Transatlantic Knowledge Production: Expanding Networks in The Modernist Archives Publishing Project

出版业决定谁的声音被听到。出版商可以是守门人，也可以是变革的推动者，能够挑战或重申占主导地位的叙述和不平等，并推动跨国界的文化变革。这个项目改变了公众对二十世纪出版商档案的访问，提出了关于美国/英国和外籍出版商之间跨大西洋关系的新问题，并对英语文学出版中的声音和代表性的现有假设施加了压力。我们所关注的时期（1900- 1950）是读者、购书和出版社数量呈指数级增长的时期，因为随着版权的国际变化、印刷技术的变化和全球分销渠道的变化，出版业迅速现代化。与此同时，创新的出版商正在为新的写作类型和新的声音创造重要的空间。我们将在这个新的、扩展的数据库中展示的关键现代主义作品和出版历史包括南希·丘纳德编辑的《黑人选集》（1934年）、西尔维亚·海滩出版的詹姆斯·乔伊斯的《圣经》（1922年）、阿尔弗雷德·克诺夫为美国读者出版的《威拉·凯瑟》以及欧洲和俄罗斯译本，以及伦纳德和弗吉尼亚·伍尔夫对反殖民主义和左翼声音的培养。现代主义档案出版项目（或MAPP）是一个成熟的国际数字人文项目（http：//www.modernistarchives.com/），由美国，英国和加拿大的档案学家和学者组成的团队建立。这是第一个将出版商档案数字化的国际开放获取项目，并将出版过程中鲜为人知的方面（提交信件，读者评论，销售和账户数据）与书籍以及相关人员和企业联系起来。这个新阶段为我们已经建立的原型增加了一个跨大西洋的维度，该原型专注于Hogarth Press。扩大的资源将把美国出版社阿尔弗雷德A。Knopf（由Alfred和Blanche Knopf于1915年创立），与外籍出版商和书商Sylvia海滩和Nancy Cunard、文学代理人William和Jenny布拉德利（成立于1909年，代表美国、英国和法国作家，包括James Baldwin和Richard Wright）以及英国出版社Chatto & Windus（成立于1855年）进行对话。在规模、组织和产出方面，克诺夫出版社是伍尔夫出版社的美国同行，而南希·丘纳德的小时出版社则是一家寿命较短的小型出版社（1928年至1931年）。查托和温德斯代表了现代主义的中型出版社，霍加斯出版社成为。将这些跨大西洋的收藏品汇集在一起，将有可能绘制跨大西洋出版网络以及书籍、思想和民族的跨境流通图，这是学者们以前在纸质档案中单独工作所不可能实现的。跨大西洋的知识生产和协作与社区经验是这项研究的核心。在多个工作流程中，我们将通过与现有合作伙伴（阅读Special Collections大学、华盛顿州立大学普尔曼、德克萨斯大学奥斯汀分校的Harry Ransom中心）创建新数据，并与其他文化机构（纽约公共图书馆和苏塞克斯大学图书馆Special Collections）合作，与更广泛的受众群体进行互动，从而建立并扩展我们以前的实践。我们将与新的社区志愿者团体合作，促进跨国培训，并与我们的文化机构开发一个最佳实践工具包和一系列关于跨大西洋现代主义出版的数字和现场展览。合作是MAPP作为一个女权主义数字人文项目的核心。该项目通过与更多的英国和美国合作伙伴合作，进一步重新配置出版商，作者和读者之间的关系。

The publishing industry determines whose voices get heard. Publishers can be gatekeepers as well as agents of change, capable of challenging or reaffirming dominant narratives and inequalities and driving cultural change across borders. This project transforms public access to twentieth-century publishers' archives, asking new questions about the transatlantic relationship between US/UK and expatriate publishers, and putting pressure on existing assumptions about voice and representation in Anglophone literary publishing. The period we focus on (1900-50) was a time of exponential growth in readership, book-buying, and the number of publishing houses starting up, as the industry modernised rapidly in response to international changes in copyright, changes in printing technology, and global channels of distribution. At the same time, innovative publishers were making crucial space for new types of writing and new voices. Key modernist works and publishing histories that we'll showcase in this new, expanded database include Nancy Cunard's edited Negro anthology (1934), Sylvia Beach's publication of James Joyce's Ulysses (1922), Alfred Knopf's publishing of Willa Cather alongside European and Russian translations for American audiences, and Leonard and Virginia Woolf's fostering of anti-colonial and left-wing voices. The Modernist Archives Publishing Project (or MAPP) is an established international digital humanities project (http://www.modernistarchives.com/), built by a team of US, UK and Canadian archivists and scholars. It is the first international open access project to digitise a publisher's archive and to contextualise and present little-known aspects of the publishing process (submission letters, reader's reviews, sales and accounts data) in relation to books and the people and businesses involved. This new phase adds a transatlantic dimension to the prototype we have built, which has focussed on the Hogarth Press. The expanded resource will put US publishing house Alfred A. Knopf (founded by Alfred and Blanche Knopf in 1915), into dialogue with expat publishers and booksellers Sylvia Beach and Nancy Cunard, literary agents William and Jenny Bradley (founded 1909, representing American, English and French authors, including James Baldwin and Richard Wright), and the UK publishing house of Chatto & Windus (founded 1855). In size, organisation, and outputs, Knopf is an American counterpart to the Woolfs' press, while Nancy Cunard's Hours Press is a shorter-lived small press (1928-31). Chatto & Windus represents the kind of modernist mid-sized press that the Hogarth Press became. Bringing these transatlantic collections together will make it possible to map transatlantic publishing networks and the circulation of books, ideas and peoples across borders, in a way that has not been possible for scholars working individually in paper-based archives before.Transatlantic knowledge production and collaborative and community experiences are central to this research. Working across several workstreams, we'll build on and expand our previous practice by creating new data with existing partners (University of Reading Special Collections, Washington State University Pullman, the Harry Ransom Center at the University of Texas at Austin) and work with other cultural institutions (the New York Public Library, and Sussex University Library Special Collections) to engage with a wider community of audiences. We'll work with new groups of community volunteers, facilitate transnational training, and develop a best practice toolkit and series of digital and in-person exhibitions on Transatlantic Modernist Publishing with our cultural institutions. Collaboration is built into the heart of MAPP as a feminist digital humanities project. This project takes this further by working with a larger group of British and American partners to reconfigure the relationships between publishers, authors and readers across borders.