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注释： ①Roland Barthes, The Rustle of Language, Translated by Richard Howard，New York: Farrar, Straus and Giroux, Inc., 1986, pp. 56-64. ②作为文本研究与文学批评方法论意义上的“新文本主义”，不同于西方“后现代之后”思想理论界广为使用的“新文本”(New Textualities)概念。后者作为一种反映理论趋向的宏观描述，以反思“后现代”理论为起点，以价值与意义重建为鹄的，表现为“数字人文主义”、“传记写作研究”、“宗教转向”等系列“后理论”观念话语。关于“新文本”的基本理论旨趣与大致文献誊录，请参看：Global Literary Theory: An Anthology，Edited by Richard J. Lane, London and New York: Routledge, 2013, pp. 721-859. ③Women Editing/Editing Women: Early Modern Women Writers and the New Textualism, Edited by Ann Hollinshead Hurley and Chanita Goodblatt, Cambridge Scholars Publishing, 2009, pp. xi-xii. ④关于新文献学的相关理论陈述，请参看：Arber, E.(ed), A Transcript of the Registers of the Company of Stationers of London, 1554-1640, 5 vols.(London, 1875-94; rept, Gloucester, MA, 1967); A. W. Pollard, Records of the English Bible: The Documents Relating to the Translation and Publication of the Bible in English, 1525-1611.(London, Oxford University Press, 1911);W. W. Greg, A List of English Plays Written before 1643 and Printed before 1700,(M. S. G. Haskell House Publishers1902); R. B. Mckerrow, A Dictionary of Printers and Booksellers in England, Scotland and Ireland, and of Foreign Printers of English Books, 1557-1640(London: Printed for the Bibliographical Society, 1910). ⑤⑦(16)(20)(21)(22)Jerome McGann, ed., Textual Criticism and Literary Interpretation, University of Chicago Press, 1985. p.185, p. 181, p. 66, pp. 191-193, p. 193, p. 194. ⑥“文本批评”与“文学批评”二者侧重点不同：前者以文本编校为导向，专注于文本语词及编校内容变化的历史；后者以相对稳定的文本为客体，讨论更加普遍的文学基本问题。前者讨论不同文本的变化产生什么样的文学后果；后者确立“好的文学”与“坏的文学”的界限并作出实际的评判。 ⑧参见Margreta de Grazia, Peter Stallybrass. "The Materiality of the Shakespearean Text", Shakespearean Quarterly(44)1993: pp.255-83; 亦参见, Alan B. Farmer, "Shakespearean and the New Textualism", Shakespearean International Yearbook 2(2002), pp.158-179. ⑨⑩(11)(12)(25)Leah S. Marcus, Textual Scholarship, in David G. Nicholls, ed., Introduction to Scholarship in Modern Language and Literature, The Modern Language Association of America, 2007, p. 145, p. 153, p. 152, p. 154, p. 147. (13)Wendy Wall, The Imprint of Gender: Authorship and Publication in the English Renaissance, Cornell University Press, 1993, p. 3. (14)Zachary Lesser, "Introduction-From Text to Book", in Zachary Lesser, Renaissance Drama and the Politics of Publication: Reading in the English Book Trade, Cambridge University Press, 2004, p. 25. (15)如Joseph Loewenstein揭示了文本中斜体字所承载的观念意识形态，David Scott Kastan分析了文学形式与文本格式的隐秘关联，Random Cloud阐述了剧本中语速与称谓对情节移位的重要作用，Leah Marcus讨论同一文本不同物质介体变化对文本表意及阅读的不同影响。参见Joseph Loewenstein, Idem: Italics and the Genetics of Authorship, Journal of Medieval and Renaissance Studies 20(1990, pp.205-224),; David Scott Kastan, Little Foxes, in John Foxe and His World, eds. Christopher Highley and John King(Burlington: Ashgate, 2001, pp.117-131); Random Cloud, The very names of the Persons：Editing and the Invention of Dramatick Character, in Staging the Renaissance: Reinterpretations of Elizbethan and Jacobean Drama, eds. David Scott Kastan and Peter Stallybrass(New York: Routledge, 1991, pp.88-96); Leah Marcus, Unediting the Renaissance: Shakespeare, Marlowe, Milton(New York: Routledge, 1996). (17)(18)(19)Zachary Lesser, "Introduction-From Text to Book", in Zachary Lesser, Renaissance Drama and the Politics of Publication: Reading in the English Book Trade, Cambridge University Press, 2004, p. 1, p. 2, p. 17. (23)Edward Mendelson, ed., The Complete Works of W. H. Auden. Princeton University Press, 2008. (24)Marianne Moore, Collected Poems, Macmillan Company, 1951; Marianne Moore, The Complete Poems of Marianne Moore, Penguin Group Incorporated, 1967. (责任编辑：admin) |