Joe Bray – författare

First published in 2000, this volume is a unique collection of essays which draws our attention to the importance of those textual elements traditionally ignored in literary criticism. These include punctuation, footnotes, epigraphs, typography, cover design, white space and marginalia; features which significantly affect the meaning of a literary text.

The first section of the book opens with a proposal for a new theory of punctuation. The essays which follow are devoted to detailed interpretations of particular marks in the work of individual writers, including Spenser, Richardson and George Eliot.

The consequences of this approach to the literary text are examined in the second section of the book, which begins with a debate on editorial practice and responsibility, and features insights from editors. Attention is drawn in particular to the special issues thrown up by dramatic texts, translations and electronic editions.

The relationship of marks to the main text is far from subordinate, and we cannot appreciate the full interpretative potential of a text without considering this. The essays here compel us to assess the interaction of textual and literary meaning. To mark a text is to make it.

First published in 2000, this volume is a unique collection of essays which draws our attention to the importance of those textual elements traditionally ignored in literary criticism. These include punctuation, footnotes, epigraphs, typography, cover design, white space and marginalia; features which significantly affect the meaning of a literary text.

The first section of the book opens with a proposal for a new theory of punctuation. The essays which follow are devoted to detailed interpretations of particular marks in the work of individual writers, including Spenser, Richardson and George Eliot.

The consequences of this approach to the literary text are examined in the second section of the book, which begins with a debate on editorial practice and responsibility, and features insights from editors. Attention is drawn in particular to the special issues thrown up by dramatic texts, translations and electronic editions.

The relationship of marks to the main text is far from subordinate, and we cannot appreciate the full interpretative potential of a text without considering this. The essays here compel us to assess the interaction of textual and literary meaning. To mark a text is to make it.

This book examines how reading is represented within the novels of the late eighteenth and early nineteenth century. Contemporary accounts portrayed the female reader in particular as passive and impressionable; liable to identify dangerously with the world of her reading. This study shows that female characters are often active and critical readers, and develop a range of strategies for reading both texts and the world around them. The novels of Frances Burney, Charlotte Smith, Mary Hays, Elizabeth Inchbald, Maria Edgeworth and Jane Austen (among others) reveal a diversity of reading practices, as how the heroine reads is often more important than what she reads. The book combines close stylistic analysis with a consideration of broader intellectual debates of the period, including changing attitudes towards sympathy, physiognomy and portraiture.

This book examines how reading is represented within the novels of the late eighteenth and early nineteenth century. Contemporary accounts portrayed the female reader in particular as passive and impressionable; liable to identify dangerously with the world of her reading. This study shows that female characters are often active and critical readers, and develop a range of strategies for reading both texts and the world around them. The novels of Frances Burney, Charlotte Smith, Mary Hays, Elizabeth Inchbald, Maria Edgeworth and Jane Austen (among others) reveal a diversity of reading practices, as how the heroine reads is often more important than what she reads. The book combines close stylistic analysis with a consideration of broader intellectual debates of the period, including changing attitudes towards sympathy, physiognomy and portraiture.

Beginning with the premise that the portrait was undergoing a shift in both form and function during the Romantic age, Joe Bray examines how these changes are reflected in the fiction of writers such as Maria Edgeworth, Jane Austen, Sir Walter Scott, Elizabeth Hamilton and Amelia Opie. Bray considers portraiture in a broad sense as encompassing caricature and the miniature, as well as the classic portraits of Sir Joshua Reynolds and others. He argues that the portrait in fiction often functions not as a transparent index to character or as a means of producing a straightforward likeness, but rather as a cue for misreading and a sign of the slipperiness and subjectivity of interpretation. The book is concerned with more than simply the appearance of portraits in Romantic fiction, however. More broadly, The Portrait in Fiction of the Romantic Period investigates how the language of portraiture pervades the novel in this period and how the two art forms exert mutual stylistic influence on each other.

Beginning with the premise that the portrait was undergoing a shift in both form and function during the Romantic age, Joe Bray examines how these changes are reflected in the fiction of writers such as Maria Edgeworth, Jane Austen, Sir Walter Scott, Elizabeth Hamilton and Amelia Opie. Bray considers portraiture in a broad sense as encompassing caricature and the miniature, as well as the classic portraits of Sir Joshua Reynolds and others. He argues that the portrait in fiction often functions not as a transparent index to character or as a means of producing a straightforward likeness, but rather as a cue for misreading and a sign of the slipperiness and subjectivity of interpretation. The book is concerned with more than simply the appearance of portraits in Romantic fiction, however. More broadly, The Portrait in Fiction of the Romantic Period investigates how the language of portraiture pervades the novel in this period and how the two art forms exert mutual stylistic influence on each other.