Böcker av Sandro Jung

The first ever study of illustrated belles lettres publishing in eighteenth-century Scotland, the book examines the strategies underpinning the making and the marketing of illustrated books. At the same time, it sheds light on those individuals (artists, engravers, bookseller-publishers) that were involved in the production of these works.

John Gay was a dramatist and poet, best-known for writing The Beggar's Opera. Through his membership of the Scriblerus Club, Gay developed lasting friendships with Alexander Pope, Jonathan Swift and John Arbuthnot, all of whom influenced his writing. The study will be invaluable to scholars of eighteenth-century literature and political history.

This volume is the first study of the mode of the fragmentary in eighteenth-century poetry. Revisiting traditional literary historiography, it offers a fresh account of the "Pindaric" impulse, a mode informing deliberate fragmentation.

Drawing on the methods of textual and reception studies, book history, print culture research, and visual culture, this interdisciplinary study of James Thomson's The Seasons (1730) understands the text as marketable commodity and symbolic capital which throughout its extended affective presence in the marketplace for printed literary editions shaped reading habits. At the same time, through the addition of paratexts such as memoirs of Thomson, notes, and illustrations, it was recast by changing readerships, consumer fashions, and ideologies of culture. The book investigates the poem's cultural afterlife by charting the prominent place it occupied in the visual cultures of eighteenth- and early nineteenth-century Britain. While the emphasis of the chapters is on printed visual culture in the form of book illustrations, the book also features discussions of paintings and other visual media such as furniture prints. Reading illustrations of iconographic moments from The Seasons as paratextual, interpretive commentaries that reflect multifarious reading practices as well as mentalities, the chapters contextualise the editions in light of their production and interpretive inscription. They introduce these editions' publishers and designers who conceived visual translations of the text, as well as the engravers who rendered these designs in the form of the engraving plate from which the illustration could then be printed. Where relevant, the chapters introduce non-British illustrated editions to demonstrate in which ways foreign booksellers were conscious of British editions of The Seasons and negotiated their illustrative models in the sets of engraved plates they commissioned for their volumes.