739029836 03 01 01 JB John Benjamins Publishing Company 01 JB code CHLEL XXXV Eb 15 9789027246585 06 10.1075/chlel.35 13 2024029652 DG 002 02 01 CHLEL 02 0238-0668 Comparative History of Literatures in European Languages XXXV 01 chlel.35 01 https://benjamins.com 02 https://benjamins.com/catalog/chlel.35 1 B01 Olga Beloborodova Beloborodova, Olga Olga Beloborodova University of Antwerp 2 B01 Dirk Van Hulle Van Hulle, Dirk Dirk Van Hulle University of Oxford 01 eng 565 xiv 544 + index LIT004130 v.2006 DSB 2 24 JB Subject Scheme LIT.THEOR Theoretical literature & literary studies 06 01 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. 46 01 http://creativecommons.org/licenses/by-nc-nd/4.0/ 47 Open access -- this title is available under a CC BY-NC-ND license. For full details, see: http://creativecommons.org/licenses/by-nc-nd/4.0/ 04 09 01 https://benjamins.com/covers/475/chlel.35.png 04 03 01 https://benjamins.com/covers/475_jpg/9789027215260.jpg 04 03 01 https://benjamins.com/covers/475_tif/9789027215260.tif 06 09 01 https://benjamins.com/covers/1200_front/chlel.35.hb.png 07 09 01 https://benjamins.com/covers/125/chlel.35.png 25 09 01 https://benjamins.com/covers/1200_back/chlel.35.hb.png 27 09 01 https://benjamins.com/covers/3d_web/chlel.35.hb.png 10 01 JB code chlel.35.toc v viii 4 Miscellaneous 1 10 01 JB code chlel.35.ack ix x 2 Miscellaneous 2 10 01 JB code chlel.35.lof xi xiv 4 Miscellaneous 3 10 01 JB code chlel.35.int 1 19 19 Chapter 4 1 A01 Dirk Van Hulle Van Hulle, Dirk Dirk Van Hulle 10 01 JB code chlel.35.p1 21 1 Section header 5 10 01 JB code chlel.35.01 23 1 Section header 6 10 01 JB code chlel.35.01wak 23 34 12 To be specified 7 1 A01 Daniel Wakelin Wakelin, Daniel Daniel Wakelin 20 amanuensis 20 author 20 copy 20 dictation 20 draft 20 letter 20 practical 20 revision 20 scribe 20 variance 01 While all medieval books are manuscripts, it is often said that few are authorial holographs; most are copies by other scribes for circulation. Many traces of composition have been lost, as that process occurred orally or on ephemeral materials. Nonetheless, some authorial holographs survive and show similar stages of composition and revision to the literary holographs of later periods. In addition, scribal copies themselves show evidence of rewriting that could potentially be considered a kind of authorship, thus making these copies into holographs for scribal authors, especially in works of pragmatic literacy. Authorial holographs are therefore not rare but ubiquitous. 10 01 JB code chlel.35.02wou 35 46 12 To be specified 8 1 A01 H. R. Woudhuysen Woudhuysen, H. R. H. R. Woudhuysen 20 autograph 20 CELM 20 fair copy 20 holograph 20 manuscript 20 Peter Beal 20 scribes 01 Early modern holograph manuscripts are particularly well served by Peter Beal’s online <i>Catalogue of English Literary Manuscripts, 1450–1700</i>. Using this resource, it is possible to study the autograph literary manuscripts of 236 named authors. The question of whether their holographs are drafts or fair copies is by no means always certain. Different sorts of manuscripts, the forms they take, and the occasions on which they were written are described and particular attention is paid to those by women. While often relying on professional scribes to produce fair copies, writers themselves tended to like revising those manuscripts, as well as to revise and correct their own autograph fair copies. 10 01 JB code chlel.35.03fer 47 59 13 To be specified 9 1 A01 Nathalie Ferrand Ferrand, Nathalie Nathalie Ferrand 20 avant-textes 20 codicology 20 enlightenment 20 genetic criticism 20 marginalia 20 national treasure 20 reception theory 20 Révolution 20 scroll 20 transparence accrue [increased transparency] 01 The eighteenth century used to enjoy a bad reputation among scholars interested in literary drafts, suffering from its situation between two great moments in the history of the literary manuscript: the medieval period, when the manuscript tradition was the sole possible channel of a work’s dissemination, and the “contemporary” period of the nineteenth and twentieth centuries, when the importance accorded to the manuscript was that of a valuable testimony to “the genius of the author”. Fortunately, new developments in scholarship have changed this situation in the course of the last few decades. The present chapter sets out to analyse the emergence into greater prominence, in the field of eighteenth-century studies, of drafts, sketches and manuscripts. The movement toward a growing interest in such documents has been nourished by textual genetics, an innovative critical approach which has led scholars to ascribe to them greater meaning in the interpretation of the author’s action. 10 01 JB code chlel.35.04per 60 74 15 To be specified 10 1 A01 Seamus Perry Perry, Seamus Seamus Perry 20 curation 20 drafts 20 Jerome McGann 20 manuscripts 20 nineteenth century 20 variants 01 Classical textual theory based itself on the idea of an authorial manuscript which was almost always missing; but textual studies of the modern period, as theorised by McGann, face a different problem: not an insufficiency of data but a surfeit of it. In fact, not all nineteenth-century authors thought to preserve their manuscripts, but many did, and the abundance of material produced by this change in literary culture creates a whole new set of challenges for the textual scholar. Where does textual authority lie in a complex field of multiple texts, both in draft and in successive print editions? 10 01 JB code chlel.35.05ran 75 86 12 To be specified 11 1 A01 Bryony Randall Randall, Bryony Bryony Randall 20 archive 20 composition 20 draft 20 editing 20 error 20 holograph 20 revision 20 typescript 20 typewriter 20 word processor 01 This chapter offers an overview of tendencies in manuscript revision habits over the twentieth century, providing examples from twenty different writers. While the typewriter was already widely used by the end of the nineteenth century, handwriting remained the primary mode of initial literary composition until well into the twentieth; the first section of this chapter explores this practice and variations on it. Around mid-century, writers were more actively exploring the creative opportunities offered by composition on a typewriter. The chapter’s final section explores the effect of word-processing technologies on authors’ revision habits, as well as the advent of the “born digital” manuscript, and the challenge presented by the digital archive. 10 01 JB code chlel.35.06bek 87 98 12 To be specified 12 1 A01 Lamyk Bekius Bekius, Lamyk Lamyk Bekius 2 A01 Dirk Van Hulle Van Hulle, Dirk Dirk Van Hulle 20 analogue draft 20 born-digital literature 20 digital draft 20 genetic criticism 20 hybrid draft 20 keystroke logging 20 nanogenesis 20 writing process 01 In the twenty-first century, the digital medium has become an indispensable part of the literary writing process and can hardly be neglected in the study of the literary draft from this – yet very recent – millennium. In this chapter, we examine four manifestations of the twenty-first century literary draft on a spectrum ranging from fully analogue to fully digital: the paper draft of Ian McEwan’s <i>Atonement</i>, the self-archived digital draft of Bart Moeyaert’s <i>Het paradijs</i>, the hybrid draft of Gie Bogaert’s <i>Roosevelt</i>, and the keystroke logging draft of David Troch’s story “Mondini”. These types of drafts offer their respective levels of granularity to examine the writing process, and especially the latter type of draft presents us with a hitherto unprecedented degree of detail, opening up the document’s nanogenesis. 10 01 JB code chlel.35.02 99 1 Section header 13 10 01 JB code chlel.35.07kat 100 111 12 To be specified 14 1 A01 Sakari Katajamäki Katajamäki, Sakari Sakari Katajamäki 20 edition philology 20 Finnish literature 20 genetic criticism 20 historical-critical editions 20 Nordic literature 20 Nordic networking 20 Romanticism 20 Scandinavian literature 20 textual criticism 20 writers’ archives 01 In the continental Nordic countries, the relatedness of the Scandinavian languages Danish, Norwegian and Swedish, and the status of Swedish as an official language of Finland have contributed to the transnational interaction in textual scholarship and edition philology. Historically, especially the Romantic, nation-oriented thought has influenced the way in which literary archives have been assembled and organised. In the twentieth century, many extensive Scandinavian and Finnish editorial projects of canonised nineteenth-century writers have had an important impact on the availability and usability of archival sources, and have enabled academic training in the use of literary manuscripts. Thus, even the most recent trends in the study of literary drafts are historically based on the infrastructures, practices and scholarly traditions derived from Romanticism. 10 01 JB code chlel.35.08pil 112 126 15 To be specified 15 1 A01 Igor Pilshchikov Pilshchikov, Igor Igor Pilshchikov 20 base text 20 creative history 20 holographs 20 layer-by-layer reconstruction 20 printed and digital facsimiles 20 textology 20 topographic transcription 01 An umbrella term that defines the Russian traditions of textual criticism, history of text, and editorial technique is “textology.” The interest in the author’s manuscripts arose in Russia in the pre-Romantic age. Nineteenth-century positivist scholars of Aleksandr Pushkin’s writings were the first to start publishing his holographs. Pushkin editions became a testing ground and a paragon for all other editions of Russian classics. In the late 1920s, ex-formalists Boris Tomashevsky and Sergei Bondi revised the pre-revolutionary approach to presenting a set of drafts and variants. Instead of topographic transcriptions advocated by the Pushkin Commission of the Imperial Academy of Sciences, they developed the method of a layer-by-layer reproduction of literary autographs. Contemporary digital publication formats can effectively resolve this antinomy. 