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Related: press - public

By medium: book - magazine - music - newspaper - novel - web site

Publishers: Dalkey Archive Press - Atlas Press - Jörg Schröder - John Calder - Sylvia Beach - Creation Books - Edmund Curll - Lawrence Ferlinghetti - Maurice Girodias - Glittering Images - Grove Press - Eric Losfeld - Headpress - New Directions - Obelisk Press - Olympia Press - Jean-Jacques Pauvert - RE/Search publications (V.Vale and A. Juno) - Barney Rosset - Taschen

Index Librorum Prohibitorum, list of forbidden books


Publishing is the activity of putting information in the public arena. Although this can mean something as simple as making an announcement in a pub or market square, for some centuries it has usually referred to the business of producing books, magazines, newspapers and other printed material. --http://en.wikipedia.org/wiki/Publishing [Jan 2005]

see also: distributor


A pamphleteer is a historical term for someone who creates or distributes pamphlets in order to get people to vote for their favourite politician or to articulate a particular political ideology. A famous pamphleteer of the American Revolutionary War was Thomas Paine. Today a pamphleteer might communicate his missives by way of weblog, but before the advent of telecommunications, those with access to a printing press and a supply of paper used the pamphlet as a means of mass communications outside of newspapers or full-fledged books. --http://en.wikipedia.org/wiki/Pamphleteer [Jun 2006]

Small Press

Small Press is a term used to describe Publishers who typically specialize in genre fiction, or limited edition books or magazines. -- [Aug 2004]

Taschen [...]

The art book publisher Taschen has been a prominent force in getting fetishistic imagery accepted into the mainstream, by publishing the works of fetish artists and fetish photographers alongside its mainstream output of books of photographs of art, design and architecture.

Publishing web pages

The web is available to individuals outside mass media. In order to "publish" a web page, one does not have to go through a publisher or other media institution, and potential readers could be found in all corners of the globe. To some this represents an opportunity to enhance democracy by giving voice to alternative and minority views. Others took it as a path to anarchy and unrestrained freedom of expression. Yet others took it as a sign that a hierarchically organized society of which mass media is a symptomatic part, will be replaced by a so-called network society.

In addition, hypertext seemed to promote non-hierarchical and non-linear ways of expression and thinking. Unlike books and documents, hypertext does not have a linear order from beginning to end. It is not broken down into the hierarchy of chapters, sections, subsections, etc. This is reminiscent of the idea of Marshall McLuhan that new media change people's perception of the world, mentality, and way of thinking. While not unique to the web, hypertext in this sense is closely related to the notion of "death of author" and intertextuality in structuralist literary theory.

These bold visions are not fully realized yet. We can find both supporting and countering aspects of web usage. --http://en.wikipedia.org/wiki/WWW#Publishing_web_pages

The Music Business and Book Business

Hemingway had rock-star status (and even impersonators). Steinbeck was Springsteen. Salinger was Kurt Cobain. Dorothy Parker was Courtney Love. James Jones was David Crosby. Mailer was Eminem. This is to say -- and I understand how hard this is to appreciate -- that novelists were iconic for much of the first half of the last century. They set the cultural agenda. They made lots of money. They lived large (and self-medicated). They were the generational voice. For a long time, anybody with any creative ambition wanted to write the Great American Novel.

But starting in the fifties, and then gaining incredible force in the sixties, rock-and-roll performers eclipsed authors as cultural stars. Rock and roll took over fiction's job as the chronicler and romanticizer of American life (that rock and roll became much bigger than fiction relates, I'd argue, more to scalability and distribution than to relative influence), and the music business replaced the book business as the engine of popular culture. -- Michael Wolff on [...]

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