PMLA 121 1

From Commonplace Book
Jump to: navigation, search

PMLA 121.1 Special Topic: The History of the Book and the Idea of Literature (Jan 2006)

  • Essays to read: Des Forges, McDonald, Brown
  • N.B. Piper essay about Weimar Goethe Edition a chapter in Piper 2009

Price Reading Matter

  • clear rhetorical positioning of book history for literary scholars
  • 10 ..."Book history" has come to stand for materialist resistance to theory, to idealism, even to ideas.
  • ... Bibliographers' failure to account for the specificity of the literary is all the more striking given how often their raw materials are borrowed from a canon established by literature departments. In 1932, W.W. Greg declared, "Books are the material means by which literature is transmitted; therefore bibliography, the study of books, is essentially the science of the transmission of literary documents."
    • in "Bibliography - An Apologia" -- too literary (he elsewhere corrects)
  • 10 Intervention: What if, instead of asking what book history can do for literary criticism, we ask what literary theory can do for book history?
    • l/u Paul Duguid, "Material Matters: The Past and Futurology of the Book"
  • 11 ...the question that this issue tries to address: how to reconcile reading with seeing, and linguistic structures with bibliographic objects.
  • 12 ...if the book has been invisible (or intangible) to most twentieth-century literary critics, it isn't simply because we aren't trained to analyze material culture; it's also because a commonsense Cartesianism teaches us to filter out the look, the feel, the smell of the printed page.
  • 13 In its fascination with the mundane, the material, and the social, the realist novel might appear to provide the easiest testing ground for book history.
    • easiest how? She contrasts with autobiography
  • 15 Scholars are now less likely to think of manuscript being displaced by print than to conceive of both as competitors carrying out complementary roles (and freighted with different connotations) at any give time and place.
  • 15 The word idea in our title represents a bid to situate the study of material culture as a player in theoretical debates rather than as a bolt-hole from which to wait them out.

Hutchison Breaking the Book Known as Q

  • the interpretive significance of the 1609 quarto page break for Sonnet 55
  • 34 Implicitly, and perhaps insidiously, Vendler's sonnets argue that material form recapitulates poetic form.
  • ...this essay argues for a reading practice that is attentive to both the materiality of the 1609 Shake-speares Sonnets and the effect of that materiality on the early modern scene of reading
  • 35 1609 Q is unusual in breaking up sonnets between pages, given evidence of other sonnet sequences from late C16-early C17
  • 39 If we are to read Q's breaks as carrying meaning - to recognize them as being worthy of literary attention - we must first suspend the nagging questions of intentionality that Auden's horror raises: "yes but did Shakespeare mean for those breaks to be there?"
  • 46 To open up writing would be then (as Roland Barthes famously suggested) to suspend this fixation on authorial intention and return again...to the text itself.
  • [The payoff: the type of analysis this framework allows in Sonnet 55] ...this reference to the flimsiness and vulnerability of paper forces us to confront the material presentation of this poem, to think of this vulnerability in terms of the very paper on which 55 is printed. After line 8, Q readers must turn over the page, thus taking fragile paper in their hands. here the thematic that Booth identifies is underscored both by the material presentation of the poem...and its staging of a physical reader-text interaction.... Through this touch, metaphoric paper materializes.
  • 62 Not reading page breaks is itself a reading practice, a historically specific, socially determined act in which certain elements of materiality are granted attention and authority while others are not... Espousing instead an approach to the materiality of Shake-speares Sonnets that would take seriously the matter of Q's page breaks, this essay has understood the page and the page break to be units of meaning with urgent implications for the recognition of poetic form and for the interrelations between a history of the book and the idea of literature.

