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University of Toronto St. George
St. Michael's College Courses
Lindsey Eckert

November 22, 2011 Textual Criticism andTextual Editing Descriptive Bibliography - Each gathering only has four signed leaves and then four blank ones - Each gathering has six leaves.What’s the deal? 12°:A-H 6 - Format = size of sheet; how many pages printed on that sheet (later they cut the pages in half) - For paper description, simple is fine: - Paper: laid paper with vertical chain lines, could not locate watermark - Paper: wove paper, no watermark - Paper: laid paper with horizontal chain lines bad grape watermark in the gutter (inside of the book) --> say where the watermark is Textual Editing Editions:Things to Consider - A work is an entity that exists in no single historical document. Scholarly editing entails, just like any act of reading, the effort to discover the work that lies behind the text(s) that one is presented with (ThomasTanselle, A Rationale ofTextual Criticism) - Text = what specific edition (quarto, folio, modern edition) - Work = e.g. Hamlet — higher level of text in some way - Editing is always an interpretive act - Good editors to limit random subjectivity by clearly outlining their goals and editorial practices:“here’s the roadmap I look to whenever I have a question” - Any scholarly modern edition will include an editorial statement clearly outlining the editorial principle - will explain how text has been edited in detail so you know what the text you’re getting is - E.g. Coleridge’s poem in picture book form = a more “fun” way to read the poem - Look at types of footnotes; is this a scanned e-book? Be aware how editor has made certain decisions - How text has been mediated to you - What qualifies as a “quality” edition or a useful edition depends on a number of factors: 1. Purpose 2. Audience 3. Other extant scholarly editions available Complicated things that go into scholarly editions: - Multiple manuscripts - Different editions published throughout an author’s life - Texts that exist in various (incomplete) state at the author’s death - Texts heavily edited by an author’s publishers and editors — with or without the author’s consent - Variants introduced into the text by compositors TextualEditing DocumentaryEditing CriticalEditing Facsimile Variorum Genetic theoryof the copy-text Geneaological Historical-CriticalEditing (Stemma) - Textual editing - documentary/critical editing Textual Editing Documentary Editing Critical Editing • Reproduces a manuscript or • Often produces a new printed text as a historical text, which combines artifact various texts and editorial • Does not emend the text decisions • Author’s intent does not matter • Emends the text • Jerome McGann • Authorial intent is important • W.W. Greg and Fredson Bowers - Documentary editing: does not emend the text; leaves the mistakes - Critical editing: types of errors introduced into a text by drunk compositors/editors: why in the world would we reproduce that? Textual Editing: Key Concepts - Linguistic codes (McGann) - Bibliographic codes (McGann) - Copy-text (Greg and Bowers) - Linguistic codes are the text on the page - The transcribed text of Blake’s “The Little Black Boy” - the “word stuff”, punctuation - Bibliographic codes are the material aspects of a text that contribute to its meaning - materiality matters and influences a text’s meaning (e.g. colouration of boy figures in CopyT and Copy C -- influence the meaning of Blake’s text) - Copy-text: the text of a particular document whose readings are presumed authoritative in the absence of contrary evidence - In the absence of some evidence, you always go according to the copy-text - Create a new text primarily based on copy-text, what you think the author’s intentions were - A copy-text is a road map for a critical edition - Copy-text theory was developed byW.W. Greg and was founded on the underlying principle that authorial intention is paramount - Greg argued that the copy-text chosen by an editor should most clearly reflect author’s intentions — whether initial (and thereby least corrupted by textual transmission → manuscript; untainted by editors) or final (the final revision to syntax, in response to reviews; author had time to think and correct their work) - What might be some problems? - You can’t know which is more valued or “right”, initial or final - Benefits: author can be very assertive about which is the best version - You’re creating a new edition, a new version: get rid of bad parts, grammar - A critical edition does not reproduce a text of a particular surviving document - Constructs a new text that did not exist in the original text’s historical moment - A critical edition collates different editions to find all the variants; the editions will follow the copy-text unless there are reasons to follow the variants from other editions of manuscripts - Small or huge, substantial changes to the text: e.g. adding chapters, modernization of terminology (Archaic vs. modern) - Refer to manuscripts and printed texts Critical editing: copy-text - Substantives: variants concerned with wording -- changes the meaning of text by adding chapters, adding or deleting sentences - Accidentals: variants concerned with spelling, punctuation, capitalization, layout -- e.g. in hand press period, foul case and therefore misspellings - Is the line always clear? Should the editor make corrections, even in “accidentals”? - Interpretive work in editing: you decide if it’s a substantive or accidental - Result of deciding what you deviate from copy-text, decide what’s substantive or accidental - Emendations to the copy-text res
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