Post Chapter: -- The Future of a Convention (1970-) -- Uwe Johnson -- Egan -- Krasznahorkai. Ante Chapter: -- On Segmented Time -- 1 -- In Which an Object Is Proposed for Analysis -- Part II. -- Two Millennia of Capitulation, From Heading to Unit -- 2 -- On the Shape of the Classical Heading (the Threshold) -- Tabula Bembina -- Augustine -- Arrian's Epictetus -- 3 -- Concerning the Division of the Gospels (the Abstract Syncopation) -- Eusebius -- Alexandrinus -- the Paris Bible -- 4 -- How Fifteenth-Century Remediators Did Their Work (the Cut, the Fade) -- The Burgundian Chrétien de Troyes -- Caxton's Malory -- Part III. -- Dividing Time In, and Beyond, The Novel -- 5 -- Attitudes of the Early Novel Chapter (the Postural, the Elongated) -- Locke -- Sterne -- Equiano -- Goethe -- 6 -- The Repertoire of the Chapter circa 1865 (the Tacit) -- Tolstoy -- Gaskell -- 7 -- The Days of Our Novelistic Lives (the Circadian) -- Dickens -- Eliot -- McGregor -- 8 -- The Poignancy of Sequence (the Antique-Diminutive) -- Machado -- B. S. Johnson -- Varda -- Post Chapter: -- The Future of a Convention (1970-) -- Uwe Johnson -- Egan -- Krasznahorkai.
Summary:
"Why do books have chapters? With this seemingly simple question, Nicholas Dames embarks on a literary journey spanning two millennia, revealing how an ancient editorial technique became a universally recognized component of narrative art and a means to register the sensation of time. Dames begins with the textual compilations of the Roman world, where chapters evolved as a tool to organize information. He goes on to discuss the earliest divisional systems of the Gospels and the segmentation of medieval romances, describing how the chapter took on new purpose when applied to narrative texts and how narrative segmentation gave rise to a host of aesthetic techniques. Dames shares engaging and in-depth readings of influential figures, from Sterne, Goethe, Tolstoy, and Dickens to George Eliot, Machado de Assis, B. S. Johnson, Agn's Varda, Uwe Johnson, Jennifer Egan, and László Krasznahorkai. He illuminates the sometimes tacit, sometimes dramatic ways in which the chapter became a kind of reckoning with time and a quiet but persistent feature of modernity. Ranging from ancient tablets and scrolls to contemporary fiction and film, The Chapter provides a compelling, elegantly written history of a familiar compositional mode that readers often take for granted and offers a new theory of how this versatile means of dividing narrative sculpts our experience of time."-- Provided by vendor.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.