In other words, I believe that the production techniques used to create in language, in image, and as a unified combination of media.We can then begin to interpret Blake’s poem in its lexical and material complexity, and this project will conclude with an example of how this interpretation might unfold. Work, Text, Performance Any account of William Blake’s work in illuminated printing encounters a challenge in the conceptual and material specificity of his books.Accordingly, we find it useful to designate different physical objects instantiations of the same work, but very few of the parameters guiding this association are obvious or uncontroversial.This relationship takes on an entirely unique set of problems in Blake’s art.
From this perspective, the quality, veracity, utility, or significance of a textual reproduction derives from the form of both its lexical and bibliographic codes.
Materiality functions as a fundamental condition of the work, because the work inheres in the text, rather than in abstraction from itby D. Mc Kenzie) work to influence, inform, or constrain meaning.
But these elements are not necessarily corrupting, precisely because no text exists outside of a material context.
In this schema, the content (language) can be differentiated from the medium (the material text), because the function of literature lies in its content, which represents “the effort of a human being to transcend the human, an effort constantly thwarted by physical realities” (64).
Tanselle’s practice of eclectic editing derives from these views, as the ideated nature of the literary object ensures that any material instantiation is necessarily incomplete or than the work itself, which remains an idea.