Enfilade

Abstracts due by September 15 (next Tuesday)

At the 2009 ASECS conference in Albuquerque, March 18-21, HECAA will host two sessions, chaired by Wendy Wassying Roworth and Adrienne Childs:

HECAA New Scholars Session (Historians of Eighteenth-Century Art and Architecture) Wendy Wassyng Roworth, U. Rhode Island; (home) 112 Slater Avenue, providence, RI 02906; Tel: (401) 351-6448 (home); Fax: (401) 874-2729; E-mail: wroworth@uri.edu
This session will feature papers by graduate students and recent recipients of the doctoral degree on new research in the history of art and architecture. Papers are welcome on all aspects of art history including studies of art collecting, patronage, exhibitions, and art production in all media.

Theorizing the Decorative in Eighteenth-Century Art (Historians of Eighteenth-Century Art and Architecture) Adrienne Childs, David C. Driskell Center, 1214 Cole Student Activities Center, U. of Maryland, College Park, MD, 20742 (ATTN: ASECS Session Submission); Tel: (301) 314–2615; E-mail: alchilds@umd.edu
“Decorative” is a term that has been consistently used to describe the arts of the eighteenth century. Applied to painting, sculpture, material culture, interior design, architecture, and more, decoration evokes a feeling of luxury and abundance. In recent years scholars of eighteenth-century art have attempted to look beyond the profusion of floral motifs and arabesque lines to investigate how these seemingly innocuous motifs are part of larger social, economic, political, and cultural systems at work in the period. This paper seeks papers that engage critical and theoretical perspectives that investigate and decode the “decorative.”

In addition, there are numerous other panels that should prove interesting for art and architectural historians. You can, of course, check the ASECS website for details and a full listing, but a couple of dozen are included here»

Presentation and Representation: Perceptions of the Ibero-American World in the Eighteenth Century (Ibero-American Society for Eighteenth-Century Studies) Mark R. Malin, Dept. of Modern Languages, Randolph-Macon College, P.O. Box 5005, Ashland, VA 23005; Tel: (804) 752-7252 (w); (804) 264-0292 (h); Fax: (804) 752-8990; mmalin@rmc.edu
In a two-part, Transatlantic session that honors and celebrates the twentieth anniversary of the founding of IASECS (the Ibero-American Society of Eighteenth-Century Studies), these panels propose to explore the theme of outsiders’ reflections, perceptions, presentations and representations of the Ibero-American world: ranging from its culture, literature, art music and infrastructure to the Spanish colonization of the New World. The panel solicits and encourages interdisciplinary approaches and submissions from the arts, music, literature or history on any of the Ibero-American world’s visitors or commentators, from the sympathetic to the hostile; from contiguous neighbors to more distant visitors.

Satire, Libel, and Censorship in Eighteenth-Century France (Society for Eighteenth-Century French Studies) Bernadette Fort, Northwestern U., b-fort@northwestern.edu
It’s been over two decades since Robert Darnton’s influential work on the literary underground of the Old Regime, culminating in his “Forbidden Best-Sellers of Pre-Revolutionary France” (1995). In this seminar cultural historians are invited to discuss recent work or contribute new insights on libelous literature, its political and social targets, and the fluctuating attitudes of censorship toward its authors, printers, and disseminators. Theoretical reflections on what was regarded as slander, libel, criminal defamation, and seditious writing by various “instances de pouvoir” are welcome. The seminar also encourages presentations on specific aspects (semiotic, aesthetic, political) of textual, visual, and musical satire from the Régence to the French Revolution, as well as critical interpretations of overlooked examples of satire and libel in eighteenth-century French literary, visual, and musical culture. Papers in French (strongly) preferred but not mandatory. Please send proposals of 250 words with a short CV

Graphic Evidence: Visual Meaning in Textual Studies (Western Society for Eighteenth-Century Studies) Timothy Erwin, Dept. of English, UNLV, 4505 Maryland Pkwy, Las Vegas, NV 89154-5011; Tel: (702) 895-3437; Fax: (702) 895-4801; timothy.erwin@unlv.edu
Invites considerations of narrative illustration, ornamentation, or extra-illustration in print culture, or of other material and pictorial aspects in the history of the book, from any interpretive perspective.

