This work explores, from a theoretical-critical point of view, how co-authored literature (romance and poetry) functions as well as the role assumed by the author, two concepts connected by this writing typology. The writing practice of co-authored literature is the main place in which author becomes a co-creator. The focal point of interest regarding literary criticism that I would like to propose is no longer focused solely on the opera in itself or on the characteristics that constitute it, but I consider the communicative relationship between the authors, proposing a complex horizon analysis which allows for the analysation of completed and embryonic literary phenomenons which characterise the contemporary epoch. The innovativeness of such approach allows me to highlight interesting elements, rich also in significant consequences from a theoretically critical point of view and susceptible to further developments, providing an alternative and practicable path for the traditional instruments of literary investigation

My work examines the functioning of the co-authored writing practice in Europe and, consequently, the theoretical and literary implications as well as the role assumed by the author, which are all connected by this writing typology. My research investigates only romance and poetry and it is not about drama and theater. The first example of a co-authored writing practice can be dated back, with relative certainty, to 1741, when the opera Memoirs of Martinus Scriblerus was published, written by J. Arbuthnot, J. Gay, T. Parnell, A. Pope and J. Swift. The authors of this satirical text were all part of the Scriblerius club, founded in 1712 by this group of English, Irish and Scottish writers and was only dissolved in 1745, following the death of a number of the crucial components. In reality their meetings only continued until 1714, the year in which Queen Anna died, but they decided however to not dissolve their literary association and continued to remain in contact by post. It was following this first co-authored literary experiment that the publication occurred, in an anonymous form, in London – yet printed in Bristol – in 1798 of Lyrical Ballads with a few other poems by W. Wordsworth and S. T. Coleridge, following the publication of the political drama The fall of Robespierre: 1794 by S. T. Coleridge and R. Southey. W. Wordsworth, S. T. Coleridge and R. Southey are known by the name of Lake poets, from the day in which the critic F. Jeffrey decided to define them in such a way, since the authors «… lived together for several months in the Lake Cumberland region, Wordsworth’s homeland». In Bibliographia literaria (1817) Coleridge would have also affirmed, in several points, that in the division of tasks «Wordsworth would have needed to make daily life admirable, removing from it the ‘habitual veil’ that makes it difficult to see the beauty … whilst he was given the task of moving away from the supernatural or at least “from the romantic” … in order to confer “an appearance of truth” to imaginative objects and characters».

Co-authored literature / Medaglia, Francesca. - In: LA LIBELLULA. - ISSN 2036-3133. - ELETTRONICO. - 5:(2013), pp. 80-92.

Co-authored literature

MEDAGLIA, Francesca
2013

Abstract

This work explores, from a theoretical-critical point of view, how co-authored literature (romance and poetry) functions as well as the role assumed by the author, two concepts connected by this writing typology. The writing practice of co-authored literature is the main place in which author becomes a co-creator. The focal point of interest regarding literary criticism that I would like to propose is no longer focused solely on the opera in itself or on the characteristics that constitute it, but I consider the communicative relationship between the authors, proposing a complex horizon analysis which allows for the analysation of completed and embryonic literary phenomenons which characterise the contemporary epoch. The innovativeness of such approach allows me to highlight interesting elements, rich also in significant consequences from a theoretically critical point of view and susceptible to further developments, providing an alternative and practicable path for the traditional instruments of literary investigation
2013
My work examines the functioning of the co-authored writing practice in Europe and, consequently, the theoretical and literary implications as well as the role assumed by the author, which are all connected by this writing typology. My research investigates only romance and poetry and it is not about drama and theater. The first example of a co-authored writing practice can be dated back, with relative certainty, to 1741, when the opera Memoirs of Martinus Scriblerus was published, written by J. Arbuthnot, J. Gay, T. Parnell, A. Pope and J. Swift. The authors of this satirical text were all part of the Scriblerius club, founded in 1712 by this group of English, Irish and Scottish writers and was only dissolved in 1745, following the death of a number of the crucial components. In reality their meetings only continued until 1714, the year in which Queen Anna died, but they decided however to not dissolve their literary association and continued to remain in contact by post. It was following this first co-authored literary experiment that the publication occurred, in an anonymous form, in London – yet printed in Bristol – in 1798 of Lyrical Ballads with a few other poems by W. Wordsworth and S. T. Coleridge, following the publication of the political drama The fall of Robespierre: 1794 by S. T. Coleridge and R. Southey. W. Wordsworth, S. T. Coleridge and R. Southey are known by the name of Lake poets, from the day in which the critic F. Jeffrey decided to define them in such a way, since the authors «… lived together for several months in the Lake Cumberland region, Wordsworth’s homeland». In Bibliographia literaria (1817) Coleridge would have also affirmed, in several points, that in the division of tasks «Wordsworth would have needed to make daily life admirable, removing from it the ‘habitual veil’ that makes it difficult to see the beauty … whilst he was given the task of moving away from the supernatural or at least “from the romantic” … in order to confer “an appearance of truth” to imaginative objects and characters».
co-authored literature; collective writing; collaborative writing; creolisation; third space; death of the author
01 Pubblicazione su rivista::01a Articolo in rivista
Co-authored literature / Medaglia, Francesca. - In: LA LIBELLULA. - ISSN 2036-3133. - ELETTRONICO. - 5:(2013), pp. 80-92.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11573/537804
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