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Why Modern Manuscripts Matter, Hardcover by Sutherland, Kathryn, Like New Use...
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OngeveerEUR 45,63
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eBay-objectnummer:364863142129
Specificaties
- Objectstaat
- Book Title
- Why Modern Manuscripts Matter
- ISBN
- 9780192856517
- Subject Area
- Literary Criticism, Language Arts & Disciplines
- Publication Name
- Why Modern Manuscripts Matter
- Publisher
- Oxford University Press, Incorporated
- Item Length
- 9.4 in
- Subject
- Communication Studies, General
- Publication Year
- 2022
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 0.8 in
- Item Weight
- 21.2 Oz
- Item Width
- 6.4 in
- Number of Pages
- 272 Pages
Over dit product
Product Identifiers
Publisher
Oxford University Press, Incorporated
ISBN-10
0192856510
ISBN-13
9780192856517
eBay Product ID (ePID)
8057242724
Product Key Features
Number of Pages
272 Pages
Language
English
Publication Name
Why Modern Manuscripts Matter
Publication Year
2022
Subject
Communication Studies, General
Type
Textbook
Subject Area
Literary Criticism, Language Arts & Disciplines
Format
Hardcover
Dimensions
Item Height
0.8 in
Item Weight
21.2 Oz
Item Length
9.4 in
Item Width
6.4 in
Additional Product Features
Intended Audience
Scholarly & Professional
Dewey Edition
23
Reviews
"Sutherland...amply shows the variety of ways in which manuscripts acquired new significance in the eighteenth and nineteenth centuries." -- Rachael Scarborough King, Modern Philosophy, Sutherland...amply shows the variety of ways in which manuscripts acquired new significance in the eighteenth and nineteenth centuries.
Illustrated
Yes
Dewey Decimal
091
Table Of Content
Introduction1. Dealing with the Leftovers2. Samuel Johnson and the Origins of Writing3. 'this warm scribe my hand': The Autograph Craze4. Nothing Wasted: Frances Burney's Fiction Manuscripts5. Whose Property? Walter Scott's Manuscripts6. Jane Austen Fragment ArtistAfterword
Synopsis
This is a study of the politics, the commerce, and the aesthetics of heritage culture in the shape of authors' manuscripts. Draft or working manuscripts survive in quantity from the eighteenth century when, with the rise of print, readers learnt to value 'the hand' as an index of individuality and the blotted page, criss-crossed by deletion and revision, as a sign of genius. Since then, collectors have fought over manuscripts, libraries have curated them, the rich have stashed them away in investment portfolios, students have squeezed meaning from them, and we have all stared at them behind exhibition glass. Why do we trade them, conserve them, and covet them? Most, after all, are just the stuff left over after the novel or book of poetry goes into print. Poised on the boundary where precious treasure becomes abject waste, litter, and mess, modern literary manuscripts hover between riches and rubbish.In a series of case studies, this book explores manuscript's expressive agency and its capacity to provoke passion--a capacity ever more to the fore in the twenty-first century now that books are assembled via word-processing software and authors no longer leave in such quantity those paper trails behind them. It considers manuscripts as residues of meaning that print is unable to capture: manuscript as fragment art, as property, as waste paper. It asks what it might mean to re-read print in the shadow of manuscript. Case studies of Samuel Johnson, James Boswell, Walter Scott, Frances Burney, and Jane Austen--writers from the first great period of manuscript survival--are interspersed with discussions of William Godwin's record keeping, the Cairo genizah, Katie Paterson's 'Future Library' project, Andy Warhol's and Muriel Spark's self-archiving, Cornelia Parker's reclamation art, and more., A study of the cultural value of literary manuscripts that explores why they are traded, conserved, and coveted. It focuses on the history of manuscript collection from the late seventeenth to the early eighteenth century, and the emerging strains of commercial, aesthetic, and heritage value driving it., This is a study of the politics, the commerce, and the aesthetics of heritage culture in the shape of authors' manuscripts. Draft or working manuscripts survive in quantity from the eighteenth century when, with the rise of print, readers learnt to value 'the hand' as an index of individuality and the blotted page, criss-crossed by deletion and revision, as a sign of genius. Since then, collectors have fought over manuscripts, libraries have curated them, the rich have stashed them away in investment portfolios, students have squeezed meaning from them, and we have all stared at them behind exhibition glass. Why do we trade them, conserve them, and covet them? Most, after all, are just the stuff left over after the novel or book of poetry goes into print. Poised on the boundary where precious treasure becomes abject waste, litter, and mess, modern literary manuscripts hover between riches and rubbish. In a series of case studies, this book explores manuscript's expressive agency and its capacity to provoke passion--a capacity ever more to the fore in the twenty-first century now that books are assembled via word-processing software and authors no longer leave in such quantity those paper trails behind them. It considers manuscripts as residues of meaning that print is unable to capture: manuscript as fragment art, as property, as waste paper. It asks what it might mean to re-read print in the shadow of manuscript. Case studies of Samuel Johnson, James Boswell, Walter Scott, Frances Burney, and Jane Austen--writers from the first great period of manuscript survival--are interspersed with discussions of William Godwin's record keeping, the Cairo genizah, Katie Paterson's 'Future Library' project, Andy Warhol's and Muriel Spark's self-archiving, Cornelia Parker's reclamation art, and more.
LC Classification Number
Z105
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