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Digital Architecture and the Role of the Editor: Mapping Invention in Writing Elli Bleeker
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Digital Architecture and the Role of the Editor
1.
I believe it is safe to assume everyone present in this room has at a certain point embarked on a brand new research project. Maybe the project you started working on had a fixed shape and predetermined goals. But some of you might have been in the particularly lucky position of being able to set those goals yourself, according to what you think the scholarly community needs. As it happens to be, I am in that position myself. It is great and terrifying at the same time. Perhaps that the participants of the DHBeNeLux conference can identify with that feeling. You are working in a field that for years now is flooded with positive reports about extraordinary chances, collaboration, possibilities for new research, and refreshing insights that were not possible beforehand… It is actually quite a pressure. The most interesting projects did not necessarily started out with the intention of fulfilling all those promises. Of course they might have strategically exploited the sexy magic of the words “Digital Humanities” in their project plan or funding application, but that is mere rhetoric. The projects that are refreshing examples of how Digital Humanities are not much concerned with whether or not their project is actually part of the field of Digital Humanities. To put it bluntly: they “just start” and learn along the way. Then again, as academic projects they are concerned with evaluation, adjustment, and improvement. I have no clear idea about the Digital Humanities community and who is actually, officially, a part of it, but I suspect most of you will be interested in the project I recently embarked on. It is a combination of both practical work and evaluation. And it does intend to make use of digital technologies to complement traditional scholarship. 1
2.
My project is part of DiXiT, a Marie Curie funded training network concentrated on digital scholarly editions. Twelve European institutions are involved, including our host of today: the Huygens Institute of the Netherlands. I am engaged as an Early Stage Researcher at the University of Antwerp, where I do my PhD at the Centre for Manuscript Genetics under supervision of professor Dirk van Hulle. 2
3.
My research, Mapping Invention in Writing, concentrates on a very specific element of digital editing. A quotation of book historian Robert Darnton describes the issue best: “Any historian who has done long stints of research knows the frustration over his or her inability to communicate the fathomlessness of the archives and the bottomlessness of the past. If only my reader could have a look inside this box, you say to yourself, at all the letters in it, not just the lines from the letter I am quoting. If only I could follow that trail in my text just as I pursued it through the dossiers, when I felt free to take detours leading away from my main subject. If only I could show how themes criss‐cross outside my narrative and extend far beyond the boundaries of my book…” Translated to scholarly editing: the editor of the complete works of an author is often one of the few persons that fully realises the originating and the workings of a text. He is aware of the influence of the books read by the author; through deletions and additions he sees how the author’s thoughts shaping on the page. He realises how the text is a representation of a creative process. 3
4.
In his influential work Fluid Text, John Bryant emphasises this fluidity. Bryant distinguishes several steps in the process of writing: from the earliest creative moments of mental transcription (when the author transfers the words in his mind to the page) to various stages of revision. An example of this fluid process is a citation marked in a reading book, scribbled down in a notebook and incorporated in the actual text of a literary work. Perhaps there is a literal relationship, perhaps the author paraphrased the citation, or perhaps its influence is only noticeable as a slight change in the literary text 4
5.
In all cases, following the textual trail of this citation provides insight into textual genesis on several levels: … how a text is formed by exterior influences (exogenesis) as well as from the ‘inside’, by crossed‐out words or altered phrases (endogenesis). [The distinction between exo‐ and endogenesis suggest that these processes function separately from one another. I believe, however, that are inextricably linked and that the distinction between them can be neutralised.] 5
6.
However, digital scholarly editions offer many options. In my research, I focus on the question “how can a digital scholarly edition represent the creative and textual genesis of a literary work?” 1) XML TEI, which is used by many digital scholarly editing projects, allows for a detailed encoding of the endogenetic writing process. 2)
By integrating in a DSE the intertextual relations between the readings and the writings of an author, it 3) becomes possible to visualise the interaction between the endo‐ and exogenesis. This brings us closer to Darnton’s dream: 6
7.
… a digital scholarly edition that provides its user 1) a detailed transcription of the author’s texts and 2) an understandable representation of the relations to other texts (i.e. his reading material). 7
8.
Working at the Centre for Manuscripts Genetics gives me the opportunity to bring this theory into practice. One of the biggest projects of the CMG is the Beckett Archive: it is both a digital archive and a genetic edition of Samuel Beckett’s works. 8
9.
9
10.
Last year, Dirk van Hulle and Mark Nixon published Samuel Beckett’s Library, in which they “critically [examine] the reading notes and marginalia contained in the books of Samuel Beckett's surviving library in Paris”. 10
11.
11
12.
12
13.
Consequently: we have the material and the inside knowledge of Beckett scholars. All that is left is to combine them. If material is structured appropriately, it provides a map for any interested reader to find his way through the edition. 13
14.
My research touches upon several issues: 1) The design of my research presupposes that the editor plays an active role in determining what is and is not part of the relevant material. According to Pierre‐Marc De Biasi, the “exogenetic empire” knows no bounds: consequently it is the editor that decides upon the scope and the limits of this empire. This implies that there is a grey scale of editorial in(ter)vention: to what extent should the editor be sure of an intertextual link before encoding it? 2) Then there is the interaction between the textual scholar and the IT‐specialist that constructs and designs the DSE. There interaction in constructing and designing a DSE is as inextricably connected as the endo‐ and exogenetics
of a literary text. Finally, my aim is to evaluate the reusability of the resulting infrastructure for other DSE. The intertextual references in the Beckett module are limited. The Guiltless Copybook of James Joyce on the other contains a big amount of intertextual references. My experience as an editor leads me to suspect that there is a different method for every text, depending on the goals of the project, the views of the editor, his methodology, what he wants to convey, preserve and present. Or could there be a general property that applies to every DSE? 14
15.
The final result is a combination of constructive work and theoretical evaluation. The envisioned digital infrastructure functions as a user’s map of a digital library, guiding him through the author’s text and his reading material. It represents the interaction between those materials, and thus illustrates the complex genesis of a literary work. In this way, it facilitates new research in the nature of writing. 15
16.
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