Simon Jarvis
- Published in print:
- 1995
- Published Online:
- October 2011
- ISBN:
- 9780198182955
- eISBN:
- 9780191673924
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198182955.003.0001
- Subject:
- Literature, Shakespeare Studies
The last decade has seen a dramatic expansion of scholarly interest in the history of William Shakespeare and his work, not only in print or on the stage but also in the media and arts. Interest in ...
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The last decade has seen a dramatic expansion of scholarly interest in the history of William Shakespeare and his work, not only in print or on the stage but also in the media and arts. Interest in the history of Shakespeare's text after the publication of the First Folio in 1623 has also experienced a modest revival. The re-evaluation of the afterlife of Shakespeare's text cannot be separated either from the transformation of Shakespearian textual criticism itself which has taken place over the last fifteen years, or from the reconsideration of the theoretical grounding of textual criticism which has accompanied it. This book briefly sketches some of the reasons for the collapse of any consensus, based on Sir Walter Greg and Fredson Bowers among others, as to the proper aims and methods of textual criticism, before going on to consider the implications of this collapse for historians of editing.Less
The last decade has seen a dramatic expansion of scholarly interest in the history of William Shakespeare and his work, not only in print or on the stage but also in the media and arts. Interest in the history of Shakespeare's text after the publication of the First Folio in 1623 has also experienced a modest revival. The re-evaluation of the afterlife of Shakespeare's text cannot be separated either from the transformation of Shakespearian textual criticism itself which has taken place over the last fifteen years, or from the reconsideration of the theoretical grounding of textual criticism which has accompanied it. This book briefly sketches some of the reasons for the collapse of any consensus, based on Sir Walter Greg and Fredson Bowers among others, as to the proper aims and methods of textual criticism, before going on to consider the implications of this collapse for historians of editing.
David C. Parker
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780199657810
- eISBN:
- 9780191744860
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199657810.003.0002
- Subject:
- Religion, Biblical Studies, History of Christianity
The chapter begins by exploring Fredson Bowers’ view of textual criticism in relation to New Testament textual criticism. It explores the hierarchy Documents, Texts, Works, and argues that textual ...
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The chapter begins by exploring Fredson Bowers’ view of textual criticism in relation to New Testament textual criticism. It explores the hierarchy Documents, Texts, Works, and argues that textual scholarship defines understandings of a work. The importance of treating works in the physical reality of their copies is discussed, in the context of the influence of the printed book, the relation between written and oral tradition, the textual transmission of ancient works and the process of compiling individual works and collections into the New Testament. These questions are discussed in the light of contemporary New Testament scholarship. It goes on to propose that a text is a process, not an object, and discusses textual and manuscript studies, texts in early Christianity, critical texts, and the authorial fallacy.Less
The chapter begins by exploring Fredson Bowers’ view of textual criticism in relation to New Testament textual criticism. It explores the hierarchy Documents, Texts, Works, and argues that textual scholarship defines understandings of a work. The importance of treating works in the physical reality of their copies is discussed, in the context of the influence of the printed book, the relation between written and oral tradition, the textual transmission of ancient works and the process of compiling individual works and collections into the New Testament. These questions are discussed in the light of contemporary New Testament scholarship. It goes on to propose that a text is a process, not an object, and discusses textual and manuscript studies, texts in early Christianity, critical texts, and the authorial fallacy.
Stanley Boorman
- Published in print:
- 2005
- Published Online:
- September 2011
- ISBN:
- 9780195142075
- eISBN:
- 9780199850549
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195142075.003.0017
- Subject:
- Music, History, Western
The craft of bibliography has a long and distinguished history in its own right. The methodological studies of Ronald McKerrow, Fredson Bowers, Thomas Tanselle, and Don Krummel, among others have ...
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The craft of bibliography has a long and distinguished history in its own right. The methodological studies of Ronald McKerrow, Fredson Bowers, Thomas Tanselle, and Don Krummel, among others have developed a corpus of procedures, both for analyzing the printed book and for laying out the results of that analysis. This corpus is generally accepted among bibliographical scholars, and one departs from it at one's peril, not merely because it is generally accepted, but also because it is the result of long and careful thought and testing. However, music printing and publishing is in some ways a special case; music printing in 16th-century Italy raises even more particular issues; and the output of Ottaviano Petrucci produces further problems, whichever detailed variation of the general approach one adopts. The function of this chapter is to discuss some of these problems.Less
The craft of bibliography has a long and distinguished history in its own right. The methodological studies of Ronald McKerrow, Fredson Bowers, Thomas Tanselle, and Don Krummel, among others have developed a corpus of procedures, both for analyzing the printed book and for laying out the results of that analysis. This corpus is generally accepted among bibliographical scholars, and one departs from it at one's peril, not merely because it is generally accepted, but also because it is the result of long and careful thought and testing. However, music printing and publishing is in some ways a special case; music printing in 16th-century Italy raises even more particular issues; and the output of Ottaviano Petrucci produces further problems, whichever detailed variation of the general approach one adopts. The function of this chapter is to discuss some of these problems.
