Read more
Paul Eggert remaps the concept of literary critique, providing new justification for close reading and bringing scholarly editions and book history into the centre of literary studies. This book will appeal to students, researchers and editors interested in textual editing, book history, literary theory and the history of reading.
List of contents
Preface; List of illustrations; 1. Introduction: the book, the work and the scholarly edition; 2. Reviving the work-concept: music, literature and historic buildings; 3. The digital native encounters the printed scholarly edition called Hamlet; 4. The reader-oriented scholarly edition; 5. Digital editions: the archival impulse and the editorial impulse; 6. The work, the version and the Charles Harpur Critical Archive; 7. Book history and literary study: the late nineteenth century and Rolf Boldrewood; 8. Book history and literary study: Joseph Conrad and D. H. Lawrence; 9. Adaptation, folklore and the work: the Ned Kelly story; 10. Conclusion: what editors edit, and the role of the reader; Bibliography; Index.
About the author
Paul Eggert is Professor Emeritus at Loyola University, Chicago and the University of New South Wales. He previously held the Svaglic Chair in Textual Studies at Loyola University. He has edited critical editions of works by D. H. Lawrence, Henry Kingsley, Rolf Boldrewood, Henry Lawson and Joseph Conrad, and is the author of Securing the Past: Conservation in Art, Architecture and Literature (Cambridge, 2009), which won the Society for Textual Scholarship's Finneran Award as the best book of editorial theory for 2009–10.
Summary
Paul Eggert remaps the concept of literary critique, providing new justification for close reading and bringing scholarly editions and book history into the centre of literary studies. This book will appeal to students, researchers and editors interested in textual editing, book history, literary theory and the history of reading.
Additional text
'What follows is 200 pages of brilliant editorial discussion that blends strands of nostalgia wth strands of elegant self-deprecating irony.' Cristina Urchueguía, Ecdotica
