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This book reveals the Hebrew Bible to be a sophisticated work of political philosophy, and the birthplace of egalitarian thought. Focusing on the Pentateuch, this book lays bare the manner in which the Bible appropriated and reconstituted ancient norms and institutions to create a new blueprint for society. Theology, politics, and economics were marshaled anew to weaken traditional seats of power, and to create a homogeneous class of empowered common citizens. Much of this anticipates developments in the history of political thought that would recur only during the Enlightenment and in the thought of the American Founding Fathers. Ancient religion granted sacral legitimation to the ruling classes and saw the masses as mere servants. The Pentateuch, by contrast, elevates the common citizenry in the eyes of God by invoking the political institution of the vassal treaty, and casting Israel as a subordinate king to the Almighty through the theology of covenant. Through the prism of the political philosophies of Plato, Aristotle, and Montesquieu, the book demonstrates the Pentateuch to be history's first proposal for the distribution of political power. Utilizing the anthropology of pre‐modern economies, ancient norms are explored concerning land tenure, taxation, and loans are reworked so that the common citizenry remains economically secure. Invoking the transformational role of the printing press in the spread of the Reformation and the birth of the Enlightenment, the book identifies far‐reaching consequences in the Bible's approach to what was then the new technology of communication: the alphabetic text.

Before the advent of printing, the preaching of the friars was the mass medium of the middle ages. This edition of marriage sermons reveals what a number of famous preachers actually taught about marriage, teasing out the close connection between marriage symbolism and social, cultural, and legal realities in the 13th century. The relation between genre, content, and gender is analysed, with particular attention to the likely impact of preaching, viewed as a means of intellectual power in competition with vernacular genres and other social forces. Its mass diffusion anticipated printing, but the means of production were those of the monastic scriptorium. The textual criticism and palaeographical analysis of these sermons undermine central assumptions of both medieval and early modern historians of the book, establishing a technique of textual criticism appropriate for texts of this kind. A pragmatic compromise between simple transcriptions which ignore stemmatic relation and full-scale editions attempting to fit all manuscripts into a genealogical table, this book addresses both the sermon literature of the period and the understanding of marriage and its religious and cultural significance in the middle ages.

In the years after 1815, a few visionary entrepreneurs decided the time was right to launch true mass media in America. They believed it was possible through new technology, national organization, and the grace of God to place the same printed message into the hands of every man, woman, and child in America. Though these entrepreneurs were savvy businessmen, their publishing enterprises were not commercial businesses. They were nonprofit religious organizations, including the American Bible Society, American Tract Society, and American Sunday School Union. Faith in Reading tells the story of the noncommercial origins of mass media in America. The theme is how religious publishers learned to work against the flow of ordinary commerce. Religious publishing societies believed that reading was too important to be left to the “market revolution”; they sought to foil the market through the “visible hand” of organization. Though religious publishers worked against the market, they employed modern printing technologies and business methods, and were remarkably successful, churning out millions of Bibles, tracts, religious books, and periodicals. At the same time, they tried to teach people to read those books in the most traditional way. Their aim was to use new mass media to encourage old reading habits. This book examines both publishers and readers. It is about how religious publishing societies imagined their readers. It is also about reader response — how ordinary readers received and read religious books and tracts in early 19th century America.

This book investigates how Syon Abbey responded to the religious turbulence of the 1520s and 1530s. It examines the eleven books three brothers — William Bonde, John Fewterer, and Richard Whitford — had printed during this period and argues that the Bridgettines used vernacular printing to engage with religious and political developments that threatened their understanding of orthodox faith. Through these works — and their some twenty-six editions — the Abbey presented itself as part of the vanguard of the Church, fighting heterodoxy with a three-fold commitment to reformed spiritual leadership, vernacular theology and the spiritual education of the laity. It used its printed books to augment inferior parochial instruction; bolster orthodox faith and contradict evangelical argument; resist Henry VIII's desire for ecclesiastical supremacy; and defend the monastic way of life. The book has three principal aims. First, to continue the debate about the nature of late medieval Catholicism by directing attention to one community that publicly proclaimed a very specific Catholic identity in the early sixteenth century that was not uncritical of traditional religion. Second, to highlight the dynamic nature of that identity. Although Syon energetically contested its opponents' claims to a ‘Catholic’ identity and insisted on its own ability to rigidly define heresy, it took advantage of the fluidity of religious identity in this period to forge a public image which might bolster lay faith in traditional religion. This identity was in continuous dialogue with evangelicalism and far from static. Third, to emphasise the importance and dynamism of conservative vernacular theology in this period: it's capacity to recognize, and engage with, the lay desire for spiritual self-determination, while responding robustly to threats to traditional religion.

