
Contents
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Calender, Calendarium, and Canon: Attribution and Editing Calender, Calendarium, and Canon: Attribution and Editing
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Hughes, Church, and the Formation of Editorial Principle Hughes, Church, and the Formation of Editorial Principle
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Producing Spenser's Audiences Producing Spenser's Audiences
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The Oxford Edition and the Future of Spenser's Texts The Oxford Edition and the Future of Spenser's Texts
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Notes Notes
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Bibliography Bibliography
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35 Spenser's Textual History
Get accessJoseph Loewenstein is Professor of English and Comparative Literature, and directs the Interdisciplinary Project in the Humanities at Washington University, where he has taught since 1981. He is the author of two recent books on the history of intellectual property and the rise of ‘possessive authorship’. Currently, he is one of the editors of The Oxford Edition of the Collected Works of Edmund Spenser; he is also writing a study of the material props of identity in the English Renaissance tentatively entitled ‘Accessorizing Hamlet’.
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Published:18 September 2012
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Abstract
This article discusses Spenser's textual history. It suggests that Spenser's canon was so frequently animated by the spirit of the additional because of its open-endedness, and especially by the manifest inconclusiveness of The Faerie Queene, for which the posthumously published Two Cantos of Mutabilitie was the glaring sign. Beginning with Hughes's six-volume illustrated edition of 1715, editors make increasingly explicit efforts to distinguish Spenser's hand from those of his associates and imitators. In print or manuscript, and to that of the less securely attributed texts, all but the Vewe have straightforward stemmas and a relatively uncomplicated publication history.
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