10 01 JB code chlel.35.09ant 127 140 14 To be specified 16 1 A01 Mateusz Antoniuk Antoniuk, Mateusz Mateusz Antoniuk 2 A01 Jirí Flaišman Flaišman, Jirí Jirí Flaišman 3 A01 Michal Kosák Kosák, Michal Michal Kosák 4 A01 Ágnes Major Major, Ágnes Ágnes Major 5 A01 Martin Navrátil Navrátil, Martin Martin Navrátil 6 A01 Dmytro Yesypenko Yesypenko, Dmytro Dmytro Yesypenko 20 archives 20 Czech 20 genetic criticism 20 Hungarian 20 Polish 20 rough draft 20 Slovak and Ukrainian literature 01 This chapter refers to literature in five languages: Czech, Hungarian, Polish, Slovak and Ukrainian. Firstly, it presents the histories of Eastern European literary drafts. In this section answers to the following questions are delivered: from what time do the oldest surviving rough drafts date? How did the culture of archiving evolve? What impact did historical events have on the state of preservation of the documents? The focus then shifts to the issue of the genetic approach in Eastern European scholarship. The aim of this section is to discuss how creative writing processes were dealt with by different philological traditions. Finally, East European reception of <i>critique génétique</i> is presented. 10 01 JB code chlel.35.10egg 141 159 19 To be specified 17 1 A01 Paul Eggert Eggert, Paul Paul Eggert 20 anglophone scholarly editing 20 archival reporting 20 Cornell Yeats 20 draft manuscript 20 editorial theory 20 Emerson’s Journals 20 genetic criticism 20 genetic edition 20 reading 20 version 01 Spurred on by new editions of works of modern literature in which manuscript materials are often extant, editorial theory since the 1980s has been laying the groundwork for the wider introduction of a genetic perspective on the works of Anglophone authors. Resistance to the idea from the 1940s is traced. The editing of writers’ journals during the 1970s–1990s shows a hesitation to follow the brave lead of the Harvard edition of Emerson’s Journals in recording in-text cancellations and additions. Editors’ conceptions of the reader of their editions have evolved since 1950. The advent of the Cornell Wordsworth and Cornell Yeats editions broadened understanding of the editorial-archival function; the method has become accepted as the base-line responsibility of digital editors. 10 01 JB code chlel.35.11hen 160 173 14 To be specified 18 1 A01 Katrin Henzel Henzel, Katrin Katrin Henzel 20 author-centricity 20 early Romanticism 20 genetic edition 20 Goethe 20 historical-critical edition 20 literary archive 20 Nachlass 20 nation building 20 textual growth 20 the canon 01 In German-speaking countries, scientific, poetological as well as political criteria have shaped literary archives, especially during the nineteenth century – with impact on their selection of manuscripts regarding authors, epochs and genres to the present day. The historical-critical edition and the genetic edition as one of its subtypes can be seen as a <i>product</i> of these circumstances and will be considered in this chapter to point out the varying role of literary drafts on the perception and reception of literary works. This must also include a critical examination of the German editorial tradition that – although a gradual change is emerging – still predominantly concentrates on canonical works. 10 01 JB code chlel.35.12joh 174 186 13 To be specified 19 1 A01 Franz Johansson Johansson, Franz Franz Johansson 20 autograph 20 avant-texte 20 codicology 20 creative process 20 digital media 20 edition 20 genetic criticism 20 invention 20 philology 20 public / non-public 01 Victor Hugo’s bequest of all his work documents to the Bibliothèque nationale de France in 1881 shook off a tradition characterised by a certain indifference to the manuscript in its material and historic existence. Despite some one-off undertakings, it was not until the 1960s that an original theory and a systematic method of examining manuscripts, and more particularly drafts in their various forms, was developed in France: genetic criticism’s concerns and procedures, in their intention to understand the gestation processes of a work through each of its material traces, have spread throughout Europe and the world, and have become essential in the field of textual criticism. 10 01 JB code chlel.35.13ita 187 201 15 To be specified 20 1 A01 Paola Italia Italia, Paola Paola Italia 20 archival will 20 authorial philology 20 authorial will 20 authorship 20 genetic criticism 20 Humanism 20 scartafacci 01 The history of genetic criticism in the Italian tradition starts with Humanism, and from Francesco Petrarch’s “Codice degli Abbozzi” (fourteenth century). This chapter traces the framework of this tradition, highlighting how, with the simple but revolutionary gesture of leaving even the ugliest copies of his own masterpieces – the so-called “scartafacci” – to posterity, Petrarch created a model of an intellectual, a champion of classicism, the “style to be imitated”. Petrarch’s model left a trace of the toil of writing, the labor limae, which is considered the secret of style. From Machiavelli to Guicciardini, from Ariosto to Tasso, the “authorial function” has delivered a model of conservation and philology. After the triumph of the “scartafacci”, two exemplary nineteenth-century cases (Manzoni and Leopardi) will be discussed, as well as the twentieth-century text production, in which the study of manuscripts, tormented by countless revisions, reveals a possible “grammar of corrections” and is flanked by crucial problems of authorship. 10 01 JB code chlel.35.14dio 202 213 12 To be specified 21 1 A01 João Dionísio Dionísio, João João Dionísio 20 author 20 blank spaces 20 draft 20 scribal hand 20 textual genetics 01 Previously unobserved in a global view, drafts belonging to Iberian literary and cultural traditions are here exploratorily approached in accordance with a wide sense of the term “draft”. The chapter is divided into four sections: following some preliminary remarks, several <i>desiderata</i> for a future history of drafts in the Iberian Peninsula are presented; the second section reflects upon the coincidence (or lack thereof) between intellectual property and scribal agency in the composition of drafts; the third is focused on the morphology and function of blank spaces in genetic materials; the conclusion discusses, and contests, the idea of the draft as an unsuitable transcription, arguing in turn for its status as a site where fluid authorial goals are enacted. 10 01 JB code chlel.35.15dou 214 227 14 To be specified 22 1 A01 Rachel Douglas Douglas, Rachel Rachel Douglas 20 Caribbean 20 Dany Laferrière 20 endangered literary archives 20 Frankétienne 20 Haiti 20 Haitian boatpeople 20 Kamau Brathwaite 20 postcolonial genetic criticism 20 rasanblaj (gathering/reassembling) 20 rewriting 01 This chapter discusses literary drafts in the context of postcolonial endangered archival situations. My aim is to examine how certain archival situations, particularly across the Caribbean region, have impacted writers’ creative processes, leading to a significant tradition of published books, which have a distinctive <i>manuscriptesque</i> aura. What will become clear is that these postcolonial writers and their works purposefully straddle and disrupt the old spatial boundaries separating Caribbean islands from one another, and from Europe, and North America. This chapter looks at comparative genetic criticism through a decolonial Caribbean lens. Such a comparative approach to postcolonial literary drafts from the region is apt because the Caribbean space remains balkanised along old colonial linguistic lines to this day. 10 01 JB code chlel.35.03 229 1 Section header 23 10 01 JB code chlel.35.16pur 229 240 12 To be specified 24 1 A01 Diane Purkiss Purkiss, Diane Diane Purkiss 20 Ernest Hemingway 20 flow 20 J. R. R. Tolkien 20 manuscript 20 Milton 20 muse 20 trauma 20 writer’s block 20 writing process 01 This chapter explores writer’s block by analysing the rewards of the writing process and its causation using a mixture of behaviourism and neuroscience, in an effort to move beyond the idea that writing is about rational intent. In particular, Mihaly Csikszentmihalyi’s theory of flow is used to describe the pleasure available to writers and it is suggested that this in itself explains writing. A short section on the invocation to the Muse suggests that difficulties in composition occur throughout writing history. Through three case studies – John Milton, Ernest Hemingway, and J. R. R. Tolkien – the highly individual experience of writer’s block and its remedies are demonstrated. 10 01 JB code chlel.35.17sul 241 252 12 To be specified 25 1 A01 Hannah Sullivan Sullivan, Hannah Hannah Sullivan 20 creative writing 20 editing 20 Henry James 20 intentionality 20 Mansfield Park 20 manuscript 20 modernism 20 revision 20 revision history 20 typescript 20 writing pedagogy 01 Understood in its broadest sense, as the amelioration or improvement of an earlier textual state, revision is a universal compositional practice. At the same time, authors’ ideas about revision, their capacity for making changes, and the changes themselves are strongly influenced by both the material circumstances of writing and by broader cultural ideas about originality and the ontology of artworks. In addition, the study of revision informs very different intellectual disciplines and methodologies: creative writing pedagogy; editorial practice; traditional biographical criticism; and genetic criticism. This chapter provides a basic typology of different types of revision and comments on the complex types of evidence with which critics have to contend. 10 01 JB code chlel.35.18cor 253 267 15 To be specified 26 1 A01 Anthony Cordingley Cordingley, Anthony Anthony Cordingley 20 archives 20 critique génétique 20 genetic criticism 20 genetic translation studies 20 translation 20 translation history 01 This chapter details how archives containing literary translation drafts from the early modern period to the present supply evidence that can challenge conventional views of both translatorship and authorship. Three cases are explored in depth. First, two of the oldest known translation drafts in English, Samuel Ward’s (1572–1643) recently discovered draft of apocryphal text 1 <i>Esdras</i> (<i>Ezra</i>) and his partial draft of <i>Wisdom</i> 3–4.6 for the King James Bible provoke a new understanding of the ontology of the translation draft in this period. Second, Percy Bysshe Shelley’s unpublished self-translations of his poems into Italian for the Florentine Contessina, Teresa (Emilia) Viviani della Robbia cast his long poem <i>Epipsychidion</i> (1821) in a different light, revealing Shelley’s cosmopolitan self-fashioning. Third, the archives of the German translator of French <i>nouveau roman</i> authors Elmar Tophoven form a node of significance connecting literary figures and networks across Europe. 