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Jerome McGann has been at the forefront of the digital revolution in the humanities. His pioneering critical projects on the World Wide Web have redefined traditional notions about interpreting literature. In this trailblazing book, McGann explores the profound implications digital media have for the core critical tasks of the humanities.Drawing on his work as editor of the acclaimed hypertext project The Rossetti Archive, he sets the foundation for a new critical practice for the digital age. Digital media, he demonstrates, can do much more than organize access to great works of literature and art. Beyond their acknowledged editorial and archival capabilities, digital media are also critical tools of unprecedented power. In McGann’s practical vision, digital tools give scholars a flexible, dynamic means for interpreting expressive works—especially those that combine text and image. Radiant Textuality demonstrates eloquently how new technologies can deepen our understanding of complex, multi-layered works of the human imagination in ways never before thought possible.
In "Victorian Connections," each contributor was asked to write
about anything in the Victorian period, with only one proviso: that
the essay seek to draw connections with other disciplines, fields,
periods, methodologies or authors. The compliment the essays pay to
each other - the way they complement each other - lies in their
diversity. Another feature of the book is the way it grounds its
work in a particular historical and institutional context. That
context is then illustrated in the succeeding essays. These essays,
at once theoretically literate and historically rigorous, define
the shape that Victorian studies will be taking in the immediate
future.
This volume completes the Oxford English Texts edition of Byron's Poetical Works. Included here are the poems from the last two years of Byron's life, 1823-4, when he decided to leave Italy to join the Greeks in their struggle for independence from the Ottoman Empire. Three major works date from this period - the neglected late satire, The Age of Bronze; Byron's treatment of the Bounty mutiny, The Island; and his greatest lyric poem, `January 22nd 1824. Messalonghi. On this day I complete my thirty-sixth year.' An important feature of this volume is its set of appendices dealing with the corpus of Byron's work. Of special signficance are those detailing all relevant information about attributed and spurious Byron poems. This material is important not only for establishing a reliable corpus of the work, but also as a fundamental resource for the study of the Byron legend. This volume also contains comprehensive indexes of titles, of first lines, and of all the poems by volume and page number, and a general index.
In all six of its volumes The Broadview Anthology of British
Literature presents British literature in a truly distinctive
light. Fully grounded in sound literary and historical scholarship,
the anthology takes a fresh approach to many canonical authors, and
includes a wide selection of work by lesser-known writers. The
anthology also provides wide-ranging coverage of the worldwide
connections of British literature, and it pays attention throughout
to issues of race, gender, class, and sexual orientation. It
includes comprehensive introductions to each period, providing in
each case an overview of the historical and cultural as well as the
literary background. It features accessible and engaging headnotes
for all authors, extensive explanatory annotations, and an
unparalleled number of illustrations and contextual materials.
Innovative, authoritative and comprehensive, The Broadview
Anthology of British Literature has established itself as a leader
in the field. The full anthology comprises six bound volumes,
together with an extensive website component; the latter has been
edited, annotated, and designed according to the same high
standards as the bound book component of the anthology, and is
accessible by using the passcode obtained with the purchase of one
or more of the bound volumes. For the third edition of this volume
a considerable number of changes have been made. Newly prepared,
for example, is a substantial selection from Baldassare
Castiglione's The Courtier, presented in Thomas Hoby's influential
early modern English translation. Thomas Kyd's The Spanish Tragedy
is another major addition. Also new to the anthology are excerpts
from Thomas Dekker's plague pamphlets. We have considerably
expanded our representation of Elizabeth I's writings and speeches,
as well as providing several more cantos from Edmund Spenser's
Faerie Queene and adding selections from Sir Philip Sidney's
Arcadia. We have broadened our coverage, too, to include
substantial selections of Irish, Gaelic Scottish, and Welsh
literature. (Perhaps most notable of the numerous authors in this
section are two extraordinary Welsh poets, Dafydd ap Gwilym and
Gwerful Mechain.) Mary Sidney Herbert's writings now appear in the
bound book instead of on the companion website. Margaret Cavendish,
previously included in volume 3 of the full anthology, will now
also be included in this volume; we have added a number of her
poems, with an emphasis on those with scientific themes. The
edition features two new Contexts sections: a sampling of "Tudor
and Stuart Humor," and a section on "Levellers, Diggers, Ranters,
and Covenanters." New materials on emblem books and on manuscript
culture have also been added to the "Culture: A Portfolio" contexts
section. There are many additions the website component as
well-including Thomas Deloney's Jack of Newbury also published as a
stand-alone BABL edition). We are also expanding our online
selection of transatlantic material, with the inclusion of writings
by John Smith, William Bradford, and Anne Bradstreet.
