ewatson.bsky.social
Historian ☞ @britishacademy.bsky.social postdoc @hcaatedinburgh.bsky.social on female collaboration in the first age of print ☞ #earlymodern gender, books, religion, DH, queer stuff ☞ she/her 🌈
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So exciting! Congrats Zanna!
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Thank you Shannon!!!
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Thanks Liesbeth! 😁
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Of course! It’s a brilliant piece. @bibliowingate.bsky.social are you happy to send a PDF or shall I?
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If you are interested in any of these chapters, I have no doubt the authors will be very willing to share their brilliant research. Please consider ordering a copy for your library or, even better, reviewing the book for a copy of your own. Thank you for reading! #herbook
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In Part 8: Towards Inclusive Histories, Kirk Melnikoff examines London women's book-trade wills, @grubstreetwomen.bsky.social and @kandicedarcia.bsky.social explore gendered marketing and authorship, and @malcolmjnoble.bsky.social pioneers queer ways to interact with books (pp. 430, 450, 476)
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Part 7: Gendered Perception and Reality flies through the 16-20c, with the collections in the Hispanic monarchy (Laura Guinot Ferri), the works of Esther Inglis (Georgianna Ziegler), Wilfrid Voynich and Belle da Costa Greene (Natalia Fantetti), and bookbinders’ unions (Susan McElrath). p. 352:
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Part 6: Crafting Identity explores facets of religion and gender through nonconformist stationers in London (Verônica Calsoni Lima), incunabular Germanic prayer manuals (Rabia Gregory), and rulebreaking Catholic women in the Dutch Republic (my own chapter). From Bruder Klaus (1487), p. 314:
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In Part 5: Shaping Collections: Gender and Value, @bibliowingate.bsky.social examines affordances in Navarre, Valentina Sonzini describes professional roles in a Genoese convent, and @joelleweis.bsky.social reconstructs a remarkable Wolfenbüttel collection. Great detective work/ #dataviz on display!
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Part 4: The Bookshop and the Marketplace moves us between Paris, Delhi, and Leiden, from the bookshop salon (Matthew Chambers) to the Daryaganj Book Market (@aampannaa.bsky.social) to Luchtmans (J.C. Rozendaal), as we examine women as booksellers and buyers from the 18c to the present.
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In Part 3: Editorial Interventions, the inimitable combination of Charley Matthews and @drwilliams.bsky.social tackles the legacies of women’s labour as editors, anthologisers, and polymaths by looking at Mary Hays and Constantia Grierson.
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Part 2: Publishing Gender, examines the role of gender in publishing in very different contexts: in South Africa (Elizabeth Le Roux), in 20c paperback publishing (@arkhamlibrarian.bsky.social), and 19c/20c Britain (Sarah Lubelski). Gendered expectations manifested in the workplace (p. 100):
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In Part 1: Familiar Networks, family networks of printers are examined in Nuremberg by Jessica Farrell-Jobst, in the Iberian Atlantic by Natalia Maillard Álvarez and Montserrat Cachero, and in colonial Peru by @agnesgehbald.bsky.social. In these stories, printing is an action done by a community.
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In our introduction, Jessica Farrell-Jobst, @noraepstein.bsky.social and I argue that it is time to take gender seriously as a methodology in book history. You can read the chapter here (or ask any of us for a PDF): www.pure.ed.ac.uk/ws/portalfil...
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The artist who did it (a woodblock printer herself) was so impressed, she told me she was going to use it for future flash inspiration! So hopefully there are more of them out there now 😁
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I know the price is exorbitant (it's an enormous book and aimed at libraries), but several chapters are already #OpenAccess and I am very keen that anyone who wants to read it should be able to, regardless of institutional access, so do get in touch! Copies are also free if you review, just saying 😉
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It’s so odd, the firm really doesn’t follow the usual pattern of widow -> widow and heir(s) -> heir takes over the business! Both versions appear for years! Definitely could be illicit or maybe even minor disagreements/differences in business strategy? More research needed I guess…
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I think you’d be very surprised looking at the data overall! But more on that soon
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It absolutely is- I’ll have more precise stats as my project develops but both things (women using full names & both appearing in imprint/colophon) seem to be WAY more common in 18c London than in any other place or time. Even in 17c London most (but not all ofc) collaborations seem to use initials
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Outstanding
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Thank you so much, Shannon!
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Thank you all so much for your kind words!
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Yes yes yes, I have a lot of plans for this! I may come your way with some DH questions once I get the project off the ground...
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I am also hoping that this project will not only study collaborations but be collaborative itself. If you come across instances of women sharing an imprint in a handpress book or working together in bookshops, binderies, type foundries, paper mills etc., I'd love to hear about it!