Textual and Literary Criticism - Bowers; Bowers, Fredson; Fredson, Bowers
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The literary critic tends to think that the textual scholar or bibliographer, happily occupied in his travel drudgery, has not much to say that he would care to hear, so there is a gulf between them. Professor Bowers advances to the edge of this gulf and says several forceful things across it; they turn out to be important and interesting, though occasionally scathing. The first chapter reminds us that the literary critic can only criticise with confidence when the textual critic has established what the author wrote; Professor Bowers indicates how very much has yet to be done. The second…mehr

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Produktbeschreibung
The literary critic tends to think that the textual scholar or bibliographer, happily occupied in his travel drudgery, has not much to say that he would care to hear, so there is a gulf between them. Professor Bowers advances to the edge of this gulf and says several forceful things across it; they turn out to be important and interesting, though occasionally scathing. The first chapter reminds us that the literary critic can only criticise with confidence when the textual critic has established what the author wrote; Professor Bowers indicates how very much has yet to be done. The second chapter takes a particular case, Walt Whitman's copy' for the 1860 edition of Leaves of Grass, and shows how the bibliographer can, by ingenious but rigorous deduction, give an insight into the growth of an author's conception of the nature and aim of his work. The other two lectures, on Shakespeare and other early dramatic texts, will show non-specialists the striking advances in editorial technique, and the growth of standards of scholarship in these studies.
Autorenporträt
Judith Bowers is best known for her work campaigning for the Britannia Panopticon Music Hall in Glasgow but has been writing since she could hold a pen. She has had several works published including The Best of Edinburgh and Glasgow, a pamphlet called The Obscure History of the Merchant City, Stan Laurel and Other Stars of the Panopticon, and Glasgow's Lost Theatre. In addition she has researched and written over thirty history segments for various programmes and walking tours. History has been her life, especially the quirky, strange and gruesome, but she has always wanted to write fiction, and The Magic Lantern blends Judith's passion for history, story telling and the Britannia Panopticon Music Hall to weave a mystery told in three parts. Part One is The Magic Lantern.