This seminar is one the four core courses developed by the campus-wide Textual Studies Program. Course credit will count toward the Textual Studies Ph. D. track in all participating departments and may count toward the Critical Theory concentration in Comparative Literature. This course is open to all graduate students and advanced undergraduates. Students completing this course will develop basic skills of literary scholarship (the use of literary archives; aspects of physical bibliography and the printing and production of books; scholarly editing; manuscript-based textual criticism) which will be of help for other courses.

The goal of this course is to challenge the assumption that textual theory and practice occupy a domain separate from literary theory and criticism, and from other disciplines such as art history, architecture, music or film studies. Confronting this territorial fallacy, the course will show that developments in contemporary theory have influenced, and at times radically altered, the direction of textual studies; and conversely, that textual scholars have often anticipated and conceptualized the speculations of theorists in intellectually provocative ways. The first part of the course will familiarize students with major theories of textual criticism and editorial traditions that address the concepts of authorship and authorial intention; the distinction between document, text, work and the physical book; "ideal" texts and transcendental hermeneutics; the relationship of biographical and sociological contexts to texts, and of creators to producers of literature; and the functions of readerships. It will also document contemporary controversies in textual editing (such as the challenge posed by Jerome McGann to established canons of editing), as well as debates about the editing of particular texts in Renaissance (especially Shakespeare), romantic (especially Keats and Mary Shelley) and modern literature (especially Joyce's Ulysses). Students completing this course will learn to scrutinize the texts they are using and develop awareness of the editorial and cultural ideologies that inform them.

The second part of the course will explore the relevance of textual theory to the study of paintings and film adaptations of literary works, focusing on Mary Shelley’s Frankenstein. The course will involve the participation of librarians and visiting faculty who will come for one to two weeks at the UW, spending ample time with students in seminars, public lectures and social occasions. A two week segment of the course on the arts will be taught by the distinguished art historian from the University of Rome, La Sapienza, Dr. Ricardo de Mambro Santos, a specialist in the Italian and Northern Renaissance, and author of nine published and six forthcoming books, in addition to numerous translations and documentaries for Brazilian and Japanese television and cinema. Assignments will include a final paper on one of the following topics: an essay on a particular aspect of textual theory; a critical edition reading text (with editorial rationale) of a poem or short story; a review of an exisiting edition and of controversies surrounding it; the history, transmission and alteration of a given literary or artistic work.