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Books > Language & Literature > Literature: history & criticism > Literary studies > 16th to 18th centuries
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The Typographic Imaginary in Early Modern English Literature (Paperback)
Loot Price: R1,212
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The Typographic Imaginary in Early Modern English Literature (Paperback)
Series: Material Readings in Early Modern Culture
Expected to ship within 12 - 17 working days
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The typographic imaginary is an aesthetic linking authors from
William Caxton to Alexander Pope, this study centrally contends.
Early modern English literature engages imaginatively with printing
and this book both characterizes that engagement and proposes the
typographic imaginary as a framework for its analysis. Certain
texts, Rachel Stenner states, describe the people, places,
concerns, and processes of printing in ways that, over time,
generate their own figurative authority. The typographic imaginary
is posited as a literary phenomenon shared by different writers, a
wider cultural understanding of printing, and a critical concept
for unpicking the particular imaginative otherness that printing
introduced to literature. Authors use the typographic imaginary to
interrogate their place in an evolving media environment, to assess
the value of the printed text, and to analyse the roles of other
text-producing agents. This book treats a broad array of authors
and forms: printers' manuals; William Caxton's paratexts; the
pamphlet dialogues of Robert Copland and Ned Ward; poetic
miscellanies; the prose fictions of William Baldwin, George
Gascoigne, and Thomas Nashe; the poetry and prose of Edmund
Spenser; writings by John Taylor and Alexander Pope. At its
broadest, this study contributes to an understanding of how
technology changes cultures. Located at the crossroads between
literary, material, and book historical research, the particular
intervention that this work makes is threefold. In describing the
typographic imaginary, it proposes a new framework for analysis of
print culture. It aims to focus critical engagement on symbolic
representations of material forms. Finally, it describes a lineage
of late medieval and early modern authors, stretching from the
mid-fifteenth to the mid-eighteenth centuries, that are linked by
their engagement of a particular aesthetic.
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