Band 35, Heft 1

Online-access to audiovisual content is rapidly changing the system of film distribution and film presentation. The streaming portal acts as a threshold for online access to moving image works. Algorithms and artificial intelligence are increasingly taking over the selection and curation of audiovisual content and direct viewers’ attention via personalised recommendation systems. The article outlines the market development towards online access to audiovisual content and analyses selected aspects such as artwork (thumbnails) and genres to explore the functionalities of accessory (paratexts) to the film for recommendation systems in video streaming portals and data analysis. From the analysis, the article derives preliminary considerations on requirements that result from the use of artificial intelligence technologies for promoting film and visual literacy in cultural heritage institutions.

This paper deals with the communicative sense-making of paratexts, esp. peritextual elements, in pre-modern manuscripts and early prints. First, the theoretical basis of this contribution is outlined, which is situated between Genette’s approach, traditional gloss research, and ‘material philology’. It is based on the idea that each peritextual element has a communicative meaning and accompanies the understanding of the text in an individual way. A comparative analysis of manuscripts and prints of a passion dialogue (14 th –16 th century) points out how different peritextual entities are used and which communicative offer is made. Finally, the importance of annotating peritextual elements and their visualisation in digital editions is discussed.

In this article, the readability of the world that Jean Paul’s literature tries to produce and the readability of Jean Paul’s literature that the traditional edition wanted to ensure are intertwined with, firstly, the interwovenness of the primary work and parerga and, secondly, with the issue of the edition of his manuscripts. Jean Paul’s autonomy aesthetics replaces the depiction of reality with the world as text; this is mirrored in his handwritings, the edition of which allows for insights into the mycelium of an ‘alternate’ classical literature.

Musicology has increasingly recognised the relevance of dedications for texts and works. Nevertheless, there seems to be no practical consensus on how to edit the dedications of historical musical sources. Using the example of 19th-century music prints, this essay highlights the role of dedications for a musical work and points out nuances of the phenomenon that are of relevance for editorial decision-making. An overview of functions of dedications in 19 th -century music is outlined. This is followed by a theoretically-guided discussion of more ambivalent case examples in which rivaling dedication variants to a single work must be considered from the editor’s perspective. While a complete guideline for the editing of dedications cannot be given in this study, the conclusions drawn may help to establish a common awareness and a best practice.

Literary exhibitions edit texts in their material aggregate states along with their material resistances and transitions and in a literary field which includes epi- and paratexts of all kinds. Texts, epi- and paratexts become ‘poetic things’ in an exhibition, in which production and reception merge. In this way, literary exhibitions can expand the traditional text-genetic edition. This is explained using the examples of exhibitions of the German Literature Archive / Museum of Modern Literature Marbach.

Literary compositional drafts and working manuscripts preserve traces of the gradual process of writing and its different stages. In the static medium of print, genetic editions are confronted with the problem of depicting the dynamic evolution of texts. Presenting the variants in line-by-line synoptic display disregards the spatial arrangement on the manuscript pages. On the other hand, giving a topographic representation of the writing in diplomatic transcripts might stratify it into a few chronological layers but is unable to sufficiently reproduce the dynamic process to an elaborate degree. Consequently, the screen is better suited to visualise the writing process. The digital presentation of the ‘Homburg Folio’, the most important manuscript of Friedrich Hölderlin’s late work, offers not only the transcriptional record as known from print media but displays the process of writing and revision on each of the facsimile’s pages itself (https://homburgfolio.wlb-stuttgart.de). Thus, it is possible to visualise writing both as an act in time and its graphic result on the space of a page. It confines itself to the presentation of the genesis without any constitution of a text. The combination of these different operations has often led to errors. Decoupling the genetic analysis from the extrapolation of text reveals its potential.

With his contributions both to textual criticism and editorial methodology, Michael Bernays substantially shaped the field of scholarly editorial practice in the nineteenth century. While his treatise of 1866, Über Kritik und Geschichte des Goetheschen Textes ( On the Critical Reception and History of Goethe’s Texts ), has come to be recognized as one of ‘foundational’ documents of editorial theory and practice, his 1872 analysis of the gestation and emergence of August Wilhelm Schlegel’s Shakespeare translations ( Zur Entstehungsgeschichte des Schlegelschen Shakespeare – The Creation of Schlegel’s Shakespeare ), as well as his conception of a new and revised edition of the Schlegel-Tieck translation (1871–1873, 1892), have both until now attracted very little attention. This article attempts to provide a more precise account of Bernays’ text-critical methodology, and to set his editorial deliberations over the Schlegel-Tieck translation in the broader context of contemporary endeavours to create a ‘German’ Shakespeare.

The paper appeals for a re-examination of the digital scholarly edition of letters informed by a ‘theory of practice’ appropriate to a project environment. The genre letter seen as a means of communication and the use of digital media tools are emphasised, the use of which in no way precludes keeping with established scholarly critical edition standards. The ‘behind the scenes’ of the project The Digital Edition of August Wilhelm Schlegel’s Correspondence is discussed, as are, in a more universal sense, Bourdieu’s critical ideas of theory and practice as applied to digital letter edition projects and their interests.

The correspondence between Georg Trakl and the Kurt Wolff publishing house can serve as an example to demonstrate the different approaches of the two historical-critical Trakl editions. As about half of the letters are undated, the editors often had to guess their chronology. The already reconstructed letters are especially problematic because their sources are letters with an uncertain dating. In this paper, three letters are newly dated. Moreover, the double publication of a reconstructed and a surviving letter can be proved.

The concept of work and authorship have long been the subject of intense reflection in historical musicology. Edition projects deal with composers and their work process and have developed new approaches for this purpose. Against the background of the question of where the ‘text’ to be edited actually ends, this paper discusses the possibilities of making director’s piano score (Regieklavierauszug) digitally visible and thus interpretable (understood as a work ‘sui generis’). Furthermore, the creative process of all participants in the classical sound recording is considered in terms of its digital visibility. On the basis of my research data from the DFG project “The sound recording studio as a discoursive room” at the TU Berlin/Audiokommunikation (participant observation, interviews, transcripts of recording processes, evaluations with MaxQDA) I show that these creative processes in the collaborative interaction of artists and engineers can also be found in classical music. By evaluating these (and other) materials with the help of MEI and TEI, new ways of ‘work’ and ‘authorship’ are also explored in this genre. Ultimately, this should also establish the sound recording as a ‘sui generis’ work.