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• Principal abbreviations and conventions
• pause - symbols as notation
• antiquity - aids for inexperienced readers and the prehistory of punctuation
• changing attitudes to the written word - components in a "Grammar of legibility"
• Carolingian Renovatio - augmenting old notation with new symbols
• the requirements of public worship
• the development of the general repertory of punctuation
• the technology or printing and the stabilization of the symbols
• effect - symbols as signs
• influences on the application of punctuation
• the layout and punctuation of verse.
• (source: Nielsen Book Data)

In this work the author provides a history of punctuation in the West, identifying some of the broader circumstances which have influenced its development. The first part identifies the graphic symbols, and deals with their history - of the antecedents of the repertory as well as of the ways in which it was refined and augmented with new symbols to meet changing requirements. The symbols themselves underwent modification both to remove graphic ambiguity and to improve characterization, in order to distinguish them from each other and from other marks on a page, which provide apparatus ancillary to interpretation - such as those to indicate deletion or correction, "signes-de-renvoi", construe marks, indexing symbols, or annotation signs. The second part of this book offers a brief general account of the principal influences which have contributed to the ways in which punctuation symbols have been applied in texts. Copies of ancient texts, produced at different times, reveal that criteria for analyzing disocourse already existed in Antiquity and the early Middle Ages; but as the number of different symbols increased, the refinement in the signals provided by punctuation made it possible for a reader to identify more easily the relationships between the elements of a sentence, and to determine the precise function of each of these structures in communicating the sense of a text. This book is based on three assumptions: that punctuation should be studied according to the ways it has been used rather than the ways some have thought it ought to have been used; that the best way to understand usage is to study it historically; and that a general introduction, however ambitious, is needed. By examining the usages of different periods, comparison helps to isolate those principles which underly the use of punctuation in all periods. The process of selecting the materials to illustrate this history begins with an examination of a series of copies of texts made over a period of several centuries; some of these are reproduced in the plates. In order to explain some features of their punctuation it is necessary to widen the range of selection to include contemporary copies of other texts. In this way principles emerge which could then be checked and modified by examining further copies of a much larger number of texts chosen more or less at random. This study fuses historical, linguistic, literary and bibliographic approaches to the transmission and interpretation of all written language.
(source: Nielsen Book Data)

• Acknowledgments ix Introduction. Deferrals, Punctuations, Media Textualities 1
• 1. How "Popular" Music Thinks the Political 27
• 2. Urban Punctuations: Symphonic and Dialectic 55
• 3. Architectural Punctuations: The Politics of "Event Spaces" 84
• 4. Image Punctuations: From the Photographic to the Cinematic 115
• 5. Holocaust Punctuations: Handke, Kertesz, and Sebald 148 Notes 175 Index 209.
• (source: Nielsen Book Data)

In Punctuations Michael J. Shapiro examines how punctuation-conceived not as a series of marks but as a metaphor for the ways in which artists engage with intelligibility-opens pathways for thinking through the possibilities for oppositional politics. Drawing on Theodor Adorno, Alain Robbe-Grillet, and Roland Barthes, Shapiro demonstrates how punctuation's capacity to create unexpected rhythmic pacing makes it an ideal tool for writers, musicians, filmmakers, and artists to challenge structures of power. In works ranging from film scores and jazz compositions to literature, architecture, and photography, Shapiro shows how the use of punctuation reveals the contestability of dominant narratives in ways that prompt readers, viewers, and listeners to reflect on their acceptance of those narratives. Such uses of punctuation, he theorizes, offer models for disrupting structures of authority, thereby fostering the creation of alternative communities of sense from which to base political mobilization.
(source: Nielsen Book Data)

'Punctuation is not only an important part of our language code; an advanced system of punctuation has been a driving force in our entire Western Civilisation. Nothing less.' With the invention of printing, reading books moved from being an act only performed by priests and aristocrats into an individual, even private, activity. This change helped spark the Renaissance, the Reformation, the Enlightenment and the Industrial Revolution - in which punctuation played a crucial role. As long as texts were read out loud only by an educated elite there was no need for punctuation to mark pauses, full stops or questions. So punctuation - the full stop, the comma, the exclamation mark, the question mark and the semicolon - helped shape modern-day Europe as we know it.
(source: Nielsen Book Data)

• Acknowledgments Prologue: What Can Punctuation Do?
• 1. Silence: Hemingway's Periods
• 2. Hesitation: Baldwin's Commas
• 3. Interruption: James's Dashes
• 4. Rupture: Dickinson's Dashes
• 5. Expansion: Woolf's Semicolons
• 6. Hemorrhage: Joyce, Morrison, Saramago, Sebald
• 7. Enjambment: Cummings, Williams, Giovanni
• 8. Incarceration: Nabokov's Parentheses
• 9. Plenitude: Faulkner's Array Epilogue: Punctuation as Style Bibliography Index.
• (source: Nielsen Book Data)

