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Éditeur : RodopiCollection : The European Society for Textual Scholarship318 pagesISBN : 978-90-420-3632-1 - ISSN: 1573-3084€ 70    On notera, dans le dernier numéro de la revue interdisciplinaire Variants, des articles qui pourront intéresser directement les amateurs d'éditions numériques. Voici le résumé de ces articles en anglais. Plus bas, la présentation du numéro et de l'ensemble de ses articles.Tara L. Andrews, "The Third Way: Philology and Critical Edition in the Digital Age", probes deeply into the question what a digital scholarly edition should look like and, polemically, why there are so few of them around. The two questions, as she demonstrates, are closely interlinked, as she points not only to a resistance among classical philologists to use computers to make the editions, but also to a shift in approach between “old” and “new” philology. Manual methods of collation have tended towards the establishment of an “ideal” text, while computer-assisted collation and data processing has focused more on the unique existence of texts as they were produced, transmitted and consumed.Franz Fischer, "All texts are equal, but... Textual Plurality and the Critical Text in Digital Scholarly Editions", agrees that the power of the computer has not been sufficiently harnessed in classical philology. Too often still a digital edition points to its availability online (as digital text or pdf), not to the way it was produced using the computer as a tool. He presents a detailed case study of two digital editions — one of William of Auxerre's Summa de officiis ecclesiasticis and of Saint Patrick's Confessio — to illustrate the different methodologies at work and to highlight the important conclusion that the edition that is fully digitally prepared satisfies better the criterion for scholarly transparency.Peter Robinson, " Towards a Theory of Digital Editions", reflects on the need for, and the principles that ought to underpin, a theoretical consideration of digital scholarly editions. The direction this theory should take is based on the primacy of the document, rather than that of the work, that has emerged in debates over recent years. Yet while Robinson welcomes this shift he also warns that the text-as-document is in danger simply of taking over from the text-as-work because current digital tools for scholarly editing do not allow for the encoding of both.This volume is the 10th issue of Variants. In keeping with the mission of the European Society for Textual Scholarship, the articles are richly interdisciplinary and transnational. They bring to bear a wide range of topics and disciplines on the field of textual scholarship: historical linguistics, digital scholarly editing, classical philology, Dutch, English, Finnish and Swedish Literature, publishing traditions in Japan, book history, cultural history and folklore. The questions that are explored — what texts are worth editing? what is the nature of the relationship between text, work, document and book? what is a critical digital edition? — all return to fundamental issues that have been at the heart of the editorial discipline for decades. With refreshing insight they assess the increasingly hybrid nature of the theoretical considerations and practical methodologies employed by textual scholars, while reasserting the relevance and need for producing scholarly editions, whether in print or digital, and continuing advanced research in bibliographical codes, textual transmissions, genetic dossiers, the fluidity of texts and other such subjects that connect textual scholarship with broader investigations into our nations' literary culture and written heritage.Contents and abstractsEditor's PrefaceNotification and CorrigendumTeresa Marqués-Aguado, "Editions of Middle English Texts and Linguistic Research: Desiderata regarding Palaeography and Editorial Practices", reviews some shortcomings of traditional scholarly editions for historical linguistics and, using as a case study the antidotary in M S Hunter 513 (Glasgow, University Library), she offers suggestion as to how editors might better preserve documentary detail that reflects diachronic changes in the language, such as the recording of changes in scribal hands and an improved method of noting scribal error.Pietro G. Beltrami, "Textual Criticism and Historical Dictionaries", discusses the limitations of text-oriented critical editions from the point of view of the compiler of historical dictionaries, using his involvement with the Tesoro della Lingua Italiana delle Origini (TLIO) as a practical illustration of what constitutes a reliable edition for historical lexicography and how the lexicographer must cope when such an edition is not available . As a result, the article offers a succinct overview of methodological changes in the Italian editorial tradition.Tara L. Andrews, "The Third Way: Philology and Critical Edition in the Digital Age", probes deeply into the question what a digital scholarly edition should look like and, polemically, why there are so few of them around. The two questions, as she demonstrates, are closely interlinked, as she points not only to a resistance among classical philologists to use computers to make the editions, but also to a shift in approach between “old” and “new” philology. Manual methods of collation have tended towards the establishment of an “ideal” text, while computer-assisted collation and data processing has focused more on the unique existence of texts as they were produced, transmitted and consumed.Franz Fischer, "All texts are equal, but... Textual Plurality and the Critical Text in Digital Scholarly Editions", agrees that the power of the computer has not been sufficiently harnessed in classical philology. Too often still a digital edition points to its availability online (as digital text or pdf), not to the way it was produced using the computer as a tool. He presents a detailed case study of two digital editions — one of William of Auxerre's Summa de officiis ecclesiasticis and of Saint Patrick's Confessio — to illustrate