Abstract
Abstract In Laurence Sterne’s novel The Life and Opinions of Tristram Shandy, Gentleman, typography, ‹mise en page› and the concrete architecture of the book (page, text and chapter structure) become literary means of staging the work. The same applies to special arrangements of page sequences and the selective use of special material. The so-called black page, actually a recto- and verso page, and the marbled page, made of specially produced marbled paper, are spectacular highlights of the novel. The marbled page makes every book copy unique. New editions of Tristram Shandy, however, have often ignored Sterne’s arrangement, often not understood it, sometimes even interpreted it idiosyncratically. A collection of examples of re-stagings of the marbled page and the black page illustrates different forms of semantization of book material.
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