This book is just what it says it is: A theory of textuality divided into two parts, logical and epistemological.

This book is just what it says it is: A theory of textuality divided into two parts, logical and epistemological.

Over the past decade literary critic and editor Jerome McGann has developed a theory of textuality based in writing and production rather than in reading and interpretation. These new essays extend his investigations of the instability of the physical text. McGann shows how every text enters the world under socio-historical conditions that set the stage for a ceaseless process of textual development and mutation. Arguing that textuality is a matter of inscription and articulation, he explores texts as material and social phenomena, as particular kinds of acts. McGann links his study to contextual and institutional studies of literary works as they are generated over time by authors, editors, typographers, book designers, marketing planners, and other publishing agents. This enables him to examine issues of textual stability and instability in the arenas of textual production and reproduction. Drawing on literary examples from the past two centuries--including works by Byron, Blake, Morris, Yeats, Joyce, and especially Pound--McGann applies his theory to key problems facing anyone who studies texts and textuality.

This book describes and explains the fundamental changes that are now taking place in the most traditional areas of humanities theory and method, scholarship and education. The changes flow from the re-examination of the very foundations of the humanities - its theories of textuality and communication - that are being forced by developments in information technology. A threshold was crossed during the last decade of the twentieth century with the emergence of the World Wide Web, which has (1) globalized access to computerized resources and information, and (2) made interface and computer graphics paramount concerns for work in digital culture. While these changes are well known, their consequences are not well understood, despite so much discussion by digital enthusiasts and digital doomsters alike. In reconsidering these matters, Radiant Textuality introduces some remarkable new proposals for integrating computerized tools into the central interpretative and critical activities of traditional humanities disciplines, and of literary studies in particular.

Provides an ontological characterization of texts, explores the issues raised by the identity of various texts, and presents a view of the function of authors and audiences, and of their relations to texts.

Multi-volume history of American literature.

First Published in 1998. Routledge is an imprint of Taylor & Francis, an informa company.

A provocative examination of the artistic interpretation of twelve of Borges’s most famous stories.

Most of the current scholarly literature on biblical intertextuality--or the use of the Old Testament in the New Testament--exhibits a high degree of variance regarding methodological approach. The variety of methods employed naturally yields a variety of results. Semiotics, or the study of signs and how they communicate, offers an avenue for approaching intertextual references that focuses on communication theory and meaning. In addition, semiotic theory provides an overarching methodological framework for examining intertextual references. As such, a semiotic approach can assist in creating greater methodological consistency and clarity for this nuanced area of New Testament study. The purpose of this book is to explore the use of semiotics as a viable approach to biblical intertextuality. The intertextual references to Isaiah in 1 Peter will serve as the test case for an application of the method. A semiotic approach is promising because it offers a solution to the pervasive problem of methodology in intertextual studies. Moreover, the investigation of 1 Peter's use of Isaiah provides a fresh perspective on how Peter utilizes this important source in the construction of his epistle and the communication of his message.

The last half of the twentieth century has seen the emergence of literary theory as a new discipline. As with any body of scholarship, various schools of thought exist, and sometimes conflict, within it. I.R. Makaryk has compiled a welcome guide to the field. Accessible and jargon-free, the Encyclopedia of Contemporary Literary Theory provides lucid, concise explanations of myriad approaches to literature that have arisen over the past forty years. Some 170 scholars from around the world have contributed their expertise to this volume. Their work is organized into three parts. In Part I, forty evaluative essays examine the historical and cultural context out of which new schools of and approaches to literature arose. The essays also discuss the uses and limitations of the various schools, and the key issues they address. Part II focuses on individual theorists. It provides a more detailed picture of the network of scholars not always easily pigeonholed into the categories of Part I. This second section analyses the individual achievements, as well as the influence, of specific scholars, and places them in a larger critical context. Part III deals with the vocabulary of literary theory. It identifies significant, complex terms, places them in context, and explains their origins and use. Accessibility is a key feature of the work. By avoiding jargon, providing mini-bibliographies, and cross-referencing throughout, Makaryk has provided an indispensable tool for literary theorists and historians and for all scholars and students of contemporary criticism and culture.