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First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.
"Literary theory and textual criticism have much to teach each other," writes Philip Cohen, who has collected this anthology of essays that seeks to bridge what he sees as a wide rift between textual and literary critics. While most Anglo-American textual scholars now stress the importance of authorial intention and its key role in editorial and interpretative work, many literary theorists still tend to ostracize the author and his intentions from any serious literary discussion. The contributors to this collection, many of whom are well known for both their practical and theoretical work in editorial fields, look to recast in different ways the assumptions and working methods of Anglo-American editorial scholarship.
Praise for the earlier edition: "Students of modern American literature have for some years turned to Fifteen Modern American Authors (1969) as an indispensable guide to significant scholarship and criticism about twentieth-century American writers. In its new form--Sixteenth Modern American Authors--it will continue to be indispensable. If it is not a desk-book for all Americanists, it is a book to be kept in the forefront of the bibliographical compartment of their brains."--American Studies
In the spring of 1989, union organizer Phil Cohen journeyed to Jackson, Tennessee, to sort out the troubled situation at a historic cotton mill. His task as a representative of the Amalgamated Clothing and Textile Workers Union was to rebuild a failing local and the problems were daunting; an anti-union company in financial disarray, sharply declining union membership, and myriad workplace grievances. In the tumultuous months ahead, ownership of the plant twice switched hands, and he would come to fear for his life and consider desperate measures to salvage the union’s cause. In this riveting memoir, Cohen takes the reader from the union hall and factory gates to the bargaining table and c...
Revision might seem to be an intrinsic part of good writing. But Hannah Sullivan argues that we inherit our faith in the virtues of redrafting from early-twentieth-century modernism. Closely examining changes made in manuscripts, typescripts, and proofs by T. S. Eliot, Ezra Pound, Ernest Hemingway, James Joyce, Virginia Woolf, and others, she shows how modernist approaches to rewriting shaped literary style, and how the impulse to touch up, alter, and correct can sometimes go too far. In the nineteenth century, revision was thought to mar a composition’s originality—a prejudice cultivated especially by the Romantics, who believed writing should be spontaneous and organic, and that rewrit...
While it met with only limited success when published in 1929, this novel has since become one of the most popular of Faulkner's works. This study includes critical responses from the time of its publication to the present day as well as contemporary reassessments from a variety of critical perspectives.
Distinguished scholars discuss editorial theory and how it is applied across the humanities