{"title":"《出版人在工作》:余相斗的自我形象","authors":"Suyoung Son","doi":"10.1353/jas.2022.0003","DOIUrl":null,"url":null,"abstract":"abstract: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 self-images served as a link between incorporeal authorship and material proprietorship in the increasingly competitive commercial book market of late imperial China.摘要::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。","PeriodicalId":29948,"journal":{"name":"HARVARD JOURNAL OF ASIATIC STUDIES","volume":"82 1","pages":"37 - 76"},"PeriodicalIF":0.5000,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Publisher at Work: Yu Xiangdou's Self-Images\",\"authors\":\"Suyoung Son\",\"doi\":\"10.1353/jas.2022.0003\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"abstract: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 self-images served as a link between incorporeal authorship and material proprietorship in the increasingly competitive commercial book market of late imperial China.摘要::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。\",\"PeriodicalId\":29948,\"journal\":{\"name\":\"HARVARD JOURNAL OF ASIATIC STUDIES\",\"volume\":\"82 1\",\"pages\":\"37 - 76\"},\"PeriodicalIF\":0.5000,\"publicationDate\":\"2022-06-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"HARVARD JOURNAL OF ASIATIC STUDIES\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1353/jas.2022.0003\",\"RegionNum\":4,\"RegionCategory\":\"历史学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"ASIAN STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"HARVARD JOURNAL OF ASIATIC STUDIES","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/jas.2022.0003","RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ASIAN STUDIES","Score":null,"Total":0}
引用次数: 0
摘要
abstract: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 self-images served as a link between incorporeal authorship and material proprietorship in the increasingly competitive commercial book market of late imperial China.摘要::余象斗所印书籍中的本人形象并未强调其特殊的个性,而是采用高度格套化的表现形式,是欲增强其印刷品的市场吸引力,亦为促使读者直观化其脑力劳动。其画像在晚期帝国竞争渐盛的商业书市具象化了出版商的脑力劳动,因而连接了物质所有权和无形的著作权。
abstract: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 self-images served as a link between incorporeal authorship and material proprietorship in the increasingly competitive commercial book market of late imperial China.摘要::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。