adapted by countries around the world. A landmark work of scholarship, The Wealth of a Nation sheds light on how external factors such as war gave rise to institutional arrangements that facilitated finance, banking, and investment, and offers a conceptual framework for further research into the origins and consolidation of capitalism in England.

Geoffrey M. Hodgson is professor emeritus in management at Loughborough University London and editor-in-chief of the Journal of Institutional Economics. His many books include Liberal Solidarity, Conceptualizing Capitalism, and Darwin’s Conjecture.

Part of the Lewis Walpole Series in Eighteenth-Century Culture and History, from Yale UP:

Chloe Wigston Smith, Novels, Needleworks, and Empire: Material Entanglements in the Eighteenth-Century Atlantic World (New Haven: Yale University Press, 2024), 312 pages, ISBN: 978-0300270785, $65.

The first sustained study of the vibrant links between domestic craft and British colonialism

In the eighteenth century, women’s contributions to empire took fewer official forms than those collected in state archives. Their traces were recorded in material ways, through the ink they applied to paper or the artifacts they created with muslin, silk threads, feathers, and shells. Handiwork, such as sewing, knitting, embroidery, and other crafts, formed a familiar presence in the lives and learning of girls and women across social classes, and it was deeply connected to colonialism.

Chloe Wigston Smith follows the material and visual images of the Atlantic world that found their way into the hands of women and girls in Britain and early America—in the objects they made, the books they held, the stories they read—and in doing so adjusted and altered the form and content of print and material culture. A range of artifacts made by women, including makers of color, brought the global into conversation with domestic crafts and consequently placed images of empire and colonialism within arm’s reach. Together, fiction and handicrafts offer new evidence of women’s material contributions to the home’s place within the global eighteenth century, revealing the rich and complex connections between the global and the domestic.

Chloe Wigston Smith is professor of eighteenth-century literature at the University of York, where she teaches in the Department of English and the Centre for Eighteenth Century Studies. She is the author of Women, Work, and Clothes in the Eighteenth-Century Novel.

c o n t e n t s

List of Illustrations

Introduction: Entangled Forms
1  Making the Four Corners of the Globe, Oroonoko, and Euphemia
2  Small Marks in Thread: Samplers, Moll Flanders, and Material Expression
3  Global Domestic Objects: Embroidered Maps, Lydia, and The Female American
4  Pins, Needles, and Wampum in Mary Rowlandson and Hobomok
5  Companionship in Black Attendant Needlework, The History of Sir George Ellison, and The Woman of Colour
Coda: Material Entanglements, Then and Now

Notes
Acknowledgments
Index