Sessions

Preliminary Programme GENESIS 2022

Tuesday, 15 March        

17:15 – 18:15 – Opening Keynote (Lecture Theatre, the Weston Library)

  • Daniel Ferrer (ITEM, Paris). Models for Genetic Criticism

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


Wednesday, 16 March 

8:45 – 9:15 – Registration and Coffee

9:15 – 9:30 – Welcome by Dirk Van Hulle

9:30 – 11:00 – Plenary Session: Theoretical issues in genetic criticism today

  • 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
  • Mateusz Antoniuk (Jagiellonian University). Is there avant-texte in this text? Genetic criticism and the paradoxes of intertextuality and interpretation

11:00 – 11:30 – Coffee break 

11:30 – 13:00 – Parallel Session 1

1A  Creative revision across genres: film, drama, prose

  • Tom Paulus (University of Antwerp). Final Cut: Film Authorship, Versions and Revisions
  • 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

  • Gabriele Wix (University of Bonn). A writer not only reads books. Thomas Kling, effi b.; deutschsprachiges polaroid
  • 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

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

  • Peng Yi (National Central University, Taiwan). Rethinking reading notes: absorption and theatricality
  • 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 (location: Digital Hub)

  • 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 (location: Digital Hub)

  • John Bryant (Hofstra University). Versions of the Version: Biography, History, and the Digital Editing of Textual Fluidity
  • Joshua Schäuble (University of Antwerp), Wout Dillen (University of Borås), 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

  • 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 (location: Digital Hub)

  • 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

  • Sophie Gaberel (University of Paris-Sorbonne). From novel to film: A comparative genetic criticism of Nice Work by David Lodge
  • 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 

  • 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
  • Kostis Pavlou (Open University of Cyprus). Locating and visualizing the genetic process in Solomos’ The Free Besieged
  • Lindsay Miller (University of Glasgow). The Exiled King: Vladimir Nabokov’s intrinsic revisions

11:00 – 11:30 – Coffee break 

11:30 – 13:00 – Parallel Session 5

5A  Translation revision

  • 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
  • Taisiya Mysak (independent scholar). Genetically-oriented digital space for comparative approach in translation revision

5B  Creative revision and the anxiety of influence 2

  • 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
  • Claire Jarvis (independent scholar). ‘Improve!’: Barbara Pym’s Novels and Essayistic Revision

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

  • 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)
  • Roger Lüdeke (Heinrich Heine University, Düsseldorf). Casting the author in character: Text foundation in James Joyce’s art of composition towards Ulysses (Leopold Bloom)

6B  Reception 2: Revisioning

  • 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

  • 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, Flore Moran (University of Calgary). The Alice Munro Papers: A collective genetic approach

7B  Poetry of mutability: genesis of fragmentation and incompletion

  • 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

17:00 – 18:15 – Closing Keynote (Lecture Theatre, the Weston Library, tbc)

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

18:15 – 19:15 – Reception (Blackwell Hall, the Weston Library, tbc)