Editorial — Page 7:
Works Cited
Assmann, Aleida, Monika Gomille and Gabriele Rippl. Eds. Sammler, Bibliophile, Exzentriker. Tübingen: Narr, 1998.
Carroll, Victoria. Science and Eccentricity: Collecting, Writing, and Performing Science fo Early Nineteenth-Century Audiences. London: Pickering and Chatto, 2008.
Dörr-Backes, Felicitas. Exzentriker: Die Narren der Moderne. Würzburg: Königshausen & Neumann, 2003.
Emig, Rainer. “Right in the Margins: An Eccentric View of Culture.“ Post-Theory, Culture, Criticism. Amsterdam und New York: Rodopi, 2004. 93-111.
Huk, Romana. Stevie Smith: Between the Lines. Houndmills: Palgrave, 2005.
Lewis, Charlton T. and Charles Short. A Latin Dictionary. Founded on Andrews’s Edition of Freund’s Latin Dictionary, revised, enlarged, and in great part rewritten. Oxford: Clarendon, 1879. Available online and financed by the National Endowment for the Humanities as part of the Perseus Digital Library: http://www.perseus.tufts.edu/.
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Schabert, Ina. Englische Literaturgeschichte des 20. Jahrhunderts : Eine neue Darstellung aus der Sicht der Geschlechterforschung. Stuttgart: Kröner, 2006.
Sedgwick, Eve Kosofsky. Touching Feeling: Affect, Pedagogy, and Performativity. Durham and London: Duke UP, 2003.
Schulman, Peter. The Sunday of Fiction: The Modern French Eccentric. West Lafayette: Purdue UP, 2003.
Shaw, Karl. The Mammoth Book of Oddballs and Eccentrics. New York: Caroll & Graf, 2000.
Sitwell, Edith. The English Eccentrics (1933; second edition 1958). London: Pallas Athene, 2006.
Smith, Stevie. Novel on Yellow Paper [1936].. London: Virago, 1980.
Smith, Stevie. Collected Poems. Ed. James Mac Gibbon. New York: New Directions Books, 1983.
Townsend Warner, Sylvia. Lolly Willowes [1926]. London: Virago, 1993.
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Notes
- 1) Romana Huk tries to save Stevie Smith from the damages done by a reputation for eccentricity by translating her into the category of the “ex-centric,” understood here as a “liminal position in society and langue” which produces only “fractured sightings of the self in the shadow of ascendant cultural forces” (1). Obviously, having “unfractured sightings of the self” would be preferable in this reading (and appears possible for other subjects) and ex-centricity is a positional deficit which Smith’s art tries to work its way around.. By contrast, we would insist that the eccentric remain eccentric and should be valued as such, as a choice and a profoundly different model of how one may position oneself in relation to a whole range of issues, including those of seeing oneself in culture or not.

