The translator's "invisibility" has become a hot topic of translation studies in recent years.It concerns translation strategies,and it is also closely related to the translator's status.Lawrence Venuti has made systematic studies of the translator's "invisibility" problem,producing unique insights into its root causes and its influences on the translator's status.A critical analysis of Venuti's statements concerned can be inspiring to achieving correct understanding of the necessity,rationality and limitations of the translator's "invisibility",and to taking effective measures to promote the translator's status.

On the Translator's "Invisibility"

Signs for the times.

xii Acknowledgements xiii Chapter One. Introduction 1 Chapter Two. Hydrographic Ignorance and the Limits of Empire: The Quebec Expedition Disaster, 1711 24 Chapter Three. Louisbourg’s Wake: Amphibious Irregular Warfare in the Gulf and Fundy Campaigns, 1758 63 Chapter Four. Plotting the Conquest: Charts, Pilots, and Organized Seamanship, Spring 1759 107 Chapter Five. Invading Canada River: Amphibious Siege and Petite Guerre Navale, Summer-Autumn 1759 159 Chapter Six. Surveying Maritime Empire: Directed Survey, Vernacular Knowledge, and the Northeastern Environment after 1763 221 Chapter Seven. Configuring Maritime Empire: Improved Hydrography, Naval Force, and Littoral Disorder to 1783 282 Chapter Eight. Conclusion 334 Bibliography 351

Approaches to Empire: Hydrographic Knowledge and British State Activity in Northeastern North America, 1711-1783

Blackwood's Magazine

1. Cultural contexts 2. Edgeworth, Burney and Austen 3. Reform and the silver fork novel 4. Newspapers and the silver fork novel 5. The topography of silver fork London 6. Performing reform, silver fork heroines.

The Silver Fork Novel: Fashionable Fiction in the Age of Reform

In 1803, Jane Austen sold the copyright of Susan, a work that would later appear as Northanger Abbey, to the London firm Crosby and Co. The novel was never published by Crosby, leading to a brief but acrimonious exchange between author and publisher in 1809. Although this episode has been mentioned frequently by Austen scholars, little attention has been paid to Crosby and Co., resulting in a number of mistaken assumptions about both the firm itself and its reasons for not publishing Susan. Commentators have argued that Crosby and Co. was not particularly significant for its publication of fiction; however, it was actually the fourth most prolific publisher of novels during the 1800s, suggesting a reason for Austen's approach. Additionally, the general reason given for Crosby's not publishing Austen's Gothic satire is the firm's commitment to Gothic: in fact, the non-publication was owing to economic factors rather than generic concerns. Finally, Austen mysteriously left 6 years before contacting the firm, although it would seem that this is explicable by her problematical personal circumstances during the 1800s.

Making Austen Mad: Benjamin Crosby and the Non-Publication of Susan

Jane Austen and the Popular Novel

'Mrs Meeke' was the most prolific novelist of the Romantic period, publishing twenty-four novels and four translations between 1795 and 1823, eclipsing Walter Scott's twenty-two titles Yet until recently, scholars knew little about her, and she was misidentified for decades as 'Mary Meeke,' the wife of a Staffordshire vicar It was not until 2013 that an article by Simon Macdonald conclusively revealed the author's actual identity as Elizabeth Meeke—not a respectable vicar's wife, but the scandalous stepsister of Frances Burney Meeke published all her fiction with the infamous Minerva Press, which issued staggering levels of new fiction written primarily by women Meeke's title-pages employed a complex system of authorship: some works carried her name ('Mrs Meeke'); others were anonymous; a third strain employed the pseudonym 'Gabrielli' As an author of numerous fictions forced to adopt a multifaceted persona, Meeke both represented and shaped the literary culture that the Minerva Press created for its voracious patrons Examining the case of Elizabeth Meeke, my paper considers the ways in which women novelists found themselves continually inscribed, erased, and reinscribed in a volatile literary marketplace that has left little trace of them for posterity The first part of the essay will analyze the publishing ecologies that shaped Meeke's career, while the second part considers Meeke's output and reception more closely, offering an account of the tropes and preoccupations that characterize a writing career spanning three decades

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Mrs. Meeke and Minerva: The Mystery of the Marketplace

The ghost story and the Victorian literary marketplace

British Fiction, 1800–1829: A Database of Production, Circulation, and Reception was produced in Cardiff University’s Centre for Editorial and Intertextual Research, supported by substantial grants from the Arts and Humanities Research Board (AHRB) and Cardiff University. British Fiction allows users to examine bibliographical records of 2,272 works of fiction written by approximately 900 authors, along with a large number of contemporary materials (including anecdotal records, circulating-library catalogues, newspaper advertisements, reviews, and subscription lists).

Anthony Mandal

Papers

Making Austen Mad: Benjamin Crosby and the Non-Publication of Susan

Jane Austen and the Popular Novel

Mrs. Meeke and Minerva: The Mystery of the Marketplace

The ghost story and the Victorian literary marketplace

British fiction 1800-1829: A database of production, circulation and reception