ARAN - Access to Research at NUI Galway

Artefact Books: Towards a Multi-field Analytical Framework for Literary Research

ARAN - Access to Research at NUI Galway

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dc.contributor.advisor Tilley, Elizabeth
dc.contributor.author Smith, Jennifer Dawn
dc.date.accessioned 2012-05-09T15:20:30Z
dc.date.issued 2011-09-30
dc.identifier.uri http://hdl.handle.net/10379/2743
dc.description.abstract While the most fundamental object of literary studies is often the codex, in this age of digital and electronic sensory inundation, it would seem that the physical book has a limited lifespan. However, the technologies continually vying to supersede the codex are instead enabling the development of different kinds of printed objects. Some of these new books transmit information in a unique way that cannot be replicated or replaced by other media such as television, the Internet, or even e-books. I have chosen the phrase "artefact book" to distinguish these works from traditional books and artists' books. The quality of the reading experience offered and demanded by artefact books is vital for paper publishing and concomitant literary studies in the face of digital and multimedia competition. The problematic ontology of artists' books has prevented both literary and artistic discourses from embracing them wholeheartedly. In essence, artefact books are those whose originators conscientiously incorporate the areas of text, art, craft, and publishing to create books that embody the originators' ideas and transport them to their readers. Within the context of literary studies, there are historical figures--William Blake, William Morris, and Laurence Sterne--who pioneered the kinds of developments that made the existence of artefact books possible. Pierre Bourdieu's field theory forms the methodological basis for investigating artefact books and their relationship with artists' books and literature, as it is the most useful way to bring the sociological turn of material culture and book history to bear on artistic and textual scholarship. The main focus of the dissertation is on the following three artefact books: Scraps of an Aborted Collaboration by Erica Van Horn (1994); READ (past, tense) by Heather Weston (2000); and York by Paul Salt (2006). Each of these books is investigated thoroughly in the context of the four subfields of text, art, craft, and publishing. The case studies demonstrate a way for scholars to synthesize their investigations using the theoretical tools of bibliography, textual analysis, art and book history, material culture, sociological field theory, and publishing studies to elucidate artefact books. The creation of this interdisciplinary framework makes it possible for artefact books, now recognizable as a robust subset of the as-yet-undefined genre of artists' books, to be analyzed within literary criticism and the field of cultural production. en_US
dc.subject Book Art en_US
dc.subject Artefact Books en_US
dc.subject Artists' Books en_US
dc.subject Publishing en_US
dc.subject Book History en_US
dc.subject Art en_US
dc.subject Craft en_US
dc.subject Literary Criticism en_US
dc.subject Sociology en_US
dc.subject Bibliography en_US
dc.subject Material Culture en_US
dc.subject Textual Studies en_US
dc.subject English en_US
dc.title Artefact Books: Towards a Multi-field Analytical Framework for Literary Research en_US
dc.type Ph.D. Thesis en_US
dc.contributor.funder NUIG Faculty of Arts en_US
dc.local.note The concept "artefact book" unites the fields of text, art, craft, and publishing to provide a new way for literary scholars to research artists' books in an academic context. This dissertation presents case studies of artefact books in the context of three precursors: William Blake, Wiliam Morris, and Laurence Sterne. en_US
dc.description.embargo 2112-01-01
dc.local.final Yes en_US

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