A Comparative History of the Literary Draft in Europe
Editors : Olga Beloborodova & Dirk Van Hulle
Literary drafts are a constant in literatures of all ages and linguistic areas, and yet their role in writing processes in various traditions has seldom been the subject of systematic comparative scrutiny. In 38 chapters written by leading experts in many different fields, this book charts a comparative history of the literary draft in Europe and beyond. It is organised according to eight categories of comparison distributed over the volume’s two parts, devoted respectively to ‘Text’ (i.e. the textual aspects of creative processes) and ‘Beyond Text’ (i.e. aspects of creative processes that are not necessarily textual). Across geographical, temporal, linguistic, generic and media boundaries, to name but a few, this book uncovers idiosyncrasies and parallels in the surviving traces of human creativity while drawing the reader’s attention to the materiality of literary drafts and the ephemerality of the writing process they capture.
TABLE OF CONTENTS
Introduction: The draft in literary history
- PART 1. TEXT
- 1.1. TEMPORAL COMPARISON
1.1.1. Medieval holograph manuscripts: Absence and ubiquity
1.1.2. Early modern holograph manuscripts: English literary manuscripts, 1450–1700
1.1.4. The nineteenth century: Textual studies in an age of abundance
1.1.5. The twentieth century: Nib, type, word
1.1.6. The twenty-first century: From paper notebooks to keystroke logging
Lamyk Bekius and Dirk Van Hulle | pp. 87–98
- 1.2. SPATIAL COMPARISON
1.2.1. Nordic traditions: The study of modern Finnish and Scandinavian manuscripts
Sakari Katajamäki | pp. 100–111
1.2.2. Russian traditions: Textology, Pushkin studies and the digital future
Igor Pilshchikov | pp. 112–126
1.2.3. Eastern European traditions: Czech, Hungarian, Polish, Slovak, and Ukrainian literary drafts
1.2.4. Anglophone traditions: Dealing with drafts of modern literary manuscripts
1.2.5. German traditions: Between author-centricity and dynamic texts
1.2.6. French traditions: Confronting the traces of creation
1.2.7. Italian traditions: From Humanism to authorial philology
1.2.8. Drafts on the Iberian Peninsula
1.2.9. Postcolonial traditions: Toward comparative genetic criticism through a Caribbean lens
- 1.3. PROCESSUAL COMPARISON
1.3.2. Revision: Rereading, reliving, rewriting
1.3.3. Translation archives: Ontologies of the translation draft over time
Anthony Cordingley | pp. 253–267
- 1.4. GENERIC COMPARISON
1.4.1. Poetry: The form and culture of poetic creation in English poetry manuscripts, 1600–2000
1.4.2. Drama: How the page becomes a stage
1.4.3. Prose: Extended and distributed creativity in prose fiction
Olga Beloborodova | pp. 305–319
- 1.5. EDITORIAL COMPARISON
1.5.1. Textual fluidity: Biography, history, and adaptive revision
1.5.2. Pruning: Editorial intervention and its effects
1.5.3. Orthography. <hie>rogueglyphics: Spelling between manuscript and print
Kathryn Sutherland | pp. 365–377
1.5.4. Punctuation: Dorothy Richardson, the long modernist novel, and the literary draft
- PART 2. BEYOND TEXT
- 2.1. MATERIAL COMPARISON
Isabelle Van Ongeval | pp. 410–416
2.1.3. Archiving practices: The preservation and loss of autograph English literary manuscripts
Christopher Fletcher | pp. 417–432
- 2.2. CONCEPTUAL COMPARISON
2.2.1. Metaphors for the writing process
2.2.2. Models for genetic criticism
- 2.3. INTERMEDIAL COMPARISON
2.3.1. Film: Authorship, versions and revisions
2.3.2. Television: From pre-production to programme-making and dissemination
Jonathan Bignell | pp. 473–486
2.3.3. Architecture: The culture of building
Eireen Schreurs and Lara Schrijver | pp. 487–495
2.3.4. Music: Sketching performance
2.3.5. Radio: Between text and sound
Hans Walter Gabler | pp. 527–529
