Abstract:The London-based publisher John Maxwell established a global network of distribution in eleven countries to market Mary Elizabeth Braddon’s magazine Belgravia in the 1860s–70s. This cosmopolitan network is particularly significant as it helps expose the tensions of the transnational trade and the reshuffling of geographical categories operated by an evolving business model. The essay discusses Maxwell’s Australian booksellers and publishers during an understudied period that precedes the consolidation of the national publishing empires and their “transnational” operations. Braddon’s work, when sold in Australia, entered a cultural field made of the existing histories of a network of book dealers that were engaged in the important cultural work of imagining the future nation through the political implications of their trade, and through the shaping of a marked literary taste that in turn supported their business. The framework of histoire croisée, which has developed generally at the national level, is applied to a much broader conceptualization of space that does not coincide with national or colonial boundaries, but with the boundaries of specific business models that built their own contingent geographies.

中文翻译：

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玛丽·伊丽莎白·布拉登 (Mary Elizabeth Braddon) 在 Antipodes：世界性文化转移和 19 世纪图书业的重组

摘要：总部位于伦敦的出版商约翰麦克斯韦在 11 个国家建立了一个全球分销网络，以在 1860 年代至 70 年代销售玛丽伊丽莎白布拉登的杂志贝尔格莱维亚。这个世界性网络特别重要，因为它有助于暴露跨国贸易的紧张局势以及由不断发展的商业模式运营的地理类别的重新洗牌。这篇文章讨论了麦克斯韦的澳大利亚书商和出版商在国家出版帝国及其“跨国”业务整合之前的一个未被充分研究的时期。布拉登的作品在澳大利亚出售后，进入了一个文化领域，该领域由一个书商网络的现有历史构成，这些书商从事重要的文化工作，通过他们贸易的政治影响来想象未来国家，并通过塑造显着的文学品味反过来支持他们的事业。histoire croisée 的框架在国家层面上得到普遍发展，适用于更广泛的空间概念，它与国家或殖民地边界不重合，而是与建立自己的偶然地理的特定商业模式的边界重合。