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“Time’s Turbulence”: Mapping Journalism Networks

This article treats the study of journalism networks as a research problem in itself. The origin of the piece lies in the unexpected range of connections that I noted in and across entries for serial titles and journalist entries while editing the DNCJ (Dictionary of Nineteenth-Century Journalism) with Marysa Demoor. That is, in the DNCJ journalists typically were associated with a number of diverse and telling titles, often in varied capacities; journal entries likewise named a plethora of journalists; and publisher entries revealed an unexpected diversity of titles. Entries of all types flagged affiliations that did not surface elsewhere in the DNCJ, with the result that vistas of affiliation yawned as one read, prompting curiosity about a ghostly dynamic of interlocking structures, referenced but otherwise invisible. For example, Joseph Bennett was the “chief music critic” of the Daily Telegraph, 1870–1906, but earlier he had worked on the Sunday Times, the Graphic, and the Pall Mall Gazette. 1 He also founded two titles, Concordia and Lute, and was an assistant editor and then acting editor of the Musical World, while he was working on the Telegraph. Flora Shaw began writing for Aunt Judy’s Magazine, became foreign correspondent for the Manchester Guardian and the Pall Mall Gazette, and ended working for the Times in that role, without the proprietor initially being told that his new staff member was female. 2 John Murray’s list of journals, other than his brief proprietorship of the Quarterly Review, includes the Journal of Science and the Arts; a daily (the Representative), which Disraeli edited; the monthly Murray’s Magazine; and the annual Admiralty List. 3 Punch’s list of contributors and editors over its long life included a high proportion of well-known names, both writers and artists who between them were affiliated with a breadth of other print titles, publishers, and genres radiating out from Punch and its table. 4