10 01 JB code chlel.35.04 269 1 Section header 27 10 01 JB code chlel.35.19mie 269 287 19 To be specified 28 1 A01 Wim Van Mierlo Mierlo, Wim Van Wim Van Mierlo 20 collecting 20 composition 20 creativity 20 draft 20 history of writing 20 inspiration 20 manuscript 20 modernist poetry 20 post-war poetry 20 romantic poetry 20 victorian poetry 01 Surveying the form and cultural significance of English poetry manuscripts in the period since 1600, this chapter looks at the unique features of the poetry manuscript. The first section discusses the authenticity value of poetry manuscripts as objects that were collected and exchanged. As gifts within domestic and literary networks, poetry manuscripts often held special value, representing the physical embodiment of friendship. The material proximity to the hand that created the poem forms the subject of the second section on creativity. Bringing to the fore conflicting attitudes towards the poet’s workshop, this section offers a reflection on the working of the imagination as manifested on the page. This finally leads to an investigation of the creative traces recorded on the manuscript, which analyses modes of composition as well as the poet’s own special relationship with their manuscript and how, as physical object, the manuscript impacts on the creative process. 10 01 JB code chlel.35.20cas 288 304 17 To be specified 29 1 A01 Edith Cassiers Cassiers, Edith Edith Cassiers 20 directing book 20 director’s theatre 20 drama drafts 20 genetic criticism 20 performance documentation 20 postdramatic theatre 20 Regiebuch 20 theatre notation 01 Theatre is often defined by its ephemerality, its fundamental presence in the here and now. Can we circumvent performance’s immediacy and study theatre through the genetic documents of its creative process? How are drama drafts related to other literary drafts? Can we use the same methodological techniques to study drama and literary drafts? In this chapter, I will first suggest a new definition for drama drafts and discuss the theoretical domain of genetic criticism as an analytical tool. In the second part, I will explain the differences between dramatic and other literary drafts, and connect them to the challenges of genetic criticism as research methodology. In the third and final part, I will propose an alternative genetic research model on the basis of the directing book as drama draft. 10 01 JB code chlel.35.21bel 305 319 15 To be specified 30 1 A01 Olga Beloborodova Beloborodova, Olga Olga Beloborodova 20 AI 20 cognitive science 20 collaborative creativity 20 distributed cognition 20 extended mind 20 literary collaborations 20 manuscript research 20 prose fiction 20 writing studies 01 This chapter addresses and questions the seemingly solitary nature of prose writing, using two cognitive theories (extended mind and distributed cognition) that place cognition outside the boundaries of the human brain and advocate instead an inextricable connection between the brain and the world. Specifically, the tight coupling between the writing mind and literary drafts testifies to the crucial importance of these objects to the writing process, and a number of examples of creative collaborations (the Shelleys, Michael Field, Ilf and Petrov) demonstrate that creativity in prose writing is more often than not distributed and as such is not that different from those genres that are typically considered collaborative (such as drama). This distribution of cognition also applies to works that are not co-authored, as Beckett’s correspondence shows. The conclusion relates the chapter’s main ideas to the future of prose writing, namely the advent of AI and its impact on creativity. 10 01 JB code chlel.35.22got 320 333 14 To be specified 31 1 A01 Dirk Göttsche Göttsche, Dirk Dirk Göttsche 20 aphorism 20 emblem 20 essay 20 fragment 20 genre theory 20 literary modernism 20 microfiction 20 prose poem 20 prose sketch 20 small forms 01 This chapter explores the poetics of the draft in the transgeneric field of modern small prose forms from the aphoristic “fragments” of the Romantic period, through the prose sketches and prose poems of the nineteenth century, to microfiction (flash fiction), emblematic short prose, literary notes (<i>Aufzeichnungen</i>) and digital formats in the twentieth and twenty-first centuries. The German notion of <i>Kleine Prosa</i>, which moves beyond the narrow focus on narrative forms in the English term “short prose”, provides the conceptual framework. The chapter foregrounds German literature but also considers other European-language literatures in comparative perspective. The point of departure is the overlap between the poetics of these modernist short forms – which undercut established genre patterns, experiment with innovative modes of writing and invite reader participation in the construction of meaning – and the history of the draft, note-taking, rewriting in modern literary practice since the eighteenth century. 10 01 JB code chlel.35.05 335 1 Section header 32 10 01 JB code chlel.35.23bry 335 352 18 To be specified 33 1 A01 John Bryant Bryant, John John Bryant 20 adaptive revision 20 Billy Budd 20 biography 20 collation 20 fluid-text editing 20 historicism 20 Melville Electronic Library 20 race 20 replay 20 source appropriation 20 version 01 Grounding biography and literary history in the phenomena of writing requires a theory of textual fluidity that unifies authorised and adapted versions. Such theorizing should also account for the anxieties of historicism in matters of textual evolution (Henry Adams) and of source appropriation as “replay” (Claude Monet). Melville’s late “adaptive revision” of William James’s naval history and of his own recollected biographical events in his writing of <i>Billy Budd</i> constitutes constitute an alternative historicism that enhances his “inside narrative” voice. Tracing adaptive revision from these personal and literary appropriations in <i>Billy Budd</i> to adaptations in translation and film versions of <i>Moby-Dick</i> expands the biographical scope of Melville’s writing as a modern phenomenon. The full range of adaptive revision is best represented in digital editing with a highly atomised database such as OCHRE that can accommodate asymmetric collation, revision sequencing and narration, and the interoperability of online editions. 10 01 JB code chlel.35.24gro 353 364 12 To be specified 34 1 A01 Tim Groenland Groenland, Tim Tim Groenland 20 cutting 20 editing 20 interpretation 20 Jean Rhys 20 modernism 20 pruning 20 reception 20 revision 20 textual variance 01 Editorial intervention is often essential to a text’s development, and yet the work of literary editors is often obscured. This chapter examines some of the critical issues around the role of the editor, arguing for the importance of the editorial process and considering examples of textual development and critical issues resulting from it. Specifically, it analyses the editing of the ending of Jean Rhys’s <i>Voyage in the Dark</i> to demonstrate the way in which textual cutting can significantly impact a literary work’s development and reception; these kinds of cuts can echo throughout an author’s career in surprising ways. 10 01 JB code chlel.35.25sut 365 377 13 To be specified 35 1 A01 Kathryn Sutherland Sutherland, Kathryn Kathryn Sutherland 20 Charles Dickens 20 Jane Austen 20 John Clare 20 manuscript 20 printers’ manuals 20 Robert Burns 20 Samuel Taylor Coleridge 20 speech forms 20 standardisation 20 Walter Scott 01 When it comes to orthography, there is no straightforward triumph of type technology over manuscript. If printing brought greater regularisation, it did so over centuries. Until at least 1900, spelling variation signified the flexibility available within public printed and private handwritten text. Examples in verse and prose from c.1600–1900 suggest how spelling is bound up with issues of readership and standard usage, on the one hand, and, on the other, of recording those forms that lie beyond print: dialect, slang, archaisms, phonetic rendering of speech forms, and more. Orthographic irregularity represents the world as multi-voiced, providing a rhythm for both eye and ear. Authors, publishers, and printers have all used spelling to censor or enable communication. 10 01 JB code chlel.35.26mcc 378 389 12 To be specified 36 1 A01 Scott McCracken McCracken, Scott Scott McCracken 20 Dorothy Richardson 20 experiment 20 literary draft 20 modernism 20 punctuation 01 All literary drafts manifest the signs of their provisionality. For experimental writers, such as the pioneering modernist writer, Dorothy Richardson, who resist the illusion of the artwork as complete, the improvisatory nature of the draft is a strength, a quality the writer carries over to the published version. This chapter reads the manuscript of <i>Pointed Roofs</i>, the first “chapter-volume” of Richardson’s long modernist novel <i>Pilgrimage</i>, in order to examine three aspects of Richardson’s compositional method: first, its experimental nature, which includes a degree of improvisation; second, her innovative use of punctuation, ellipses, and compression; and third, the relationship between the Richardsonian sentence and the emergence of modernist prose at the beginning of the twentieth century. 