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)