By Stephen Dr Donovan, Danuta Fjellestad, Rolf Lundn
During this vast ranging number of essays, 11 literary students and inventive writers learn authorship and authority when it comes to the creation and reception of cultural texts. Ranging in time from the Renaissance to the period of electronic publishing, the essays invite us to re-examine the influential theories of Roland Barthes, Michel Foucault, and Pierre Bourdieu for our realizing of writers corresponding to Philip Sydney, Thomas Hardy, Laura using, W.B. Yeats, Gertrude Stein, and J.M. Coetzee. laying off new mild on authority’s complicated position within the iteration of cultural which means, the essays should be of curiosity to scholars and academics of literary background and significant concept alike.
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Extra info for Authority Matters: Rethinking the Theory and Practice of Authorship. (DQR Studies in Literature)
183. Edmund Waller, Poems, London, 1645, sig. A4r. 40 Stephen B. Dobranski most famously, Mr WILLIAM SHAKESPEARES COMEDIES, HISTORIES, & 63 TRAGEDIES (1623). By the late seventeenth century, a few printers even began promoting their books by citing the authors’ other works: the title page for The Holy War (1682), for example, reads, “By JOHN BUNYAN, the Author of the Pilgrims Progress”. The practice of printing writers’ incomplete works further reflected and advanced this new ideology of the author.
The incomplete version, printed in 1590, for 80 Sig. Ff1v. Sig. A3r For the specific changes made by Sanford and the Countess, see The Countess of Pembroke’s Arcadia (The Old Arcadia), ed. Jean Robertson, Oxford, 1973, lx-lxii, and Ringler, Poems of Sir Philip Sidney, 375-78. 82 See Stephen Parks and P. J. Croft, Literary Autographs: Papers Read at a Clark Library Seminar, 26 April 1980, Los Angeles: Calif, 1983, 39-75. 81 44 Stephen B. Dobranski example, was prepared for the press by the poet Fulke Greville, the translator John Florio, and the physician-poet Matthew Gwinne.
54 Writers who worked in the theatre, by comparison, participated in a more professional type of collaboration, relying on contributions from various people – copyists, managers, patrons, and, probably most commonly, their fellow play-writers. Thomas Heywood refers to The English Traveller (1633) as one of 220 plays “in which I have had either an entire hand, or at least a maine finger”, 55 and the diary of theatre manager/financier Philip Henslowe mentions 282 plays of which nearly two-thirds are created by more than one author.