10 01 JB code chlel.35.p2 391 1 Section header 37 10 01 JB code chlel.35.06 393 1 Section header 38 10 01 JB code chlel.35.27hon 393 409 17 To be specified 39 1 A01 Andrew Honey Honey, Andrew Andrew Honey 20 Jane Austen 20 literary drafts 20 manuscripts 20 paper 20 paper history 20 writing paper 01 This chapter uses Jane Austen as a case study to explore the roles that paper, the underlying support, play within literary drafts. It investigates whether her choice and use of paper within a relatively small surviving corpus reveal methods and habits of writing. It demonstrates the types of evidence that can be drawn by studying the physical marks and characteristics of paper. Examples show that much can be gleaned from careful characterisation and comparison of the physical features of any paper used for literary drafts. Paper might be thought a neutral carrier, but the conscious or unconscious choices of paper by a writer, coupled with their habits and preferences of use, leave material evidence independent of the written text. 10 01 JB code chlel.35.28van 410 416 7 To be specified 40 1 A01 Isabelle Van Ongeval Van Ongeval, Isabelle Isabelle Van Ongeval 20 born-digital texts 20 cross-disciplinary research 20 digital curation practices 20 digital forensics 20 literary archives 01 These are exciting times for literary archivists. Nowadays, a writer’s legacy presents itself as large chunks of hybrid and disrupted data, partly analogue and partly digital. This chapter reflects on the challenges faced by literary archivists in acquiring, managing, and unlocking born-digital archives of writers, publishers, and literary organisations. There is a real threat of gaps emerging in collections of literary archives, because of the hybrid way a writer writes in the twenty-first century, as well as the unpreparedness of archival institutions. Literary archives are in need of technical skills for dealing with born-digital content in many forms, from obsolete carriers to online content. Finally, they need to work on the writers’ awareness of the fragility of their digital content. Overall, there is a strong need for more and structural collaboration with IT professionals, academics, and the makers of literary archives in order to secure, manage, and unlock born-digital literary archives. 10 01 JB code chlel.35.29fle 417 432 16 To be specified 41 1 A01 Christopher Fletcher Fletcher, Christopher Christopher Fletcher 20 archives 20 autograph 20 born-digital 20 collectors 20 culture 20 heritage 20 library 20 literary 20 manuscripts 01 The survival or loss of autograph literary manuscripts is considered, particularly in the context of British materials and drawing frequently but not exclusively upon the holdings of the Bodleian Library in Oxford. A chronological approach demonstrates the accruing importance attached to manuscripts written in the hand of their authors by collectors, institutions, scholars, the public and other agents, including funders and legislators. Reference is made to recent developments in the area of joint acquisition and questions are raised about the future of the autograph manuscript in the digital age. 10 01 JB code chlel.35.07 435 1 Section header 42 10 01 JB code chlel.35.30van 434 449 16 To be specified 43 1 A01 Dirk Van Hulle Van Hulle, Dirk Dirk Van Hulle 20 cognition 20 genetic criticism 20 manuscripts 20 metaphors 20 romantic genius 20 writing process 20 writing strategies 20 writing studies 01 This chapter discusses various metaphors that have been suggested as conceptual models by numerous authors in the past to try and understand aspects of their creative process and the roles of the literary draft. The question is whether they are all equally apt. By juxtaposing several of them, the aim is to investigate to what extent certain metaphors are forms of writers’ self-representation that may not always correspond with the reality of what is left in the drafts. These metaphors are organised in three sections, focusing respectively on questions of “Authorship” (ways of framing what it is to be a maker or creator), “Inspiration” (imagination, invention, discovery as cognitive phenomena) (Clark 1997), and “Perspiration” (writing strategies, tactics and techniques). 10 01 JB code chlel.35.31van 450 456 7 To be specified 44 1 A01 Daniel Ferrer Ferrer, Daniel Daniel Ferrer 20 creative writing 20 genetic criticism 20 modelling 20 process vs product 01 Genetic critics are faced with what scientists call an inverse problem: starting from the observed effects (the final work and all the available traces left in the course of the labour of creation), they want to reconstruct the process that produced these effects. The solution of such problems generally involves the production of models and their subsequent adjustment to the empirical data. More generally, models are used to provide us with a simplified representation of reality whenever the data is too rich and the factors involved are too complex to be directly apprehended. In our field, models can hardly be mathematical formulae governing sets of identified parameters; they are more likely to be analogies that help us to grasp the peculiar logic that is at work in the creative process. Some of these models are implicit in the work of genetic critics: it is preferable to make them explicit so as to be conscious of their limitations. 10 01 JB code chlel.35.08 459 1 Section header 45 10 01 JB code chlel.35.32pau 458 472 15 To be specified 46 1 A01 Tom Paulus Paulus, Tom Tom Paulus 20 Film as ontological and material object 20 film authorship 20 film distribution and recutting 01 This chapter aims to test the saliency of textual or genetic criticism for film studies. My suggestions take two directions: on the one hand, I propose that the philological task of the genetic critic to compare different versions of a literary text, finds an equivalent in the job of the film preservationist. In a second move, I look at the problematic of creative control in an art rooted from the beginning in an industrial model. Considering the American “auteur” cinema of the 1970s, I argue that the filmmaker’s newly-won right of “final cut” led to endless revisions and the “modernist” sense that the “text” can never be finished. 10 01 JB code chlel.35.33big 473 486 14 To be specified 47 1 A01 Jonathan Bignell Bignell, Jonathan Jonathan Bignell 20 archive 20 audience 20 BBC 20 Doctor Who 20 science fiction 20 screenwriting 20 script 20 television 20 the 1960s 20 TV drama 01 A focus on the details of how TV drama scripts were commissioned, edited and realised offers insight into the relationships between writers and television institutions. This study of the early years of the BBC’s popular science fiction series <i>Doctor Who</i> is based on archival documents from the 1960s and shows how the role of the screenwriter was negotiated in relation to the opportunities and constraints of format, genre, cost and intended audience, at a time of rapid and dynamic change in British television culture. The decisions about screenwriting analysed in this chapter affected how <i>Doctor Who</i> developed in the 60 years that followed, and also impacted how the BBC thought about its cultural and social mission of Public Service Broadcasting. 10 01 JB code chlel.35.34sch 487 495 9 To be specified 48 1 A01 Eireen Schreurs Schreurs, Eireen Eireen Schreurs 2 A01 Lara Schrijver Schrijver, Lara Lara Schrijver 20 architecture 20 building cultures 20 cultural codes 20 design process 20 material culture 20 visual analysis 01 This chapter addresses architecture as a cultural and visual medium, in which the design process is typically hidden in office archives and the multiple media of design genesis. In modernist architecture, the architect was seen as a visionary genius and a semblance of “purity” was integral to understanding a building’s design. This stands in contrast to how buildings have historically come to be: it neglects the many actors and elements that “construct” the final project, from materials available to local building habits and from contractors to codes and regulations. Revisiting the design process from the perspective of genetic criticism allows a review of the multiple paths that are brought together in a final, working drawing from which the contractor can begin to build. This chapter addresses the pre-construction design phase from initial sketch to final plans in order to reveal how different media intervene in the thought process, and how building cultures express themselves in the result. 10 01 JB code chlel.35.35rin 496 513 18 To be specified 49 1 A01 John Rink Rink, John John Rink 20 Chopin 20 composition 20 creative history 20 music editions 20 music manuscripts 20 music scores 20 music sketches 20 musical notation 20 performance 01 This chapter begins by acknowledging the impossibility of capturing musical thought in notational form and by highlighting the concomitant provisionality of music scores. It then considers the creative input required of performers when they bring musical notation “to life” in sound and in time. This leads to a case study on the Polish composer Fryderyk Chopin, for whom the act of notation posed innumerable difficulties not least because he continually reimagined and revised his musical ideas. The chapter as a whole thus challenges any assumptions we might have about the identity and stability of the Chopin work and of music more generally, while also raising thorny questions about the best means of representing music’s creative history in editions and performances themselves. 10 01 JB code chlel.35.36ver 514 526 13 To be specified 50 1 A01 Pim Verhulst Verhulst, Pim Pim Verhulst 20 Andrew Sachs 20 BBC 20 Caryl Churchill 20 Dylan Thomas 20 feature 20 genetic criticism 20 Harold Pinter 20 radio drama 20 radio play 20 transmediality 01 After contextualising the radio medium in relation to theatre, television and film, and then distinguishing between different types of radio drama, this chapter argues that radio plays are a hybrid (text/sound) art form, as opposed to a “purely acoustic” one, that needs to be researched from an archival perspective, which includes not only drafts, production scripts and recordings, but also ancillary materials such as letters and documents preserved at broadcasting services. In order to illustrate this point, it uses genetic criticism as a methodological framework and four case studies broadcast on the various networks of the BBC: Dylan Thomas’s <i>Under Milk Wood</i> (1954), Harold Pinter’s <i>A Slight Ache</i> (1959), Caryl Churchill’s <i>Identical Twins</i> (1968) and Andrew Sachs’s <i>The Revenge</i> (1978). 