For Jerome McGann, the purpose of scholarship is to preserve and
pass on cultural heritage, a feat accomplished through discussion
among scholars and interested nonspecialists. In "The Scholar's
Art, "a collection of thirteen essays, McGann both addresses and
exemplifies that discussion and the vocation it supports.
Of particular interest to McGann is the demise of public discourse
about poetry. That poetry has become recondite is, to his mind, at
once a problem for how scholars do their work and a general
cultural emergency. "The Scholar's Art" asks what could be gained
by reimagining the way scholars have codified the literary and
cultural history of the past two hundred years and goes on to
provide a series of case studies that illustrate how scholarly
method can help bring about such reimaginings. McGann closes with a
discussion of technology's ability to harness the reimagination of
cultural memory and concludes with exemplary acts of critical
reflection.
Astute observation from one of America's most bracing and original
commentators on the place of literature in twenty-first century
culture, "The Scholar's Art" proposes new ways--cultural,
philological, and technological--to reimagine our literary past and
future.
NB - VOL VII HAS THE BLURB FOR BOTH VOLS - ELSP89 This volume is
the penultimate one in the Oxford English Texts Byron, described by
Ian Jack as 'one of the finest editions we have of any of the
Romantic poets'. It contains all the works of 1821 and 1822,
including all Byron's late plays - The Two Foscari, Sardanapalus,
Cair: A Mystery, (publication of which gave rise to threats of
prosecution against the publisher, John Murray), and the unfinished
The Deformed Transformed. As usual, the works are given with
textual annotation at the foot of the page, and there is a full
introdution and extensive annotation at the end of the volume.
This book examines the function of truth in poetry in an age when
both knowledge and truth have been defined in empirical and
scientific terms. Professor McGann argues that for two hundred
years imaginative writing has been seen as a literature of power
rather than a literature of knowledge - a view standing at the core
of all Kantian and Romantic aesthetics, which, throughout that
time, have dominated the ideas of Euro-American studies. Emerging
from the postmodern critique of those traditions, he considers the
work of four writers of the period - Blake, Byron, D. G. Rossetti,
and Pound - in discussing ways in which poetry may be seen to
possess truth-functions and to constitute a pursuit of knowledge.
Towards a Literature of Knowledge was delivered as the Clark
Lecture at Trinity College, and as the Carpenter Lecture at the
University of Chicago, both in 1988. It is the fifth and final work
in a series which began in 1983 with The Romantic Ideology. Among
the related works, The Beauty of Inflections (OUP, 1985) is now
available in paperback (Clarendon Paperbacks, #12.95).
Volume IV of this edition of Byron's poetical works covers the
period from the middle of 1816, when Byron left England, to the end
of 1820. During this first phase of his exile years he wrote some
of his most important and innovative work, including Manfred,
Beppo, Mazeppa, and the Morgante Maggiore. These were the works,
and this was the period, in which Byron moved toward the project
that was to become his masterwork, Don Juan. Seventy-one poems are
included in this volume, of which ten are collected in complete
form for the first time. In addition, a large number of the poems
have heretofore been printed in corrupted or non-authoritative
texts, many of them among Byron's most well-known works such as
Manfred and "To the Po". The texts are based on a return to, and a
systematic analysis of, all the early textual documents, including
all known manuscripts, proofs, and early editions. Copious notes
and commentaries supplement the editorial apparatus, so that the
entire context of these works--textual, biographical, social,
historical--is elucidated as it has never been in any previous
edition.
The third edition of the Victorian Era volume of The Broadview
Anthology of British Literature includes a number of changes and
new additions, including the complete texts of In Memoriam A.H.H.,
The Importance of Being Earnest, Carmilla, and Strange Case of Dr.
