The Maine dogfish are gone—fished to the brink of extinction. Gone too is Linda Jane, and with her the love and the subjunctive Maine that they might have shared. And what of that fabled “Old Maine”? Is it gone for good? Written as a sailing chronicle, Dogfish Memory is the story of the search for an authentic Maine, a Maine of the past, whether historical or simply imagined, and a Maine of the present, one experienced by both permanent residents and seasonal ones—summerfolk. Joseph Dane is both. He has worked on commercial fishing boats as a local and he has sailed the coast for years like those who are “from away.” Dogfish Memory tells the story of how his often conflicting Maines are intertwined. Authentic Maine is elusive; stories and even photographs of a past Maine often contradict the memories of those who have lived through the changes they record. Dogfish Memory is thus the story of loss, the loss of a Maine recalled and imagined, and the loss of the love with which Maine is irrevocably associated.
The Myth of Print Culture is a critique of bibliographical and editorial method, focusing on the disparity between levels of material evidence (unique and singular) and levels of text (abstract and reproducible). It demonstrates how the particulars of evidence are manipulated in standard scholarly arguments by the higher levels of textuality they are intended to support. The individual studies in the book focus on a range of problems: basic definitions of what a book is; statistical assumptions; and editorial methods used to define and collate the presumably basic unit of 'variant.' This work differs from other recent studies in print culture in its emphasis on fifteenth-century books and its insistence that the problems encountered in that historical milieu (problems as basic as cataloguing errors) are the same as problems encountered in other areas of literary criticism. The difficulties in the simplest of cataloguing decisions, argues Joseph Dane, tend to repeat themselves at all levels of bibliographical, editorial, and literary history.
An ambitious theoretical work that ranges from the age of Socrates to the late twentieth century, this book traces the development of the concepts of irony within the history of Western literary criticism. Its purpose is not to promote a universal definition of irony, whether traditional or revisionist, but to examine how such definitions were created in critical history and what their use and invocation imply. Joseph A. Dane argues that the diverse, supposed forms of irony--Socratic, rhetorical, romantic, dramatic, to name a few--are not so much literary elements embedded in texts, awaiting discovery by critics, as they are notions used by critics of different eras and persuasions to manipulate those texts in various, often self-serving ways. The history of irony, Dane suggests, runs parallel to the history of criticism, and the changing definitions of irony reflect the changing ways in which readers and critics have defined their own roles in relation to literature. Probing and provocative, The Critical Mythology of Irony will appeal to a broad spectrum of critics and scholars, particularly those concerned with the historical basis of critical language and its political and educational implications.
Mythodologies challenges the implied methodology in contemporary studies in the humanities. We claim, at times, that we gather facts or what we will call evidence, and from that form hypotheses and conclusions. Of course, we recognize that the sum total of evidence for any argument is beyond comprehension; therefore, we construct, and we claim, preliminary hypotheses, perhaps to organize the chaos of evidence, or perhaps simply to find it; we might then see (we claim) whether that evidence challenges our tentative hypotheses. Ideally, we could work this way. Yet the history of scholarship and our own practices suggest we do nothing of the kind. Rather, we work the way we teach our composition students to write: choose or construct a thesis, then invent the evidence to support it. This book has three parts, examining such methods and pseudo-methods of invention in medieval studies, bibliography, and editing. Part One, "Noster Chaucer," looks at examples in Chaucer studies, such as the notion that Chaucer wrote iambic pentameter, and the definition of a canon in Chaucer. "Our" Chaucer has, it seems, little to do with Chaucer himself, and in constructing this entity, Chaucerians are engaged largely in self-validation of their own tradition. Part Two, "Bibliography and Book History," consists of three studies in the field of bibliography: the recent rise in studies of annotations; the implications of presumably neutral terminology in editing, a case-study in cataloguing. Part Three, "Cacophonies: A Bibliographical Rondo," is a series of brief studies extending these critiques to other areas in the humanities. It seems not to matter what we talk about: meter, book history, the sex life of bonobos. In all of these discussions, we