McCoy Race and the Paratextual Condition

  • 156 pushing on Genette who describes paratext as subordinate to text and "an undisputed territory" saying that, in African American context, paratext is neither: "its marginal spaces and places have functioned centrally as a zone transacting ever-changing modes of white domination and of resistance to that domination."
  • 157 [her key texts (Douglass's narrative and James Allen's photography exhibition of lynchings, Without Sanctuary)] demonstrate how the paratexts has been deployed to transact white power, and both texts demonstrate what is gained and lost when the paratext is deployed to resist that power.
  • In the Western tradition, authors are seen as possessing a self-generating autonomy similar to that of the liberal subject. Most white authors presumed that autonomy in their act of writing, and readers presumed it of them. For the writer of African descent, however -- especially the fugitive autobiographer -- there was no such luxury.
    • interesting potential intersection with the representation of liberal subjectivity in novels, cf Armstrong 2005
  • [Example: white abolitionist intro to Douglass saying it's "slavery as it is"] The paratext crafted by white prefacers and editors, however, reduces fugitive author to fugitive reporter, a construction that accommodates Thomas Jefferson's distasteful declaration that "never yet could I find a black had uttered a thought above the level of plain narration." In this way, serving neither the text nor its author, the paratext serves something else: an indirect white supremacy, different from the brutality against which white abolitionists fought but one that interferes with the fugitive writer's authorial primacy nonetheless.
  • 158 ...Arguing for a practical and theoretical link between the bookish realm of paratextuality and the larger political realm of racialized power is not easy. Doing so, after all, requires attention to that which the culture at large determines is marginal, minor, and beyond the reach of interpretation.... It also demands more intense exploration of how white power might be transacted through such inconsequential spaces
  • 159 [Edward P. Jones's The Known World, character keeps his free papers on his body] The Known World thus imagines a scene where, like the text presented to the world as a book, the liberal subject exists largely as an effect of paratextuality. Jones imagines an earlier version of a familiar contemporary scene wherein those hailed as subjects go about their daily lives within a prefatory, citational haze of paratext to their selves[.]
  • 160 l/u James Snead, "On Repetition in Black Culture"
  • 166 ...the Intersection of race and paratextuality offers ample fodder for arists and critics interested in the increasingly complicated issues of identity, space, power, and authorship confronting all people in the C21. The very old language of the book -- especially that of its margins -- and the very old knowledge of bibliographers can be invaluable for understanding these issues.

McDonald Ideas of the Book & Histories of Literature After Theory?

  • argument pay-off comes in in section 2 on p. 222: the repressed connections between literary theory and book history
  • 214-5 begins with framing the "after theory" period using Eagleton: "Those who can, think up feminism or structuralism, those who can't, apply such insights to Moby-Dick or The Cat in the Hat"
  • 216 one of the positive "clearings" of space that theory performed was to raise "doubts about the viability of literature as a stable or even valid category of discourse[.]"
    • responding to New Criticism project that can be traced back to classical poetics; nice potted history of C20 literary-critical history
  • 217-8 rehearsing Fish's idea of the literary emerging from a particular interpretive community at a certain time and place, Eagleton's more Marxist spin emphasizing the social ideologies on which those interpretive communal judgments rest
  • 218 Argues Bourdieu's field of cultural production "most persuasive and theoretically sophisticated version of the skeptical antiessentialist position" on the literary: "The X operative in Bourdieu's analysis was, in other words, not class ideology or the interpretive community but the dynamically and hierarchically structured field as a whole"
    • "The quasi-magical potency of the signautre [e.g., the publisher's imprint, the author's name, or the critic's review] is nothing other htan the power, bestowed on certain individuals, to mobilize the symbolic energy produced by the functioning of the whole field" (quoting Bourdieu)
  • 219 "enchanted antiessentialists" who "displayed a passion for, and a trusting openness to, the literary -- that is, enchantment in an entirely positive sense - they also emphasized its frailty and illimitability as a category."
  • 221 Derrida's insight that it's essential to be skeptical and enchanted at once: "...Derrida's twofold maneuver turns on the idea that writing, which is literature in the enchanted antiessentialist's sense, is both enabled and threatened by literature in the skeptics' sense" i.e. Fish, Eagleton
    • 222 "...toward a pure appreciation of the distinctiveness of specific texts, an appreciation that does not ignore their impure situatedness in larger social, political, and institutional histories."
  • Book history "has put the radical situatedness of texts, as material and institutional forms, at the center of historical inquiry."
  • The connections between this field of investigation and the theoretical reflections on literature are worth clarifying...[because the two enterprises] have maintained a resolute distance from each other.
    • the first number of Book History polarizing in its description of the "exhaustion of literary theory" (theorists also unhelpful in this regard, e.g., De Man's "The Resistance to Theory")
  • 223 arguing that Derrida's "Il n'y a pas de hors-texte," ("There is no outside-the-text" in Attridge's translation) puns on the French term for book (color) plates, so literally "There are no plates": "Far from rejecting any concern with history, then, "Il n'y a pas de hors-texte" reinvented historicism by unsettling traditional doxas."
  • ...Whereas theorists...have tended to emphasize how the materiality of print...constrained the "proliferation of significations" (Foucault), book historians...have attended to how these historically variable factors of text production positively effected new and different meanings.
  • 224 ...As book historians have consistently argued, editions are in fact more like plays. Each act of book production...is itself a creative process, involving interpretive decisions that effect and constrain meaning[.]
  • 225 call for a "more thoroughly globalized approach" to book history: "That Waiting for the Barbarians...apeared in English under three imprints between 1980 and 1982 is not a merely bibliographic fact. The Secker and Warburg, Penguin, and Ravan Press editions - the last was the imprint of the most important antiapartheid publisher in South Africa -- all situated it in very different social, political, critical, and institutional histories, modifying its identity as a literary work in different national contexts or legally agreed transnational markets accordingly."
  • says Bourdieu's concept of the field is "the most effective link between book history and theoretical reflections on literature" (225) but then, importantly, "If Bourdieu makes possible a precise and richly historicized appreciation of every documentary version of a literary text as a playlike performance that evokes the field as a whole, he fails to deal adequately with writing's power to bypass any of the terms that its protectors, including authors and sympathetic critics, are able to formulate. This second challenge is one no responsible literary historiography can afford to ignore." (226)