10 01 JB code chlel.35.epi 527 529 3 Chapter 51 1 A01 Hans Walter Gabler Gabler, Hans Walter Hans Walter Gabler 10 01 JB code chlel.35.noc 530 536 7 Chapter 52 02 JBENJAMINS John Benjamins Publishing Company 01 John Benjamins Publishing Company Amsterdam/Philadelphia NL 02 November 2024 20241115 2024 John Benjamins B.V. 02 WORLD 01 245 mm 02 174 mm 13 15 9789027215260 01 JB 3 John Benjamins e-Platform 03 jbe-platform.com 09 WORLD 10 20241115 01 904029835 03 01 01 JB John Benjamins Publishing Company 01 JB code CHLEL XXXV Hb 15 9789027215260 13 2024029651 BB 01 CHLEL 02 0238-0668 Comparative History of Literatures in European Languages XXXV 01 chlel.35 01 https://benjamins.com 02 https://benjamins.com/catalog/chlel.35 1 B01 Olga Beloborodova Beloborodova, Olga Olga Beloborodova University of Antwerp 2 B01 Dirk Van Hulle Van Hulle, Dirk Dirk Van Hulle University of Oxford 01 eng 565 xiv 544 + index LIT004130 v.2006 DSB 2 24 JB Subject Scheme LIT.THEOR Theoretical literature & literary studies 06 01 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. 04 09 01 https://benjamins.com/covers/475/chlel.35.png 04 03 01 https://benjamins.com/covers/475_jpg/9789027215260.jpg 04 03 01 https://benjamins.com/covers/475_tif/9789027215260.tif 06 09 01 https://benjamins.com/covers/1200_front/chlel.35.hb.png 07 09 01 https://benjamins.com/covers/125/chlel.35.png 25 09 01 https://benjamins.com/covers/1200_back/chlel.35.hb.png 27 09 01 https://benjamins.com/covers/3d_web/chlel.35.hb.png 10 01 JB code chlel.35.toc v viii 4 Miscellaneous 1 10 01 JB code chlel.35.ack ix x 2 Miscellaneous 2 10 01 JB code chlel.35.lof xi xiv 4 Miscellaneous 3 10 01 JB code chlel.35.int 1 19 19 Chapter 4 1 A01 Dirk Van Hulle Van Hulle, Dirk Dirk Van Hulle 10 01 JB code chlel.35.p1 21 1 Section header 5 10 01 JB code chlel.35.01 23 1 Section header 6 10 01 JB code chlel.35.01wak 23 34 12 To be specified 7 1 A01 Daniel Wakelin Wakelin, Daniel Daniel Wakelin 20 amanuensis 20 author 20 copy 20 dictation 20 draft 20 letter 20 practical 20 revision 20 scribe 20 variance 01 While all medieval books are manuscripts, it is often said that few are authorial holographs; most are copies by other scribes for circulation. Many traces of composition have been lost, as that process occurred orally or on ephemeral materials. Nonetheless, some authorial holographs survive and show similar stages of composition and revision to the literary holographs of later periods. In addition, scribal copies themselves show evidence of rewriting that could potentially be considered a kind of authorship, thus making these copies into holographs for scribal authors, especially in works of pragmatic literacy. Authorial holographs are therefore not rare but ubiquitous. 10 01 JB code chlel.35.02wou 35 46 12 To be specified 8 1 A01 H. R. Woudhuysen Woudhuysen, H. R. H. R. Woudhuysen 20 autograph 20 CELM 20 fair copy 20 holograph 20 manuscript 20 Peter Beal 20 scribes 01 Early modern holograph manuscripts are particularly well served by Peter Beal’s online <i>Catalogue of English Literary Manuscripts, 1450–1700</i>. Using this resource, it is possible to study the autograph literary manuscripts of 236 named authors. The question of whether their holographs are drafts or fair copies is by no means always certain. Different sorts of manuscripts, the forms they take, and the occasions on which they were written are described and particular attention is paid to those by women. While often relying on professional scribes to produce fair copies, writers themselves tended to like revising those manuscripts, as well as to revise and correct their own autograph fair copies. 10 01 JB code chlel.35.03fer 47 59 13 To be specified 9 1 A01 Nathalie Ferrand Ferrand, Nathalie Nathalie Ferrand 20 avant-textes 20 codicology 20 enlightenment 20 genetic criticism 20 marginalia 20 national treasure 20 reception theory 20 Révolution 20 scroll 20 transparence accrue [increased transparency] 01 The eighteenth century used to enjoy a bad reputation among scholars interested in literary drafts, suffering from its situation between two great moments in the history of the literary manuscript: the medieval period, when the manuscript tradition was the sole possible channel of a work’s dissemination, and the “contemporary” period of the nineteenth and twentieth centuries, when the importance accorded to the manuscript was that of a valuable testimony to “the genius of the author”. Fortunately, new developments in scholarship have changed this situation in the course of the last few decades. The present chapter sets out to analyse the emergence into greater prominence, in the field of eighteenth-century studies, of drafts, sketches and manuscripts. The movement toward a growing interest in such documents has been nourished by textual genetics, an innovative critical approach which has led scholars to ascribe to them greater meaning in the interpretation of the author’s action. 10 01 JB code chlel.35.04per 60 74 15 To be specified 10 1 A01 Seamus Perry Perry, Seamus Seamus Perry 20 curation 20 drafts 20 Jerome McGann 20 manuscripts 20 nineteenth century 20 variants 01 Classical textual theory based itself on the idea of an authorial manuscript which was almost always missing; but textual studies of the modern period, as theorised by McGann, face a different problem: not an insufficiency of data but a surfeit of it. In fact, not all nineteenth-century authors thought to preserve their manuscripts, but many did, and the abundance of material produced by this change in literary culture creates a whole new set of challenges for the textual scholar. Where does textual authority lie in a complex field of multiple texts, both in draft and in successive print editions? 10 01 JB code chlel.35.05ran 75 86 12 To be specified 11 1 A01 Bryony Randall Randall, Bryony Bryony Randall 20 archive 20 composition 20 draft 20 editing 20 error 20 holograph 20 revision 20 typescript 20 typewriter 20 word processor 01 This chapter offers an overview of tendencies in manuscript revision habits over the twentieth century, providing examples from twenty different writers. While the typewriter was already widely used by the end of the nineteenth century, handwriting remained the primary mode of initial literary composition until well into the twentieth; the first section of this chapter explores this practice and variations on it. Around mid-century, writers were more actively exploring the creative opportunities offered by composition on a typewriter. The chapter’s final section explores the effect of word-processing technologies on authors’ revision habits, as well as the advent of the “born digital” manuscript, and the challenge presented by the digital archive. 10 01 JB code chlel.35.06bek 87 98 12 To be specified 12 1 A01 Lamyk Bekius Bekius, Lamyk Lamyk Bekius 2 A01 Dirk Van Hulle Van Hulle, Dirk Dirk Van Hulle 20 analogue draft 20 born-digital literature 20 digital draft 20 genetic criticism 20 hybrid draft 20 keystroke logging 20 nanogenesis 20 writing process 01 In the twenty-first century, the digital medium has become an indispensable part of the literary writing process and can hardly be neglected in the study of the literary draft from this – yet very recent – millennium. In this chapter, we examine four manifestations of the twenty-first century literary draft on a spectrum ranging from fully analogue to fully digital: the paper draft of Ian McEwan’s <i>Atonement</i>, the self-archived digital draft of Bart Moeyaert’s <i>Het paradijs</i>, the hybrid draft of Gie Bogaert’s <i>Roosevelt</i>, and the keystroke logging draft of David Troch’s story “Mondini”. These types of drafts offer their respective levels of granularity to examine the writing process, and especially the latter type of draft presents us with a hitherto unprecedented degree of detail, opening up the document’s nanogenesis. 10 01 JB code chlel.35.02 99 1 Section header 13 10 01 JB code chlel.35.07kat 100 111 12 To be specified 14 1 A01 Sakari Katajamäki Katajamäki, Sakari Sakari Katajamäki 20 edition philology 20 Finnish literature 20 genetic criticism 20 historical-critical editions 20 Nordic literature 20 Nordic networking 20 Romanticism 20 Scandinavian literature 20 textual criticism 20 writers’ archives 01 In the continental Nordic countries, the relatedness of the Scandinavian languages Danish, Norwegian and Swedish, and the status of Swedish as an official language of Finland have contributed to the transnational interaction in textual scholarship and edition philology. Historically, especially the Romantic, nation-oriented thought has influenced the way in which literary archives have been assembled and organised. In the twentieth century, many extensive Scandinavian and Finnish editorial projects of canonised nineteenth-century writers have had an important impact on the availability and usability of archival sources, and have enabled academic training in the use of literary manuscripts. Thus, even the most recent trends in the study of literary drafts are historically based on the infrastructures, practices and scholarly traditions derived from Romanticism. 10 01 JB code chlel.35.08pil 112 126 15 To be specified 15 1 A01 Igor Pilshchikov Pilshchikov, Igor Igor Pilshchikov 20 base text 20 creative history 20 holographs 20 layer-by-layer reconstruction 20 printed and digital facsimiles 20 textology 20 topographic transcription 01 An umbrella term that defines the Russian traditions of textual criticism, history of text, and editorial technique is “textology.” The interest in the author’s manuscripts arose in Russia in the pre-Romantic age. Nineteenth-century positivist scholars of Aleksandr Pushkin’s writings were the first to start publishing his holographs. Pushkin editions became a testing ground and a paragon for all other editions of Russian classics. In the late 1920s, ex-formalists Boris Tomashevsky and Sergei Bondi revised the pre-revolutionary approach to presenting a set of drafts and variants. Instead of topographic transcriptions advocated by the Pushkin Commission of the Imperial Academy of Sciences, they developed the method of a layer-by-layer reproduction of literary autographs. Contemporary digital publication formats can effectively resolve this antinomy. 10 01 JB code chlel.35.09ant 127 140 14 To be specified 16 1 A01 Mateusz Antoniuk Antoniuk, Mateusz Mateusz Antoniuk 2 A01 Jirí Flaišman Flaišman, Jirí Jirí Flaišman 3 A01 Michal Kosák Kosák, Michal Michal Kosák 4 A01 Ágnes Major Major, Ágnes Ágnes Major 5 A01 Martin Navrátil Navrátil, Martin Martin Navrátil 6 A01 Dmytro Yesypenko Yesypenko, Dmytro Dmytro Yesypenko 20 archives 20 Czech 20 genetic criticism 20 Hungarian 20 Polish 20 rough draft 20 Slovak and Ukrainian literature 01 This chapter refers to literature in five languages: Czech, Hungarian, Polish, Slovak and Ukrainian. Firstly, it presents the histories of Eastern European literary drafts. In this section answers to the following questions are delivered: from what time do the oldest surviving rough drafts date? How did the culture of archiving evolve? What impact did historical events have on the state of preservation of the documents? The focus then shifts to the issue of the genetic approach in Eastern European scholarship. The aim of this section is to discuss how creative writing processes were dealt with by different philological traditions. Finally, East European reception of <i>critique génétique</i> is presented. 