It was however her guiding characteristic.
Method and Judgment in the Theodore Dreiser Edition From Sister Carrie to The Titan Jude Davies The history of editing has moved according to its own logic, marked, on the positive side, both with methodological advances and with compelling demonstrations of the importance of informed judgment.
The two elements, method and judgment, tend to appear on the intellectual stage as opponents, and are sometimes identified, respectively, with the ideas that the past is best recovered by either objective or subjective means. The tension in this opposition has generated its share of pointless negativity, but like all dynamic relationships the struggle has its creative potential.
Instructive as this may be as an example of the unfolding of a logic in the history of editing, this essay takes the Dreiser Edition as exemplifying that in author editions, other dynamics are also at work.
Modal differences between outputs also require different editorial approaches. Editorial aims may be conditioned by contextual changes in literary theory, criticism, and pedagogy.
The trajectory of the Dreiser Edition may indicate general trends in scholarly editing, then, but this essay aims to complicate such linear narratives by reference to these other dynamics and contexts.
The main focus is on reviewing the practices and rationale of the edition of Sister Carrie, its highly polarized critical reception, the notions of authorship that it promoted, and the kinds of reading that it fostered or made possible. A central but not sole cause of this controversy, as will be seen, was the decision by textual editor James L.
West III to use as copy-text the holograph manuscript of the novel completed by Dreiser in Marchbefore it entered the processes of being typed, revised, and further edited. All of this, at the time, Dreiser sought or approved in order to get his first novel published, and he reversed none of the revisions when opportunities to republish the novel arose later in his career.
In his statement of editorial principles, West cited W. Greg, Fredson Bowers, and G. Westlake, which strongly evoked New Critical discourses of the verbal icon.
However, at the time few reviewers registered this interrogative and enabling aspect of the edition. In the furor, the Pennsylvania Sister Carrie became a focal point of the resistance to eclectic editing that was building in the American academy during the s and s, as Paul Eggert and Peter Shillingsburg have noted.
Because of his style, his subject matter, and his politics, Dreiser was marginalized by New Criticism, and his reputation as a central literary figure was not assured in In short, the edition embraced eclecticism more in theory than in practice.
In the process, the questions of authorial intention and revision that give rise to eclectic editing in the first place are foreclosed before they have properly been registered. The latter are potentially considerable, given the publication of a shortened version in London inwhose commercial and critical success was crucial in encouraging and enabling Dreiser to relaunch his literary career after the commercial failure of the first edition, and a significant revision made for the second American edition B.
Dodge, in the first chapter of the novel to remove material appropriated from the humorist writer George Ade. This last point brings us back to the unresolved duality of the Pennsylvania Sister Carrie, and its implications for definitions and methodologies of editing more widely.
On the one hand, as has just been argued, it invited readers into the archive to consider the processes of revision and publication. On the other hand, this invitation was often obscured by the strong claims made on behalf of its restored text, and the use of New Critical concepts to frame the edition.
Notwithstanding this contrasting orientation, when taken together, both sets of distinctions usefully open up a conceptual distance around the familiar categories of documentary editing and critical editing.
While the editing traditions differ as to aim and approach, which therefore must be made clear at all times, the relationship between them is dynamic; they are not necessarily bound to mutually negating ontologies.
Rather, they can be seen as different methodologies for arbitrating between opposed modes of historicization. Reiterating and fixing, method and judgment, are all at work, in varying degrees, in different models of editing. Critical editing has its dualism of text and apparatus, while, for example, in the German Historical-Critical tradition the text is present alongside the primary aim to present an encoded archive.Related Books of new essays on sister carrie by donald pizer.
Wingspan Paul Mccartneys Band On The Run By Paul Mccartney Witchcraft In Tudor And Stuart England A Regional And Comparative Study By Alan Macfarlane Wideacre By Philippa Gregory L Summary And Study Guide By Bookrags Witch Hunt Preternatural Affairs 1 By Sm Reine Winter Of The Wolf Moon Alex Mcknight 2 By Steve Hamilton .
Sister Carrie by Theodore Dreiser cas been called the "greatest of all American urban novels." When a young woman moves from the country to Chicago, she falls from innocence and starts on a path that will bring her fame, but not happiness. Sister Carrie, as other works by Theodore Dreiser represents the movement of Naturalism in theater, film, and literature that seeks to replicate a believable everyday reality, as opposed to such movements as Romanticism or Surrealism, in which subjects may receive highly symbolic, idealistic, or even supernatural treatment.
The picture of the protagonist that Theodore Dreiser's novel, Sister Carrie, portrays is only a half-truth. By analyzing Sister Carrie's personality, she's easily deemed as passive, weak, and filled with shallow desires and in this profoundly inert character lies the seed to the larger expression of an artistic soul.
Free College Essays - Analysis of Sister Carrie by Theodore Dreiser - An Analysis of Sister Carrie It was ; Carrie Meeber, an eighteen-year-old girl, was boarding a train from Columbia City to start a new life with her sister and her family in Chicago.
The Fall of Carrie and Hurstwood Essay - The Fall of Carrie and Hurstwood Sister Carrie, written by Theodore Dreiser, is a tale of Carrie, who comes to Chicago to somehow make the money she has always dreamed of having.