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In this volume, Kenneth Krauss maintains that if readers are to comprehend playscripts as plays, they must imagine the theatre audience - so vital to the staging of any script, but conspicuously absent from the text itself. Krauss examines what has been written about reading playscripts (or "playreading") and proposes four possible ways, founded on a reception-oriented approach to theatre communication and spectator response, that playreaders may construct a sense of theatre audiences.
This book demonstrates that received views on orality and literacy underestimate the importance of public reading in the late Middle Ages.
This book uses the set of relations announced by teachers' and students' readings of literary fictions as a -commonplace location- to interpret the experience of curriculum. In addition to illuminating the complexity of -schooled- readings of literature, "Private Readings in Public" provides insightful and provocative interpretations of the intertwined, overlapping, and ever-evolving intertextual relations that comprise events of curriculum. It will be of interest to those who wish to expand their understanding of the way in which interpretations of shared reading can become a -literary anthropology- where the identities of readers, writers, and teachers are continually re-invented during processes of reading, writing, and teaching."
In Public Reading in Early Christianity: Lectors, Manuscripts, and Sound in the Oral Delivery of John 1-4 Dan Nässelqvist investigates the oral delivery of New Testament writings in early Christian communities of the first two centuries C.E. He examines the role of lectors and public reading in the Greek and Roman world as well as in early Christianity. Nässelqvist introduces a method of sound analysis, which utilizes the correspondence between composition and delivery in ancient literary writings to retrieve information about oral delivery from the sound structures of the text being read aloud. Finally he applies the method of sound analysis to John 1–4 and presents the implications for our understanding of public reading and the Gospel of John.
For the Middle Ages and Renaissance, meaning and power were created and propagated through public performance. Processions, coronations, speeches, trials, and executions are all types of public performance that were both acts and texts: acts that originated in the texts that gave them their ideological grounding; texts that bring to us today a trace of their actual performance. Literature, as well, was for the pre-modern public a type of performance: throughout the medieval and early modern periods we see a constant tension and negotiation between the oral/aural delivery of the literary work and the eventual silent/read reception of its written text. The current volume of essays examines the plurality of forms and meanings given to performance in the Middle Ages and Renaissance through discussion of the essential performance/text relationship. The authors of the essays represent a variety of scholarly disciplines and subject matter: from the "performed" life of the Dominican preacher, to coronation processions, to book presentations; from satirical music speeches, to the rendering of widow portraits, to the performance of romance and pious narrative. Diverse in their objects of study, the essays in this volume all examine the links between the actual events of public performance and the textual origins and subsequent representation of those performances.
Just as twenty-first-century technologies like blogs and wikis have transformed the once private act of reading into a public enterprise, devotional reading experiences in the Middle Ages were dependent upon an oscillation between the solitary and the communal. In Reading in the Wilderness, Jessica Brantley uses tools from both literary criticism and art history to illuminate Additional MS 37049, an illustrated Carthusian miscellany housed in the British Library. This revealing artifact, Brantley argues, closes the gap between group spectatorship and private study in late medieval England. Drawing on the work of W. J. T. Mitchell, Michael Camille, and others working at the image-text crossroads, Reading in the Wilderness addresses the manuscript’s texts and illustrations to examine connections between reading and performance within the solitary monk’s cell and also outside. Brantley reimagines the medieval codex as a site where the meanings of images and words are performed, both publicly and privately, in the act of reading.
Contextualizing the gospels in ancient Greco-Roman media practices New Testament scholars have often relied on outdated assumptions for understanding the composition and spread of the gospels. Yet this scholarship has spread myths or misconceptions about how the ancients read, wrote, and published texts. Nicholas Elder updates our knowledge of the gospels’ media contexts in this myth-busting academic study. Carefully combing through Greco-Roman primary sources, he exposes what we take for granted about ancient reading cultures and offers new and better ways to understand the gospels. These myths include claims that ancients never read silently and that the canonical gospels were all the same type of text. Elder then sheds light on how early Christian communities used the gospels in diverse ways. Scholars of the gospels and classics alike will find Gospel Media an essential companion in understanding ancient media cultures.
Long a source for quotations, fragments, and factoids, the Noctes Atticae of Aulus Gellius offers hundreds of brief but vivid glimpses of Roman intellectual life. In this book Joseph Howley demonstrates how the work may be read as a literary text in its own right, and discusses the rich evidence it provides for the ancient history of reading, thought, and intellectual culture. He argues that Gellius is in close conversation with predecessors both Greek and Latin, such as Plutarch and Pliny the Elder, and also offers new ways of making sense of the text's 'miscellaneous' qualities, like its disorder and its table of contents. Dealing with topics ranging from the framing of literary quotations to the treatment of contemporary celebrities who appear in its pages, this book offers a new way to learn from the Noctes about the world of Roman reading and thought.
"...an excellent and comprehensive discussion of a debate that was initiated in this century in William Wimsatt's and Monroe C. Beardsley's influential article 'The Intentional Fallacy.'...this is a splendidly conceived and very useful collection of essays. Readers will want to take issue with the arguments of individual authors, but this is to be expected in a volume at the cutting edge of a fertile philosophical controversy." --David Novitz, The Philosophical Quarterly "What is the connection, if any, between the author's intentions in (while) writing a work of literature and the truth (acceptability, validity) of interpretive statements about it?" With this question, Gary Isminger introduces a literary debate that has been waged for the past four decades and is addressed by philosophers and literary theorists in Intention and Interpretation. Thirteen essays discuss the role of appeals to the author's intention in interpreting works of literature. A well-known argument by E.D. Hirsch serves as the basic text, in which he defends the appeal to the author's intention against Wimsatt and Beardsley's claim that such an appeal involved "the intentional fallacy." The essays, mostly commissioned by the editor, explore the presuppositions and consequences of arguing for the importance of the author's intentions in the way Hirsch does. Connections emerge between this issue and many fundamental issues in metaphysics and the philosophy of mind as well as in aesthetics. The (old) "New Criticism" and current Post-Structuralism tend to agree in disenfranchising the author, and many people now are disinclined even to consider the alternative. Hirsch demurs, and arguments like his deserve the careful attention, both from critics and sympathizers, that they receive here. Literary scholars and philosophers who are sympathetic to Continental as well as to Anglo-American styles of philosophy are among the contributors. "This is a timely book appearing as it does when postmodernist views of the death of the author are disappearing quickly from the scene. As a collection it exemplifies the best work that is being done on this problem at the moment, and it will no doubt inspire further debate." --The Journal of Aesthetics and Art Criticism "[T]his volume contains important articles illuminating the central debate over the role and relevance of authorial intentions in literary interoperation." --British Journal of Aesthetics
This much acclaimed book has emerged as neo-pragmatism's most significant contribution to contemporary aesthetics. By articulating a deeply embodied notion of aesthetic experience and the art of living, and by providing a compellingly rigorous defense of popular art—crowned by a pioneer study of hip hop—Richard Shusterman reorients aesthetics towards a fresher, more relevant, and socially progressive agenda. The second edition contains an introduction where Shusterman responds to his critics, and it concludes with an added chapter that formulates his novel notion of somaesthetics.