Lerer Falling Asleep over the History of the Book

  • Relation between libraries and canonicity
  • 231 [Referring to McDonald's essay] ...the intellectual source of much current book history may, in the end, be not just the traditions of bibliography and textual criticism but also the textual thematics of Derrida and the ways in which late C20 theoretical writing often manipulated the visual organization of words on the page[.]
  • [citing Piroux essay] ...literature uses language not to communicate transparently but rather to reflect on the estranged or etiolated quality of making meaning through signs.
  • 231 Many years ago, John Guillory argued that canons are not so much collections of texts as assemblies of values...No signle work, in such a scheme, is canonical; rather works take on canonical status as part of a literary system. While I believe that such a view of canonicity still holds, I think that an attention to the history of the book itself may qualify the [232] claim.... Books are objects...and canonization is as much a process of selecting space as of selecting value. How can we fit the range of literature on a shelf? The physical, artifactual nature of the book has made the canonizing of the literary work into an act of space management.
    • Libraries are the spaces for our literature. But there is no absolute, essential way of cataloging books.... The Cotton Library becomes a repository of English textual history, spatially organized around the heads of an empire. What is the history of the book and the idea of literature embedded in such a plan? It may be many things, but to me it is a profoundly Vergilian project: one that makes the literary text the voice of an imperial politics[.]
      • I wonder if that's too literal, though... a metonym of stable signification, rather, a heuristic, rather than a politics. A bookishness.
  • 232-3 I like his analysis of Mathiessen's 1950 Oxford Book of American Verse starting with Bradstreet invoking the Aeneid and ending with Lowell's "Falling Asleep over the Aeneid": "Mathiessen's volume has an idea of literature as a history of the book - in this case, the Aeneid. ...Is all literature really just falling asleep over the Aeneid?"
  • 233 Anthologies are forms of canon making. And in their structure they embed narratives of reading, taste, and power.
  • ...the history of reading may be a history not of books themselves but of excerpts.
  • 234 The space of fiction has long been a space of sleep and dreaming.
Retrieved from "http://mattpoland.net/wiki/index.php?title=PMLA_121_1&oldid=1739"