Jekyll and Mr. Hyde, as well as Contexts sections on 'Work and
Poverty,' 'Women in Society,' 'Sexuality in the Victorian Era,'
'Nature and the Environment,' 'The New Woman,' and 'Britain,
Empire, and a Wider World.' The third edition also offers expanded
representation of writers of color, including Mary Prince, Mary
Seacole, Toru Dutt, Mary Ann Shadd, and Rabindranath Tagore.
Claiming that the scholarship and criticism of Romanticism and its
works have for too long been dominated by a Romantic ideology--by
an uncritical absorption in Romanticism's own
self-representations--Jerome J. McGann presents a new, "critical"
view of the subject that calls for a radically revisionary reading
of Romanticism. In the course of his study, McGann analyzes both
the predominant theories of Romanticism (those deriving from
Coleridge, Hegel, and Heine) and the products of its major English
practitioners. Words worth, Coleridge, Shelley, and Byron are
considered in greatest depth, but the entire movement is subjected
to a searching critique. Arguing that poetry is produced and
reproduced within concrete historical contexts and that criticism
must take these contexts into account, McGann shows how the
ideologies embodied in Romantic poetry and theory have shaped and
distorted contemporary critical activities.
This authoritative edition was originally published in the
acclaimed Oxford Authors series under the general editorship of
Frank Kermode. It brings together a unique combination of Byron's
poetry and prose - all the major poems, complemented by important
letters, journals, and conversations - to give the essence of his
work and thinking. Byron is regarded today as the ultimate
Romantic, whose name has entered the language to describe a man of
brooding passion. Although his private life shocked his
contemporaries his poetry was immensely popular and influential,
especially in Europe. This comprehensive edition includes the
complete texts of his two poetic masterpieces Childe Harold's
Pilgrimage and Don Juan, as well as the dramatic poems Manfred and
Cain. There are many other shorter poems and part of the satire
English Bards and Scotch Reviewers. In addition there is a
selection from Byron's inimitable letters, extracts from his
journals and conversations, as well as more formal writings. ABOUT
THE SERIES: For over 100 years Oxford World's Classics has made
available the widest range of literature from around the globe.
Each affordable volume reflects Oxford's commitment to scholarship,
providing the most accurate text plus a wealth of other valuable
features, including expert introductions by leading authorities,
helpful notes to clarify the text, up-to-date bibliographies for
further study, and much more.
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Selected Poetry (Paperback)
George Gordon Lord Byron; Edited by Jerome J. McGann
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Byron was a legend in his own lifetime and the dominant influence
on the Romantic movement. The most European of the English writers
in an age of revolution, Byron was deeply involved in contemporary
events, and a passionate supporter of the struggle for Greek
independence. Describing himself as `born for opposition', his work
was largely directed against what he called the `cant political,
cant poetical, and cant moral' of the English and European worlds.
He was rocketed to fame by the publication of Childe Harold in
1812, and lionized by society until his departure from England amid
a whirlpool of private gossip and newspaper scandal in 1816. His
is, in every sense, a poetry of experience, and a Romantic emphasis
on the personality of the poet is the hallmark of all his verse.
Relishing humour and irony, daring and flamboyant, sardonic yet
idealistic, his work encompasses a sweeping range of topics,
subjects, and models, embracing the most traditional and the most
experimental poetic forms. This selection of the poetical works,
chosen from the Oxford Authors critical edition, includes such
masterpieces as The Corsair, Manfred, Bebbo, and Don Juan. There
are many other less familiar works and shorter lyrics, and Jerome
J. McGann's introduction and notes give fascinating insight into
Byron's world. ABOUT THE SERIES: For over 100 years Oxford World's
Classics has made available the widest range of literature from
around the globe. Each affordable volume reflects Oxford's
commitment to scholarship, providing the most accurate text plus a
wealth of other valuable features, including expert introductions
by leading authorities, helpful notes to clarify the text,
up-to-date bibliographies for further study, and much more.
This collection of studies, which spans the past decade, was first
published in hardback in 1985. As well as exploring the fault-lines
marking the various kinds of ahistorical literary studies from the
New Criticism to Post-Structuralism, it develops a fully elaborated
socio-historical criticism for literary works. It achieves this by
means of four special sets of investigations: into the relation
between the so-called 'autonomous' poem and its
political/historical contexts; into the relation of reception and
history to literary interpretation; into the problems of canon and
the characterization of period; and, finally, into the ideological
dimensions of both literary works and the criticism of such works.