If there is one genre that has captured the imagination of people in all walks of life throughout the world, it is the fairy tale. Yet we still have great difficulty understanding how it originated, evolved, and spread—or why so many people cannot resist its appeal, no matter how it changes or what form it takes. This book presents a provocative new theory about why fairy tales were created and retold—and why they became such an indelible and infinitely adaptable part of cultures around the world. Drawing on cognitive science, evolutionary theory, anthropology, psychology, literary theory, and other fields, the book presents a nuanced argument about how fairy tales originated in ancient oral cultures, how they evolved through the rise of literary culture and print, and how, in our own time, they continue to change through their adaptation in an ever-growing variety of media. In making its case, the book considers a wide range of fascinating examples, including fairy tales told, collected, and written by women in the nineteenth century; Catherine Breillat's film adaptation of Perrault's “Bluebeard”; and contemporary fairy-tale drawings, paintings, sculptures, and photographs that critique canonical print versions. While we may never be able to fully explain fairy tales, this book provides a powerful theory of how and why they evolved—and why we still use them to make meaning of our lives.

The works of John Lyly, Robert Greene, and Thomas Lodge effectively established prose fiction in print at the end of the sixteenth century. In these extraordinary pamphlets, rhetorical sophistication is married with the outlandish adventures of young lovers, ‘high’ and ‘low’ culture combined. Fictions of Authorship re-examines these narratives in the light of their creators' developing understanding of the implications of authorship. Christened the ‘University Wits’ by an earlier generation of critics, Lyly, Greene, and Lodge were themselves displaced persons, attempting to shape careers in the new and often despised medium of print. Their attempts to demonstrate their learning while appealing to as wide a readership as possible led them to manufacture multiple authorial personae, and to reflect critically and sometimes outrageously on the works of their contemporaries and predecessors. Their texts are closely interwoven with each other. The authors competed to set new literary trends, often by overgoing the attempts of their peers. Apparently opposed literary modes were mixed, resulting in the placement of a persona like Lyly's Euphues in Philip Sidney's Arcadia. Meanwhile the relationship between writer and reader became increasingly complex, as the authors began to tailor their fictions to an ever expanding market. By providing close and comparative readings of these short fictions, Fictions of Authorship charts the authors' increasing disillusionment with the confines of romance, but also their popular success. As they assimilated and domesticated the experiments of writers like Harvey, Sidney and Spenser, they created an irreverent alternative canon of ‘English literature'.

A monumental work in the history of religion, the history of the book, the study of politics, and bibliographical research, this volume follows the making of the Chinese Buddhist canon from the fourth century to the digital era. Approaching the subject from a historical perspective, it ties the religious, social, and textual practices of canon formation to the development of East Asian Buddhist culture and enlivens Chinese Buddhist texts for readers interested in the evolution of Chinese writing and the Confucian and Daoist traditions. The collection undertakes extensive readings of major scriptural catalogs from the early manuscript era as well as major printed editions, including the Kaibao Canon, Qisha Canon, Goryeo Canon, and Taisho Canon. Contributors add fascinating depth to such understudied issues as the historical process of compilation, textual manipulation, physical production and management, sponsorship, the dissemination of various editions, cultic activities surrounding the canon, and the canon’s reception in different East Asian societies. The Chinese Buddhist canon is one of the most enduring textual traditions in East Asian religion and culture, and through this exhaustive, multifaceted effort, an essential body of work becomes part of a new, versatile narrative of East Asian Buddhism that has far-reaching implications for world history.

This book delivers a reworking of the history of print through a unique effort in authorial collaboration. The book itself is not a typical monograph—rather, it is a “multigraph,” the collective work of twenty-two scholars who together have assembled an alphabetically arranged tour of key concepts for the study of print culture, from Anthologies and Binding to Publicity and Taste. Each entry builds on its term in order to resituate print and book history within a broader media ecology throughout the eighteenth and nineteenth centuries. The central theme is interactivity, in three senses: people interacting with print; print interacting with the non-print media that it has long been thought, erroneously, to have displaced; and people interacting with each other through print. The resulting book introduces new energy to the field of print studies, leading to considerable new avenues of investigation.