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This book is about books that recount the story of encountering another book. There are various versions of the story told and retold from the heyday of imperialism up to the present day (Homi Bhabha calls it the trope of 'the discovery of the English book'); by considering each of these versions carefully, we may also give an alternative account of twentieth-century 'English literature' as the site of an intercultural discourse. This project is very much inspired by debate on postcolonial theory, namely, the debate between Said and Bhabha. Part I is devoted to the discussion of Conrad, especially of Heart of Darkness, and investigates how the novella has continually been reproduced to the extent that it represents 'the English Book' of colonial/postcolonial literatures. The chapter on Hugh Clifford (Ch.3) is virtually the first intensive critique of his novels, such as Saleh (1908), with a particular focus on their intertextual relations with Conrad's texts. Part II examines how the story of the English Book is repeated and revised in the texts of the following authors: Joyce Cary, Isak Dinesen, V. S. Naipaul, Kaiko Takeshi, and Ngũgĩ wa Thiong'o.
This book is about books that recount the story of encountering another book. There are various versions of the story told and retold from the heyday of imperialism up to the present day (Homi Bhabha calls it the trope of ‘the discovery of the English book’); by considering each of these versions carefully, we may also give an alternative account of twentieth-century ‘English literature’ as the site of an intercultural discourse. This project is very much inspired by debate on postcolonial theory, namely, the debate between Said and Bhabha. Part I is devoted to the discussion of Conrad, especially of Heart of Darkness, and investigates how the novella has continually been reproduced to the extent that it represents ‘the English Book’ of colonial/postcolonial literatures. The chapter on Hugh Clifford (Ch.3) is virtually the first intensive critique of his novels, such as Saleh (1908), with a particular focus on their intertextual relations with Conrad’s texts. Part II examines how the story of the English Book is repeated and revised in the texts of the following authors: Joyce Cary, Isak Dinesen, V. S. Naipaul, Kaiko Takeshi, and Ngũgĩ wa Thiong’o.
Marginalia in early modern and medieval texts – printed, handwrit- ten, drawn, scratched, colored, and pasted in – offer a glimpse of how people, as individuals and in groups, interacted with books and manu- scripts over often lengthy periods of time. The chapters in this volume build on earlier scholarship that established marginalia as an intellec- tual method (Grafton and Jardine), as records of reading motivated by cultural, social, theological, and personal inclinations (Brayman [Hackel] and Orgel), and as practices inspired by material affordances particular to the book and the pen (Fleming and Sherman). They further the study of the practices of marginalia as a mode – a set of ways in which material opportunities and practices overlap with intellectual, social, and personal motivations to make meaning in the world. They introduce us to a set of idiosyncratic examples such as the trace marks of objects left in books, deliberately or by accident; cut-and-pasted additions to printed volumes; a marriage depicted through shared book ownership. They reveal to us in case studies the unique value of mar- ginalia as evidence of phenomena as important and diverse as religious change, authorial self-invention, and the history of the literary canon. The chapters of this book go beyond the case study, however, and raise broad historical, cultural, and theoretical questions about the strange, marvelous, metamorphic thing we call the book, and the equally mul- tiplicitous, eccentric, and inscrutable beings who accompany them through history: readers and writers.
A sideways look at books that sheds light on the activities of authors, printers, and readers during the English Renaissance
From Pierre de Fermat to Samuel Taylor Coleridge to Graham Greene, readers have related to books through the notes they write in the margins. In this pioneering book--the first to examine the phenomenon of marginalia--H.J. Jackson surveys an extraordinary range of annotated books to explore the history of marginalia, the forms they take, the psychology that underlies them, and the reactions they provoke. Based on a study of thousands of books annotated by readers both famous and obscure over the last three centuries, this book reveals the intensity of emotion that characterizes the process of reading. For hundreds of years, readers have talked to other people in the margins of their books--not only to authors, but also to friends, lovers, and future generations. With an infectious enthusiasm for her subject, Jackson reflects on the cultural and historical value of writing in the margins, examines works that have invited passionate annotation, and presents examples of some of the most provocative marginalia. Imaginative, amusing, and poignant, this book will be treasured by--and maybe even annotated by--anyone who cares about reading.
Coleridge is such a celebrity that many who have never read "The Rime of the Ancient Mariner" have a fair idea who he was, and yet the common impression of him is not flattering. He is typically seen as a youthful genius transformed by drugs and philosophy into a tedious sage. It is time for a change of image. A Book I Value offers a one-volume sampling of Coleridge's encyclopedic marginalia, revealing a figure more complex but also more humanly attractive--clever, curious, playful, intense--than the one we are used to. This book makes a convenient introduction to Coleridge's life, the intellectual issues and contemporary concerns that held his attention, and the workings of his mind. The marginalia represent an unintimidating sort of writing that Coleridge famously excelled at (often in books borrowed from friends). "A book, I value," he wrote, "I reason & quarrel with as with myself when I am reasoning." Unlike the complete Marginalia in six volumes arranged alphabetically by author, this representative selection is chronological and footnote-free, with a contextualizing introduction and brief headnotes that outline Coleridge's circumstances year by year and provide essential historical information. Our own cultural taboo against writing in books is slackening in light of new interest in the history of the book. It will be weakened further by the extraordinary and now accessible example of Coleridge, who was a remarkably shrewd but at the same time a remarkably charitable reader.
The aim of this work is, on the one hand, to represent the reality of history with the utmost possible precision, and on the other, to show, through the mutations of the European spirit, all the uncertainties of contemplative man, the transiency of emotions, and the sterility of philosophical systems.
In most college and university libraries, materials published before 1800 have been moved into special collections, while the post-1923 books remain in general circulation. But books published between these dates are vulnerable to deaccessioning, as libraries increasingly reconfigure access to public-domain texts via digital repositories such as Google Books. Even libraries with strong commitments to their print collections are clearing out the duplicates, assuming that circulating copies of any given nineteenth-century edition are essentially identical to one another. When you look closely, however, you see that they are not. Many nineteenth-century books were donated by alumni or their families decades ago, and many of them bear traces left behind by the people who first owned and used them. In Book Traces, Andrew M. Stauffer adopts what he calls "guided serendipity" as a tactic in pursuit of two goals: first, to read nineteenth-century poetry through the clues and objects earlier readers left in their books and, second, to defend the value of keeping the physical volumes on the shelves. Finding in such books of poetry the inscriptions, annotations, and insertions made by their original owners, and using them as exemplary case studies, Stauffer shows how the physical, historical book enables a modern reader to encounter poetry through the eyes of someone for whom it was personal.
The first book on the “marginalia culture” of late Imperial China, this study introduces the features of marginalia, examines scholars’ reading practices and scholarly style centred on marginalia and explores how this “marginalia culture” shaped Chinese texts and scholars’ thought.