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Home :: Archive :: 1996 :: May ::
Re: Texts; Woodstock; Sign Seen in Window
Shakespeare Electronic Conference, Vol. 7, No. 0401.  Thursday, 30 May 1996.

(1)     From:   Gabriel Egan <
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        Date:   Thursday, 30 May 1996 00:28:43 +0100
        Subj:   Re: SHK 7.0398 Re: Texts

(2)     From:   Frank Whigham <
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        Date:   Wednesday, 29 May 1996 16:55:31 -0500
        Subj:   Before Richard II

(3)     From:   Martin Jukovsky <
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        Date:   Wednesday, 29 May 1996 21:08:58 GMT
        Subj:   Sign Seen in Window


(1)----------------------------------------------------------------------------
From:           Gabriel Egan <
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Date:           Thursday, 30 May 1996 00:28:43 +0100
Subject: 7.0398 Re: Texts
Comment:        Re: SHK 7.0398 Re: Texts

John Drakakis writes

> Let me take the last point first about Derrida and "originals": on
> the principle that no "original" can ever be present to itself, then
> any invocation of the term is bound to raise the question of
> whether an "original" is ever possible.

Whoosh! That one went higher over my head than the last. I haven't the foggiest
idea what you mean.

Is it useful to comment that "original" is one of those fascinating words that
means its own opposite? Like "cleave" or "period". Am I on the right track?

> To use the term is to
> invoke the law, and to disclose the conditions of its
> operation...hence  politics.

Nope, I'm still lost.

>  Of course, you may say that all language
> is prone to this failing, and that the anchoring points
> which sustain meaning are provisional.

I get the second part of this sentence, and can relate it to post-Saussurean
linguistics. But...

>  Ergo, "original" can never quite deliver as a term the
>promise that it holds out.   I'm sure that irony wasn't lost on the general
>editors of the series.

I'm only as far as understanding that "original" is one of those interesting
cases where we can chart the change in meaning as part of a cultural shift
(as Williams does in _Keywords_).

>My only reservation is that we should
>be careful here not to make "performance" the "source", so to speak, in a way
>which is essentially no different from making print the "source".

My accommodation to the potentially conservative notion of "intention", on the
grounds that Marxists should be concerned with the dramatist's creative labour,
leads me to draw a great distinction between these two possible "sources".
Shakespeare undoubtedly intended performances, but not printed play-texts.

The rest of your post concerns editing, and we don't disagree on the principle
of the Shakespearean Originals series (ie to do diplomatic reprints), only on
the quality of the execution and the silly claims made for it ("throwing
cordons" around text, etc).

Gabriel Egan

(2)----------------------------------------------------------------------------
From:           Frank Whigham <
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Date:           Wednesday, 29 May 1996 16:55:31 -0500
Subject:        Before Richard II

For more data see A. P. Rossiter's edition of the anonymous play *Woodstock*.

Frank Whigham

(3)----------------------------------------------------------------------------
From:           Martin Jukovsky <
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Date:           Wednesday, 29 May 1996 21:08:58 GMT
Subject:        Sign Seen in Window

>From: 
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>Date: Wed, 29 May 1996 16:20:20 EST
>Subject: sign seen in window
>
>Seen in the window of a UK sporting goods store:
>
>"This is the discount of our winter tent"
>

Martin Jukovsky
Cambridge, Mass.

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