Isaiah Thomas’s Illustrated Imprints in the 1790s: The Provenance, Uses, and Production of their Illustrations

Jung, Sandro

doi:10.1086/713874

Cited by 2 publications

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“…The examinations of the transmedial appropriation of illustrations in this Element build on recent work on the recycling of illustrations by different publishers (Jung, 2021), particularly since these illustrations are characterized by a mobility across media and geographical borders, which facilitated their meaningful recontextualization and altered meanings. They will conceive of illustrations as 'portal[s] between the text and its cultural context' (Haywood, Matthews and Shannon, 2019, p. 5), but also as part of 'the rambunctious materiality of eighteenth-century texts' (Barchas, 2003, p. 6), textuality being defined broadly to include material culture as long as it was 'produced with the intention of communicating a meaningful message that an audience could usually interpret' (Treharne and Willan, 2020, p. 2).…”

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confidence: 99%

Eighteenth-Century Illustration and Literary Material Culture

Jung

2023

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This Element studies eighteenth- and early nineteenth-century instances of transmediation, concentrating on how the same illustrations were adapted for new media and how they generated novel media constellations and meanings for these images. Focusing on the 'content' of the illustrations and its adaptation within the framework of a new medium, case studies examine the use across different media of illustrations (comprehending both the designs for book illustrations and furniture prints) of three eighteenth-century works: Defoe's Robinson Crusoe (1719), Thomson's The Seasons (1730) and Richardson's Pamela (1740). These case studies reveal how visually enhanced material culture not only makes present the literary work, including its characters and story-world. But they also demonstrate how, through processes of transmediation, changes are introduced to the illustration that affect comprehension of that work. This title is also available as Open Access on Cambridge Core.

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confidence: 99%