see the persistence of error, the intractability of uncritical assumptions, and the dominance of authority over evidence. TABLE OF CONTENTS // Part I. Noster Chaucerus Chap. 1. How Many Chaucerians Does it Take to Count to Eleven? The Meter of Kynaston's 1635 Translation of Troilus and Criseyde and its Implications for Chaucerian Metrics Chap. 2. Chaucer's "Rude Times" Chap. 3. Meditation on Our Chaucer and the History of the Canon Coda. Godwin's Portrait of Chaucer Part II. Bibliography and Book History Chap. 4. The Singularities of Books and Reading . Chap. 5. Editorial Projecting Chap. 6. The Haunting of Suckling's Fragmenta Aurea (1646) Coda. T. F. Dibdin: The Rhetoric of Bibliophilia Part III. Cacophonies: A Bibliographic Rondo Fakes and Frauds: The "Flewelling Antiphonary" and Galileo's Sidereus Nuncius Modernity and Middle English The Quantification of Readability The Elephant Paper and Histories of Medieval Drama The Pynson Chaucer(s) of 1526: Bibliographical Circularity Margaret Mead and the Bonobos Reading My Library
Michael 2 is the most controversial and dramatic story written up to date and it might be the single most eye opening book you will ever read. It is based on current events that ploy to undermine terrorism, all religions, and all governments. The world was once flat to those who were afraid to search beyond all the ancient myths and beliefs. Explorers with sails enlightened the world then. Now cell computers and the internet are used to free this world from the ignorance that enslaves it. Michael 2 is by far the most extreme and dangerous story to those who want to keep the world the way it is. He trained his entire life to fight for God but is defeated in his first battle by disbelief, lack of belief, and apathy. Michael 2 was defeated, but not God who drove him to get back up, dust off, and fight again. Michael 2, as God’s weapon of choice, will establish Christ’s words: “The last will be first and the first will be last.”
An alphabetical discussion of words from early English authors, including the most interesting, informative—and revivable—English words that have lapsed from general use. Includes: 1) Words likely to be met in literary reading. Chaucer, Spenser, Shakespeare, the Tudor pamphlets and translations, are richly represented in words and illustrative quotations. The late 18th and early 19th century revival has been culled: Chatterton, Ossian; Percy’s Reliques and Child’s Ballads; Scott, in his effort to bring picturesque words back into use. In addition, anthologies, for the general reader or the student, have been examined, and works they include combed for forgotten words. 2) Words that belong to the history of early England, describing or illuminating social conditions, political (e.g. feudal) divisions or distinctions, and all the ways of living, of thinking and feeling, in earlier times. Anxiety, for example, is indicated, not in the 99 phobias listed in a psychiatric glossary of the 1950s but in the 120 methods (see areomancy) of determining the future. 3) Words that in various ways have special interest, as in meaning, background, or associated folklore. Included in this group are various imaginary beings, and a number of magic or medicinal plants. 4) Words that are not in the general vocabulary today, but might be usefully and pleasantly revived.
In this book, Joseph Dane critiques the use of material evidence in studies of manuscript and printed books by delving into accepted notions about the study of print culture. He questions the institutional and ideological presuppositions that govern medieval studies, descriptive bibliography, and library science. Dane begins by asking what is the relation between material evidence and the abstract statements made about the evidence; ultimately he asks how evidence is to be defined. The goal of this book is to show that evidence from texts and written objects often becomes twisted to support pre-existing arguments; and that generations of bibliographers have created narratives of authorship, printing, reading, and editing that reflect romantic notions of identity, growth, and development. The first part of the book is dedicated to medieval texts and authorship: materials include Everyman, Chaucer's Legend of Good Women, the Anglo-Norman Le Seint Resurrection, and Adam de la Helle's Le Jeu de Robin et Marion. The second half of the book is concerned with abstract notions about books and scholarly definitions about what a book actually is: chapters include studies of basic bibliographical concepts ("Ideal Copy") and the application of such a notion in early editions of Chaucer, the combination of manuscript and printing in the books of Colard Mansion, and finally, examples of the organization of books by an early nineteenth-century book-collector Leander Van Ess. This study is an important contribution to debates about the nature of bibliography and the critical institutions that have shaped its current practice.
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