By Dirk Van Hulle
A key factor in either textual feedback and the so-called predicament of the unconventional is the stress among the completed and the incomplete. After a theoretical exam of the connection among genetic and textual feedback, Dirk Van Hulle makes use of the 3 case stories to teach how?at every one level within the writing process?the textual content nonetheless had the potential for turning into whatever totally diversified; how and why those geneses proceeded the best way they did; how Joyce, Proust, and Mann allowed contingencies to form their paintings; how those authors recycled the phrases in their critics on the way to inoculate their works opposed to them; how they formed an intertextual measurement throughout the processing of resource texts and analyzing notes; and the way textual content regularly generated extra text.
Van Hulle's exploration of technique sheds new mild at the striking proven fact that such a lot of modernist authors safe their manuscripts, implying either the authors' urge to know every thing and their knowledge of the risks in their encyclopedic initiatives. Textual know-how deals new insights into the artificiality of the artifact?the novel?that are correct to the research of literary modernism generally and the examine of James Joyce, Marcel Proust, and Thomas Mann in particular.
Dirk Van Hulle is Assistant Professor of English and German Literature, collage of Antwerp.
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Additional resources for Textual Awareness: A Genetic Study of Late Manuscripts by Joyce, Proust, and Mann
Thus the focus shifts from an emphasis on correspondence to differences, for instance in John Bryant’s version of the “›uid text” concept: “When we read a ›uid text, we are comparing the versions of a text, which is to say we are reading the differences between the versions, which is to say we are reading distance travelled, difference, and change” (Fluid Text 62). The tendency to focus on differences may have been stimulated by scholars and philosophers such as Gilles Deleuze, according to whom the essence (as it is revealed in art) is “the ultimate Difference” (41).
Has his own little way of thinking about the under sides of things . . (Magic Mountain 259) The 1988 Pléiade edition of La Prisonnière is a great help when one tries to retrieve what is “below the surface” of Proust’s description of the “yellow” wall. The notes in the Pléiade edition (RTP 3:1740) mention that, before he went to see the painting at an exhibition in Jeu de Paume, Proust—like Bergotte—read an article by an art critic, who drew his attention to a few details (RTP 3:692). ” The narrator’s description of the painting contains several elements that correspond almost literally to the second part of Vaudoyer’s article, where he discusses the “precious matter” with which the walls are painted and Vermeer’s ability to hide the meticulousness of the working process (RTP 3:1740).
These misprints were one of the main reasons for editing the 1984 Ulysses,4 which attempts to “uncover and to undo the ‹rst edition’s textual corruption”: “the act of publication is conceived of as an ideal act, to which the edition correlates an ideal text freed of the errors with which Ulysses was ‹rst published” (Gabler, “Afterword” 1892). ” According to Segre, the text is “only an image: a virtual one if it is located at the end of stemmatic reconstruction; a real one if it results from a reading of its simulacrum, the autograph” (Analysis 315).