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Peter Barry

15.  Textual genesis One morning in October 1816 Charles Cowden Clarke woke at 10 and went down to breakfast at his lodgings at Clerkenwell in London. He was in his late twenties, working as a teacher at his father’s school in Enfield, and he had not slept long that night. In fact, he had stayed up till daylight with a friend he had taught at Enfield, a young man whose poetic tastes and interests he had helped to form. Clarke had borrowed a copy of the translation of Homer made by the Elizabethan poet John Chapman (a large and valuable folio volume first

in Reading poetry
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Cognition as recognition
James Simpson

14 Textual face: cognition as recognition James Simpson When university presidents defend the humanities, they do so in the same way they defend the sciences: as discovery of knowledge. That may be true of the sciences, but in this short chapter I want to persuade you that there is a distinctive form of thinking in the humanities. Thinking in the humanities is more a matter of recovery than discovery. Moments of revelation in the humanities are more inventions in the older sense (finding the already known) than scientific inventions in the newer sense

in Contemporary Chaucer across the centuries
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John Drakakis

to recover from Homer’s poetry female voices that pose a challenge to a distant, primarily masculine, discourse. Tóibín, himself a reader, explicitly addressing other readers, makes a pitch for his own originality, while at the same time revealing a genealogy of textual authorities whose plays are the sources of a novelistic narrative whose contours have become deeply embedded in Western culture. His explicit claim appears on the surface to be disingenuous. If we strip away the post-modern scaffolding of his own narrative

in Shakespeare’s resources
Caryl Churchill’s Identical Twins as neo-avant-garde (radio) drama
Pim Verhulst

-garde’s use of noises and impenetrable language systems’, which was ‘certainly not unique to Britain’ but occurred ‘across the Continent’, where ‘such non-communicative methods had dominated the avant-garde scene’ ( 2012 : 109). She connects the ‘questioning of the reliability and objectivity of language’, as found in the work of Filippo Tommaso Marinetti, Hugo Ball and the Dadaists, Tristan Tzara, André Breton, Maurice Maeterlinck and Antonin Artaud, through the use of non-linguistic rhythms or sounds and a breakdown of the textual alphabet ( 2012 : 110), to British avant

in Tuning in to the neo-avant-garde
Kimberly Lamm

Adrian Piper’s textual address In part my work stems from a compulsion to embody, transform, and use my experiences as a woman of color in constructive ways, in order not to feel trapped and powerless. Adrian Piper, ‘General Statement about My Work’ (1989)1 An austere visual archive thick with words, the artwork of Adrian Piper demands an encounter with language. Through a wide array of textual materials – typewriter fonts, swathes of paint, stencilled letters, and her own cursive handwriting – Piper works from the premise that language is a material embedded

in Addressing the other woman
Gender and narrative in L’Hiver de beauté, Les Ports du silence and La Rage au bois dormant by Christiane Baroche
Gill Rye

   Textual mirrors and uncertain reflections: gender and narrative in L’Hiver de beauté, Les Ports du silence and La Rage au bois dormant by Christiane Baroche Un roman est un miroir qui se promène sur une grande route. (Stendhal) (A novel is a mirror travelling along a highway.) L’écriture est la possibilité même du changement, l’espace d’où peut s’élancer une pensée subversive, le mouvement avant-coureur d’une transformation des structures sociales et culturelles. (Cixous) (Writing is precisely the very possibility of change, the space that can serve as

in Women’s writing in contemporary France
Sarah C.E. Ross
and
Elizabeth Scott-Baumann

Textual introduction Our aim in this anthology is to present the work of our selected poets in clear, modernised texts for use by students at undergraduate level and above. Much editorial ink has been spilled on the politics and technicalities of how to present early modern texts for student and scholarly readers, and editors of early modern women’s texts in particular have often been heavily invested in producing faithful or diplomatic editions of women’s works. Such editions, with old spelling, and often replicating deletions and insertions to texts that were

in Women poets of the English Civil War
Christopher Burlinson
and
Andrew Zurcher

Textual introduction The manuscript Ralph Knevet’s Supplement survives in a single autograph manuscript, Cambridge University Library MS Ee.3.53, apparently prepared as a fair copy for printing. The full title of the work, as given on the title page, is A Supplement of the Faery Queene in three Bookes. Wherein are allegorically described Affaires both military and ciuill of these times. The title page also includes a note on the date of the poem, reading ‘This was finished Anno Domini 1635’; internal evidence gives no reason to doubt this date for the completion

in A Supplement of the Faery Queene
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Sukanta Chaudhuri

124 A companion to pastoral poetry Textual notes Unless otherwise stated, the control text is the first printed version of the poem. All substantive variants in other versions have been noted, unless stated to the contrary. Variants in lineation, spelling and punctuation, and some unquestionable misprints, have not been noted except in special cases. A detailed account of the choice of texts and other editorial decisions is given under ‘Practices and Conventions’ in the Anthology (pp.xiii–xiv). Variant readings of the same word(s)/line(s) are separated by

in A Companion to Pastoral Poetry of the English Renaissance
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Reading early modern illustrations
Stephen Orgel

Oxford don. And when, thirty-two pages later, the Canon and his Yeoman join the pilgrims, we find the same woodcut used for the Canon’s Yeoman. Now there is no more textual authority for the bow and quiver in this case than in the case of the Clerk, but the reason that Thynne’s Clerk and Canon’s Yeoman are identical has nothing to do with the text and everything to do with the

in Spectacular Performances