纽卡斯尔assignment代写:文本作品

2017-03-15 00:27

文本作品的呈现对于确定诗人和文本如何与当时的特定读者有关。重要的是要考虑的差异之间的演示文稿风格的文本在1902，当丁尼生还没有提升到相当抽象的水平，现代主义“诗人天才”，因为他有1975。例如，1902出版的乔治贝尔父子版没有介绍。据推测，读者可以解码和欣赏的诗，而不必说服或指导任何关键的背景下，也可以看出，在1902的文本可以看作是在文学的背景下，教育和教育的道德背景。每一个版本的各种锚表明，这两个都吸引了一个非常不同的观众和丁尼生的消费习惯在这几年里发生了根本变化。几乎所有的当代文本含有悼念包含由学者或评论家的介绍性文字。它们包含了几乎所有的书目信息和综合指出，“解码”结尾的诗。这本书的1902版的特点是一个有吸引力的船盖到太阳航行，而1975版是空白。在1902版中很少有关于丁尼生本人的文章。这首诗的作者也未对；作者的背景和历史是那么丰富，认为观众不感兴趣的严谨的研究或历史上的丁尼生本人。与此相反，1975版的书包含一个巨大的雕刻丁尼生的海飞丝在开幕页。这首诗自第17页开始，经过了长达12页的介绍，主要集中在这首诗和丁尼生本人的传记细节上。因此，可以看出，在1902至1975年间，丁尼生的诗歌观发生了显著的变化。而早期版本只是关心销售文本，而不关心历史意义，文本周围人的背景或履历，1975版将在悼念它周围的锚碇采用经典文本的地位。因此，它突出了介绍的重要性。因为一首诗就不可避免地涉及到读者的反应，一个给定的诗的表象锚固分析是重要的诗当本身。社会环境中，两个不同的书籍出版反映在本书本身的表现风格。因此，诗歌本身是如何受到读者自身的重视、创造和修改的，具有十分重要的意义。正如Jerome K. McCann建议

纽卡斯尔assignment代写:文本作品

The presentation of a textual work is very important in determining how the poet and the text relate to its specific audience at the time. It is important to consider the differences between the presentation styles of a text produced in 1902, when Tennyson had yet to be elevated to quite the level of abstract, modernist “poet-genius” as he had by 1975. The former, George Bell & Sons edition published in 1902, for instance, contains no introduction. It is presumed that the reader can decode and appreciate the poem without having to be persuaded or guided by any critical context; also, the text as presented in 1902 can be seen as less educational in a literary context, and more educational in a moral context. The various anchors in each edition suggest that both are appealing to a very different audience and that consumption habits for Tennyson has changed radically in the intervening years. Almost all contemporary texts containing In Memoriam contain an introductory text by a scholar or critic. They almost all contain bibliographical details and comprehensive notes that “decode” the poem at the end. The 1902 edition of the book features an attractive cover of a boat sailing into the sun while the 1975 edition is blank. In the 1902 edition very little is written about Tennyson himself. The author of the poem is not dwelled upon; the context and history of the writer is less rich, and suggests that the audience are not as interested in rigorous study or the history of Tennyson himself. In contrast, the 1975 edition of the book contains an enormous engraving of Tennyson’s head and shoulders on the opening page. The poem itself starts on page 17, after a 12 page introduction that focuses primarily on the biographical details of the poem and Tennyson himself. Therefore, it can be suggested that in the intervening years between 1902 and 1975, the regard to Tennyson’s poetry has changed significantly. Whereas the early edition was merely concerned about selling the text, and were not concerned about historical significance, context or biographical details of persons surrounding the text, the 1975 edition elevates In Memoriam to the status of a classic text using the anchorage surrounding it. As such, it highlights the significance of presentation. Because a poem inevitably involves a reader response, the presentational anchorage of a given poem is important when analysing the poem itself. The social environment in which the two different books were published is reflected in the presentational style of the book itself. Therefore, it is of great significance to how the poem itself is regarded, created and modified by readers themselves. As Jerome K. McCann suggests: