Editorial Theory and Literary Criticism – serie

"By casting the collection explicitly as an outreach to the larger community of Americanists---not primarily those who self-identify as 'digital scholars'---Earhart and Jewell have made an important choice, and one that will likely make this a landmark publication."---Andrew Stauffer, University of VirginiaThe American Literature Scholar in the Digital Age, which features a wide range of practitioner-scholars, is the first of its kind: a gathering of people who are expert in American literary studies and in digital technologies, scholars uniquely able to draw from experience with building digital resources and to provide theoretical commentary on how the transformation to new technologies alters the way we think about and articulate scholarship in American literature. The volume collects articles from those who are involved in tool development, usability testing, editing and textual scholarship, digital librarianship, and issues of race and ethnicity in digital humanities, while also situating digital humanities work within the larger literary discipline. In addition, the volume examines the traditional structures of the fields, including tenure and promotion criteria, modes of scholarly production, the skill sets required for scholarship, and the training of new scholars. The American Literature Scholar in the Digital Age will attract practitioners of digital humanities in multiple fields, Americanists who utilize digital materials, and those who are intellectually curious about the new movement and materials.Amy E. Earhart is Assistant Professor in the Department of English at Texas A&M University.Andrew Jewell is Associate Professor of Digital Projects, University Libraries, at the University of Nebraska–Lincoln.Cover art: Book background ©iStockphoto.com/natashikadigitalculturebooks is an imprint of the University of Michigan Press and the Scholarly Publishing Office of the University of Michigan Library dedicated to publishing innovative and accessible work exploring new media and their impact on society, culture, and scholarly communication. Visit the website at www.digitalculture.org.

Tim Hunt’s The Textuality of Soulwork: Jack Kerouac’s Quest for Spontaneous Prose examines Kerouac’s work from a new critical perspective with a focus on the author’s unique methods of creating and working with text. Additionally, The Textuality of Soulwork delineates Kerouac’s development of “Spontaneous Prose” to differentiate the preliminary experiment of On the Road from the more radical experiment of Visions of Cody, and to demonstrate Kerouac’s transition from working within the textual paradigm of modern print to the textual paradigm of secondary orality. From these perspectives, Tim Hunt crafts a new critical approach to Beat poetics and textual theory, marking an important contribution to the current revival of Kerouac and Beat studies underway at universities in the U.S. and abroad, as reflected by a growing number of conferences, courses, and a renewal in scholarship.

Proofs of Genius: Collected Editions from the American Revolution to the Digital Age is the first extensive study of the collected edition as an editorial genre within American literary history. Unlike editions of an author’s “selected works” or thematic anthologies, which clearly indicate the presence of non-authorial editorial intervention, collected editions have typically been arranged to imply an unmediated documentary completeness. By design, the collected edition obscures its own role in shaping the cultural reception of the author. In Proofs of Genius, Amanda Gailey argues that decisions to re-edit major authorial corpora are acts of canon-formation in miniature that indicate more foundational shifts in the way a culture views its literature and itself. By combining a theoretically-informed approach with a broad historical view of collected editions from the late eighteenth century to the present (including the rise of digital editions), Gailey fills a gap in the textual scholarship of the editing history of major figures like Emily Dickinson and Walt Whitman and of the American literary canon itself.

Digital Humanities remains a contested, umbrella term covering many types of work in numerous disciplines, including literature, history, linguistics, classics, theater, performance studies, film, media studies, computer science, and information science. In Traces of the Old, Uses of the New: The Emergence of Digital Literary Studies, Amy Earhart stakes a claim for discipline-specific history of digital study as a necessary prelude to true progress in defining Digital Humanities as a shared set of interdisciplinary practices and interests. Traces of the Old, Uses of the New focuses on twenty-five years of developments, including digital editions, digital archives, e-texts, text mining, and visualization, to situate emergent products and processes in relation to historical trends of disciplinary interest in literary study. By reexamining the roil of theoretical debates and applied practices from the last generation of work in juxtaposition with applied digital work of the same period, Earhart also seeks to expose limitations in need of alternative methods—methods that might begin to deliver on the early (but thus far unfulfilled) promise that digitizing texts allows literature scholars to ask and answer questions in new and compelling ways. In mapping the history of digital literary scholarship, Earhart also seeks to chart viable paths to its future, and in doing this work in one discipline, this book aims to inspire similar work in others.

Theorists, scholars, and critics usually consider literary works to be fixed objects, assuming that any variations in the text of a work should be stabilized, reduced, eliminated. John Bryant urges that these variations create valuable records of the interactions between the artist and society. Preprint revisions, revised editions, adaptations for film, and expurgations for children are among the many forms of flux that shape literary works and position them relative to their audiences. Fully understanding the life of a literary work in its cultural situation requires recognizing the fluidity of text, and the present work makes the first coherent theoretical, critical, and editorial approach to the study of revision. The author develops his theory and its critical application drawing upon the example of Melville's Typee, using its various versions to present protocols for fluid text analysis. He shows how the mountain of scholarly material comprising the fluid text can be presented by a partnership of book and computer screen, in ways that offer new opportunities, insights,and pleasures for scholars and readers. The Fluid Text: A Theory of Revision and Editing for Book and Screen is written in a clear and accessible style and will appeal to scholars and students in editorial theory, literary criticism and analysis, and anyone concerned with the information architecture of complex literary works in digital media. John Bryant is Professor of English, Hofstra University. His most recent book is an edition of Melville's Tales, Poems, and Other Writings.

