Project (M. Pub.) - Simon Fraser University, 2004. / Theses (Master of Publishing Program) / Simon Fraser University.

Thesis (Ph. D.)--University of Oregon, 2003. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 218-226). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (M.L.Sc.)--University of Alberta, 2009. / A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Library and Information Studies, School of Library and Information Studies, University of Alberta. "Fall 2009." Title from pdf file main screen (viewed on October 30, 2009). Includes bibliographical references.

Migrant (1959-1960) and Poor.Old.Tired.Horse.(1962-1967) were two little magazines edited respectively by British poets Gael Turnbull and Ian Hamilton Finlay. This thesis aims to explore the magazines’ contributions to the diversification of British poetry in the 1960s, via their commitment to transnational exchange and publication of innovative poetries. My investigation is grounded on the premise that little magazines, as important but neglected socio-literary forms, provide a nuanced picture of literary history by revealing the shifting activities and associations between groups of writers and publishers. Drawing on Pierre Bourdieu and Pascale Casanova, I argue that Migrant and Poor.Old.Tired.Horse were exceptionally outward-looking publications bringing various kinds of poetic forms, both historical and contemporary, local and international, to new audiences, and creating literary networks in the process. A brief overview of the post-war British poetry scene up until 1967, and the role of little magazines within this period, will contextualize Turnbull’s and Finlay’s activities as editors and publishers. Migrant is examined as a documentation of Turnbull’s early years as a poet-publisher in Britain, Canada, and the US. I argue that Turnbull’s magazine is at once a manifestation of the literary friendships he forged, a negotiation of American poetic theories, and a formulation of a new British-American literary network. Identifying Charles Olson’s ‘Projective Verse’ manifesto as a particular influence on Turnbull, I examine aspects of Olson’s conceptualization of poetry as a dynamic process of unfolding in the content and ethos of Migrant. Finlay’s attitudes to internationalism and use of vernacular speech in poetry are compared to those of Hugh MacDiarmid to demonstrate that Poor.Old.Tired.Horse. emerged out of both a rejection and engagement with an older generation of Scottish writers. The content and organisation of the magazine, I argue, bear Finlay’s consideration of art as play. Drawing on Ludwig Wittgenstein’s positing of language as games, I examine the magazine as a series of playful procedures where a variety of formal experimentations were enacted.

This thesis examines several lesser-known British modernist magazines published between 1900-45 within the context of networks, communities, and dialogues. The magazines it examines are T. P.'s Weekly (1902-16), The Acorn (1905-6), The Tramp (1910-11), Rhythm (1911-13), The Blue Review (1913), Signature (1915), To-day Incorporating T. P.'s Weekly (1916-7), To-day (1917-23), The Athenaeum (1919-21), The Apple (1920-22), The Adelphi (1923-55), Close-Up (1927-33), Seed (1933) and Life and Letters To-Day (1935-45). Primarily, the thesis aims to 'test out' different types of methodologies that critics have used to interpret literary texts (and sometimes non-literary texts) as possible routes or avenues into periodical study. My approach is cross-disciplinary and adapts many different approaches, some of which have been previously applied to periodicals, but most of which have not. The commonality between these methodologies is the fact that they all participate, to some degree, in a sense of network(s), a concept that, this thesis contends, offers a lens through which we can develop, extend, and refine the study of little magazines. The Introduction provides a more detailed outline of these methodologies and a survey of literature relating to the study of little magazines. Chapter 1 explores magazines through the high/low culture dichotomy that continues to dominate our conception of the modernist field and considers how the dichotomy's implied idea of networks of difference impacts upon how we study, consider, and categorise little magazines. Chapter 2 uses quantitative methods to probe the possibility that a periodical can 'shift' between networks and applies a diachronic methodology which considers periodicals as operating within 'longitudinal' networks. Chapter 3 utilises an editor-based methodology to show how this figure is key in generating a periodical's sense of network. Chapter 4 explores the little magazine as a nexus point for different groups of writers and artists and examines the ways in which networks exist on and between the pages of magazines. Chapter 5 reverses the second chapter's focus by using a synchronic methodology to explore how three late modernist magazines participate in a 'lateral network'. The Conclusion evaluates the efficacy and feasibility of the various approaches tested in each chapter and proposes some new methodologies through which we might continue to study and discuss periodicals.

