Hans Walter Gabler

... 4th ed. New York: RT Young, 1853. Adams, Robert, Hoyt N. Duggan, Eric Eliason, Ralph Hanna III, John Price-Wilkin, and Thorlac Turville-Petre, eds. ... Newark: University of Delaware Press and London and Toronto: Associated University Presses, 1985. Drucker, Johanna. ...

... From argument to design: editions in books and beyond the book. Autores: Hans Walter Gabler; Localización: Variants, ISSN 1573-3084, Nº. 7, 2008 , págs. 159-178. Fundación Dialnet. Acceso de usuarios registrados. Acceso de usuarios registrados Usuario. Contraseña. Entrar ...

At a time in the history of scholarly editing in the twentieth century when «authorial
intention» was still, under Anglo-American principles of editorial scholarship,
a load-star for the realizing of critical editions, this essay set out to
critique the implications of the intentional stance. It endeavoured to show that
invoking intention, if valid at all for reaching editorial decisions and arriving at
critically edited texts, could claim a theoretical foot-hold only in a conception
of the closed and determinate text. A stance in theory recognizing and defining
texts as open and indeterminate, by contrast, would needs also foreground texts
as by nature processual. In the processes of realizing and modifying texts, «intentions
» as expressed in variation and revision will form strings of authors’
readings of successive validity. If and when scholarly editing takes its guidance
from the processual variability of texts, «authorial intention is [seen to be no
longer] a metaphysical notion to be fulfilled but a textual force to be studied».
How such an approach to the forming of scholarly editions might prove to support
their critical function is indicated by sketches of examples from texts by
Bertolt Brecht and Ezra Pound. Edd.

"[...] -Of the offence to me, Stephen answered. Buck Mulligan swung round on his heel. -O, an impossible person! he exclaimed. He walked off quickly round the parapet. Stephen stood at his post, gazing over the calm sea towards the headland. Sea and headland now grew dim. Pulses were beating in his eyes, veiling their sight, and he felt the fever of his cheeks. A voice within the tower called loudly: -Are you up there, Mulligan? -I'm coming, Buck Mulligan answered. He turned towards Stephen and said: -Look at the sea. What does it care about offences? Chuck Loyola, Kinch, and come on down. The Sassenach wants his morning rashers. His head halted again for a moment at the top of the staircase, level with the roof: -Don't mope over it all day, he said. I'm inconsequent. Give up the moody brooding. His head vanished but the drone of his descending voice boomed out of the[...]."

There is an essential distinction to be made between ‘genetic criticism’ and ‘genetic editing’. Genetic criticism belongs to the range of discourses available to literary criticism. It is a mode of discourse to engage with a work of literature and the texts in which we meet the work, or the work meets us. The engagement always issues in discourse: commonly in the critic’s free discoursing. Genetic criticism is thus an extension of the traditional modes of articulating literary criticism. Gene..

Forty years ago, I was at Princeton in New Jersey for a couple of days. There, at the home of a wealthy private collector, I was allowed to see a portrait of Johann Sebastian Bach, one of two portraits painted of the composer by the Leipzig artist Elias Gottlieb Haussmann toward the close of Bach's life. Haussmann's two, largely identical paintings, of 1746 and 1748 respectively, are in fact the only surviving portraits done of Bach during his lifetime. Since the first original got rather the worse for wear by habitually being used as a target board for schoolboys' missiles at the Thomas-Schule in Leipzig in the latter half of the 19th century-throwing things at the old man seems to have helped the choristers to vent their feelings in face of his overpowering historical presence at their school-it is really only the second original 1 that preserves for us a likeness of the composer from life in a pristine condition. It does not leave one cold to stand before it. There were several details in the portrait that I knew to look for, especially that sheet of music in the composer's hand which, facing the viewer, bears clearly inscribed upon it a brief 'Canon triplex à 6 voci'. This consists of 3 bars written out in only three staves (though the title says it is a canon in six parts). So, if one is alert, and prepared to take it seriously, one is led to suspect that there is more to this painted sheet of music than meets the eye. It was the musicologist Friedrich Smend who in a short monograph entitled "J.S. Bach bei seinem Namen gerufen" alerted twentieth-century analysts of Bach's music to the soluble enigma of the sheet of music in the painting. By straightforward mirroring of the painted notes you got your six parts, and by some simple application of basic principles of composition you arrived at two basic shapes of the canon which would then be reversed and further permutated in 120 combinations each-yielding no fewer than 480 possible musical realisations of the shorthand notation in Bach's hands. The whole turns out to be the composer's proof of his skill as required of him to be admitted to Lorenz Christoph Mizler's "Correspondierende Societät der Musicalischen Wissenschaften," for which occasion also the painting itself was commissioned. That skill, in this instance, shows itself clearly as much in computational manipulation of numbers as in musical beauty. If we follow Smend in all his stages of analysis, we find that Bach, with his six-part canon notated in 3 bars on three staves manages to sign his name, to refer to the date, 1747, of his admission to the society, to pay homage in numbers to Georg Friedrich Händel, his great contemporary who had recently become the society's honorary member, and to include his own membership number. Bach was the Society's fourteenth member. As a matter of fact, it is the number 14 which turns out to be significant in giving the key to the whole game-for a game it is. Bach's family name adds up to 14 if you follow the age-old and well-known equation of the letters of the alphabet with cardinal numbers-1 for A, 2 for B, 3 for C (giving you six), and 8 for H-which makes 14. Haussmann in the 1746 original original portrait, incidentally, studs Bach's coat with precisely fourteen silver buttons. We are not generally disposed today to taking such playfulness with numbers very seriously; certainly, we are not prepared to see in what we happen to discover about it an indication and a sign of high art. About music, of course, we learn that of old it bore close affinities to mathematics, and that it was considered a numerically based liberal art in the quadrivium of the medieval academic curriculum. It agrees with our modern sensibility to hear stated by one of Johann Sebastian Bach's sons that he had not much of a mind for 'that mathematical stuff'. Nevertheless, when we discover a little more what he did do with numbers, we must realise that his sensibility cannot be equated with ours. In the case of our example, he wrote a six-part canon for admission to a Musical Society; he wrote six Brandenburg concertos, six French and six English suites for the harpsichord, six 'ceIlo suites; and his Christmas Oratorio is a cycle of six church cantatas. Six is the traditional number of music; and-to return to the

htm) brought into line-fall, minutely proofread against the NLI digital images, and XML-TEI-tagged by Hans Walter Gabler. From the state of transcript representation of the draft manuscript so achieved, TUSTEP procedures of text data processing were devised and applied to stripping all manuscript revision and addition layering. This yielded the draft's base layer of composition here offered. The page-linenumbering is true in the page numbers, though approximate in the line numbers due to the elimination of revisions/ additions. The hypothesis for isolating the base layer of NLI MS NLI.8 has been that this draft re-uses core text from the Hamlet version of 1916 which is lost, but which Joyce's correspondence at the time testifies to. Nonetheless, however, MS NLI.8 from the latter half of 1918 is a chapter draft for episode nine (Scylla & Charybdis) of Ulysses. In the page-line numbering, two type fonts alternate: 'Bookman Old' is used for text distictly probable to descend from the Hamlet version of 1916, 'Times New Roman' for text likely enough freshly composed for episode nine of Ulysses.