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Editing Romantic Texts in a Globalized World. (Trans)national Identities / Reimagining Communities A Joint Conference of the Centro Interdisciplinare di Studi Romantici and the North American Society for the Study of Romanticism March 12-15, 2008, Bologna, Italy.

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Editing Romantic Texts in a Globalized World


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editing romantic texts in a globalized world

Editing Romantic Texts in a Globalized World

(Trans)national Identities / Reimagining Communities

A Joint Conference of the

Centro Interdisciplinare di Studi Romantici and the North American Society for the Study of Romanticism

March 12-15, 2008, Bologna, Italy

slide2
The Title-page of Shelley’s Peter Bell the Third, Bodleian Library, Oxford, MS Shelley adds. c.5.
poor granny
Poor Granny?

I scarcely need observe that they only kept company with him [i.e., Peter] […] in order to observe whether they could not borrow colours from any particulars of his private life for the denunciation they mean to make of him, as the“member of an ‘infamous and black conspiracy, diminishing the authority of that venerable canon, which forbids any man to mar his grandmother”

(Dedication, par. 2)

slide4
?

Reiman

Bodleain Shelley

Fac-simile

(enlarged)

whoops poor granny
Whoops…! Poor Granny !!!
  • Peter is a

“member of an ‘infamous and black conspiracy, diminishing the authority of that venerable canon, which forbids any man to marryhis grandmother”

(Dedication, par. 2, MS Shelley adds. c.5)

how do you explain this
How do you explain this?

Textual Notes:

 System of transcription:

Description – too long / short

Commentary:

 Explanatory notes:

John Taylor Coleridge’s / Southey / “league of incest” etc.

AUDIENCE

audience
AUDIENCE…
  • widening of the typical audience of English poetry and prose.
  • ever-increasing number of non-native speakers of English
  • readers who have a limited knowledge of British history and culture
and challenge
… and challenge

Modern editorial thinking / Romantic texts:

 crucial in establishing new principles for scholarly editing:  new way of looking at, and reinterpreting, textual criticism.

can Romantic editors cope with such a significant change both in medium and potential audience?