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3 produkter
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Emily Dickinson's Open Folios: Scenes of Reading, Surfaces of Writing is a fine facsimile edition and aesthetic exploration of a group of forty late drafts and fragments hitherto known as the "Lord letters." The drafts are presented in facsimile form on high-quality paper alongside typed transcriptions that reproduce as fully as possible the shock of script and startling array of visual details inscribed on the surfaces of the manuscripts. Werner argues that a redefinition of the editorial enterprise is needed to approach the revelations of these writings-- the details that have been all but erased by editorial interventions and print conventions in the twentieth century. Paradoxically, "un-editing" them allows an exploration of the relationship between medium and messages. Werner's commentary forsakes the claims to comprehensiveness generally associated with scholarly narrative in favor of a series of speculative and fragmentary "close-ups"--a portrait in pieces. Finally, she proposes the acts of both reading and writing as visual poems. A crucial reference for Dickinson scholars, this book is also of primary importance to textual scholars, editorial theorists, and students of gender and cultural studies interested in the production, dissemination, and interpretation of works by women writers. This publication has been supported by a grant from the National Endowment for the Humanities.
Ordinary Mysteries
Common Journal of Nathaniel and Sophia Hawthorne, 1842-1843, Memoirs, American Philosophical Society (vol. 256)
Inbunden, Engelska, 2005
686 kr
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528 kr
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Winner of the 2023 Richard J. Finneran Award for the best book about editorial theory or practice.For more than half a century, the story of Emily Dickinson’s “Master” documents has been the largely biographical tale of three letters to an unidentified individual. Writing in Time seeks to tell a different story—the story of the documents themselves. Rather than presenting the “Master” documents as quarantined from Dickinson’s larger scene of textual production, Marta Werner’s innovative new edition proposes reading them next to Dickinson’s other major textual experiment in the years between ca. 1858–1861: the Fascicles. In both, Dickinson can be seen testing the limits of address and genre in order to escape bibliographical determination and the very coordinates of “mastery” itself. A major event in Dickinson scholarship, Writing in Time: Emily Dickinson’s Master Hours proposes new constellations of Dickinson’s work as well as exciting new methodologies for textual scholarship as an act of “intimate editorial investigation.”