EITHER

ME: What exactly is the genre of this book? Is it a scholarly edition, is it a coffee table book? When I was putting it together, my thought was that it could be both of those things and more. That it could show us how those genre categories are insufficient or can be transcended to offer the reader something like an education: a pleasurable education, both historic and aesthetic, within the covers of a single book object.

doing what most annotators do not

It’s interesting that you explain editing as a response to domestic work. Because, sometimes, universities (more on my side of the Atlantic than on your side) tend to frame editing as a feminized service work. It’s caring for the text, cleaning it up, setting the table for the real literary-critical event.

The beauty of doing an annotated edition was that I could inhabit many different kinds of scholarly and nonscholarly personae

classification

transformation principl

threat

Virtuallywithout notice, in the dreams and nightmares of the so called'double revolution', Europe plunges into modernity, but withoutpossessing a culture of modernity. If youth, therefore, achieves itssymbolic centrality, and the 'great narrative' of the Bildungsromancornes into being, this is because Europe has to attach a meaning,not so mueh to youth, as to modernity

the cultivation of my individual self

Air

over, grasses

rules

ly.

Rot inwardly, and foul contagion spread

Lockleigh

Roderick Hudson

Cultural literacy, in Bayard’s view, depends upon the ways we inhabit reading and not reading together and the blurry area between the two where diverse means of establishing contexts for books allow reasonably intelligent people to participate in meaningful conversations about them.

canonical fraction

main claim

II

Chapter I

I do not know what the name means. It means something, maybe. What's the difference? In the world I come from we accept the sounds we were given. Men, trees, water.

Touchez-i, encore:

III

Abou

The slit pods of its eyes ripened in a pause that lasted for centuries,

Although srnoke forgets the earth from which it ascends,

There has been roma11ce, but it has been the ronumce of pirates and outlaws. The natural graces of life do not show themselves under such conditions. There are no people there in the true sense of the word, with a character and purpose of their own.

eaves not the lightest fern-trace of his fossil to be cultured by black rock

milling air,

those hot jaws, like an oven steaming, were open to genocide;

Long

unheard

The

“It was a young boy I used to know,” she answered, “named Michael Furey. He used to sing that song, The Lass of Aughrim. He was very delicate.”

O, the rain falls on my heavy locks And the dew wets my skin, My babe lies cold....

We are met here as friends, in the spirit of good-fellowship, as colleagues, also to a certain extent, in the true spirit of camaraderie, and as the guests of—what shall I call them?—the Three Graces of the Dublin musical world.”

Listening tonight to the names of all those great singers of the past it seemed to me, I must confess, that we were living in a less spacious age. Those days might, without exaggeration, be called spacious days: and if they are gone beyond recall let us hope, at least, that in gatherings such as this we shall still speak of them with pride and affection, still cherish in our hearts the memory of those dead and gone great ones whose fame the world will not willingly let die.”

“For me,” said Aunt Kate, who had been picking a bone, “there was only one tenor. To please me, I mean. But I suppose none of you ever heard of him.” “Who was he, Miss Morkan?” asked Mr Bartell D’Arcy politely. “His name,” said Aunt Kate, “was Parkinson. I heard him when he was in his prime and I think he had then the purest tenor voice that was ever put into a man’s throat.” “Strange,” said Mr Bartell D’Arcy. “I never even heard of him.” “Yes, yes, Miss Morkan is right,” said Mr Browne. “I remember hearing of old Parkinson but he’s too far back for me.” “A beautiful pure sweet mellow English tenor,” said Aunt Kate with enthusiasm.

“In London, Paris, Milan,” said Mr Bartell D’Arcy warmly. “I suppose Caruso, for example, is quite as good, if not better than any of the men you have mentioned.”

Nobody answered this question and Mary Jane led the table back to the legitimate opera. One of her pupils had given her a pass for Mignon. Of course it was very fine, she said, but it made her think of poor Georgina Burns. Mr Browne could go back farther still, to the old Italian companies that used to come to Dublin—Tietjens, Ilma de Murzka, Campanini, the great Trebelli, Giuglini, Ravelli, Aramburo. Those were the days, he said, when there was something like singing to be heard in Dublin. He told too of how the top gallery of the old Royal used to be packed night after night, of how one night an Italian tenor had sung five encores to Let me like a Soldier fall, introducing a high C every time, and of how the gallery boys would sometimes in their enthusiasm unyoke the horses from the carriage of some great prima donna and pull her themselves through the streets to her hotel. Why did they never play the grand old operas now, he asked, Dinorah, Lucrezia Borgia? Because they could not get the voices to sing them: that was why.

“Beannacht libh,” cried Miss Ivors, with a laugh, as she ran down the staircase.

It was that of an old song of Aunt Julia’s—Arrayed for the Bridal.

They were fussy, that was all. But the only thing they would not stand was back answers.

the best of everything: diamond-bone sirloins, three-shilling tea and the best bottled stout

the dark gaunt house

Writing a paper on fiction in 9 steps

5. Make an extended list of evidence

It might be helpful at this point to jot down all the elements of the text that have some bearing on the two or three topics that seem most promising.

A problem, on the other hand, is something that bugs you or that doesn’t seem to add up. For example, a character might act in some way that’s unaccountable, a narrator may leave out what we think is important information (or may focus on something that seems trivial), or a narrator or character may offer an explanation that doesn’t seem to make sense to us.

Ellen van Neerven

What does it mean to describe an art work so that another viewer, reader, or listener will recognize this as a just aesthetic description?

The first rule of thumb is that no significant component can be left out of consideration.

it is deeply inductive

The aim of an aesthetic criticism is to describe the art work in such a way that it cannot be confused with any other art work (not an easy task), and to infer from its elements the aesthetic that might generate this unique configuration.

Critics who see interpretation as their raison d'être fundamentally regard the art work as an allegory: somewhere under the surface (as in a biblical parable) there lies a hidden meaning which it is the critic's responsibility (as it was the exegete's duty) to reveal. Such an ultimate disregard for “surface” in favor of a presumed “depth” goes absurdly counter to the primary sensuous claim of every work of art, the claim made precisely by its “surface” (these words, these notes, and no others).

The Pangolin

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