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Discusses editorial choices such as which version to reprint, and explains how multiple versions complicate interpreting the poems as a unified or disunified body of work.",{"@graph":14,"@context":73},[15,34,56],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/research-report/","Research & 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claim about Coleridge’s major poems?","Question",{"text":63,"@type":64},"For each of Coleridge’s seven best-known poems, there are multiple separate versions rather than a single definitive text, with significant differences among them.","Answer",{"name":66,"@type":61,"acceptedAnswer":67},"Which kinds of issues does the book address?",{"text":68,"@type":64},"It addresses both theoretical and practical problems, including how to constitute the Coleridge canon, how to define the ontology of a “work,” and how version multiplicity affects interpretation.",{"name":70,"@type":61,"acceptedAnswer":71},"How is the study structured across chapters?",{"text":72,"@type":64},"The preface outlines four main chapters: what is known about the texts (Chapter 1), their textual history (Chapter 2), Coleridge’s methods and motives (Chapter 3), and the theoretical consequences of having many different texts (Chapter 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\n# Coleridge and Textual Instability\n\nThis page intentionally left blank  \n# COLERIDGE\n\nAND TEXTUALINSTABILITY:  \nThe Multiple Versionsof the Major Poems  \nJack Stillinger  \nNew York OxfordOXFORD UNIVERSITY PRESS  \n1994  \nOxford University Press  \nOxford New York TorontoDelhi Bombay Calcutta Madras KarachiKuala Lumpur Singapore Hong Kong TokyoNairobi Dar es Salaam Cape TownMelbourne Auckland Madrid  \nand associated companies inBerlin Ibadan  \nCopyright ◎1994 by Oxford University Press,Inc.  \nPublished by Oxford University Press,Inc.,200 Madison Avenue,New York,New York 10016  \nOxford is a registered trademark of Oxford University Press  \nAll rights reserved.No part of this publication may be reproduced,storedin a retrieval system,or transmited,in any form or by any means,electronic,mechanical,photocopying,recording,or otherwise,without the prior permission of Oxford University Press.  \nLibrary of Congress Cataloging-in-Publication DataStillingcr,Jack.  \nColeridgc and textual instability:the multiple versions of the major poems/Jack Stillinger.  \np.cm.Includes bbliographical references(p.)and index.ISBN 0-19-508583-3  \n1.Coleridge,Samucl Taylor,1772-1834—Criticism,Textual.  \n1.Title.PR4485.S741994821'.7—dc2093-2478  \n246897531  \nPrinted in the United States of Americaon acid-free paper  \n## Preface\n\nFor each of Coleridge's seven best-known poems,we have not just a singledefinitive text but numerous separate versions,with significant and sometimesradical differences among them.Coleridge authored sixteen or more manuscriptand printed texts of The Eolian Harp,twelve distinct texts of This Lime-TreeBower My Prison,eighteen or more texts of The Rime of the Ancient Mariner,andsimilar numbers for Frost at Midnight,Kubla Khan,Christabel,and Dejection:AnOde.  \nThis multiplicity of versions raises important and interesting issues,both theo-retical and practical:for example,the constitution of the Coleridge canon(Howmany Rimes of the Ancient Mariner did Coleridge write?);the ontologicalidentity—sometimes referred to as \"mode of existence\"-of any specific work inthe canon (Is The Ancient Mariner a single version of the work or all the versionstaken together?—and if it is all the versions taken together,is the work constitutedby the process of its revisions,one after another,or by allthe versions consideredas existing simultaneously,as they might in a variorum edition giving a completeaccount of the successive readings?);practical questions about the editorial treat-ment of Coleridge's works(most obviously,which version to choose forreprinting—say,in a standard edition or in an anthology--when we are allowedonly one version per title);and the ways in which this multiplicity of versionscomplicates interpretation of the poems as a unified or,as the case may be,disunified body of work.  \nIn this study I consider,in order,what is currently known about Coleridge'stexts(Chapter 1);the textual history of this multiplicity of versions(Chapter 2);Coleridge's methods and motives as originator,reviser,and presenter of his works(Chapter 3);and the principal theoretical consequences of having so many differenttexts of these famous poems(Chapter 4).I write for general readers and studentsinterested in how literature is produced,how and why authors(and others)revisetheir works,and what constitutes a literary work when,as is usually the case withworks of the past two hundred years,we have numerous differing texts.The studyis also addressed to two separate audiences of specialists:Coleridge scholars,forwhom it will set forth some of the history and complications of Coleridge's poetictexts;and textual theorists,for whom I hope it will contribute to the ongoingdiscussion of the basic nature (constitution,ontology)of texts and literary works.For the first of these specialist audiences,the book might have been given a title  \nlike\"Coleridge at Work\"(or,less blandly,\"The Obse","cbCaiec1Cb5lstTJ","https://ap.wps.com/l/cbCaiec1Cb5lstTJ","pdf",13937718,268,"English","# Preface\n## Purpose and scope of the study\n## Theoretical issues raised by multiple versions\n## Organization of chapters\n## Audience and readership","[{\"question\":\"What is the central claim about Coleridge’s major poems?\",\"answer\":\"For each of Coleridge’s seven best-known poems, there are multiple separate versions rather than a single definitive text, with significant differences among them.\"},{\"question\":\"Which kinds of issues does the book address?\",\"answer\":\"It addresses both theoretical and practical problems, including how to constitute the Coleridge canon, how to define the ontology of a “work,” and how version multiplicity affects interpretation.\"},{\"question\":\"How is the study structured across chapters?\",\"answer\":\"The preface outlines four main chapters: what is known about the texts (Chapter 1), their textual history (Chapter 2), Coleridge’s methods and motives (Chapter 3), and the theoretical consequences of having many different texts (Chapter 4).\"}]","Coleridge and Textual Instability - The Multiple Versions of the Major Poems | PDF",1789940209,675]