Whilst focusing largely on nineteenth-century works - among them
those of Keats, Byron, Tennyson, and Christina Rossetti - its
arguments are applicable to literary studies in general, and its
emphasis throughout is theoretical and methodological. '... an
outstandingly good book.' John Lucas, Times Literary Supplement
'The essays exhibit wide and careful reading in the service of a
criticism that is refreshing, even moving, in its advocacy of an
old poetical ideal.' Victorian Poetry 'Few practising critics can
speak concurrently on scholarly, critical, and theoretical issues
with the authority of McGann... The Beauty of Inflections
represents a major practical and theoretical intervention.' Modern
Language Notes
Over the past decade literary critic and editor Jerome McGann has
developed a theory of textuality based in writing and production
rather than in reading and interpetation. These new essays extend
his investigations of the instability of the physical text. McGann
shows how every text enters the world under socio-historical
conditions that set the stage for a ceaseless process of textual
development and mutation. Arguing that textuality is a matter of
inscription and articulation, he explores texts as material and
social phenomena, as particular kinds of acts.
McGann links his study to contextual and institutional studies
of literary works as they are generated over time by authors,
editors, typographers, book designers, marketing planners, and
other publishing agents. This enables him to examine issues of
textual stability and instability in the arenas of textual
production and reproduction. Drawing on literary examples from the
past two centuries--including works by Byron, Blake, Morris, Yeats,
Joyce, and especially Pound--McGann applies his theory to key
problems facing anyone who studies texts and textuality.
"English literature," Yeats once noted, "has all but completely
shaped itself in the printing press." Finding this true
particularly of modernist writing, Jerome McGann demonstrates the
extraordinary degree to which modernist styles are related to
graphic and typographic design, to printed letters--"black riders"
on a blank page--that create language for the eye. He sketches the
relation of modernist writing to key developments in book design,
beginning with the nineteenth-century renaissance of printing, and
demonstrates the continued interest of postmodern writers in the
"visible language" of modernism. McGann then offers a philosophical
investigation into the relation of knowledge and truth to this kind
of imaginative writing.
Exploring the work of writers like William Morris, Emily
Dickinson, W. B. Yeats, Ezra Pound, and Gertrude Stein, as well as
Laura Riding and Bob Brown, he shows how each exploits the
visibilities of language, often by aligning their work with older
traditions of so-called Adamic language. McGann argues that in
modernist writing, philosophical nominalism emerges as a key
aesthetic point of departure. Such writing thus develops a
pragmatic and performative "answer to Plato" in the matter of
poetry's relation to truth and philosophy.
In Victorian Connections, each contributor was asked to write about
anything in the Victorian period, with only one proviso: that the
essay seek to draw connections with other disciplines, fields,
periods, methodologies or authors. The compliment the essays pay to
each other - the way they complement each other - lies in their
diversity. Another feature of the book is the way it grounds its
work in a particular historical and institutional context. That
context is then illustrated in the succeeding essays. These essays,
at once theoretically literate and historically rigorous, define
the shape that Victorian studies will be taking in the immediate
future.
This work initiated a major shift in literary theory and method
when it was first published in 1983. Starting from a critical
inquiry into certain specialised issues in the practice of editing,
"A Critique of Modern Textual Criticism" gradually unfolds an
argument for a general revaluation of the grounds of literary study
as a whole. McGann's point of departure is the controversy he opens
with the once-dominant line of traditional textual and editorial
scholarships as it evolved through the fundamental work of W.W.
Greg, Fredson Bowers and G. Thomas Transelle. In departing from the
canonical approach to the technical question of copy-text, McGann
argues that theory of text must ground itself in a recovery of the
entire productive and reproductive history of the text. His book
proposes combining literary criticism and bibliographical
scholarship with social, institutional and collaborative models of
creation and production. Although focused on cases located in the
past 200 years, "A Critique of Modern Textual Criticism" has had a
wide-ranging influence on the scholarship of all literary periods.
It is one of the seminal works of modern textual theory.
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