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First published in 2000, this volume is a unique collection of
essays which draws our attention to the importance of those textual
elements traditionally ignored in literary criticism. These include
punctuation, footnotes, epigraphs, typography, cover design, white
space and marginalia; features which significantly affect the
meaning of a literary text. The first section of the book opens
with a proposal for a new theory of punctuation. The essays which
follow are devoted to detailed interpretations of particular marks
in the work of individual writers, including Spenser, Richardson
and George Eliot. The consequences of this approach to the literary
text are examined in the second section of the book, which begins
with a debate on editorial practice and responsibility, and
features insights from editors. Attention is drawn in particular to
the special issues thrown up by dramatic texts, translations and
electronic editions. The relationship of marks to the main text is
far from subordinate, and we cannot appreciate the full
interpretative potential of a text without considering this. The
essays here compel us to assess the interaction of textual and
literary meaning. To mark a text is to make it.
First published in 2000, this volume is a unique collection of
essays which draws our attention to the importance of those textual
elements traditionally ignored in literary criticism. These include
punctuation, footnotes, epigraphs, typography, cover design, white
space and marginalia; features which significantly affect the
meaning of a literary text. The first section of the book opens
with a proposal for a new theory of punctuation. The essays which
follow are devoted to detailed interpretations of particular marks
in the work of individual writers, including Spenser, Richardson
and George Eliot. The consequences of this approach to the literary
text are examined in the second section of the book, which begins
with a debate on editorial practice and responsibility, and
features insights from editors. Attention is drawn in particular to
the special issues thrown up by dramatic texts, translations and
electronic editions. The relationship of marks to the main text is
far from subordinate, and we cannot appreciate the full
interpretative potential of a text without considering this. The
essays here compel us to assess the interaction of textual and
literary meaning. To mark a text is to make it.
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