Sessions

Programme GENESIS 2022

For more information on each of the talks and their presenters, please refer to our downloadable Book of Abstracts in PDF. You can also consult a PDF version of the final programme with additional venue information.

Tuesday, 15 March        

16:30 – 17:15 – Registration 

17:15 – 18:15 – Opening Keynote (Ship Street Centre, Lecture Theatre). Chair: Dirk Van Hulle

  • Daniel Ferrer (ITEM, Paris). Models for genetic criticism

18:15 – 19:30 – Reception (Ship Street)

Wednesday, 16 March 

8:45 – 9:20 – Registration and Coffee

9:20 – 9:30 – Welcome by Dirk Van Hulle

9:30 – 11:00 – Theoretical issues in genetic criticism (Lecture Theatre). Chair: Olga Beloborodova

  • Kathryn Sutherland (St Anne’s College, Oxford). Transitional space and modern draft manuscripts
  • Paul Eggert (Loyola University Chicago / University of New South Wales). Dealing with drafts of modern literary manuscripts: Anglophone bio-textual and editorial perspectives – and the reader Z (remote presentation)
  • Mateusz Antoniuk (Jagiellonian University). Memory in the making. Genetic criticism and cultural memory studies: possible intersections

11:00 – 11:30 – Coffee break 

11:30 – 13:00 – Parallel Session 1

1A  Creative revision across genres: film, drama, prose (Lecture Theatre). Chair: Pim Verhulst

  • Edith Cassiers (University of Antwerp). The (im)possibility of seeing again: Re-visioning theatre genetic criticism
  • Olga Beloborodova (University of Antwerp). Extended and distributed creative revision in prose fiction             

1B  Reception 1: Rewriting (Ship Street Centre, Meeting Room). Chair: Sakari Katajamäki

  • Gabriele Wix (University of Bonn). How the paratext uncovers Intertextual layers. Thomas Kling, »effi b.; deutschsprachiges polaroid« (effi b.; german-language polaroid)’ (remote presentation)
  • Hanna Karhu (University of Helsinki / Finnish Literature Society). Making of literary cultural heritage ‒ rhymed folk songs in the context of literature and folklore
  • Georgy Vekshin (Moscow Polytechnic University). How Pushkin worked on the translation of the Twa Corbies and what came of it (remote presentation)

13:00 – 14:00 – Lunch (Jesus College Dining Hall)

14:00 – 15:30 – Parallel Session 2

2A  Creative revision and the anxiety of influence 1 (Lecture Theatre). Chair: Wout Dillen

  • Peng Yi (National Central University, Taiwan). Index Cards and the Apparatus: The Archiveof the Novella, Luojiu Hua (remote presentation)
  • Eleni Petridou (Aristotle University of Thessaloniki). ‘Guarda Byron per non compiare’: revision and the ‘anxiety of influence’
  • Mark Byron (University of Sydney). Romantic image? The genetic dossier of Samuel Beckett’s Watt

2B  Writing medium: from typewriter to born digital (Meeting Room). Chair: Olga Beloborodova

  • Veijo Pulkkinen (University of Helsinki). Revising on the typewriter
  • Lamyk Bekius (KNAW, Huygens ING / University of Antwerp). Sources in a digital writing process: from literary novels to the price of bleach
  • Floor Buschenhenke (KNAW, Huygens ING / University of Antwerp). Bigger on the inside: non-linearity and the affordances of word processing

15:30-16:00 – Coffee break

16:00 – 17:00 – Parallel Session 3 

3A  Digital technologies in genetic criticism and scholarly editing (Lecture Theatre). Chair: Christopher Ohge

  • John Bryant (Hofstra University). Versions of the Version: Biography, History, and the Digital Editing of Textual Fluidity
  • Wout Dillen (University of Borås), Joshua Schäuble (University of Antwerp), Dirk Van Hulle (Jesus College, Oxford). Towards computer-assisted genetic criticism: Exploiting HTR (Handwritten Text Recognition) technologies to automate genetic workflows

3B  Creative revision across media: music (Meeting Room). Chair: Paola Italia 

  • John Rink (University of Cambridge). From sketch to sketch: composing and performing music
  • James Little (Charles University, Prague / Masaryk University, Brno). The (re)making of Bob Dylan’s Blood on the Tracks: Cocreation in performance

17:15 – 18:15 – Keynote (Ship Street Centre, Lecture Theatre). Chair: Mateusz Antoniuk + announcement of next GENESIS conference

