Notework: Victorian literature and nonlinear style
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Stanford, California
Stanford University Press
[2021]
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| Schriftenreihe: | Stanford text technologies
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | ix, 238 Seiten Illustrationen |
| ISBN: | 9781503615267 |
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Datensatz im Suchindex
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| adam_text | CONTENTS Acknowledgments vii Notework: An Introduction I PART I. USELESSNESS 1 Styles of Inconsequence: Charles Darwin 29 2 Thinking Pieces: George Gissing and Roland Barthes 58 PART II. COLLECTIVE 3 Gerard Manley Hopkins andMicrosocial Form 4 A Computer Program Called“Wilde” 95 126 PART III. SWELLS 5 Unrecovering Vernon Lee 155 Conclusion: Asymmetry 186 Notes 195 Bibliography Index 229 217
Notework begins with a striking insight: the writer s notebook is a genre in itself. Simon Reader pursues this argument in original readings of unpublished writing by prominent Victorians, offering an expansive approach to literary formalism for the twenty-first century. Neither drafts nor diaries, the notes of Charles Darwin, Oscar Wilde, Gerard Manley Hopkins, Vernon Lee, and George Gissing record ephemeral and nonlinear experiences, revealing each author’s desire to leave their fragments scattered and unused. Presenting notes in terms of genre allows Reader to suggest inventive new ac counts of key Victorian texts, including The Picture ofDorian Gray, On the Origin ofSpecies, and Hopkins’s devotional lyrics, and to reinterpret these works as med itations on the ethics of compiling and using data. In this way, Notework recasts information collection as a personal and expressive activity that comes into focus against large-scale systems of knowledge organization. Finding resonance be tween todays digital culture and its nineteenth-century precursors, Reader hon ors our most disposable, improvised, and fleeting written gestures.
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| adam_txt |
CONTENTS Acknowledgments vii Notework: An Introduction I PART I. USELESSNESS 1 Styles of Inconsequence: Charles Darwin 29 2 Thinking Pieces: George Gissing and Roland Barthes 58 PART II. COLLECTIVE 3 Gerard Manley Hopkins andMicrosocial Form 4 A Computer Program Called“Wilde” 95 126 PART III. SWELLS 5 Unrecovering Vernon Lee 155 Conclusion: Asymmetry 186 Notes 195 Bibliography Index 229 217
Notework begins with a striking insight: the writer s notebook is a genre in itself. Simon Reader pursues this argument in original readings of unpublished writing by prominent Victorians, offering an expansive approach to literary formalism for the twenty-first century. Neither drafts nor diaries, the notes of Charles Darwin, Oscar Wilde, Gerard Manley Hopkins, Vernon Lee, and George Gissing record ephemeral and nonlinear experiences, revealing each author’s desire to leave their fragments scattered and unused. Presenting notes in terms of genre allows Reader to suggest inventive new ac counts of key Victorian texts, including The Picture ofDorian Gray, On the Origin ofSpecies, and Hopkins’s devotional lyrics, and to reinterpret these works as med itations on the ethics of compiling and using data. In this way, Notework recasts information collection as a personal and expressive activity that comes into focus against large-scale systems of knowledge organization. Finding resonance be tween todays digital culture and its nineteenth-century precursors, Reader hon ors our most disposable, improvised, and fleeting written gestures. |
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