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A brief, poignant piece from the Chronicle of Higher Education links two of our course themes, religion in the eighteenth century and editing–but probably not in the way that you would think:  http://chronicle.com/blogs/linguafranca/2013/10/01/editing-before-our-eyes/

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Thomas J. Farrell posted this description of his extensive bibliography on Walter Ong on SHARP-L (re-posted with permission):

In the spirit of the Ong Centenary Year, I am making two new Ong-studies resources available in downloadable files at my UMD homepage:

(1) my twelve-category classified bibliography of selected works that can be related in one way or another to Walter Ong’s work; and

(2) an index to accompany the classified bibliography.

The classified bibliography is 160 double-spaced pages in length. It includes an introduction to Ong’s thought and an overview of the twelve categories, which are listed below in this message.

Each bibliographic item in the classified bibliography has an individualized code number consisting of the Roman numeral of the respective code and an Arabic numeral designating its respective number in the alphabetized list in the category. The code numbers are then used in the index.

Here are the twelve categories in the classified bibliography:

Category I:    Selected Works about Orality (see Ong’s ORALITY AND LITERACY: 1-76; see Classified Bibliography: 17-56)

Category II:    Selected Works about Cyclic Thought and Linear Thought (see Ong’s ORALITY AND LITERACY: 138-44; see Classified Bibliography: 57-61)

Category III:    Selected Works about Agonistic Structures (see Ong’s ORALITY AND LITERACY: 42-45, 69-70; see Classified Bibliography: 62-86)

Category IV:    Selected Works about Writing Systems (see Ong’s ORALITY AND LITERACY: 77-114; see Classified Bibliography: 87-88)

Category V:    Selected Works about Written Authorship (see Classified Bibliography: 88-91)

Category VI:    Selected Works about the Art of Memory (see Ong’s ORALITY AND LITERACY: 33-36, 136-52; see Classified Bibliography: 92-93)

Category VII:    Selected Works about Commonplaces and Composing (see Ong’s ORALITY AND LITERACY: 107-10; see Classified Bibliography: 94-100)

Category VIII:    Selected Works about Reading (see Classified Bibliography: 101-03)

Category IX:    Selected Works about Visuality (see Ong’s ORALITY AND LITERACY: 115-21; see Classified Bibliography: 104-20)

Category X:    Selected Works about the Inward Turn of Consciousness (see Ong’s ORALITY AND LITERACY: 174-76; see Classified Bibliography: 121-26)

Category XI:    Selected Works about the Quantification of Thought (see Ong’s ORALITY AND LITERACY: 127; see Classified Bibliography: 127-29)

Category XII:    Selected Works about Print Culture (see Ong’s ORALITY AND LITERACY: 115-35; see Classified Bibliography: 130-60)

As you can see from the parenthetical information about each category listed above, ten of the twelve categories are keyed to specific parts of Ong’s book ORALITY AND LITERACY: THE TECHNOLOGIZING OF THE WORD (2002 ed.), which has gone through more than thirty printings in English and has been translated into eleven other languages.

Either URL in the signature below will connect you to my UMD homepage, where you can check out these two new resources if you want to.

–Tom

Thomas J. Farrell
Professor Emeritus
Department of Writing Studies
University of Minnesota Duluth
Email: tfarrell@d.umn.edu
Homepage: http://umn.edu/home/tfarrell
Homepage: http://www.d.umn.edu/~tfarrell

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The story of the development of the cover of The Great Gatsby makes for fascinating reading.  Not only does this article discuss the evolution of the art, it also sheds light on the relationship between Fitzgerald and his famous editor, Maxwell Perkins.  It is also interesting to see the list of truly dreadful titles that Fitzgerald came up with for this now eponymously iconic work.

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THis is not a current blog post (half a year old, OMG!) but it is more relvant than ever: Post-Artifact Books and Publishing

What tools will we embed within digital artifacts to signal this shifting relationship with literature?
To surface our shared experience?
To bridge the raw pre- and post- artifact spaces that so define the future of publishing?
To build the future book?

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Paper making in the New York Times this article features Timothy Barrett, who teaches paper making at the University of Iowa Center for the Book, and in 2009 won a MacArthur Foundation fellowship for his craft.

Make sure you check out the slide show, and then visit his website featuring his historical project (pictured below).

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