Piper 2009 - Revision history

Wtrettien: /* "Translational Humanism" */

2010-06-19T21:55:06Z

"Translational Humanism"

← Older revision		Revision as of 21:55, 19 June 2010
Line 394:		Line 394:

	=== "Translational Humanism" ===		=== "Translational Humanism" ===

			not humanist as lonely archivist, but as "translatologist, as a scholar of those fields of negotiability that individuals like Gitelman and Bolter have identified in their work on the history of new media." (239)

			:"Instead of either separating or effacing the communicative difference bw media, the humanist as translatologist studies the losses, breaks, ruptures, discoveries, additions, negotiations, and doublings that occur in moving from one medium to another. In this vision of the humanist, the study of literature is reconceived as a linguistic performance across multiple media channels, requiring something akin to Alan Liu's notion of a new 'transliteracy'" (239)

			'''importance of history''' to the study of media

			not "after"; but studying "persistent recurrence of media differentiation ''and'' interaction over time" (240)

			human not as something made and inert, but as a translation, a process (241)

Wtrettien at 21:25, 19 June 2010

2010-06-19T21:25:08Z

@@ Line 370: / Line 370: @@
 Piper wants "to understand how the texts within and around these [illsutrated] books were engaging with this increasingly visual bibliographic experience," and also "how illustrations in books were themselves addressing through the use of new graphic practices the intermedial origins of visual art, the way the romantic image and the modes of envisioning that it promoted were crucially indebted to the medium of the printed book" (187)
 romantic interest in '''the line''', which "straddle[s] visual and scriptural representations" -- graphics being legible in both writing and image (189)
@@ Line 382: / Line 384: @@
 "the intermedial interactions between text and image in the book propel us to search out the otherwise invisible intermedial interactions that take place beyond the boundaries of the book with ''other'' media. It is there, i nthis entanglement, where the book's identity -- and the remnants of its vanishing -- are to be found" (233)

Wtrettien: /* Adapting */

2010-06-19T20:35:03Z

Adapting

← Older revision		Revision as of 20:35, 19 June 2010
Line 374:		Line 374:
	*resisting line as either distinction or linearity/teleology		*resisting line as either distinction or linearity/teleology
	*"way of exploring the possibility of textual and visual simultaneity" (189)		*"way of exploring the possibility of textual and visual simultaneity" (189)

			Goethe: used spirals in a grid to capture plant growth

			Bernhard Siegert argues "that such graphic abstractions would become a defining feature of a new scientific visual paradigm that emerged at the turn of the nineteenth century" (204) -- representing oscillating phenomenon like growth, sound, heat, electricity as visual abstractions

			wavy line of the romantic book ended by the straight vanishing point lines of the late 19c trains

			"the intermedial interactions between text and image in the book propel us to search out the otherwise invisible intermedial interactions that take place beyond the boundaries of the book with ''other'' media. It is there, i nthis entanglement, where the book's identity -- and the remnants of its vanishing -- are to be found" (233)

Wtrettien: /* Adapting */

2010-06-19T20:17:05Z

Adapting

← Older revision		Revision as of 20:17, 19 June 2010
Line 370:		Line 370:

	Piper wants "to understand how the texts within and around these [illsutrated] books were engaging with this increasingly visual bibliographic experience," and also "how illustrations in books were themselves addressing through the use of new graphic practices the intermedial origins of visual art, the way the romantic image and the modes of envisioning that it promoted were crucially indebted to the medium of the printed book" (187)		Piper wants "to understand how the texts within and around these [illsutrated] books were engaging with this increasingly visual bibliographic experience," and also "how illustrations in books were themselves addressing through the use of new graphic practices the intermedial origins of visual art, the way the romantic image and the modes of envisioning that it promoted were crucially indebted to the medium of the printed book" (187)

			romantic interest in '''the line''', which "straddle[s] visual and scriptural representations" -- graphics being legible in both writing and image (189)
			*resisting line as either distinction or linearity/teleology
			*"way of exploring the possibility of textual and visual simultaneity" (189)

Wtrettien: /* Adapting */

2010-06-19T19:27:42Z

Adapting

← Older revision		Revision as of 19:27, 19 June 2010
Line 366:		Line 366:

	== Adapting ==		== Adapting ==

			late 18c begins the explosion of illustrated books; visual experience in books begins to change; yet romantic literature is general thought of as iconoclastic and anti-pictorial (187)