This dissertation examines the emergence of a cohort of independent literary, intellectual, and political publications—“little magazines”—in New York City over the past decade. Helmed by web-savvy young editors, these publications have cultivated formidable reputations by grasping and capitalizing on a constellation of economic, political, and technological developments. The little magazines understand themselves as a radical alternative both to a journalistic trend toward facile, easily digestible content and to the perceived insularity and exclusivity of academic discourse. However, the bohemian tradition in which they operate predisposes them toward an insularity of their own. Their particular web of allusions, codes, and prerequisite knowledge can render them esoteric beyond the borders of a specific subculture and, in so doing, curtail their political potency and reproduce systems of privilege. This dissertation explores the tensions and limitations of the bohemian artist-activist ideal, and locates instances in which little magazines were able to successfully transcend subcultural boundaries to productively engage in a broader politics.

Thesis (Ph. D.)--University of Wisconsin--Madison. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

“Southern Fringes: Little Magazines and Larry Brown’s Early Short Fiction” seeks to revitalize and expand the scholarly field of the New Southern Studies, employing textuality, book history, and postcritique perspectives towards the study of literary events and objects. Whereas the New Southern Studies rightly problematizes and dismantles notions of the signifier southern named in connection with literary works, such approaches often ignore paratextual elements, including material and sociological features, that work to frame and support these narratives. This dissertation addresses such shortcomings, arguing that paratextual formations function as vital spaces for constructing senses of southernness in service of both bibliographic identity and readers’ literary discernments. Exploring public epitext in a variety of locations, as well as four cases of Larry Brown’s short stories appearing in Mississippi Review, The Greensboro Review, and The Chattahoochee Review, this dissertation demonstrates how Brown’s writing emerges as southern fringe: a joint presence of autobiographic, material, perceptual, and other paratextual elements that frame Brown’s writing in unique locales outside of the literary mainstream. This dissertation's implications include adopting a mode of reading and analysis, focusing on case studies and surface readings of paratext serving specific bibliographic documents, as a way to move beyond generalizing and broad claims about the nature, function, and interpretation of literature. Additionally, this dissertation focuses on little magazines, materiality, and paratext as expanded sites and perspectives for the continued growth and development of interdisciplinary humanities fields such as the New Southern Studies. / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2021. / FAU Electronic Theses and Dissertations Collection

Cette thèse présente une réflexion sur les multiples figures du romancier américain qui émergent des entretiens littéraires de The Paris Review entre 1953 et 1973, soit les deux premières décennies d'existence de la revue. Afin de mieux saisir les spécificités et l'impact du modèle d'entretien littéraire créé par une poignée de rédacteurs aussi inspirés que débutants, cette étude revient tout d'abord sur l'histoire des little magazines, sur le contexte de la création et le fonctionnement interne de The Paris Review, avant de retracer l'histoire complexe de l'entretien littéraire. Grâce à l'analyse des archives de la revue, elle met en évidence la collaboration de l'équipe de rédacteurs et des romanciers interviewés dans un processus novateur de réécriture des entretiens. Car l'entretien littéraire est un lieu de négociation de différentes autorités, entre l'« ethos préalable » de l'écrivain utilisé par l'interviewer et les diverses stratégies (scénographies auctoriales, postures, « prêt à être écrivain ») déployées par le romancier pour asseoir sa légitimité. Derrière le portrait à deux voix que semble être l'entretien littéraire apparaît bientôt l'autoportrait de l'écrivain. L'entretien littéraire de The Paris Review donne lieu à une forme de fiction biographique, à travers laquelle l'écrivain que The Paris Review était venu interroger sur « l'art de la fiction » laisse la parole à l'auteur pour construire et défendre son image. / This dissertation examines the various figures of the American novelist which takes form in the famous literary interviews published by The Paris Review during the first two decades of its existence (1953-1973). In order to analyze the specificities and the impact of the new model of literary interview created by the inspired, yet inexperienced editors and interviewers of the review, this dissertation first traces the history of "little magazines" as well as the context in which the Paris Review interviews were shaped and polished, and then analyzes the complex history of the literary interview as a genre. Through the study of the archives of the review, the author casts a light on the collaboration between the editorial board and the interviewed novelists during the demanding rewriting process of the literary interviews. The literary interview thus appears as a space where negotiations take place, opposing the preconceptions of the interviewer to the various strategies displayed by the novelist in order to assert his legitimacy. What was originally designed as a single portrait composed by two instances actually turns into the novelist's controlled self-portrait.Ultimately The Paris Review literary interview becomes a form of biographical fiction, in which the writer, initally questioned on "the art of fiction", leaves center stage to the author, who takes great care of his own public persona.

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