Why are Emily Dickinson and Henry James drawn habitually to dashes? What makes James Baldwin such a fan of commas, which William Carlos Williams tends to ignore? And why do that odd couple, the novelist Virginia Woolf and the short story specialist Andre Dubus II, both embrace semicolons, while E. E. Cummings and Nikki Giovanni forego punctuation entirely? More generally, what effect do such nonverbal marks (or their absence) have on an author's encompassing vision? The first book on modern literature to compare writers' punctuation, and to show how fully typographical marks alter our sense of authorial style, Mark My Words offers new ways of reading some of our most important and beloved writers as well as suggesting a fresh perspective on literary style itself.
(source: Nielsen Book Data)

Point, Dot, Period...The Dynamics of Punctuation in Text and Image is a collection of twelve previously unpublished essays which explore the fundamental role played by punctuation in the two semiotic fields of text and image. Whilst drawing upon a wide range of material, including painting, engraving, photography, video art, poetry, fiction, and journalism, each essay contributes to the exploration of singular uses of punctuation which highlight the complexity of what remains in all cases a silent, and yet particularly eloquent, mode of expression. By bringing together authors from a variety of fields, such as linguistics, literary studies, and art criticism, at a time when the relation between text and image occupies a prominent place in the critical landscape, this volume offers new insights into the possibility and nature of their encounter, and invites the reader to focus on the material aspect of visual and textual creation. This collection also offers an original approach to the works of some major artists and canonical authors, whilst simultaneously making room for emerging talents.
(source: Nielsen Book Data)

• Introduction à la subversion
• De l'émergence à la normalisation
• Éditeurs, imprimeurs, correcteurs : le rappel à l'ordre
• Les fonctions de la ponctuation, leur élargissement
• Les signes, ouvertures vers l'imaginaire
• Interprétation sexuelle des signes
• Propositions de nouveaux signes
• À l'avant-garde : Laurence Sterne
• Innovations en poésie
• Le mouvement Dada, l'écriture automatique et Kurt Schwitters
• Nouvelles expériences de ponctuation
• Ponctuation dans d'autres modes de transmission
• De l'écrit à l'image
• Il était une fois la ponctuation ?
• Références bibliographiques.

"Ce livre n'est pas un énième traité de ponctuation. Ce domaine aride, balisé, codifié, normalisé, policé par des grammairiens pointilleux, peut-il être transformé en un jardin luxuriant ? Ce qui est proposé est une évasion, en premier lieu par des ouvertures vers l'imaginaire, y compris une interprétation sexuelle des signes. Surtout, il relate l'histoire d'une subversion de la ponctuation traditionnelle. Sterne, Rimbaud, Mallarmé, Schwitters en sont les figures de proue. A qui donc appartient la ponctuation ? Elle est affaire de style et constitue le reflet de la personnalité de l'écrivain : "Montre-moi ta ponctuation, je te dirai qui tu es. Les fonctions de la ponctuation se sont élargies et transformées, par le jeu d'expérimentations et d'innovations. Elle doit également s'adapter, dans le monde moderne, à de nouveaux modes d'expression et à une civilisation de l'image."--Page 4 of cover.

• La stigmatologie
• De la rubrica au smiley, une histoire portative
• Point de monument, ou la coupure de Tristram
• Épointages
• S. sur le repiquage (Lacan vs. Derrida)
• Phraser, ou les trous dans le sens
• Les pointillés de l'auscultation
• Monoreilles, ou la bulle des guillemets
• Punctum saliens, ou le sursaut du point
• Le point de surjet
• Ekphrasis
• Le boniment général
• Ponctuation et politique, ou le point sur le i
• Sondage final.

"La ponctuation, on le sait, a une longue histoire, depuis les livres de comptes des scribes de l'Égypte antique jusqu'aux récents smileys. Tout en accordant la plus grande attention à l'art de ponctuer dans ses formes classiques ou contemporaines, ce livre voudrait toutefois ouvrir un champ plus vaste : celui de la stigmatologie (du grec stigmê : "point"), qui analyse les effets ponctuants partout où ils apparaissent. Dans l'expérience esthétique, d'abord : écouter, regarder, c'est chaque fois ponctuer l'image ou le son, comme en témoignent exemplairement la pratique de l'auscultation (qui est loin de se limiter à la médecine) ou celle du boniment au cinéma. Dans le récit et dans la production autobiographique de soi, ensuite : le sujet n'est que le contrecoup d'une série de ponctuations, comme le donnent à penser la psychanalyse et la littérature, de Tristram Shandy à Lacan en passant par cette extraordinaire nouvelle de Tchékhov qu'est Le Point d'exclamation. Pour décrire tous ces effets ponctuants, on tente enfin de construire philosophiquement ? avec Hegel, Nietzsche et quelques autres ? un concept de ponctuation attentif au rythme et à la pulsation du phrasé, ainsi qu'aux portées politiques inhérentes à tout coup de point."--P. [4] of cover.

"Atlas of Punctuation displays the distribution of all end-of-sentence punctuation found in fourteen books."