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viii | |
| Preface |
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xi | |
| Notes on contributors |
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xiii | |
| Introduction |
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xvii | |
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| Redefining marks |
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Mark, space, axis, function: towards a (new) theory of punctuation on historical principles |
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1 | (11) |
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`[T]o correspond with you in green-covered volumes': George Eliot, G.H Lewes and the production of her books |
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12 | (14) |
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Signs in the text: the role of epigraphs, footnotes and typography in clarifying the narrator-character relationship in Stendhal's Le Rouge et le noir |
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26 | (9) |
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Annotating anonymity, or putting a gloss on The Shepheardes Calendar |
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35 | (20) |
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The critic in the text: footnotes and marginalia in the Epilogue to Alasdair Gray's Lanark: A Life in Four Books |
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55 | (16) |
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`Transplanted into more congenial soil': footnoting the Self in the poetry of Charlotte Smith |
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71 | (16) |
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The meaning of margin: white space and disagreement in Whistler's The Gentle Art of Making Enemies |
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87 | (18) |
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`Attending to the minute': Richardson's revisions of italics in Pamela |
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105 | (15) |
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The re-mark-able rise of `...': reading ellipsis marks in literary texts |
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120 | (24) |
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Where angels fear to read |
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144 | (49) |
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| Editing marks |
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Historical reading and editorial practice |
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193 | (8) |
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201 | (16) |
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Speaking commas \ reading commas: punctuating Mansfield Park |
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217 | (18) |
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Seeing the rhythm: an interpretation of sixteenth-century punctuation and metrical practice |
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235 | (18) |
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Performing dramatic marks: stage directions and the revival of Caste |
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253 | (18) |
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271 | (20) |
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Typographic translation: the Portuguese edition of Tristram Shandy (1997--98) |
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291 | (18) |
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Ma(r)king the electronic text: how, why and for whom? |
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309 | (26) |
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329 | (6) |
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| Index |
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335 | |
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