Cultures of Flowers Ann (Rusty) Shteir, York U., Women’s Studies/Humanities, 4700 Keele Street, Toronto, Canada M3J 1P3; Tel: 416-736-2100, ext. 20903; rshteir@yorku.ca
Proposals are invited that explore flowers in representation and material realities, in relation, for example, to horticulture, floriculture, botany, body ornament, domestic practices, metaphor, mythology, and other symbolic schemas. Submissions welcome that focus on cultures of flowers in less-studied national traditions.

Artists & Their ‘People:’ On The Whirring Dynamics of Nepotism Simone Zurawski, Dept. of the History of Art and Architecture, DePaul U., 1150 W. Fullerton, Chicago IL 60614; Tel: 773. 325-7228; szurawsk@depaul.edu
This session seeks to present compelling case studies of previously unexplored relationships that took place between artists & architects and their “people.” This category includes students, of course, as well as family members and familial alliances, both within and outside of the art world per se, as in the spheres of literature, music, and political power. How did these tight personal bonds – if not factions – operate? How did they serve to secure the artist’s hoped-for legacy? And how do they draw us closer to the authentic pulse of a culture, and illuminate how artistic enterprise truly worked?

Titillating Texts: Pornography and Erotica in the Eighteenth Century Maria DeBlassie, U. of Washington, 429 14th Ave E Apt 123, Seattle, WA 98112; Fax: (505) 366-4041; mariad7@u.washington.edu
In the 1960s, and indeed its own time, John Cleland’s Memoirs of a Coxcomb was reprinted as “the suppressed sequel to Fanny Hill”; yet a reader can easily surmise that this novel lacks (perhaps disappointingly) the sexually explicit scenes reminiscent of its predecessor. Yet is begs the question: what is pornography? Erotica? When does pornography become art? Is pornography ever just a pleasure read or does it do more work? Does temporal distance change how we read obscene texts? That is, is it safer to read the over two-hundred year old Fanny Hill than the latest issue of Playboy magazine? This panel seeks to explore these questions and others that surround titillating texts of the eighteenth century in the fields of literature, history and art history.

The House of Habsburg and Its Influence Michael Yonan, Dept. of Art History and Archaeology. U. of Missouri, 109 Pickard Hall, Columbia, MO 65211; Tel: (573) 884-7141; Fax: (573) 884-5269; YonanM@missouri.edu
This panel seeks to chart the influence of monarchs from one of eighteenth-century Europe’s most exalted political dynasties, the Habsburgs, on the century’s culture. With the dynasty centered on the Holy Roman imperial throne in Vienna, but with members of the family positioned strategically at courts and in administrative positions as far a field as Belgium and Naples, large swaths of the continent came under Habsburg influence during the eighteenth century. Papers addressing Habsburg impact on the arts, on music, on philosophy, and on general trends in culture and society, as well as papers exploring transformations within Habsburg political and cultural ideologies themselves, are welcomed.

Representations of the Fairies in Europe and its Colonies in the Long Eighteenth Century Charlotte Trinquet, Modern Languages and Literatures, U.of Central Florida, P.O. Box 161348, Orlando, FL32816-1348; Tel: (407) 620-3714; Fax: (407) 823-6261; ctrinque@mail.ucf.edu
This session is multidisciplinary, multilingual, and comparatist at heart. Its intent is to present various aspects of research on the representation of the fairies in the long eighteenth century, in Europe and its colonies, from perspectives such as (and not limited to) literature, folklore, theater and opera, music, the arts, book illustrations, translated editions and reprints, pedagogy, etc. Participants are encouraged to propose innovative formats for their presentation, i.e: using computer technologies to illustrate their research. Papers will be chosen in order to represent a wide variety of disciplines and languages in order to give a pan-European and interdisciplinary point of view on the research to date.

The Arts at Court and Courtly Arts in the Old and New Worlds Gloria Eive, 1814 Marineview Dr., San Leandro, CA 94577; Tel: (510) 895-9118; Fax: (510) 895-5960; geive@silcon.com
The aristocratic and royal courts have served historically as the sustaining patrons of the arts, stimulating and subsidizing the production of art, music, dance, and theatre and the artists and musicians who created these. The royal courts of the old and new worlds enjoyed rich and productive reciprocal relationships, borrowing, exchanging, and creating their artistic repertories.

