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Based on the manuscripts of the famous “Élégie pour la reine de Saba” held by the Bibliothèque nationale de France, this study proposes a genetic approach to the poem, shedding light on Senghor’s creative process. By examining the changes made from one version to the next, we can see the poet’s art at work, in each and every gesture. The archive reveals a dynamic weaving of sounds, tones and colours, in an intertwining of threads that exposes the creative movement in all its singularity.

This article examines, through the study of screenplay-related archive documents, the various manifestations of narrative, visual and sound discontinuity in three iconic New Swiss cinema movies directed by Alain Tanner: La Salamandre, Le Milieu du monde, and Jonas qui aura 25 ans en l'an 2000. According to its central hypothesis, the aesthetics of these movies are heavily influenced by the participation of art critic and novelist John Berger as a co-screenwriter, and in particular by the specific modes of writing in tandem developed by Tanner and Berger. The aim is twofold: first, to consider the ways Tanner's production of a public discourse celebrating 'auteur cinema' and the importance of the mise en scène stage has downplayed Berger's role in the conception of these films; second, to comment on the genesis of the screenplays for those three films by paying attention to the specific ways Berger's contribution materialized, especially since the art critic's preoccupations (notably those related to the representation of gender relations) are reflected in these texts. The genetic study of the screenplays, conducted thanks to the director's personal archives deposited at the Swiss National Film Archive, allowed us also to measure the degree to which Tanner's first fiction films, although seemingly improvised, were defined in a very precise manner already at the writing stage. [ABSTRACT FROM AUTHOR]

The article focuses on the similarities in the genesis of Photius' Library and Mystagogia: after recalling the results of the most recent studies on the first and proposing some new hypotheses on the nature and origin of its chapters, it analyses the structure of the Mystagogia, showing that this work derives from the transcription of a composite dossier-prototype prepared by Photius from very heterogeneous sources. Some similarities in the contents of the two works suggest using the same set of materials to compose some sections of both, at different times in the scholar's life. This reconstruction seems to confirm the late dating of the Library (proposed in previous works) and implies a radically new dating for some parts of the Mystagogia, which will be the subject of a further contribution. [ABSTRACT FROM AUTHOR]

This work seeks to describe the occurrences of orally formulated reported speech (RS), during the production of etiological tales invented by a dyad of recently literate students. The analyzed corpus was filmed and collected in real classroom situations. The teacher asked her 7-year-old students, grouped in pairs, to produce a single text. We selected 10 scripture processes and their manuscripts produced by the dyad Caio and Igor. The analysis frame will focus on the types of RS in a set of 10 manuscripts of this student’s dyad and shall illustrate the genesis of the RS in a writing process from initial formulation to their textualization. In the theoretical framework of Textual Genetics and Enunciation Linguistics, this study will consider the procedural dimension of act while writing, looking at the role of each of the students during the constitution of the RS. We will acknowledge that the high occurrence of oral RS (113) compared to the written RS (29) seems to be related to the complexity of the graphic and enunciative forms of their representation through writing, given the loss of their enunciation possibilities.

This article considers the problem of the 'correct' or the 'correction.' Scholars working with archive material (manuscripts) in order to produce new editions of modernist work are faced with a wide variety of different drafts at varying levels of revision. As scholars have recently demonstrated, the process of revision was embraced by modernist writers in unprecedented ways, offering a particular challenge to the editor of the modernist text. In particular, the modernist inclination to resist 'correct' modes of expression, and to embrace ambiguity, offers a particular challenge to the textual editor, required as he or she is to produce a single, albeit annotated, text for each new edition. In brief, this article will ask what the editor of the modernist text ought to 'correct', and further, what he or she might make of the 'errors' to be found in those drafts found. My article takes an early short story by Virginia Woolf, given the tide 'A Dialogue Upon Mount Pentelicus', as a case study through which to approach this question. Throughout, my aim is to put the editorial demand for a correct, readable text into dialogue with the modernist injunction to preserve ambiguity - this last being not only a notably Woolfian characteristic, but one that Woolf herself, among others, identified as particularly apt to be expressed in the short story genre. The article will work through a number of, increasingly complex, dilemmas that the copytext (a typescript with holograph corrections) presents the potential editor of the text, finally focussing on what appears to be no more than a typographical error but investigation of which, nevertheless, yields productive insights for the Woolf scholar. In so doing, I will reflect on the status of the error in editing modernist texts more generally, and suggest how taking 'errors' in archival material seriously might coexist with producing texts which comply with scholarly rigour and legitimately address the unavoidable question of authorial intention. [ABSTRACT FROM AUTHOR]

Abstract: Very little research has been devoted to the way in which the textual genetics approaches the manuscripts in the text processing. However the future of the genetics depends, partly, on the interest which one can carry to this new materiality of the manuscript. The notion of text, the concept of what text is, have they been changed, or at least modified by the use of text processing? To write a text is to elaborate a discourse in the form of an utterance and to record it. The order of the discourse, in other words, the semiotic (the linguistic recognizable) / semantic (the meaning expressed (uttered) in the discourse) ratio should in no way be modified by the use of text processing. What changes, on the other hand, it is the materialization of the paper support of the text and consequently the status of this materialization. [ABSTRACT FROM AUTHOR]

• Metalinguistic comments relate more to transcription, than composition or meaning. • Newly-literate writers' textual revisions are principally graphic-spatial ones, but their metalinguistic thinking crosses a broader range of categories. • Very few erasures or metalinguistic comments related to the meaning being communicated in the narratives. • The collaborative writing context suggests that young writers make hetero-evaluative metalinguistic comments (about their partner's writing) related to spelling, whereas they make self-evaluative metalinguistic comments (about their own writing) related to graphic-spatial issues. Many young writers find revision a challenging process. The study reported here uses a multimodal system (the Ramos System) for data capture, in contrast to the more typical use of think-aloud or post-hoc recall, and sought to understand what newly-literate writers' textual modifications (erasures) and oral comments reveal about their metalinguistic understanding of writing. Six classroom sequences of narrative writing composition were recorded, using both video and audio, capturing both the unfolding texts and the dyadic dialogue about these texts in this collaborative writing context. The analysis shows that, although these young writers' metalinguistic thinking is dominated by graphic-spatial concerns, there is also evidence of emerging broader metalinguistic thinking across a range of categories. Nonetheless, comments related to composition or narrative meaning were rare. The paper argues for more pedagogic interventions which foreground the compositional aspect of writing narratives, alongside transcriptional fluency, and identifies lines for future research. [ABSTRACT FROM AUTHOR]