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The Dashes in Manfred

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dc.contributor.authorStabler, Jane Susan
dc.date.accessioned2019-07-19T11:30:04Z
dc.date.available2019-07-19T11:30:04Z
dc.date.issued2019-06-01
dc.identifier256276902
dc.identifier6ac34e46-ae7f-4bcc-a283-707213fd8213
dc.identifier.citationStabler , J S 2019 , ' The Dashes in Manfred ' , Romantic Circles Praxis , vol. June 2019 , 9 . < https://romantic-circles.org/praxis/manfred/praxis.2019.manfred.stabler.html >en
dc.identifier.issn1528-8129
dc.identifier.urihttps://hdl.handle.net/10023/18135
dc.description.abstract“The Dashes in Manfred” examines the ways in which one aspect of Byron’s manuscripts has been translated by his editors. The dash is one of the most distinctive and controversial features of Byron’s writing and is the vehicle for the silent part of his voice. Like many other editors, I think that accidentals can be substantive. In this paper, I look at the cultural associations of the dash, its translation from manuscript into print in Byron’s particular case, and the different versions of Manfred that come into sight (and hearing) if we use Byron’s manuscripts as a musical score.
dc.format.extent4672985
dc.language.isoeng
dc.relation.ispartofRomantic Circles Praxisen
dc.subjectPE Englishen
dc.subjectT-NDASen
dc.subjectBDCen
dc.subjectR2Cen
dc.subject.lccPEen
dc.titleThe Dashes in Manfreden
dc.typeJournal articleen
dc.contributor.institutionUniversity of St Andrews. School of Englishen
dc.contributor.institutionUniversity of St Andrews. Centre for Ancient Environmental Studiesen
dc.description.statusPeer revieweden
dc.identifier.urlhttps://romantic-circles.org/praxis/manfred/praxis.2019.manfred.stabler.htmlen


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