Pre-Codex to Post-Code: Editorial Theory in the Second Incnnabulnm by Patrick Finn B.A. McGill University, 1995 A Dissertation Submitted in Partial FnlGUnKnt o f the Reqniremaits for the Degree of DOCTOR OF PHILOSOPHY in the Department of English We accept this dissertation as conforming to the required standard Dr. Kathryn (Department of EngliA) Dr. Edward Pechter, Departmental Member (Department o f English) Dr. Trevor Williams, Dqiartmental Member (Department of English) Prof. Henry Summerfield, Additional Member (Department of &iglish) Dr. Timothy Haskett, Outside Member (Department of History) ProT Derek Pearsall, External Examiner (Department o f English, Harvard University) © Patrick James Finn, 2003 University o f Victoria AH rights reserved. This dissertation may not be reproduced in whole or in part, by photocopying or other means, without the permission of the author. Supervisor Dr. Katbryu Kerby-Fulton ABSTRACT This project studies the ways recent changes in cultural the<xy and inhmnaticm technology are influencing the delivery o f texts, and how these changes signal a need 6»^ innovation in editing practice. The word znczmaAw/wnz describes the material objects produced in the early stages of the development of a technology; most commonly, it re&rs to printing during the period just before the turn of the sixteenth century when material textuality in the west was changing horn a manuscript to a print base. According to critics of digital culture like Janet Murray t k current shift to digital media aitails many of the same changes. Following this, I will refer to this period as the secowJ Given the limitations of HTML and SGML markup and storage technologies used in early digitization projects, scholars realize that the second incunabular period, mudr like the first, will not be a simple linear change succession. Just as the shift from manuscript to print involved a multi&ceted series of complex social and practical transformations over decades, our current technological transition generates a wide variety of communicative, cultural, and political implications. As a critical point of entry, the comparison o f the first and second incunabular periods oBers insight into the ways in which past ^nactices can help us qtproach our textual future. As a broad study of hi^ily particular textual {xactices, the current work presents something o f a paradox. However, through a series o f focused historical readings and hrrmal ^plications, this trans-historical study provokes questions that may lead to effective new work in the Geld. In Theofiej^ Text, leading editonal theorist D.C. Greetham points out the need to study the same three projects that I examine: William Langland's f ierj fZowmon, and James Joyce's My&ggf. By examining the editorial practices underlying each work, I develop a theory o f editing based on a farm of philological critique that engages with problems faced by many current research projects and Wiich provides suggestions for further research. Examiners: Dr. Eathryn^ . 1 Kkfby-Fulto^-B Jf -B—1 -a . » -■!. Supervisor«-H ! • (Department/■TT-V of English) Dr. Edward Pechter, Departmental Member (Department o f English) Dr. Trevor Williams, Departmental Member (Department of English) ________________________________ P rof Henry S^nin^Gi^Gld, Additional Member (Department o f English) Dr. Timodiy Haskett, Outside Member (Department of History) Prof Derek Pearsall, External Examiner (Department of English, Harvard University) IV Table o f Ckmtents Abstract ü Table of Contents iv Chapter 1 : Introduction 1 Chuter 2: Editing Medieval English Literature 61 Chapter 3: "Doing Better^: Athlone and After 95 Chapter 4: Editing Early Modem Tenets 128 Chapter 5: All the King's Horses and All the King's Men 153 Chapter 6: Editing Modernist Texts 192 Chapter 7 : The Word Known to All Men 219 Chapter 8: Author, Author! Final Considerations and Conclusion 236 Bibliography 258 Pre-Code% to Post-Code: Editonal Theory in the Second Incnnabulnm Chapter 1: Introduction Classifications are useful, sometimes indispensable conceptual tools in controlling a subject matter, and for the purposes of classification it matters very little whether we use Roman numerals, the weeks of the year, or the phases of the moon. The one thing that does matter is the degree of reliance we place on the definitive character of these arbitrary schemata. If we believe they are constitutive rather than arbitrary and heuristic, then we have made a serious mistake and also set up a barrier to interpretation. E.D. Hirsch, Validity in Interpretation (111) I thought of that old joke, you know, this guy goes to a psychiatrist and says, "Doc, my brother's crazy. He thinks he's a chicken." And, the doctor says, "Well, why don't you turn him in?" And the guy says, "1 would, but I need the eggs." Epilogue to Woody Allen’s Annie Hall This projeet studies the ways in whieh recent changes in cultural theory and information technology are influencing the delivery of texts and pointing to a need for changes in the practice of editing. The word incunabulum describes the early stages of the development of a technology;' most commonly, it refers to printing during the period just before the turn of the sixteenth century when material textuality in the west was changing from a manuscript to a print base. According to critics like Janet Murray, the current shift to digital media entails many of the same changes.