10 01 JB code chlel.35.10egg 141 159 19 To be specified 17 1 A01 Paul Eggert Eggert, Paul Paul Eggert 20 anglophone scholarly editing 20 archival reporting 20 Cornell Yeats 20 draft manuscript 20 editorial theory 20 Emerson’s Journals 20 genetic criticism 20 genetic edition 20 reading 20 version 01 Spurred on by new editions of works of modern literature in which manuscript materials are often extant, editorial theory since the 1980s has been laying the groundwork for the wider introduction of a genetic perspective on the works of Anglophone authors. Resistance to the idea from the 1940s is traced. The editing of writers’ journals during the 1970s–1990s shows a hesitation to follow the brave lead of the Harvard edition of Emerson’s Journals in recording in-text cancellations and additions. Editors’ conceptions of the reader of their editions have evolved since 1950. The advent of the Cornell Wordsworth and Cornell Yeats editions broadened understanding of the editorial-archival function; the method has become accepted as the base-line responsibility of digital editors. 10 01 JB code chlel.35.11hen 160 173 14 To be specified 18 1 A01 Katrin Henzel Henzel, Katrin Katrin Henzel 20 author-centricity 20 early Romanticism 20 genetic edition 20 Goethe 20 historical-critical edition 20 literary archive 20 Nachlass 20 nation building 20 textual growth 20 the canon 01 In German-speaking countries, scientific, poetological as well as political criteria have shaped literary archives, especially during the nineteenth century – with impact on their selection of manuscripts regarding authors, epochs and genres to the present day. The historical-critical edition and the genetic edition as one of its subtypes can be seen as a <i>product</i> of these circumstances and will be considered in this chapter to point out the varying role of literary drafts on the perception and reception of literary works. This must also include a critical examination of the German editorial tradition that – although a gradual change is emerging – still predominantly concentrates on canonical works. 10 01 JB code chlel.35.12joh 174 186 13 To be specified 19 1 A01 Franz Johansson Johansson, Franz Franz Johansson 20 autograph 20 avant-texte 20 codicology 20 creative process 20 digital media 20 edition 20 genetic criticism 20 invention 20 philology 20 public / non-public 01 Victor Hugo’s bequest of all his work documents to the Bibliothèque nationale de France in 1881 shook off a tradition characterised by a certain indifference to the manuscript in its material and historic existence. Despite some one-off undertakings, it was not until the 1960s that an original theory and a systematic method of examining manuscripts, and more particularly drafts in their various forms, was developed in France: genetic criticism’s concerns and procedures, in their intention to understand the gestation processes of a work through each of its material traces, have spread throughout Europe and the world, and have become essential in the field of textual criticism. 10 01 JB code chlel.35.13ita 187 201 15 To be specified 20 1 A01 Paola Italia Italia, Paola Paola Italia 20 archival will 20 authorial philology 20 authorial will 20 authorship 20 genetic criticism 20 Humanism 20 scartafacci 01 The history of genetic criticism in the Italian tradition starts with Humanism, and from Francesco Petrarch’s “Codice degli Abbozzi” (fourteenth century). This chapter traces the framework of this tradition, highlighting how, with the simple but revolutionary gesture of leaving even the ugliest copies of his own masterpieces – the so-called “scartafacci” – to posterity, Petrarch created a model of an intellectual, a champion of classicism, the “style to be imitated”. Petrarch’s model left a trace of the toil of writing, the labor limae, which is considered the secret of style. From Machiavelli to Guicciardini, from Ariosto to Tasso, the “authorial function” has delivered a model of conservation and philology. After the triumph of the “scartafacci”, two exemplary nineteenth-century cases (Manzoni and Leopardi) will be discussed, as well as the twentieth-century text production, in which the study of manuscripts, tormented by countless revisions, reveals a possible “grammar of corrections” and is flanked by crucial problems of authorship. 10 01 JB code chlel.35.14dio 202 213 12 To be specified 21 1 A01 João Dionísio Dionísio, João João Dionísio 20 author 20 blank spaces 20 draft 20 scribal hand 20 textual genetics 01 Previously unobserved in a global view, drafts belonging to Iberian literary and cultural traditions are here exploratorily approached in accordance with a wide sense of the term “draft”. The chapter is divided into four sections: following some preliminary remarks, several <i>desiderata</i> for a future history of drafts in the Iberian Peninsula are presented; the second section reflects upon the coincidence (or lack thereof) between intellectual property and scribal agency in the composition of drafts; the third is focused on the morphology and function of blank spaces in genetic materials; the conclusion discusses, and contests, the idea of the draft as an unsuitable transcription, arguing in turn for its status as a site where fluid authorial goals are enacted. 10 01 JB code chlel.35.15dou 214 227 14 To be specified 22 1 A01 Rachel Douglas Douglas, Rachel Rachel Douglas 20 Caribbean 20 Dany Laferrière 20 endangered literary archives 20 Frankétienne 20 Haiti 20 Haitian boatpeople 20 Kamau Brathwaite 20 postcolonial genetic criticism 20 rasanblaj (gathering/reassembling) 20 rewriting 01 This chapter discusses literary drafts in the context of postcolonial endangered archival situations. My aim is to examine how certain archival situations, particularly across the Caribbean region, have impacted writers’ creative processes, leading to a significant tradition of published books, which have a distinctive <i>manuscriptesque</i> aura. What will become clear is that these postcolonial writers and their works purposefully straddle and disrupt the old spatial boundaries separating Caribbean islands from one another, and from Europe, and North America. This chapter looks at comparative genetic criticism through a decolonial Caribbean lens. Such a comparative approach to postcolonial literary drafts from the region is apt because the Caribbean space remains balkanised along old colonial linguistic lines to this day. 10 01 JB code chlel.35.03 229 1 Section header 23 10 01 JB code chlel.35.16pur 229 240 12 To be specified 24 1 A01 Diane Purkiss Purkiss, Diane Diane Purkiss 20 Ernest Hemingway 20 flow 20 J. R. R. Tolkien 20 manuscript 20 Milton 20 muse 20 trauma 20 writer’s block 20 writing process 01 This chapter explores writer’s block by analysing the rewards of the writing process and its causation using a mixture of behaviourism and neuroscience, in an effort to move beyond the idea that writing is about rational intent. In particular, Mihaly Csikszentmihalyi’s theory of flow is used to describe the pleasure available to writers and it is suggested that this in itself explains writing. A short section on the invocation to the Muse suggests that difficulties in composition occur throughout writing history. Through three case studies – John Milton, Ernest Hemingway, and J. R. R. Tolkien – the highly individual experience of writer’s block and its remedies are demonstrated. 10 01 JB code chlel.35.17sul 241 252 12 To be specified 25 1 A01 Hannah Sullivan Sullivan, Hannah Hannah Sullivan 20 creative writing 20 editing 20 Henry James 20 intentionality 20 Mansfield Park 20 manuscript 20 modernism 20 revision 20 revision history 20 typescript 20 writing pedagogy 01 Understood in its broadest sense, as the amelioration or improvement of an earlier textual state, revision is a universal compositional practice. At the same time, authors’ ideas about revision, their capacity for making changes, and the changes themselves are strongly influenced by both the material circumstances of writing and by broader cultural ideas about originality and the ontology of artworks. In addition, the study of revision informs very different intellectual disciplines and methodologies: creative writing pedagogy; editorial practice; traditional biographical criticism; and genetic criticism. This chapter provides a basic typology of different types of revision and comments on the complex types of evidence with which critics have to contend. 10 01 JB code chlel.35.18cor 253 267 15 To be specified 26 1 A01 Anthony Cordingley Cordingley, Anthony Anthony Cordingley 20 archives 20 critique génétique 20 genetic criticism 20 genetic translation studies 20 translation 20 translation history 01 This chapter details how archives containing literary translation drafts from the early modern period to the present supply evidence that can challenge conventional views of both translatorship and authorship. Three cases are explored in depth. First, two of the oldest known translation drafts in English, Samuel Ward’s (1572–1643) recently discovered draft of apocryphal text 1 <i>Esdras</i> (<i>Ezra</i>) and his partial draft of <i>Wisdom</i> 3–4.6 for the King James Bible provoke a new understanding of the ontology of the translation draft in this period. Second, Percy Bysshe Shelley’s unpublished self-translations of his poems into Italian for the Florentine Contessina, Teresa (Emilia) Viviani della Robbia cast his long poem <i>Epipsychidion</i> (1821) in a different light, revealing Shelley’s cosmopolitan self-fashioning. Third, the archives of the German translator of French <i>nouveau roman</i> authors Elmar Tophoven form a node of significance connecting literary figures and networks across Europe. 