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Publisher at Work: Yu Xiangdou’s Self-Images.

The self-images Yu Xiangdou (ca. 1560–1637) inserted in his printed books are often considered portraits of him and thus a proud assertion of his identity as a successful commercial publisher. I analyze his self-images in terms of the highly conventionalized tropes that he appropriated not merely to...

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Published in:Harvard Journal of Asiatic Studies Vol. 82; no. 1; pp. 37 - 77
Main Author: Son, Suyoung
Format: Article
Published: Harvard Journal of Asiatic Studies Jun2022
Subjects:
Libraries & publishers
Sole proprietorship
Book industry
Authorship
China
Online Access:View this record in EBSCOhost
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      pub: Harvard Journal of Asiatic Studies
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        atl: Publisher at Work: Yu Xiangdou’s Self-Images.
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        affil: Cornell University.
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        Libraries & publishers
        Sole proprietorship
        Book industry
        Authorship
        China
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          China
          Libraries & publishers
          Sole proprietorship
          Book industry
          Authorship
      ab:
        The self-images Yu Xiangdou (ca. 1560–1637) inserted in his printed books are often considered portraits of him and thus a proud assertion of his identity as a successful commercial publisher. I analyze his self-images in terms of the highly conventionalized tropes that he appropriated not merely to enhance the market appeal of his imprints but also to prompt readers to visualize his own intellectual labor. By instantiating the otherwise invisible and therefore uncredited intellectual work of publishers, Yu Xiangdou’s selfimages served as a link between incorporeal authorship and material proprietorship in the increasingly competitive commercial book market of late imperial China.
        余象斗所印書籍中的本人形象並未強調其特殊的個性，而是採用高度格套 化的表現形式，是欲增強其印刷品的市場吸引力，亦為促使讀者直觀化其腦力勞 動。其畫像在晚期帝國競爭漸盛的商業書市具象化了出版商的腦力勞動，因而連 接了物質所有權和無形的著作權。
      pubtype: Academic Journal
      doctype: Article
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    language: English
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