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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]

Aimé Césaire’s Cahier d’un retour au pays natal, a fundamental text of French literature, is a fluid poem that changes at the same pace as its poet and the world around him. Moreover, we have neither a manuscript of the original version of the poem nor a true definitive version, since the so-called “definitive” version of 1956 is not the last existing version of the text. This fluidity is further complicated by the numerous translations of the Cahier, which multiply the possibilities of reading and interpreting it, because of the movement inherent in any act of translation that introduces diversity into the original text, and because of the fact that these translations are based on different “originals”. In this introduction, after a brief history of the genetic evolution of the poem, we will also highlight the fundamental role played by translation in the evolution of the text, which will allow us to continue its exploration and to contribute to a plural and multilingual reading of Césaire’s work.

Copyright of Revue d'Ètudes Proustiennes is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of L'Année Ronsardiennne is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of L'Année Ronsardiennne is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper discusses the notion of places of power considering the successive rewriting of the scientific article, from its original version submitted to the publisher to its final stance authorized with its ready for press. During this phase, the article becomes the object of negociation; the research looses her authority on her writing and must compose with readers who amend her text. Drawing on the deciphering of graphic codes, on the one hand, and rhetoric norms on the other, the paper analyzes to what extent these corrections may reveal the conditions of acceptability of the writtent text, and with them, the existence of an editorial norm that is not fully explicit.

Copyright of Revista Internacional de Pensamiento Político is the property of Revista Internacional de Pensamiento Politico - Universidad Pablo de Olavide and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Spread between 1979 and 2014, Traian T. Coşovei's poetic career appears to be torn between its first stage, an auroral and playful one, and the second one, more mannerism-infused and deceptive. The year 1990 represents the separation line between these stages, as Coşovei was rarely able to get close to the vigour of his beginnings (the 1980 volume 1, 2, 3 or ... is relevant for this period). This makes for an almost cubist portrait, where the author's figure, torn and fragmented, like in Dora Maar's famous case, becomes unrecognisable. The current study aims at restoring the continuity of the broken lines contained in Coşovei's work and at recompiling the image to a figurative whole. The novelty resides in accessing a few bibliographical sources rarely accessed by literary critics until now: the small and truthful biography that his father, a writer himself, dedicates to his son in 1959 or the set of manuscripts (still novel to the public) characterised by an astonishing diversity, specific to young Coşovei's literary signature even before the publication of his books. What emerges from this endeavour is a long therapeutic journey, where deliberate oblivion seems to be the solution that settles innate melancholy. [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.

Copyright of Nueva Revista de Filología Hispánica is the property of El Colegio de Mexico AC and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the light of the extraordinary development of textual genetics, which proposes to rediscover the work's text through its rough drafts and its preparatory documents, this article focuses on the genetic dimension of Gustave Flaubert's Correspondence, as various letters illustrate the four genetic phases of some of his greatest works. A work's collection of genetic documentation includes not only the writer's autographic work manuscripts (work plans, scenarios, note-pads, documentary notes, rough drafts, fair copies, etc), but also various autographic writings useful to the comprehension of textual genetics such as the author's correspondence, personal journal, etc. Flaubert's Correspondence represents, in this context, one of the examples of 19th century writers' correspondence whose genetic dimension proves to be extremely important. [ABSTRACT FROM AUTHOR]

In this study we will discuss the textual genesis (Genetics of Texts) of reported discourses (DR) identified in writing processes and their respective school manuscripts, produced by a pair of 2nd year of elementary school. From the protocol of data collection proposed by the Ramos System, 10 processes of etiological tales invented by these students were filmed. The students should combine an etiological tale invented, and later the pair of students would write the story on a sheet of paper. In the first part of this study, we describe the occurrences of DR relating product and its writing process. In the second part, we will analyze the process of DR construction from the process of writing a etiological tales. We will show that the low occurrence of DR in the written enunciation in relation to DR uttered orally is due to the genetic process of construction of the narrative invented by two students. The DR inscribed on the sheet of paper is the result of a series of formulations/reformulations activated through dialogue between the students. This dynamic seems to have favored the inventive dimension of the fictional narrative and, at the same time, the very production of unity of meaning of the narrative plot, putting in relation the voices of the students / narrators and the voices of the characters. [ABSTRACT FROM AUTHOR]

Copyright of Revue d'Ètudes Proustiennes is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

At the beginning of the 1940s, Hebrew writer David Vogel (1891-1944) started to write a Yiddish novel for the first time. As an Austrian citizen living in France, he had been held in a camp for suspicious foreigners. His narrative, inspired by this experience, remained untitled after he was captured and sent to death by the Gestapo at the beginning of 1944. Its original version has never been published.This article gives an overview of critical approaches to this text that have been published up to now. It proposes an analysis based on Merleau-Ponty’s linguistic thought and on the principles of literary genetics. The manuscript, with its deletions and additions, is approached in the light of all the languages in which the author could have written in and that leave their mark on the narrative. The author of this article argues that the poetics of foreign language is more central than the question of Vogel’s linguistic identity. His writing in Yiddish thus poses the problem of the status of this language in a world where things are no longer called what they were.

The papers of André Pézard (1893-1984) have recently been acquired by the French national archives. They provide rich documentation about the professional and literary activities of one of the most eminent italianists of his day, translator of Dante and professor at the Collège de France. He was also the author of a memoir published in 1918 under the title Nous autres à Vauquois, in which he bears witness to his own experience during the First World War. The archives of André Pézard give us information about the conditions in which he wrote this text. The diaries he had been keeping since his youth and went on writing during the war, form the basis on which his narration was developed after1917. To these diaries, kept in notebooks day by day, he adds several other documents that are ‘indexed’ in order to associate them as precisely as possible with events he lived through during the war. These photos and letters are mentioned in the diaries. These different sources are remarkably complete and throw much light on the daily life of the soldiers at this time. Pézard’s manuscripts also allow us to understand something of the literary re-composition that he worked on between 1917 and 1918. The genesis of Nous autres à Vauquois can be followed practically step by step. Memories of the war never left Pézard, as his archives show, and he pursued the work of documenting and correcting his own book each time it was republished. It was a book which enjoyed considerable success, in particular amongst veterans of the war. Pézard received many letters about it, not only from French people, but also from Germans, since his book was translated into German in 1932. These letters, carefully preserved with Pézard’s papers, all suggest how the generations that had lived through the war needed to keep the memory of it. The papers also comprise some documents that throw light on the historiographical posterity of Vauquois and on the long-term accumulation of documents that make up Pézard's war archives.

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]

Copyright of Langage & Societe is the property of Fondation Maison des Sciences de l'Homme and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]