10 01 JB code chlel.35.04 269 1 Section header 27 10 01 JB code chlel.35.19mie 269 287 19 To be specified 28 1 A01 Wim Van Mierlo Mierlo, Wim Van Wim Van Mierlo 20 collecting 20 composition 20 creativity 20 draft 20 history of writing 20 inspiration 20 manuscript 20 modernist poetry 20 post-war poetry 20 romantic poetry 20 victorian poetry 01 Surveying the form and cultural significance of English poetry manuscripts in the period since 1600, this chapter looks at the unique features of the poetry manuscript. The first section discusses the authenticity value of poetry manuscripts as objects that were collected and exchanged. As gifts within domestic and literary networks, poetry manuscripts often held special value, representing the physical embodiment of friendship. The material proximity to the hand that created the poem forms the subject of the second section on creativity. Bringing to the fore conflicting attitudes towards the poet’s workshop, this section offers a reflection on the working of the imagination as manifested on the page. This finally leads to an investigation of the creative traces recorded on the manuscript, which analyses modes of composition as well as the poet’s own special relationship with their manuscript and how, as physical object, the manuscript impacts on the creative process. 10 01 JB code chlel.35.20cas 288 304 17 To be specified 29 1 A01 Edith Cassiers Cassiers, Edith Edith Cassiers 20 directing book 20 director’s theatre 20 drama drafts 20 genetic criticism 20 performance documentation 20 postdramatic theatre 20 Regiebuch 20 theatre notation 01 Theatre is often defined by its ephemerality, its fundamental presence in the here and now. Can we circumvent performance’s immediacy and study theatre through the genetic documents of its creative process? How are drama drafts related to other literary drafts? Can we use the same methodological techniques to study drama and literary drafts? In this chapter, I will first suggest a new definition for drama drafts and discuss the theoretical domain of genetic criticism as an analytical tool. In the second part, I will explain the differences between dramatic and other literary drafts, and connect them to the challenges of genetic criticism as research methodology. In the third and final part, I will propose an alternative genetic research model on the basis of the directing book as drama draft. 10 01 JB code chlel.35.21bel 305 319 15 To be specified 30 1 A01 Olga Beloborodova Beloborodova, Olga Olga Beloborodova 20 AI 20 cognitive science 20 collaborative creativity 20 distributed cognition 20 extended mind 20 literary collaborations 20 manuscript research 20 prose fiction 20 writing studies 01 This chapter addresses and questions the seemingly solitary nature of prose writing, using two cognitive theories (extended mind and distributed cognition) that place cognition outside the boundaries of the human brain and advocate instead an inextricable connection between the brain and the world. Specifically, the tight coupling between the writing mind and literary drafts testifies to the crucial importance of these objects to the writing process, and a number of examples of creative collaborations (the Shelleys, Michael Field, Ilf and Petrov) demonstrate that creativity in prose writing is more often than not distributed and as such is not that different from those genres that are typically considered collaborative (such as drama). This distribution of cognition also applies to works that are not co-authored, as Beckett’s correspondence shows. The conclusion relates the chapter’s main ideas to the future of prose writing, namely the advent of AI and its impact on creativity. 10 01 JB code chlel.35.22got 320 333 14 To be specified 31 1 A01 Dirk Göttsche Göttsche, Dirk Dirk Göttsche 20 aphorism 20 emblem 20 essay 20 fragment 20 genre theory 20 literary modernism 20 microfiction 20 prose poem 20 prose sketch 20 small forms 01 This chapter explores the poetics of the draft in the transgeneric field of modern small prose forms from the aphoristic “fragments” of the Romantic period, through the prose sketches and prose poems of the nineteenth century, to microfiction (flash fiction), emblematic short prose, literary notes (<i>Aufzeichnungen</i>) and digital formats in the twentieth and twenty-first centuries. The German notion of <i>Kleine Prosa</i>, which moves beyond the narrow focus on narrative forms in the English term “short prose”, provides the conceptual framework. The chapter foregrounds German literature but also considers other European-language literatures in comparative perspective. The point of departure is the overlap between the poetics of these modernist short forms – which undercut established genre patterns, experiment with innovative modes of writing and invite reader participation in the construction of meaning – and the history of the draft, note-taking, rewriting in modern literary practice since the eighteenth century. 10 01 JB code chlel.35.05 335 1 Section header 32 10 01 JB code chlel.35.23bry 335 352 18 To be specified 33 1 A01 John Bryant Bryant, John John Bryant 20 adaptive revision 20 Billy Budd 20 biography 20 collation 20 fluid-text editing 20 historicism 20 Melville Electronic Library 20 race 20 replay 20 source appropriation 20 version 01 Grounding biography and literary history in the phenomena of writing requires a theory of textual fluidity that unifies authorised and adapted versions. Such theorizing should also account for the anxieties of historicism in matters of textual evolution (Henry Adams) and of source appropriation as “replay” (Claude Monet). Melville’s late “adaptive revision” of William James’s naval history and of his own recollected biographical events in his writing of <i>Billy Budd</i> constitutes constitute an alternative historicism that enhances his “inside narrative” voice. Tracing adaptive revision from these personal and literary appropriations in <i>Billy Budd</i> to adaptations in translation and film versions of <i>Moby-Dick</i> expands the biographical scope of Melville’s writing as a modern phenomenon. The full range of adaptive revision is best represented in digital editing with a highly atomised database such as OCHRE that can accommodate asymmetric collation, revision sequencing and narration, and the interoperability of online editions. 10 01 JB code chlel.35.24gro 353 364 12 To be specified 34 1 A01 Tim Groenland Groenland, Tim Tim Groenland 20 cutting 20 editing 20 interpretation 20 Jean Rhys 20 modernism 20 pruning 20 reception 20 revision 20 textual variance 01 Editorial intervention is often essential to a text’s development, and yet the work of literary editors is often obscured. This chapter examines some of the critical issues around the role of the editor, arguing for the importance of the editorial process and considering examples of textual development and critical issues resulting from it. Specifically, it analyses the editing of the ending of Jean Rhys’s <i>Voyage in the Dark</i> to demonstrate the way in which textual cutting can significantly impact a literary work’s development and reception; these kinds of cuts can echo throughout an author’s career in surprising ways. 10 01 JB code chlel.35.25sut 365 377 13 To be specified 35 1 A01 Kathryn Sutherland Sutherland, Kathryn Kathryn Sutherland 20 Charles Dickens 20 Jane Austen 20 John Clare 20 manuscript 20 printers’ manuals 20 Robert Burns 20 Samuel Taylor Coleridge 20 speech forms 20 standardisation 20 Walter Scott 01 When it comes to orthography, there is no straightforward triumph of type technology over manuscript. If printing brought greater regularisation, it did so over centuries. Until at least 1900, spelling variation signified the flexibility available within public printed and private handwritten text. Examples in verse and prose from c.1600–1900 suggest how spelling is bound up with issues of readership and standard usage, on the one hand, and, on the other, of recording those forms that lie beyond print: dialect, slang, archaisms, phonetic rendering of speech forms, and more. Orthographic irregularity represents the world as multi-voiced, providing a rhythm for both eye and ear. Authors, publishers, and printers have all used spelling to censor or enable communication. 10 01 JB code chlel.35.26mcc 378 389 12 To be specified 36 1 A01 Scott McCracken McCracken, Scott Scott McCracken 20 Dorothy Richardson 20 experiment 20 literary draft 20 modernism 20 punctuation 01 All literary drafts manifest the signs of their provisionality. For experimental writers, such as the pioneering modernist writer, Dorothy Richardson, who resist the illusion of the artwork as complete, the improvisatory nature of the draft is a strength, a quality the writer carries over to the published version. This chapter reads the manuscript of <i>Pointed Roofs</i>, the first “chapter-volume” of Richardson’s long modernist novel <i>Pilgrimage</i>, in order to examine three aspects of Richardson’s compositional method: first, its experimental nature, which includes a degree of improvisation; second, her innovative use of punctuation, ellipses, and compression; and third, the relationship between the Richardsonian sentence and the emergence of modernist prose at the beginning of the twentieth century. 