the different methodologies at work and to highlight the important conclusion that the edition that is fully digitally prepared satisfies better the criterion for scholarly transparency.Annemarie Kets, "Texts Worth Editing: Polyperspectival Corpora of Letters", discusses the Dutch cultural and literary movement known as “De Tachtigers” in terms of a network of intellectuals in 1890s The Netherlands. She describes an on-going project, the “Web van Tachtig” to prepare a major digital edition of the correspondence this network, using the eLaborate tool developed by the Huygens-ING institute, that will do justice to the interlinked, collaborative nature of this movement.Peter Robinson, " Towards a Theory of Digital Editions", reflects on the need for, and the principles that ought to underpin, a theoretical consideration of digital scholarly editions. The direction this theory should take is based on the primacy of the document, rather than that of the work, that has emerged in debates over recent years. Yet while Robinson welcomes this shift he also warns that the text-as-document is in danger simply of taking over from the text-as-work because current digital tools for scholarly editing do not allow for the encoding of both.Wim Van Mierlo, "Reflections on Textual Editing in the Time of the History of the Book", expresses the need for an approach to scholarly editing that is more historically rooted than has hitherto been the case in Anglo-American textual criticism. He gives a new understanding of what has happened in the field since the “sociological turn” since J. J. McGann and D. F. McKenzie and argues for a realignment between text and the material forms of the book, and for scholarly editors to pay closer attention to the granularity of the texts that have come down to us from the past.Veijo Pulkkinen, "A Genetic and Semiotic Approach to the Bibliographical Code Exemplified by the Typography of Aaro Hellaakoski's 'Dolce far Niente'”, examines the manuscripts and page proofs of this Finnish poet's iconic modernist poem, he argues for a rapprochement between bibliographical form and textual process within genetic study. He relies on Peircean semiotics to highlight the “indexical” nature of the bibliographical code.Jon Viklund, "Gunnar Ekelöf and the Rustle of Language: Genetic Readings of a Modernist Poetic OEuvre", analyses the manuscripts of the Swedish poet to tackle Ekelöf's obsession with the notion of renewal. His genetic reading investigates how the poet becomes a reader of his own work in progress, a process which in turn influenced the direction and continuation of the writing. Not a believer in the idea of a finished poem, Ekelöf also resisted the concept of the “so-called formally perfect” poem represented by John Keats's “Ode on a Grecian Urn”.Giedre Jankeviciute and Mikas Vaicekauskas, "An Omnipotent Tradition: The Illustrations of Kristijonas Donelaitis's Poem Metai and the Creation of a Visual Canon", surveys the bibliographical codes of one of Lithuania's most canonical poems as they were transformed through the poem's transmission and republication from its original edition in 1818 to the most recent printings in 2011. Analysing the visual languages of Donelaitis's illustrators, and their appropriation and re-use in different formats, the Jankevičiūtė and Vaicekauskas are particularly interested in the ideological reconceptions of the poem.David Atkinson, "Are Broadside Ballads Worth Editing?", is a detailed, penetrating study of the value of an mainly oral genre that is being transmitted in ephemeral form and the problems of multiformity and variation that they pose for the scholarly editor.Kiyoko Myojo, "The Functions of Zenshu in Japanese Book Culture: Practices and Problems of Modern Textual Editing in Japan", discusses the history and cultural practice of “ Zenshū”, or complete works, in modern Japan. On the one hand, she elucidates this unique form of this publishing tradition which emerged in the final decade of the nineteenth century: “Zenshū” represent a cultural project of canonization which equates the “size” of the complete with the importance of the author. On the other hand, she comments on the absence of textual authority in many of these editions insofar as their rationale is commercial rather than scholarly, and advocates a better understanding among literary scholars in Japan of the principles of textual criticism.Work in ProgressArianna Antonielli and Mark Nixon, "Towards an Edition of Edwin John Ellis and William Butler Yeats's The Works of William Blake: Poetic, Symbolic and Critical", analyse the extant manuscript corpus and its relation to the published edition, and the compositional process of the first complete edition of Blake's writings originally published in 1893. This analysis is part of a forthcoming facsimile edition of the archival materials.Book ReviewsStephanie A. Viereck Gibbs Kamath, Authorship and First-Person Allegory in Late Medieval France and England, reviewed by Sarah Laseke.Michael Calabrese, Hoyt N. Duggan, and Thorlac Turville- Petre, eds., The Piers Plowman Electronic Archive, 6: San Marino, Huntington Library Hm 128 (Hm. Hm2): William Langland, SEENET, A.9, reviewed by Orietta Da Rold.Thomas Middleton, The Collected Works . Eds. Gary Taylor and John Lavagnino, reviewed by Sandra Clark.Charles Dickens, The Manuscript of Great Expectations: From the Townshend Collection, Wisbech, reviewed by Wim Van Mierlo.David Butterfield and Christopher Stray, eds., A. E. Housman: Classical Scholar, reviewed by Geert Lernout,Mark Nixon, ed., Publishing Samuel Beckett, reviewed by Pim Verhulst.Dirk Van Hulle, The Making of Samuel Beckett's Stirrings Still/Soubresauts and Comment dire/What is the Word, and Samuel Beckett, Stirrings Still/Soubresauts and Comment dire/What is the Word, eds. Dirk Van Hulle and Vincent Neyt, reviewed by Iain Bailey.Sukanta Chaudhuri, The Metaphysics of Text, reviewed by Adam Smyth.Joseph A. Dane, Out of Sorts: On Typography and Print Culture, reviewed by Geert Lernout.Notes on the Contributors&#160;Source : The European Society for Textual Scholarship