			Piper wants "to understand how the texts within and around these [illsutrated] books were engaging with this increasingly visual bibliographic experience," and also "how illustrations in books were themselves addressing through the use of new graphic practices the intermedial origins of visual art, the way the romantic image and the modes of envisioning that it promoted were crucially indebted to the medium of the printed book" (187)

Wtrettien: /* Overhearing */

2010-06-19T19:17:43Z

Overhearing

← Older revision		Revision as of 19:17, 19 June 2010
Line 351:		Line 351:
	*poetry then begins with an absence -- genealogical absence, linguistic absence		*poetry then begins with an absence -- genealogical absence, linguistic absence

	~~translation~~ served "as a crucial, and even necessary, accompaniment to literary innovation in the years around 1800" (154); ~~also connected with the book trade, since they~~ were cheap and easy to reproduce, no international copyright protecting them		translations:
			*served "as a crucial, and even necessary, accompaniment to literary innovation in the years around 1800" (154);
			*were cheap and easy to reproduce, no international copyright protecting them;
			*consolidated collective identities of audiences;
			*helped to standardize European cultures --
			*''but'' also estrange, drawing reader's attention elsewhere

			translation marked as women' writing, women's work; professionalization of women's writing transpired through engagement with mercantilist practice of translation
			:"It is in the liminal space of translation where we can see these writers wroking through the problems of 'going public', of negotiating the ambiguous and shifing specificity of the public's boundaries at the turn of the 19c" (157)
			*public<-->publicness
			*both public and private mode of communication

			example of Sophie Mereau

	== Adapting ==		== Adapting ==

Wtrettien: /* Overhearing */

2010-06-18T16:48:50Z

Overhearing

← Older revision		Revision as of 16:48, 18 June 2010
Line 347:		Line 347:

	== Overhearing ==		== Overhearing ==

			Elisabeth Kulmann -- spoke many languages, wrote her poems simultaneously in three languages: German, Italian, Russian; no language emerges as her "mother" tongue -- named her book after Greek poet Corinna, but Corinna had no extant poems for Kulmann to read during her lifetime
			*poetry then begins with an absence -- genealogical absence, linguistic absence

			translation served "as a crucial, and even necessary, accompaniment to literary innovation in the years around 1800" (154); also connected with the book trade, since they were cheap and easy to reproduce, no international copyright protecting them



			== Adapting ==

Wtrettien: /* Sharing */

2010-06-13T00:50:24Z

Sharing

← Older revision		Revision as of 00:50, 13 June 2010
Line 335:		Line 335:
	not like early modern commonplace books, but inscribed the individual into a book already composed -- not blank page of the commonplace, but printed page of the miscellany (137)		not like early modern commonplace books, but inscribed the individual into a book already composed -- not blank page of the commonplace, but printed page of the miscellany (137)

	privileging of empty space within the printed form of the book (138);		privileging of empty space within the printed form of the book (138)
	bibliographic hollows <--> romantic "hollows"
			bibliographic hollows <--> romantic "hollows";
			example of E. A. Poe's "The Pit and the Pendulum", A. F. E. Langbein's "The Misunderstanding", Washington Irving's "The Legend of Sleepy Hollow"

			reading of Washington Irving's "An Unwritten Drama of Lord Byron"
			*writing about something not yet written; emphasis on unwritten, unfinished (143)
			*title "make[s] an opening" (144)

			reading of Poe, Hawthorne, and Mrs. Chamberlain's "Jottings from an Old Journal" (148 ff.)

	== Overhearing ==		== Overhearing ==

Wtrettien: /* Sharing */

2010-06-13T00:35:29Z

Sharing

← Older revision		Revision as of 00:35, 13 June 2010
Line 334:		Line 334:

	not like early modern commonplace books, but inscribed the individual into a book already composed -- not blank page of the commonplace, but printed page of the miscellany (137)		not like early modern commonplace books, but inscribed the individual into a book already composed -- not blank page of the commonplace, but printed page of the miscellany (137)

			privileging of empty space within the printed form of the book (138);
			bibliographic hollows <--> romantic "hollows"

	== Overhearing ==		== Overhearing ==

Wtrettien: /* Sharing */

2010-06-12T18:29:29Z

Sharing

@@ Line 323: / Line 323: @@
 '''inscription''': white spaces and blanks inviting handwritten inscription; unlike border insulating the critical edition, white space in the miscellany "was an invitation to croww the boundaries between reader and author and produce the presence of multiple hands on the page" (129)
 *establishes matrilineal network of reading (132)
 == Overhearing ==