Portraits of Artists and Artists’ Self-Portraits in the Eighteenth Century John Riely, Boston U., 12 Roosevelt Rd., Newton Centre, MA 02459; Tel: (617) 916-5399; jriely@post.harvard.edu
Artists have always made portraits of themselves, but the eighteenth century was a particularly rich period for self-portraits, Sir Joshua Reynolds’s more than two dozen being only the most prominent example. Moreover, depictions of artists (painters, sculptors, designers, etc.) are especially varied and numerous during what is unquestionable the great age of portraiture. New research or new approaches to the topic are especially welcomed.

Pastiche in the Eighteenth Century Julie-Anne Plax, School of Art, P O. Box 210002, U. of Arizona, Tucson, AZ 85721-0002; Tel: (520) 626-4864; jplax@email.arizona.edu
Pastiche can refer to a creation that is a respectful, lighthearted imitation of an existing style, or to a creation that is a jumble of different, sometimes disparate styles. This panel seeks papers that address various aspects of the pastiche in the eighteenth century. Issues to be addressed might include (but are not limited to) originality and authenticity, genre formation, tradition and imitation, tribute and parody, intentionality, or the marketing of art, architecture, literature and music.

Feminism Avant la Lettre: What was Eighteenth-Century “feminism”? Arianne Chernock, Dept. of History, Boston U., 226 Bay State Road, Boston, MA 02215; Tel: (617) 353-8315; chernock@bu.edu
In recent years, scholars have sought to expand significantly the eighteenth-century “feminist” canon. Mary Wollstonecraft is no longer cast as a lone crusader for women’s rights, but rather as a reformer who shared an interest in female emancipation with a number of other men and women. At the same time, numerous figures previously considered antipathetic to “feminism” – figures such as the evangelical crusader Hannah More – have also recently been welcomed into the “feminist” fold. Given these developments, the time is right for a reconsideration of “feminism” in the eighteenth century, and especially of the definitional standards to which scholars hold this term (given that the word “feminism” was not introduced until the late nineteenth century). In organizing this panel, on which I also plan to serve as chair, I will select three speakers whose recent scholarship represents a range of perspectives on this question, with the goal of encouraging lively debate during the question and answer period.

Venice in the Imagination of the Creative Artist and the Discursive Citizen Todd Larkin, School of Art, 213 Haynes Hall, Montana State U., Bozeman MT 59717: Tel: (406) 994-2720; tlarkin@montana.edu
The Republic of Venice has been selected as session topic because of its nature as a cultural crossroads between Europe and the Middle East during the eighteenth century and, therefore, the likelihood that it will attract submissions from different areas in the humanities. Ideally, three papers representing a breadth of approaches or a richness of subjects will be selected for presentation; these papers will be read consecutively, with questions and discussion to be entertained at the end. This session will present new readings of Venetian culture in the eighteenth century, focusing in particular on those that question or complicate the notion of a civilization in decline. Some thirty years ago, Francis Haskell pointed to a “striking contradiction” in Venetian political culture: on the one hand, the ruling plutocrats sought to promote the city as a center of international tourism and commercial exchange, while on the other, they attempted to insulate it from foreign ideas and interests. It is now worth exploring how local artists and foreign visitors perceived the relationship between the city’s cosmopolitan existence and their own political identities during the Enlightenment. What did “Venice” signify and what did it mean to be “Venetian”? Particularly welcome are papers that consider the city in the following ways: as a repository for centuries of art and architecture; as a destination for Grand Tourists intent on identifying, recording, or classifying the chief sites; as a market for artists, patrons, and collectors; as a referent in international literature, political or social discourse.

Buffon Reconsidered Andrew Curran, Wesleyan U., Middletown CT 06459; Tel: (860) 685-310; acurran@wesleyan.edu
During the eighteenth century, George Louis Leclerc Comte de Buffon was considered the most important naturalist by his European peers. When the first volumes of his Histoire naturelle appeared in 1749, they ushered in what would become a new era in the interpretation of deep time, humankind, and the relationship of species, variety, and race. This session will assess the legacy of Buffon today, an era where his contributions to the evolution of the life sciences have become a site of heated debate among postcolonial scholars, historians, and historians of science.

