By Anne Mette Hansen, Roger Lüdeke, Wolfgang Streit, Cristina Urchueguía, Peter Shillingsburg
The ebook as Artefact. Books don't simply comprise texts: books themselves are cultural artefacts, which exhibit many meanings of their personal correct, meanings which engage with the texts they include. wisdom of the numerous significances of books as cultural and textual gadgets reshapes the normal disciplines of textual idea, analytic bibliography, codicology and palaeography, whereas the appearance of digital books, and electronic tools for representing print books, is introducing a brand new measurement to our realizing. Seven essays during this quantity, ranging over medieval Portuguese and Swedish manuscripts, eighteenth-century Icelandic variations, Australian playtexts, Thackeray and Anita Brookner, and Stefan George, think of those questions from the extensive standpoint of textual scholarship. textual content and Border. Texts may perhaps exist at the borderland of observe and not-word; or they might spring from borderlands of country or tradition; or they are thought of from the margins of neighbouring disciplines. So readers needs to set the texts inside contexts, to determine the play of textual content opposed to border. Essays during this quantity discover various texts againts various backgrounds — Pound’s Cantos, Joyce’s Ulysses, Trollope’s an eye fixed for an eye fixed, Woolf’s The Waves — whereas essays through McGann and Lernout argue the dimensionality of textual content at the intersection of print and electronic media. Implicit in a majority of these essays is the competition, that textual scholarship needs to effect literary interpretation. ultimate essays concentration without delay in this, within the instances of Melville’s Moby-Dick and Emily Dickinson’s past due fragments. an intensive experiences part completes this quantity. Contents: The ebook as Artefact Edited through Anne Mette Hansen Paul EGGERT: model — enterprise — purpose: The Cross-fertilising of German and Anglo-American Editorial Traditions Peter L. SHILLINGSBURG: useful variants of Literary Texts Ragnheithur MOSESDOTTIR: “Good white paper, with a brand new, transparent and chic typeface”: Early Arnamagnaean variants Eva Nilsson NYLANDER: To the consideration of Mary: Liber Scole Virginis at Lund college Library Joao DIONISIO: Tables of Contents in Portuguese past due Medieval Manuscripts Rüdiger NUTT-KOFOTH: The e-book within the Poetological inspiration of Stefan George: a few comments at the actual and Iconic part of the printed textual content — with an article end Dirk VAN HULLE: The restricted version limitless: Samuel Beckett’s Fugal Artefact textual content and Border: The Borders of the textual content Edited by way of Roger Lüdeke, Wolfgang Streit and Cristina Urchueguía George BORNSTEIN: The ebook as Artefact: Historicizing Ezra Pound’s First Thirty Cantos Julia BRIGGS: Writing by way of Numbers: a facet of Woolf ’s Revisionary perform Michael GRODEN: continuing Energetically From the Unknown to the recognized: having a look back on the Genetic Texts and records for Joyce’s Ulysses Geert LERNOUT: The measurement of the textual content John MCCOURT: Writing at the facet: Trollope’s a watch for an eye fixed Jerome MCGANN: From textual content to paintings: electronic instruments and the Emergence of the Social textual content Fritz SENN: The efficiency of errors (exempliﬁed in Joyce’s Ulysses) The Interpretive effects of Textual feedback Edited through Peter Shillingsburg John BRYANT: types of Moby-Dick: Plagiarism, Censorship, and a few Notes towards an Ethics of the Fluid textual content Marta L. WERNER: Emily Dickinson’s Futures: “Unqualiﬁed — to test” experiences and publication Notices Notes on participants
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Textual information is given in ways that invite readers to skip and with no attempt to indicate in what way that information might be important to the reader’s notion of what the text says or which available alternative text is being presented. Explanatory notes are given as minimal identiﬁcation of places or names or sources for literary allusions. In this area particularly editors seem loath to indicate the signiﬁcance of materials identiﬁed in the notes—perhaps because there is always a reviewer ready to declare that no note was required and further explanation de trope.
The copy-texts are messy. But sometimes it seems quite clear what the writer intended to write but only a slip of the pen prevented it. Misnumbered scenes are an obvious example. The misremembering of a character’s name is another. ”12 This is how the manuscript reads. It is not a suddenly camp moment in the play. Participating in the work, the editor as expert reader detects the problem and comes up with the emendation (“marry her”). It is obviously what the writer would have written had his attention not strayed.
Willis replies (in the manuscript): Oh, I must persist, Doctor! I shall not, otherwise, either walk or converse with you. 13 For a long while we struggled to make sense of this. Could “health reckoning”, we wondered, be an early nineteenth-century idiom that had since been lost? The OED does not record it. Was it another slip of the pen? If so, for what? The editor and I were both stumped. Working on the ﬁrst proofs it suddenly hit me what the problem was. The word “reckoning” should have been, but is not, underlined in the MS to indicate that it is a stage direction.
The Book as Artefact: Text and Border by Anne Mette Hansen, Roger Lüdeke, Wolfgang Streit, Cristina Urchueguía, Peter Shillingsburg