^ Following this, I will refer to this period as the second incunabulum. Given the now apparent limitations of HTML and SGML markup and CD ROM storage technologies used in early digitization projects, scholars realize that the second incunabular period, much like the first, will not ' The OED defines incunabulum in this way: 1. The earliest stages or first traces in the development of anything. 2. (With sing, incunabulum); Books produced in the infancy of the art of printing; spec, those printed before 1500. Hence incunabular a., of or pertaining to early printed books. ^ Murray 28-9. be a simple one-dimensional change/ Just as the shift from manuscript to print involved a multifaceted series of social and practical alterations occurring over decades, our current technological transition involves a wide variety of communicative, cultural and political implications. As a critical point of entry, the comparison of the first and second incunabular periods offers insight into the ways in which our past practices can help us approach our textual future. As an abstract study of practical applications, the work in whole presents something of a paradox. Still I hope that within the space of this document, I will raise questions that lead to effective work in the field. Studies in method must always be abstract; in some sense the quality of their focus is what defines their individual contribution. In his recent book. Theories o f the Text, leading editorial theorist D.C. Greetham points out the need to study the three projects that I examine."^ These are William Langland’s Piers Plowman, The Oxford Shakespeare and James Joyce’s Ulysses. While examining each, I will develop a theory of editing based on a form of philological critique that points toward solutions that I hope will work for other research projects. This study takes as its starting point the burgeoning field of editorial theory. Changes in literary theory stemming from Continental linguistics, philosophy, and psychoanalysis that arrived at virtually the same time as affordable personal computers and functional network options have introduced a variety of questions about how and why editors should perform their duties.^ While early technophiles such as Marshall ^ The World Wide Web Consortium (W3C) is the leading body attempting to create and maintain universal standards for markup and encoding. Their updates and records of change can be found at: http://www.w3 .org/. Greetham points to Piers, the Gabier Ulysses and the Oxford Shakespeare. Greetham 22-23. ^ We should note that while theory came early to English Departments as a whole, it came much later to textual studies. The opposite is true of computer technology. For more on these issues see, Peter McLuhan and Nicholas Negroponte were quick to forecast the digital dissolution of these problems and the concomitant death of the book, others like Jay David Bolter, George Landow and Geoffrey Nunberg see new media as an opportunity to test the possibilities and limitations of poststructural and postmodern theory and practice.^ More recently. Bolter and Richard Grusin have proposed that the digital shift, like print beh)re, is a “remediation” of our textual past/ Each of these formulations intersects editorial theory and textual studies. Many early digital projects worked from the assumption that using electronic media to record all available documents, recordings and materials pertinent to a given editorial project would render obsolete those critical editions that present a central authorial figure and a unified text. My argument shows that while digital archives are an excellent means of storage, they will inherently involve a need for a series of new editors or ckcenfj that will in fact make their mark by offering linear texts. The docent of whom Shillingsburg’s Scholarly Editing in the Computer Age: Theory and Practice. Ann Arbor: University of Michigan Press, 1996. ® McLuhan’s media theory from The Gutenberg Galaxy and especially from Understanding Media are counted as the most influential books in media studies. Building on McLuhan’s work, Nicholas Negroponte of MIT (who have recently re-released a series of McLuhan’s work) developed what he calls the “gumball theory” of information that would see the Internet turn into a pay as you go source of limitless data, Nicholas Negroponte, Being Digital. (Cambridge: MIT Press, 1995). In contrast to this. Jay David Bolter in Writing Space: The Computer, Hypertext, and the History o f Writing.