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This text is about editing documentary texts. It is not a book of instructions, indeed Professor Harvey has only three unbending rules: be accurate; say what you are going to do and do it; and give full references to the document and describe it. Based on these three prinicples he examines the underlying principles of editing records and historical documents, and the considerations the editor sought to bear in mind when working on these sorts of texts.
This volume is aimed both at more experienced editors, who may wish to skip over the advice offered in the introduction, as well as at those who are new to the craft and want to know how to begin work on publishing historical documents of interest to them.
"A collection of essays by editor, biographer, bibliographer, and book historian James L. W. West III, covering editorial theory, archival use, textual emendation, and scholarly annotation. Discusses the treatment of both public documents (novels, stories, nonfiction) and private texts (letters, diaries, journals, working papers)"--Provided by publisher.
Collects more than six hundred letters to and from the editors of "Poetry" that were written about and by such figures as Ezra Pound, T.S. Eliot, Robert Frost, Edna St. Vincent Millay, and Wallace Stevens.
In his introduction to the foundational 1925 text The New Negro, Alain Locke described the “Old Negro” as “a creature of moral debate and historical controversy,” necessitating a metamorphosis into a literary art that embraced modernism and left sentimentalism behind. This was the underlying theoretical background that contributed to the flowering of African American culture and art that would come to be called the Harlem Renaissance. While the popular period has received much scholarly attention, the significance of editors and editing in the Harlem Renaissance remains woefully understudied. Editing the Harlem Renaissance foregrounds an in-depth, exhaustive approach to relevant editing and editorial issues, exploring not only those figures of the Harlem Renaissance who edited in professional capacities, but also those authors who employed editorial practices during the writing process and those texts that have been discovered and/or edited by others in the decades following the Harlem Renaissance. Editing the Harlem Renaissance considers developmental editing, textual self-fashioning, textual editing, documentary editing, and bibliography. Chapters utilize methodologies of authorial intention, copy-text, manuscript transcription, critical edition building, and anthology creation. Together, these chapters provide readers with a new way of viewing the artistic production of one of the United States’ most important literary movements.
This edition provides a detailed look at the artistic and aesthetic principles and practices of editing for both picture and sound. It also contains up-to-date information on the influences of MTV and commercials, and new technologies.