Into Print

False data published by a psychologist influence policies for treating the mentally retarded. A Nobel Prize-winning molecular biologist resigns the presidency of Rockefeller University in the wake of a scandal involving a co-author accused of fabricating data. A university investigating committee declares that almost half the published articles of a promising young radiologist are fraudulent. Incidents like these strike at the heart of the scientific enterprise and shake the confidence of a society accustomed to thinking of scientists as selfless seekers of truth. Marcel LaFollette's long-awaited book gives a penetrating examination of the world of scientific publishing in which such incidents of misconduct take place. Because influential scientific journals have been involved in the controversies, LaFollette focuses on the fragile "peer review" process—the editorial system of seeking pre-publication opinions from experts. She addresses the cultural glorification of science, which, combined with a scientist's thirst for achievement, can seem to make cheating worth the danger. She describes the great risks taken by the accusers—often scholars of less prestige and power than the accused—whom she calls "nemesis figures" for their relentless dedication to uncovering dishonesty. In sober warning, LaFollette notes that impatient calls from Congress, journalists, and taxpayers for greater accountability from scientists have important implications for the entire system of scientific research and communication. Provocative and learned, Stealing Into Print is certain to become the authoritative work on scientific fraud, invaluable to the scientific community, policy makers, and the general public.

"Difficult to put down. . . . I have studied these issues for the better part of a decade and learned from this book not only about new cases but also about the intersection of law, science, and government."—Daryl E. Chubin, author of Peerless Science: Peer Review in United States Science Policy "Thoughtful, clear, and very well written . . . will be the basis of how the issues are defined, what the options and their problems are, and what other features lurk on the horizon."—Lawrence Badash, University of California, Santa Barbara

In eighteenth- and nineteenth-century Britain, books of travel and exploration were much more than simply the printed experiences of intrepid authors. They were works of both artistry and industry—products of the complex, and often contested, relationships between authors and editors, publishers and printers. These books captivated the reading public and played a vital role in creating new geographical truths. In an age of global wonder and of expanding empires, there was no publisher more renowned for its travel books than the House of John Murray. Drawing on detailed examination of the John Murray Archive of manuscripts, images, and the firm’s correspondence with its many authors—a list that included such illustrious explorers and scientists as Charles Darwin and Charles Lyell, and literary giants like Jane Austen, Lord Byron, and Sir Walter Scott—Travels into Print considers how journeys of exploration became published accounts and how travelers sought to demonstrate the faithfulness of their written testimony and to secure their personal credibility. This fascinating study in historical geography and book history takes modern readers on a journey into the nature of exploration, the production of authority in published travel narratives, and the creation of geographical authorship—a journey bound together by the unifying force of a world-leading publisher.

Describes the nature of books in the world before the development of the printing press and the subsequent effect of that invention on civilization.

"A collection of essays examining how print culture shaped the legacy of the Enlightenment. Explores the challenges, contradictions, and dilemmas modern European societies have encountered since the eighteenth century in trying to define, spread, and realize Enlightenment ideas and values"--Provided by publisher.

"The author explains that scientists had many concerns about putting their work into print when the printing press made that possible. This book explores both their attitudes and their strategies for navigating the publishing world"--

In this first in-depth study dedicated to the intriguing history of the translation of statues and reliefs into print, the essays in this volume reflect the printmakers’ various approaches and challenges of translating antique or contemporary artworks, underlining their highly creative handling.

This study interprets eighteenth-century satire’s famous typographical obsession as a fraught response to the Enlightenment’s "ocularcentric" epistemological paradigms, as well as to a print-cultural moment identified by book-historians as increasingly "visual" — a moment at which widespread attention was being paid, for the first time, to format, layout, and eye-catching advertising strategies. On the one hand, the Augustans were convinced of the ability of their elaborately printed texts to function as a kind of optical machinery rivaling that of the New Science, enhancing readers’ physical but also moral vision. On the other hand, they feared that an overly scrutinizing gaze might undermine the viewer’s natural faculty for candor and sympathy, delight and desire. In readings of Pope, Swift, and Montagu, Mannheimer shows how this distrust of the empirical gaze led to a reconsideration of the ethics, and most specifically the gender politics, of ocularcentrism. Whereas Montagu effected this reconsideration by directly satirizing both the era’s faith in the visual and its attendant publishing strategies, Pope and Swift pursued their critique via print itself: thus whether via facing-page translations, fictional editors, or disingenuous footnotes, these writers sought to ensure that typography never became either a mere tool of (or target for) the objectifying gaze, but rather that it remained a dynamic and interactive medium by which readers could learn both to see and to see themselves seeing.