As part of my pre-hurricane planning, I’m pushing out a few pages that I’d put together but not announced. So…
In celebration of Open Access Week, here’s the fruit of my negotiated contributor’s contract: my book chapter on audiences for Stuart Hampton-Reeves and Bridget Escolme’s collection, Shakespeare and the Making of Theatre (Palgrave Macmillan 2012). The collection as a whole is geared towards exploring the practicalities of working with Shakespeare as a play texts intended for performance; my contribution explores how to think about the relationship between audiences and actors and what role each plays in shaping the other’s response. I talk about a couple of productions at Shakespeare’s Globe (a King Lear and an As You Like It), Toneelgroep’s amazing Roman Tragedies, and a Folger Theatre show of Measure for Measure.
And in celebration of the upcoming Modern Languages Assocation conference (where I’ll be participating in two roundtable discussions, “Convergent Histories of the Book: From Manuscript to Digital” and “How Did I Get Here? § continue reading →
As some of you know, I am the queen of folding exercises. It’s the only way to understand early modern book formats, and I like puttering around coming up with better ways to demonstrate this to my students and even to my blog readers (see here and, most recently, here). Because it’s that time of year when I get my syllabus in order and because, thanks to my week at Rare Book School’s Introduction to the Principles of Bibliographical Description, I have format on my brain, it suddenly dawned on me that instead of just handing out my one-sheet syllabus (the bulk of my syllabus is online), I could hand it out as a folding exercise!
And so, after much fiddling with Word (which really isn’t the right tool for this sort of thing), I have at long last produced my syllabus in quarto format!
I’m pretty crazily excited about this. § continue reading →
In my last post, I discussed the contibutor’s contact I had been presented with for a chapter I have in a forthcoming collection. It was much more restrictive than I liked, including requiring that I ask them before I reuse my material in my own future publications and not allowing for any digital repository use at all. After emailing my editors and the publisher, and going through some back-and-forth, I’m happy to say that they presented an alternative contributor’s contract that I’m willing to sign!
Here are the key details in how this happened for those of you who might be contemplating this sort of negotiation:
I let my volume editors know that I intended to do this. I’m not sure they entirely understood my objections (one pointed out that he’d already put his contribution on his institutional repository; I didn’t counter that that didn’t seem permissible according to the terms we were given). § continue reading →
6 July update below
So, on top of everything else I’m dealing with at the moment, I just got an email requesting a super fast turn-around on a contributor’s agreement for a chapter I wrote. The book collection has already been accepted and is already in production—it’s really not clear to me how things got this far along without contributor’s agreements being worked out. But it has. So here’s my situation: this agreement sucks. It leaves the contributor with no rights. It doesn’t even let me republish my own work in, say, my own monograph without asking the publisher for permission. Here are the key details:
- “Author grants to the Publisher for the full term of copyright and any extensions thereto, the exclusive right and licence to edit, adapt, publish, reproduce, distribute, display and store the Contribution . . . in all forms, formats and media whether now known or hereafter developed (including without limitation in print, digital and electronic form) throughout the world”
- Author grants to the Publisher the exclusive right and licence “to translate the Contribution into other languages, create adaptations, summaries or extracts of the Contribution or other derivative works based on the Contribution”
- “The Author shall only be entitled to republish the Contribution with the Publisher’s prior written permission which shall not be unreasonably withheld, and provided that, when reproducing the Contribution or extracts from it, the Author acknowledge and reference first publication of the Contribution in the Work.”
- “The Author irrevocably and unconditionally waives the Author’s moral right as provided in the Copyright, Designs and Patents Act 1988 to the extent the Publisher reasonably deems necessary to allow the Publisher to exercise and license the rights granted to the Publisher under this Agreement.” update: This sentence is preceded by one in which the Author asserts moral rights, so it looks as if I’m not being asked to waive all my moral rights, just the ones the Publisher wants me to.
§ continue reading →
Hello, and welcome to Carnivalesque 86, the early modern edition! Step right up for a look at things small and large in the world of early modern blogs.
I’ve been puzzling through the relationship between the fairly new field of big data in the humanities and what might be its opposite, small data, and so many of the posts that caught my attention are ones that are navigating between individual objects and networks of data. One of the objections that I have to big data is that I’m drawn to the ephemeral and the hard-to-measure. In “Early printed book contains rare evidence of medieval spectacles,” The Harry Ransom Center’s Cultural Compass blog takes a look at that trickiest of ephemera, not the object itself but the traces it left behind. The medieval manuscript used as the endpapers to a 1568 printed work show the outline of a pair of medieval glasses. § continue reading →
Hi, all. Some online book-history-related tidbits you might be interested in: 1) The Folger Bindings Image Collection is now up and running and is gorgeous and full of tasty metadata to help you find what you’re looking for! 2) Jen Howard asked a great question about looking for readings about reading and the results are now being collected in a Zotero library. Please add your suggestions. 3) The talk that I posted here led to a great conversation with Glenn Fleishman, who wrote it up for The Economist’s Babbage blog! (a bit of horn self-tooting there, sorry, but it was pretty exciting in what has otherwise been a glum stretch of time)
And this is a heads’ up and a plea: I’m hosting the next early modern edition of Carnivalesque at the end of the month, so I’m eager for your recommendations for great blog posts. There’s a handy web form for you to use and I welcome your own moments of self-promotion, so there’s no reason not to recommend away. § continue reading →