Portraits and Money Bradford Mudge, Dept of English, U. of Colorado Denver, 2344 High Street, Denver, CO 80205; Tel: (303) 328-7408; Fax: (303) 556-2959; bradford.mudge@ucdenver.edu
Portraits of any kind (in oils or stone, pencil or print, formal or satiric) and their relationship to money (coin or paper, symbolic or actual, real or counterfeit). Portraits as money; money as portrait. Identities and authenticity; currencies and counterfeits.

Visualizing Interiority in the Eighteenth Century Catherine Clinger AND Richard Taws, Dept. of Art History and Communication Studies, McGill U., 853 Sherbrooke Street West, Montreal, QC, H3A 2T6. Canada; Tel: (514) 398 4997; catherine.clinger@mcgill.ca and richard.taws@mcgill.ca
Interiority is a trope that has been crucial to the understanding of a diverse range of fields, from architectural design to scientific experiment and understandings of subjectivity, broadly conceived. This session seeks to examine the ways in which interior spaces and hidden cavities (in bodies, buildings, machines, landscapes and natural phenomena, to name a few possible locations) were represented in eighteenth-century visual culture. How were obscured spaces made present through visual means? What were the implications of such revelations? Papers that engage with the visual representation of interiority at the intersections of different media and disciplines are especially welcomed.

Logistics of Life in the Eighteenth Century Craig Ashley Hanson, Art & Art History Dept., 3201 Burton Street SE, Grand Rapids, MI 49546; Tel: (616) 526.7544; CraigAshleyHanson@gmail.com
For all of the attention scholars of the eighteenth century devote to texts, pictures, experiments, discoveries, and the lives of the period’s most notable men and women, understanding a particular topic or problem sometimes hinges on much more mundane matters: how long it took to travel from York to London, how one would secure a seat at the theater, or ship goods from one location to another, have a picture cleaned or varnished, a dress designed, a wine cellar stocked, or books bound. Engaging issues of material culture and the physicality of life – however extraordinary or typical, intellectual or base – this session aims to bring scholars together around the kinds of inquiries that are commonly relegated to footnotes or addressed as ‘background’ material. Papers that outline resources for answering such questions or underscore the methodological stakes and potential benefits of attending to such matters are especially welcome. So are papers that simply explore interesting questions about how various tasks that we now take for granted were accomplished two or three centuries ago.

Forms of Attention, Forms of Distraction Natalie Phillips, English Dept., Stanford U., Margaret Jacks Hall, Bldg. 460, Stanford, CA 94305-2087; Tel: (650) 722-1264; Fax: (650) 725-755; nmp@stanford.edu
In his An Essay Upon Study (1731), John Clarke declared there is “nothing of more Use to the Mind, in the Pursuit of Knowledge, than to be able to fix its Attention steadily upon any Object it has Occasion to survey.” Clarke recommended Mathematics as the best subject for those seeking to cultivate their habit of attention, but other writers variously praised histories, sermons, philosophy, and music for fine-tuning this faculty. In spite of this disagreement on the proper impetus to attention, most of these authors dissuaded audiences from events that might encourage habits of distraction, such as balls, plays, operas, masquerades, and pleasure gardens—temptations that, according to James Beattie, encouraged the “habits of a wandering mind.” The debate about attention and raises several questions about the connections between cognition, culture, and aesthetic response. What aesthetic forms were imagined to engage (or interrupt) attention in the eighteenth century? How did cognitive faculties like attention and distraction form aesthetic experience? Or, conversely, did aesthetic experience form cognition?
This debate, one with roots in both eighteenth-century popular culture and philosophy of mind, has continued in various forms to the present day. It currently informs several of the most crucial elements of our own critical moment. Attention and distraction – the cognitive grounding for the perceptual order or disorder of the world – have thus become increasingly central to literary and cultural studies. Re-emergent critical interest in phenomenology and cognitive science, and our ongoing fascination with new media have prompted a renewed engagement with the history of focus. Simultaneously, this interest in the order and disorder of perception has paralleled a re-emergent interest in the aesthetics of literature, art, and music – in the ways that works of art order, rouse, and manage modes of aesthetic response through formal devices.
We especially encourage papers from art history, music, theater criticism, the history of science, and philosophy, all of which made key contributions to the theory of attention in the eighteenth century. Abstracts must be 250-300 words long, and submitted to both andrewb@uchicago.edu, and nmp@stanford.edu

Moving Vegetation: Collecting, Transplanting, and Acclimatizing Plants in the Long Eighteenth Century Giulia Pacini, 303 N. Allen Avenue, Richmond, VA 23220; Tel: (804) 358- 0018; E-mail: gxpaci@wm.edu
This panel will examine the history of collecting, transplanting, and acclimatizing live plants in the long eighteenth century. Topics of interest could include: the work of botanist-travelers; state or private botanical gardens and nurseries; methods and materials of transplantation and acclimatization; debates for and against transplantation; representations of these activities and issues in eighteenth-century literature or art. Papers might also want to consider the ways in which the physical constraints of transplanting called into question the mobile-immobile binary: How rooted is a plant?

