Contents

ACKNOWLEDGEMENTS            

INTRODUCTION   

CHAPTER 1. THEORETICAL FRAMEWORK AND METHODOLOGY 
     

1.1 THEORETICAL FRAMEWORK         

1.1.1 EXCAVATING THE HISTORIES OF THE BOOK

1.1.2 REMEDIATION AND GENEALOGY

1.1.3 PERFORMATIVITY AND ENTANGLEMENT

1.2 METHODOLOGY: THEORETICAL 

1.2.1 SCHOLARLY CONFORMISM

1.2.2 DEVELOPING A CRITICAL PRAXIS

1.2.3 THE (RE)PRODUCTION OF THE PHD STUDENT

1.2.4 CRITICAL PRAXIS AS SELF-ASSERTION

1.2.5 RE-ENVISIONING OUR RESEARCH PRACTICES

1.3 METHODOLOGY: PRACTICAL        

1.3.1 A DIGITAL, OPEN, AND COLLABORATIVE RESEARCH PRACTICE

1.3.2 A DIFFERENTIAL THESIS

1.3.3 VERSIONING

CHAPTER 2. FRAMING THE DEBATE.THE STRUGGLE FOR THE PAST AND FUTURE OF THE BOOK   
         

2.1 BOOK HISTORY: THE COMMUNICATION CIRCUIT    

2.1.1 BOOK HISTORY: TOPICS AND DICHOTOMIES

2.1.2 DEBATING THE BOOK

2.1.3 THE DEBATE BETWEEN JOHNS AND EISENSTEIN

2.1.3.1 Representationalist Discourse

2.1.4 NEW HISTORICISM AND FEMINIST CRITIQUE

2.2 THE DISCURSIVE MATERIALITY OF THE BOOK         

2.2.1 PRINT-BASED ESSENTIALISMS

SECTION 1. AUTHORSHIP 

CHAPTER 3. THE PERSEVERANCE OF PRINT-BASED AUTHORSHIP WITHIN HUMANITIES SCHOLARSHIP
            

3.1 AUTHORSHIP AND THE BOOK HISTORICAL DISCOURSE     

3.2 CRITIQUING AUTHORSHIP IN THEORY            

3.3 CRITIQUING AUTHORSHIP IN PRACTICE         

3.3.1 HYPERTEXT

3.3.2 COLLABORATIVE AUTHORSHIP

3.3.3 AUTHORSHIP IN ACADEMIC REMIX PRACTICES

3.3.3.1 The Selector or Curator

3.3.3.2 Wikis

3.3.3.3 Creative Commons

3.4 TOWARDS POSTHUMANIST FORMS OF AUTHORSHIP?         

3.4.1 PLAGIARISM

3.4.2 ANONYMOUS AUTHORSHIP

3.4.3 THE EMERGENCE OF A POSTHUMANIST AUTHORSHIP CRITIQUE & PRACTICE

SECTION 2. THE SCHOLARLY SYSTEM OF MATERIAL PRODUCTION AND THE BOOK AS COMMODITY

 

CHAPTER 4. NARRATIVES OF BOOK FORMATION   
         

4.1 INTRODUCTION          

4.2 THE SCHOLARLY MONOGRAPH AND HISTORICAL DISCOURSES OF OBJECT-FORMATION           

4.2.1 DISCURSIVE REFLECTIONS ON THE DEVELOPMENT OF THE MODERN SYSTEM OF SCHOLARLY COMMUNICATION

4.2.1.1. Print Technology

4.2.1.2 The Commercial Book Trade

4.2.1.3 The Academies and the Journal System

4.2.1.4 University Press Publishing

4.2.1.5 The Monograph Crisis

4.3 THE NEOLIBERAL UNIVERSITY AND THE MARKETISATION OF ACADEMIA 

CHAPTER 5. NEW MODELS OF KNOWLEDGE PRODUCTION. OPEN ACCESS PUBLISHING & EXPERIMENTAL RESEARCH PRACTICES 

5.1 INTRODUCTION          

5.2 OPENNESS AND OPEN ACCESS PUBLISHING  

5.2.1 REASONS AND MOTIVATIONS BEHIND OPEN ACCESS

5.2.2 THE POTENTIALS AND PITFALLS OF OPEN’S ‘OPENNESS’

5.2.2.1 A Genealogy of Openness and Secrecy

5.2.2.2 Openness Contested

5.2.2.3 The Neoliberal Discourse on Open Access

5.2.2.4 Radical Open Access

5.2.2.5 Radical Open Politics

5.3 EXPERIMENTAL RESEARCH PRACTICES         

5.3.1 COMMODIFICATION OF KNOWLEDGE &THE BUSINESS LOGIC OF INNOVATION

5.3.2 CULTURAL STUDIES AND EXPERIMENTATION

5.3.3 RADICAL OPEN ACCESS AND EXPERIMENTATION

5.4 CONCLUSION   

SECTION 3. FIXITY

¶ 1 Leave a comment on paragraph 1 0  

CHAPTER 6. ON LIQUID BOOKS AND FLUID HUMANITIES  
         

6.1 FROM ORALITY TO FIXITY?            

6.2 FLUID PUBLISHING

6.2.1 REMIXING KNOWLEDGE

6.2.1.1 Modularity

6.2.1.2 Fluid Environments and Liquid Publications

6.2.1.3 The Archive

6.2.2 THE LIMITS OF FLUIDITY AND STABILITY

6.3 REMIX AND THE CUT: CUTTING SCHOLARSHIP TOGETHER/APART    

6.3.1 THE MATERIAL-DISCURSIVE CUT WITHIN A PERFORMATIVE FRAMEWORK

6.3.1.1 Cutting Well

6.3.2 THE AFFIRMATIVE CUT IN REMIX

6.3.3 THE AGENTIC CUT IN REMIX

6.4 RE-CUTTING THE SCHOLARLY APPARATUS    

6.4.1 OPEN-ENDED SCHOLARLY RE-CUTTING

6.4.1.1 Remixthebook

6.4.1.2 Living Books about Life

6.5 CONCLUSION   

CONCLUSION         

BIBLIOGRAPHY