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This title was first published in 2001. Literary critics, textual editors and bibliographers, and historians of publishing have hitherto tended to publish their research as if in separate fields of enquiry. The purpose of this volume is to bring together contributions from these fields in a dialogue rooted in the transmission of texts. Arranged chronologically, so as to allow the use of individual sections relevant to period literature courses, the book offers students and teachers a set of essays designed to reflect these approaches and to signal their potential for fruitful integration. Some of the essays answer the demand "Show me what literary critics (or textual editor; or book historians) do and how they do it", and stand as examples of the different concerns, methodologies and strategies employed. Others draw attention to the potential of the approaches in combination.
The Colossus of Rhodes is both the most famous and the least well-known monument of Ancient Greece. Numbered among the Seven Wonders of the World, this bronze statue of the god Helios, thirty-four metres in height, was created by the sculptor Chares of Lindos between the years 295 and 283 BC, only to be destroyed by an earthquake in 227 BC. The legends which have spread after its collapse seem so strange and contradictory that specialists in Greek sculpture have been dissuaded from investigating the topic. Nathan Badoud publishes the first comprehensive study devoted to the Colossus. His book mobilises a large array of sources, ranging from antiquity to the present day. It proposes an intellectual excavation through the layers of the literary, artistic, and scientific tradition. It envisages the statue in its religious, political, and topographical contexts. It explores its function, its technique, its appearance, its meaning, and its location. It reconsiders the beginnings of the Hellenistic world, marked by the emergence of Rhodes as an imperial power, embodied by the Colossus.
Jane Eyre, written by Charlotte Brontë and first published in 1847, has been translated more than six hundred times into over sixty languages. Prismatic Jane Eyre argues that we should see these many re-writings, not as simple replications of the novel, but as a release of its multiple interpretative possibilities: in other words, as a prism. Prismatic Jane Eyre develops the theoretical ramifications of this idea, and reads Brontë’s novel in the light of them: together, the English text and the many translations form one vast entity, a multilingual world-work, spanning many times and places, from Cuba in 1850 to 21st-century China; from Calcutta to Bologna, Argentina to Iran. Co-written ...