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In this book, Joseph Dane critiques the use of material evidence in
studies of manuscript and printed books by delving into accepted
notions about the study of print culture. He questions the
institutional and ideological presuppositions that govern medieval
studies, descriptive bibliography, and library science. Dane begins
by asking what is the relation between material evidence and the
abstract statements made about the evidence; ultimately he asks how
evidence is to be defined. The goal of this book is to show that
evidence from texts and written objects often becomes twisted to
support pre-existing arguments; and that generations of
bibliographers have created narratives of authorship, printing,
reading, and editing that reflect romantic notions of identity,
growth, and development. The first part of the book is dedicated to
medieval texts and authorship: materials include Everyman,
Chaucer's Legend of Good Women, the Anglo-Norman Le Seint
Resurrection, and Adam de la Helle's Le Jeu de Robin et Marion. The
second half of the book is concerned with abstract notions about
books and scholarly definitions about what a book actually is:
chapters include studies of basic bibliographical concepts ("Ideal
Copy") and the application of such a notion in early editions of
Chaucer, the combination of manuscript and printing in the books of
Colard Mansion, and finally, examples of the organization of books
by an early nineteenth-century book-collector Leander Van Ess. This
study is an important contribution to debates about the nature of
bibliography and the critical institutions that have shaped its
current practice.
In this book, Joseph Dane critiques the use of material evidence in
studies of manuscript and printed books by delving into accepted
notions about the study of print culture. He questions the
institutional and ideological presuppositions that govern medieval
studies, descriptive bibliography, and library science. Dane begins
by asking what is the relation between material evidence and the
abstract statements made about the evidence; ultimately he asks how
evidence is to be defined. The goal of this book is to show that
evidence from texts and written objects often becomes twisted to
support pre-existing arguments; and that generations of
bibliographers have created narratives of authorship, printing,
reading, and editing that reflect romantic notions of identity,
growth, and development. The first part of the book is dedicated to
medieval texts and authorship: materials include Everyman,
Chaucer's Legend of Good Women, the Anglo-Norman Le Seint
Resurrection, and Adam de la Helle's Le Jeu de Robin et Marion. The
second half of the book is concerned with abstract notions about
books and scholarly definitions about what a book actually is:
chapters include studies of basic bibliographical concepts ("Ideal
Copy") and the application of such a notion in early editions of
Chaucer, the combination of manuscript and printing in the books of
Colard Mansion, and finally, examples of the organization of books
by an early nineteenth-century book-collector Leander Van Ess. This
study is an important contribution to debates about the nature of
bibliography and the critical institutions that have shaped its
current practice.
"As bibliographers or book historians, we perform our work by
changing the function of the objects we study. We rarely pick up an
Aldine edition to read one of the classical texts it contains. . .
. Print culture, under this notion, is not a medium for writing or
thought but a historical object of study; our bibliographical
field, our own concoction, becomes the true referent of the objects
we define as its foundation."-From the Introduction What is a book
in the study of print culture? For the scholar of material texts,
it is not only a singular copy carrying the unique traces of
printing and preservation efforts, or an edition, repeated and
repeatable, or a vehicle for ideas to be abstracted from the
physical copy. But when the bibliographer situates a book copy
within the methods of book history, Joseph A. Dane contends, it is
the known set of assumptions which govern the discipline that
bibliographic arguments privilege, repeat, or challenge. "Book
history," he writes, "is us." In Blind Impressions, Dane reexamines
the field of material book history by questioning its most basic
assumptions and definitions. How is print defined? What are the
limits of printing history? What constitutes evidence? His
concluding section takes form as a series of short studies in theme
and variation, considering such matters as two-color printing, the
composing stick used by hand-press printers, the bibliographical
status of book fragments, and the function of scholarly
illustration in the Digital Age. Meticulously detailed, deeply
learned, and often contrarian, Blind Impressions is a bracing
critique of the way scholars define and solve problems.
Students of English literature now rarely receive instruction in
versification (theory or practice) at either the undergraduate or
the graduate level. The Long and the Short of It is a clear,
straightforward account of versification that also functions as an
argument for a renewed attention to the formal qualities of verse
and for a renewed awareness of the forms and traditions that have
shaped the way we think about English verse. After an introduction
and discussion of basic principles, Joseph A. Dane devotes a
chapter to quantitative verse (Latin), syllabic or isosyllabic
verse (French), and accentual verse (Old English/Germanic). In
addition to basic versification systems, the book includes a
chapter on musical forms, since verse was originally sung. Most
serious studies of these systems in English have been designed for
language students, and are not accessible to students of English
literature or general readers. This book will enable the reader to
scan verse in all three systems, and it will also provide a
framework within which students can understand points of contention
about particular verse forms. The guide includes a chapter
addressed to teachers of English, an appendix with examples of
verse types, and a glossary of commonly used terms.
Written as a sailing chronicle, Dogfish Memory is the story of the
search for an authentic Maine, a Maine of the past, whether
historical or simply imagined, and a Maine of the present, one
experienced by both permanent residents and seasonal
ones-summerfolk. Joseph Dane is both. He has worked on commercial
fishing boats as a local and he has sailed the coast for years like
those who are "from away." Dogfish Memory tells the story of how
his often conflicting Maines are intertwined. Authentic Maine is
elusive; stories and even photographs of a past Maine often
contradict the memories of those who have lived through the changes
they record. Dogfish Memory is thus the story of loss, the loss of
a Maine recalled and imagined, and the loss of the love with which
Maine is irrevocably associated.
The Maine dogfish are gone fished to the brink of extinction. Gone
too is Linda Jane, and with her the love and the subjunctive Maine
that they might have shared. And what of that fabled Old Maine Is
it gone for good? Dogfish Memory is the story of the search for an
authentic Maine, a Maine of the past, whether historical or simply
imagined, and a Maine of the present, one experienced by both
permanent residents and seasonal ones summerfolk. Joseph Dane is
both. He has worked on commercial fishing boats as a local and he
has sailed the coast for years like those who are from away.
Dogfish Memory tells the story of how his often conflicting Maines
are intertwined. Authentic Maine is elusive; stories and even
photographs of a past Maine often contradict the memories of those
who have lived through the changes they record. Dogfish Memory is
thus the story of loss, the loss of a Maine recalled and imagined,
and the loss of the love with which Maine is irrevocably
associated.
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