10 01 JB code chlel.35.p2 391 1 Section header 37 10 01 JB code chlel.35.06 393 1 Section header 38 10 01 JB code chlel.35.27hon 393 409 17 To be specified 39 1 A01 Andrew Honey Honey, Andrew Andrew Honey 20 Jane Austen 20 literary drafts 20 manuscripts 20 paper 20 paper history 20 writing paper 01 This chapter uses Jane Austen as a case study to explore the roles that paper, the underlying support, play within literary drafts. It investigates whether her choice and use of paper within a relatively small surviving corpus reveal methods and habits of writing. It demonstrates the types of evidence that can be drawn by studying the physical marks and characteristics of paper. Examples show that much can be gleaned from careful characterisation and comparison of the physical features of any paper used for literary drafts. Paper might be thought a neutral carrier, but the conscious or unconscious choices of paper by a writer, coupled with their habits and preferences of use, leave material evidence independent of the written text. 10 01 JB code chlel.35.28van 410 416 7 To be specified 40 1 A01 Isabelle Van Ongeval Van Ongeval, Isabelle Isabelle Van Ongeval 20 born-digital texts 20 cross-disciplinary research 20 digital curation practices 20 digital forensics 20 literary archives 01 These are exciting times for literary archivists. Nowadays, a writer’s legacy presents itself as large chunks of hybrid and disrupted data, partly analogue and partly digital. This chapter reflects on the challenges faced by literary archivists in acquiring, managing, and unlocking born-digital archives of writers, publishers, and literary organisations. There is a real threat of gaps emerging in collections of literary archives, because of the hybrid way a writer writes in the twenty-first century, as well as the unpreparedness of archival institutions. Literary archives are in need of technical skills for dealing with born-digital content in many forms, from obsolete carriers to online content. Finally, they need to work on the writers’ awareness of the fragility of their digital content. Overall, there is a strong need for more and structural collaboration with IT professionals, academics, and the makers of literary archives in order to secure, manage, and unlock born-digital literary archives. 10 01 JB code chlel.35.29fle 417 432 16 To be specified 41 1 A01 Christopher Fletcher Fletcher, Christopher Christopher Fletcher 20 archives 20 autograph 20 born-digital 20 collectors 20 culture 20 heritage 20 library 20 literary 20 manuscripts 01 The survival or loss of autograph literary manuscripts is considered, particularly in the context of British materials and drawing frequently but not exclusively upon the holdings of the Bodleian Library in Oxford. A chronological approach demonstrates the accruing importance attached to manuscripts written in the hand of their authors by collectors, institutions, scholars, the public and other agents, including funders and legislators. Reference is made to recent developments in the area of joint acquisition and questions are raised about the future of the autograph manuscript in the digital age. 10 01 JB code chlel.35.07 435 1 Section header 42 10 01 JB code chlel.35.30van 434 449 16 To be specified 43 1 A01 Dirk Van Hulle Van Hulle, Dirk Dirk Van Hulle 20 cognition 20 genetic criticism 20 manuscripts 20 metaphors 20 romantic genius 20 writing process 20 writing strategies 20 writing studies 01 This chapter discusses various metaphors that have been suggested as conceptual models by numerous authors in the past to try and understand aspects of their creative process and the roles of the literary draft. The question is whether they are all equally apt. By juxtaposing several of them, the aim is to investigate to what extent certain metaphors are forms of writers’ self-representation that may not always correspond with the reality of what is left in the drafts. These metaphors are organised in three sections, focusing respectively on questions of “Authorship” (ways of framing what it is to be a maker or creator), “Inspiration” (imagination, invention, discovery as cognitive phenomena) (Clark 1997), and “Perspiration” (writing strategies, tactics and techniques). 10 01 JB code chlel.35.31van 450 456 7 To be specified 44 1 A01 Daniel Ferrer Ferrer, Daniel Daniel Ferrer 20 creative writing 20 genetic criticism 20 modelling 20 process vs product 01 Genetic critics are faced with what scientists call an inverse problem: starting from the observed effects (the final work and all the available traces left in the course of the labour of creation), they want to reconstruct the process that produced these effects. The solution of such problems generally involves the production of models and their subsequent adjustment to the empirical data. More generally, models are used to provide us with a simplified representation of reality whenever the data is too rich and the factors involved are too complex to be directly apprehended. In our field, models can hardly be mathematical formulae governing sets of identified parameters; they are more likely to be analogies that help us to grasp the peculiar logic that is at work in the creative process. Some of these models are implicit in the work of genetic critics: it is preferable to make them explicit so as to be conscious of their limitations. 10 01 JB code chlel.35.08 459 1 Section header 45 10 01 JB code chlel.35.32pau 458 472 15 To be specified 46 1 A01 Tom Paulus Paulus, Tom Tom Paulus 20 Film as ontological and material object 20 film authorship 20 film distribution and recutting 01 This chapter aims to test the saliency of textual or genetic criticism for film studies. My suggestions take two directions: on the one hand, I propose that the philological task of the genetic critic to compare different versions of a literary text, finds an equivalent in the job of the film preservationist. In a second move, I look at the problematic of creative control in an art rooted from the beginning in an industrial model. Considering the American “auteur” cinema of the 1970s, I argue that the filmmaker’s newly-won right of “final cut” led to endless revisions and the “modernist” sense that the “text” can never be finished. 10 01 JB code chlel.35.33big 473 486 14 To be specified 47 1 A01 Jonathan Bignell Bignell, Jonathan Jonathan Bignell 20 archive 20 audience 20 BBC 20 Doctor Who 20 science fiction 20 screenwriting 20 script 20 television 20 the 1960s 20 TV drama 01 A focus on the details of how TV drama scripts were commissioned, edited and realised offers insight into the relationships between writers and television institutions. This study of the early years of the BBC’s popular science fiction series <i>Doctor Who</i> is based on archival documents from the 1960s and shows how the role of the screenwriter was negotiated in relation to the opportunities and constraints of format, genre, cost and intended audience, at a time of rapid and dynamic change in British television culture. The decisions about screenwriting analysed in this chapter affected how <i>Doctor Who</i> developed in the 60 years that followed, and also impacted how the BBC thought about its cultural and social mission of Public Service Broadcasting. 10 01 JB code chlel.35.34sch 487 495 9 To be specified 48 1 A01 Eireen Schreurs Schreurs, Eireen Eireen Schreurs 2 A01 Lara Schrijver Schrijver, Lara Lara Schrijver 20 architecture 20 building cultures 20 cultural codes 20 design process 20 material culture 20 visual analysis 01 This chapter addresses architecture as a cultural and visual medium, in which the design process is typically hidden in office archives and the multiple media of design genesis. In modernist architecture, the architect was seen as a visionary genius and a semblance of “purity” was integral to understanding a building’s design. This stands in contrast to how buildings have historically come to be: it neglects the many actors and elements that “construct” the final project, from materials available to local building habits and from contractors to codes and regulations. Revisiting the design process from the perspective of genetic criticism allows a review of the multiple paths that are brought together in a final, working drawing from which the contractor can begin to build. This chapter addresses the pre-construction design phase from initial sketch to final plans in order to reveal how different media intervene in the thought process, and how building cultures express themselves in the result. 10 01 JB code chlel.35.35rin 496 513 18 To be specified 49 1 A01 John Rink Rink, John John Rink 20 Chopin 20 composition 20 creative history 20 music editions 20 music manuscripts 20 music scores 20 music sketches 20 musical notation 20 performance 01 This chapter begins by acknowledging the impossibility of capturing musical thought in notational form and by highlighting the concomitant provisionality of music scores. It then considers the creative input required of performers when they bring musical notation “to life” in sound and in time. This leads to a case study on the Polish composer Fryderyk Chopin, for whom the act of notation posed innumerable difficulties not least because he continually reimagined and revised his musical ideas. The chapter as a whole thus challenges any assumptions we might have about the identity and stability of the Chopin work and of music more generally, while also raising thorny questions about the best means of representing music’s creative history in editions and performances themselves. 10 01 JB code chlel.35.36ver 514 526 13 To be specified 50 1 A01 Pim Verhulst Verhulst, Pim Pim Verhulst 20 Andrew Sachs 20 BBC 20 Caryl Churchill 20 Dylan Thomas 20 feature 20 genetic criticism 20 Harold Pinter 20 radio drama 20 radio play 20 transmediality 01 After contextualising the radio medium in relation to theatre, television and film, and then distinguishing between different types of radio drama, this chapter argues that radio plays are a hybrid (text/sound) art form, as opposed to a “purely acoustic” one, that needs to be researched from an archival perspective, which includes not only drafts, production scripts and recordings, but also ancillary materials such as letters and documents preserved at broadcasting services. In order to illustrate this point, it uses genetic criticism as a methodological framework and four case studies broadcast on the various networks of the BBC: Dylan Thomas’s <i>Under Milk Wood</i> (1954), Harold Pinter’s <i>A Slight Ache</i> (1959), Caryl Churchill’s <i>Identical Twins</i> (1968) and Andrew Sachs’s <i>The Revenge</i> (1978). 10 01 JB code chlel.35.epi 527 529 3 Chapter 51 1 A01 Hans Walter Gabler Gabler, Hans Walter Hans Walter Gabler 10 01 JB code chlel.35.noc 530 536 7 Chapter 52 02 JBENJAMINS John Benjamins Publishing Company 01 John Benjamins Publishing Company Amsterdam/Philadelphia NL 02 November 2024 20241115 2024 John Benjamins B.V. 02 WORLD 01 245 mm 02 174 mm 01 JB 1 John Benjamins Publishing Company +31 20 6304747 +31 20 6739773 bookorder@benjamins.nl 01 https://benjamins.com 01 WORLD US CA MX 10 20241115 01 02 JB 1 00 175.00 EUR R 02 02 JB 1 00 185.50 EUR R 01 JB 10 bebc +44 1202 712 934 +44 1202 712 913 sales@bebc.co.uk 03 GB 10 20241115 02 02 JB 1 00 147.00 GBP Z 01 JB 2 John Benjamins North America +1 800 562-5666 +1 703 661-1501 benjamins@presswarehouse.com 01 https://benjamins.com 01 US CA MX 10 20241115 01 gen 02 JB 1 00 228.00 USD