In the last decade, editorial theory and practice have begun to generate some of the most interesting issues and problems in the humanities. The discovery of plagiarism in Martin Luther King, Jr.'s dissertation and debates over editions of James Joyce's Ulysses appeared on the front pages of newspapers. The practice of editing has challenged our conceptions both of works themselves and of the principles by which art, meaning, and tradition are constituted. Palimpsest is the first volume to consider the impact of the new editorial work and theory on a wide range of humanistic disciplines. It assembles an extraordinarily distinguished group of leading practitioners and theorists, who examine editing in a variety of contexts: literature, music, art, history, religion, and correspondence. Contributors: Betty Bennett, George Bornstein, Kathleen Weil-Garris Brandt, Clayborne Carson, David Noel Freedman, Hans Walter Gabler, Philip Gossett, David Greetham, Jerome J. McGann, Barbara Oberg, Peter Shillingsburg, Gary Taylor, Ralph G. Williams, and James E. G. Zetzel.

An examination of a problematic text by one of America's most important poets

Over the past decade, Anglo-American notions of textual construction and editorial theory have begun major paradigm shifts. Many of the key emergent issues of Anglo-American debate -- such as theories of versions - -are already familiar in German theory. In other respects, including systematic reflection on the design and function of editorial apparatus, the German debate has already produced paradigms and procedures as yet unformulated in English. Contemporary German Editorial Theory makes available for the first time in English ten major essays by seven German theorists, together with an original introductory meditation by Hans Walter Gabler, editor of the celebrated edition of James Joyce's Ulysses. The volume thus participates in the paradigm shift in editorial theory that has led both to theoretical reconception of the field and to groundbreaking practical results. Topics discussed include the distinction between historical record and editor's interpretation, the display of multiple versions, concepts of authorization and intention, and the relations of textual theory to approaches like deconstruction and semiotics. The book also includes suggestions for further reading in both languages and a glossary of technical terms. Bringing together the heretofore separate Anglo-American and German approaches will strengthen each separately and prepare the way for a new hybrid combining the advantages of both orientations. Contributors are Hans Zeller, Miroslav Červenka, Elisabeth Höpker-Herberg, Gunter Martens, Henning Boetius, Siegfried Scheibe, and Gerhard Seidel.

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.

"It is with no desire or hope to promote a correct or superior form of textuality, with no desire to correct a so-called interpretive or editorial textual abuse, nor any attempt to prevent anyone from doing anything imaginable with texts or books that I have undertaken this book. . . ." So writes Peter Shillingsburg in his introduction to this series of meditations on the possibilities of deriving "meaning" from the texts we read. Shillingsburg argues that as humans we are and always will be interested in the past, in what was meant, in what was revealed inadvertently by a text--and that is all to the good. But we learn more and can compare notes better when we understand the principles that govern the ways we read. Resisting Texts approaches crucial questions about the practice of textual editing and literary criticism by posing questions in the form "If we take such and such to be the goal of our reading, then what will follow from that assumption?" With humor and a lively imagination, Shillingsburg takes the reader on a fresh theoretical investigation of communication, understanding and misunderstanding, and textual satisfactions, drawing examples from Thackeray, Wordsworth, Melville, and others. Resisting Texts will appeal to all who enjoy the varieties of critical approaches to the written word. Peter L. Shillingsburg is Professor of English, University of North Texas.

Managing Readers explores the fascinating interchange between text and margin, authorship and readership in early modern England. Printed marginalia did more than any other material feature of book production in the period between 1540 and 1700 to shape the experience of reading. William W. E. Slights considers overlooked evidence of the ways that early modern readers were instructed to process information, to contest opinions, and to make themselves into fully responsive consumers of texts. The recent revolution in the protocols of reading brought on by computer technology has forced questions about the nature of book-based knowledge in our global culture. Managing Readers traces changes in the protocols of annotation and directed reading--from medieval religious manuscripts and Renaissance handbooks for explorers, rhetoricians, and politicians to the elegant clear-text editions of the Enlightenment and the hypertexts of our own time. Developing such concepts as textual authority, generic difference, and reader-response, Slights demonstrates that printed marginalia were used to confirm the authority of the text and to undermine it, to supplement "dark" passages, and to colonize strategic hermeneutic spaces. The book contains twenty-two illustrations of pages from rare-book archives that make immediately clear how distinctive the management of the reading experience was during the first century-and-a-half of printing in England. William W. E. Slights is Professor of English, University of Saskatchewan. He is also author of Ben Jonson and the Art of Secrecy.