‘Artists’ Lives and Afterlives: Fact, Fiction, and Fabrication Heather McPherson, Department of Art and Art History, 113 Humanities, U. of Alabama at Birmingham, 900 13th Street South, Birmingham, AL 35294; Tel: (205) 934-4942 (o); Fax: (205) 996-6986; hmcphers@uab.edu
The session will consider the art/life dilemma—both how eighteenth-century “lives” have helped shape modern interpretations of individual artists and how those interpretations have often adhered to traditional patterns and topoi such as the artist as madman, child prodigy, bohemian, etc. In particular, it will explore how fact and fiction, myth and stereotypes are often interwoven in artists’ “lives” and provide a lens for viewing their works. I am also interested in the phenomenon of afterlives and the intricate layering of eighteenth-century and later interpretations. How are artists reinvented and transformed over time through biographical writing and visual representations? The session is intended to be interdisciplinary in scope and to consider case histories in all artistic and intellectual arenas including the visual and performing arts, literature, science, and philosophy.

Tradition and Innovation in Northern New Spain: Revisiting Eighteenth-Century New Mexico Cristina Cruz González, Assistant Professor of Art History, Oklahoma State U., 108 Bartlett Center, Stillwater, OK, 74078; Tel: (626) 689-0924; Fax: (405) 744-5767; cristina.gonzalez@okstate.edu
Although Spanish exploration in New Mexico began in the late sixteenth century, Albuquerque—site of the ASECS conference in 2010—was founded in the early eighteenth century. Yet eighteenth-century New Mexico is often overlooked in either regional studies or larger histories involving Spanish America. Couched between the Pueblo Revolt of 1680 and the American occupation of New Mexico in 1846, eighteenth-century New Mexico was sometimes described as the periphery of the frontier: both culturally and economically distant from the wealthy mining town of Zacatecas and the viceregal capital of Mexico City. This interdisciplinary session explores eighteenth-century New Mexico as a varied and complex region, a confluence of both tradition and innovation in Spanish America. Proposals are sought from scholars with an interest in historical accounts, religious hagiography, Spanish settlement, native communities, religious life, and material culture. Possible topics may include the historically rich visitor accounts and their circulation, the formation, ritual practice, and social power of confraternities or penitentes, mendicant activity in Santa Fe and surrounding pueblos, the local production of santos (saintly sculptures) and retablos (exvotos), the construction of sacred spaces such as the churches in Las Trampas and Laguna Pueblo, and the politics and patronage of colonial Santa Fe.

Gender and Homosociality in the Long Eighteenth Century Heidi Strobel, Dept. of Archaeology and Art History, U. of Evansville: Tel: (812) 488-2171; Fax: (812) 488-2430; hs40@evansville.edu
The eighteenth century witnessed the emergence of some of its best known female artists, such as Rosalba Carriera, Elisabeth Vigée-Lebrun, Adéläide Labille-Guiard, and Angelica Kauffman. Female patrons played a substantial role in commissioning these artists to create appropriate images of femininity. Likewise, Jacques Louis David created a flourishing homosocial environment in his Parisian studio. This session will examine the intersection of gender and intellectual patronage in the eighteenth century. Papers will focus on authors, artists, and other intellectuals who intentionally sought patrons of their own gender.