  • Sally Bushell (Lancaster University). An Interpretative method for digital literary mapping: Multiple texts; multiple maps

Thursday, 17 March     

9:00 – 9:30 – Registration and Coffee

9:30 – 11:00 – Parallel Session 4

4A  Creative revision across media: book, film, radio, television (Lecture Theatre). Chair: Wout Dillen 

  • Sophie Gaberel (University of Paris-Sorbonne). From novel to film: A comparative genetic criticism of Nice Work by David Lodge (remote presentation)
  • Pim Verhulst (University of Antwerp). Script and/or recording? The double materiality of radio plays and their manuscripts
  • Jonathan Bignell (University of Reading). Television: from pre-production to programme making and dissemination

4B  Self-translation and bilingual authors: creative revision in two languages (Meeting Room). Chair: Olga Beloborodova 

Starts at 10:00

  • Julia Holter (Catholic University of the West, Nantes / ITEM, Paris). How code-switching has been a creative force: The example of Alexander Pushkin’s literary plans
  • Lyndsay Miller (University of Glasgow). The Exiled King: Vladimir Nabokov’s intrinsic revisions (remote presentation)

11:00 – 11:30 – Coffee break 

11:30 – 13:00 – Parallel Session 5

5A  Translation revision (Lecture Theatre). Chair: Olga Beloborodova

  • Anthony Cordingley (KU Leuven / University of Sydney / University of Paris 8). Theoretical problems in translation genetics
  • Patrick Hersant (Paris 8 University / ITEM). Revising literary translation
  • Taisiia Mysak (independent scholar). Genetically-oriented digital space for comparative approach in translation revision (remote presentation)

5B  Creative revision and the anxiety of influence 2 (Meeting Room). Chair: Pim Verhulst

  • Stefano Rosignoli (Trinity College Dublin). The Aristotelian roots of James Joyce’s aesthetics of stasis: An exogenetic example of comparative literature
  • Leena Eilittä (University of Helsinki). The ‘Midnights ́ in the poetry of Broch and Whitman

13:00 – 14:00 – Lunch (Jesus College Dining Hall)

13:00 – 14:00 – Meeting for the contributors to the Comparative History of the Literary Draft in Europe project (sandwich lunch, Ship Street)

14:00 – 15:00 – Parallel Session 6 

6A  Creative revision: The case of James Joyce (Lecture Theatre). Chair: Dirk Van Hulle

  • Hans Walter Gabler (Ludwig Maximilians University of Munich). Casting the author in character: Text foundation in James Joyce’s art of composition towards Ulysses (Stephen Dedalus) (remote presentation)
  • Roger Lüdeke (Heinrich Heine University, Düsseldorf). On the Character of James Joyce’s Ulysses

6B  Reception 2: Revisioning (Meeting Room). Chair: Sakari Katajamäki

  • Sofie Taes, Frederik Truyen (KU Leuven). Modular showcase, liquid narrative: ‘Blue Skies, Red Panic’ and ‘Chinascapes’ between print and pixels
  • Antonios Touloumis, Katerina Michalopoulou (School of Architecture, National Technical University of Athens). Persephone staircase: A transcription of Homeric hymn to Demeter

15:00 – 16:30 – Parallel Session 7

7A  Genetic criticism and scholarly editing: methodological issues (Lecture Theatre). Chair: Paola Italia

  • Luca Mazzocchi (Exeter College, Oxford). The variants of Adalgisa: Genetic perspectives on a collection of ‘disegni milanesi’ by Carlo Emilio Gadda
  • Stephanie Browner, Kenneth Price (The New School and The University of Nebraska, Lincoln). Short Story to Novel: Editing Charles Chesnutt’s The House Behind the Cedars 
  • Jason Wiens (University of Calgary). The Alice Munro Papers: A collective genetic approach

7B  Poetry of mutability: genesis of fragmentation and incompletion (Meeting Room). Chair: João Dionísio

  • Carlotta Defenu (University of Lisbon). The genesis of Fernando Pessoa’s ‘HORA ABSURDA’
  • Marzena Woźniak-Łabieniec (University of Lodz). From first typescript to last printed edition: On the variants of the poem Rok 1939 by Tadeusz Różewicz in the light of literary archives and censorship records(remote presentation)  

17:00 – 18:15 – Closing Keynote (The Sheldonian Theatre)

  • Robert Darnton (Harvard University). Theatricality and violence in Paris, 1788

19:00 – 21:30 – Conference Dinner, Jesus College