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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.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.otherPURE: 256276902
dc.identifier.otherPURE UUID: 6ac34e46-ae7f-4bcc-a283-707213fd8213
dc.identifier.urihttp://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.language.isoeng
dc.relation.ispartofRomantic Circles Praxisen
dc.rights© 2019, the Author. This work has been made available online in accordance with the publisher's policies. This is the author created accepted version manuscript following peer review and as such may differ slightly from the final published version. The final published version of this work is available at https://romantic-circles.org/praxis/manfred/praxis.2019.manfred.stabler.htmlen
dc.subjectPE Englishen
dc.subjectT-NDASen
dc.subjectBDCen
dc.subjectR2Cen
dc.subject.lccPEen
dc.titleThe Dashes in Manfreden
dc.typeJournal articleen
dc.description.versionPostprinten
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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