Arboreal Values Elizabeth Heckendorn Cook, Department of English, 3170 U. of California, Santa Barbara, Santa Barbara, CA 93106 – 3170; Fax: (805) 893-4622; ecook@english.ucsb.edu
I propose a panel on the value(s) of trees and forests in the long eighteenth century. The topic develops issues and perspectives raised by panelists and audience members at the well-attended “Material Culture of Trees” panel at ASECS 2009 (Richmond), chaired by Giulia Pacini (on which I was a speaker). The panel is intended to connect with and further develop the already strong interest in “green,” ecocritical issues among ASECS members. (The topic seems particularly well suited to the Albuquerque convention in light of Jake Kosek’s exemplary work on the contemporary politics and culture of New Mexico forests [Understories: the Political Life of Forests in northern New Mexico (Duke, 2006)].
How were trees valued and what kinds of value were assigned to them during the long eighteenth century? Throughout the period, various senses of value intersected, overlapped, and sometimes collided in discussions and representations of trees and forests, for example in John Evelyn’s advocacy of both the profitability and prestige of tree-farming for gentlemen in Sylva (1664). If a tree constituted a calculable quantity of marketable timber, at the same time it could be seen as a repository of other kinds of value(s), for example through the refinement of aesthetic and sentimental discourses about landscape and nature, or debates about changing land-use practices. This panel will investigate the widening range of forms of value that were assigned to trees in the early modern period, and ask as well how sometimes incommensurate kinds of value were negotiated.

Theories of Visual Experience and Artists’ Writings about Art in the Eighteenth Century Maureen Harkin, Reed College, 3203 SE Woodstock Blvd., Portland OR 97202; Tel: (503) 517 7939; Fax: (503) 517 7769; mharkin@reed.edu
The eighteenth century in Britain and France is rich in artists’ commentaries on the goals of their work and the theoretical bases of their practice, both in works intended for publication such as handbooks and formal treatises, and in correspondence, marginalia and other less public sources. Hogarth, Jonathan Richardson, Joshua Reynolds, Frances Reynolds, Gainsborough, and Blake are only a few of the most obvious English candidates. Work over the last few decades has helped to establish the importance of these texts for what they tell us about visual culture and its national contexts, the impact of art market mechanisms, and varieties of aesthetic ambition in the period. However, much work remains to be done, both on this tradition of artists theorizing on their work and on the relationship of such reflections to the dominant philosophical-aesthetic categories of the period. This panel proposes to bring together work on artists’ statements on their practice from a range of European and transatlantic sources. I envisage contributors spanning a range of national and visual cultures, and have given the panel an inclusivist title so that relevant theories of visual experience articulated by non-artists may also be incorporated. The goal is to lay out a range of conceptualizations of the workings of the visual field, to examine what effect different national/cultural contexts and markets have on artists’ thinking and practice, and to engage with recent art-historical writing on artists’ and viewers’ relations to painting, sculpture and architecture in the period. Presenters are encouraged to incorporate analyses of relevant works by the artists under discussion in their arguments.

Mapmaker, Make me a Map: Eighteenth-Century Cartographies Karen Stolley, Department of Spanish and Portuguese Emory U. Callaway 501N Atlanta GA 30322; Tel: (404) 727-0857; Fax: (404) 727-4072; kstolle@emory.edu
Cartography and mapping can be viewed both as eighteenth-century tools – technological and classificatory systems, frequently employed in the service of imperial and scientific projects – and also as a means of imagining, representing and even resisting those very same projects. This session proposes to explore how cartography functions in a wide range of geographic, cultural, and political texts and contexts in the global eighteenth century.

What’s in a ‘Querelle’? Kate E. Tunstall, U. of Oxford, Tel: (44)1865 278300; kate.tunstall@worc.ox.ac.uk
The phenomenon of the ‘querelle’ has been much studied by historians and literary critics working on the seventeenth century and the reign of Louis XIV, and yet the eighteenth century was at least as quarrelsome as its predecessor. Moreover, in the eighteenth century, the ‘querelle’ became a topic of historiography in its own right with the publication of the abbé Irailh’s four volume Querelles Littéraires (1761). This session invites papers on eighteenth-century quarrels in literature, theology, music, history of art, history of science, economics, etc. Papers should address one or more of the following questions: what is at stake in a quarrel (as opposed to, say, a ‘controverse’, a ‘dispute’, etc)? Who quarrels (individuals, groups, institutions)? Where do quarrels happen (in academies, universities and court-rooms, in print (pamphlets, libelles, brochures etc.))? How is a quarrel arbitrated, and by whom? Are there rules? How do quarrels relate to censorship laws? And what textual (or other) forms do quarrels take (satire, letters, verse, dialogue, editorial apparatus like footnotes and prefaces)?