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The Author as Reader

Textual Visions and Revisions


Sabine Coelsch-Foisner and Wolfgang Görtschacher

One of the most radical conceptual shifts in postmodern debates about art has been the dismantlement of the very idea of a work of art, its unity and ontological status. The move from work to text has entailed far-reaching questions concerning the status and function of the artist or author, the role of interpretive communities, and the constitution of texts as intertexts. By concentrating on the author as reader, the present volume explores the process of writing in terms of textual visions and revisions undertaken by the author him- or herself. Tracing an author’s foot- or fingerprints along the multiple versions of a text does not only alert us to the fact that a printed text may not be the first version, nor may it be the final, let alone finished, version; more radically, it suggests that works of art are fleeting products within a fluid process of transformations.
Contents: Jodi-Anne George: From Imaginary Sheep to the Agnus Dei: The Wakefield Prima V. Secunda Pastorum – Regina Schneider: «And Are You There, Old Pas?»: The Fate of the Pastoral Element in Philip Sidney’s Arcadia – Victor Skretkowicz: From Alpha-Text to Meta-Text: Sidney’s Arcadia – Nicholas Royle: Sentencing Coleridge – Glyn Pursglove: Rethinking the Devil’s Thoughts: Coleridge and Southey – Christopher Smith: Vision, Revision, Seeing and Insight: Thomas Hardy’s Poem «The Rejected Member’s Wife» – Lucia Cordell Getsi: Georg Trakl as Reader Appropriator: A Study in Intertextual Text-World Construction – Robert Rehder: Ezra Pound and William Carlos Williams: Re-Seeing, Search and Discovery – Peter Boxall: All Balls: Internal Revision and Narrative Authority in Beckett’s Prose – Philip Laubach-Kiani: The Staging and Revising of Deficient Memory in Samuel Beckett’s Krapp’s Last Tape – Milada Franková: Authorial Doubts: Metafictional Revision – Monika Coghen: Coleridg’s Osorio and Remorse: From Tragedy towards Sentimental Drama – Anton Kirchhofer: Negotiating the Constraints of Authorship: (Un)Authorised Endings in Dickens and Fowles – Rama Kundu: Pudd’nhead Wilson: Making and Remaking of a Text – Rudolf Weiss: Re-writing the Drama: Multiple Versions of Granville Barker – Mohit K. Ray: «Stitching and Unstitching» in «Sailing to Byzantium» – Mike W. Malm: Revision and Ideology in Ezra Pound’s Cantos: Historical Sources and the Politics of De-Contextualization – Günther Jarfe: Auden as Reader and Critic of His Own Poems – Krisztina Dankó: Tennessee Williams’s Textual Visions and Revisions – Philip Mosley: Rewriting Irish-American Daughter/s: Deborah Lou Randall’s Unfolding Drama – Mariaconcetta Costantini: «The fruit of much restlessness»: Literary Creation and Revision According to Ben Okri.