editio / Beihefte

The focus of this volume is the text, its production, and in particular its reproducibility, within the scope of editing as well. "Text" is understood as a term and concept in the context of various cultural techniques, both as a methodological link as well as the intersection between material document and compiled edition. The volume discusses written and graphic texts from various transmission contexts as well as acoustic texts.

Following Genette’s understanding of paratext, this volume explores the question of how to deal editorially with those elements that are connected to the text or work to be edited but do not constitute its actual text type. This includes, for example, epilogues, advertising texts, typography, but also letters, diaries, notes, or material components of the work as a medial form of appearance.

The translations of the complete dramas of William Shakespeare now known as the "Schlegel/Tieck" translations were begun by August Wilhelm Schlegel in 1797 and continued by Ludwig Tieck, his daughter Dorothea, and Wolf Heinrich von Bauddissin in the 1820s. They have now become a classic text of German literature. These proceedings encompass the latest research, which contextually re-evaluates those translations.

The ten essays in this volume and the systematic introduction that precedes them provide preliminary considerations on a new digital historical-critical Lessing edition, which will take the place of the previous leading edition by Lachmann and Muncker, which was completed in 1924. This volume addresses the achievements but also the desiderata of previous text critical research, putting various edition models up for discussion.

The age of digitalization is opening up new opportunities for editing, modeling (of media genres), and presentation that go beyond the book and the linear film, requiring new collaborations between the philologies, film studies, information science and media technology, and the archive. This volume examines these kinds of relationships against the backdrop of considerations on a transdisciplinary editing practice.

Since Theodor Mommsen presented his foundational Corpus Inscriptionum Latinarum application to the academy in 1847, the methods and practices of editing inscriptions in classical studies have greatly diversified, which is due to factors such as the variety of inscription genres. The contributions in this volume provide insights into the diversity of modern editorial approaches in the field of classical epigraphics.

Textual criticism has not yet made any concerted effort to deal with the relationship between editing and the canon. This volume presents leading studies from the fields of literary studies, musicology, and philosophy that connect theoretical questions of canon research with case studies from the history of editing practice. It provides a cross-disciplinary description of the relationship between canonization and editing practice.

The document and its role in the publication process was examined from an interdisciplinary perspective at the Fellowship Conference (Un)documented – What remains of the document in the publication? presented by the Graduate College “Document – Text – Edition” (Wuppertal). Paper topics include critical consideration of the special philological problems presented by the document, as well as the transfer of documents in digital presentations.

In a digital context, the work of commenting on texts is confronted by new and formidable challenges. Media transformation has also opened up new prospects and possibilities. The issues that emerge from these changes are the subject of the essays in this volume. The focus is on structural and systematic questions, which are considered in the context of philology as well as documentary science.

The volume documents presentations at the 2018 conference of the Consortium of German Studies Publishers. The category of performance in the humanities and cultural studies has undergone a transformation over the past two decades, insofar as a wide variety of text types are looked at in terms of performance. The essays collected here trace this transformation in edition philology.

To represent the genesis of literary texts, and thus their third, temporal dimension, strains the limits of the two-dimensional book. Thanks to digitalization, hyperlink structures, and new image and text processes, it is now possible to visually and experientially reveal the temporal dimension of texts, and thereby design them to be significantly more user-friendly. These are the challenges of digital and hybrid publishing.

This study identifies the problems and questions that emerge in the publication of lecture manuscripts, transcripts, and minutes – in philosophy and beyond. The focus lies on the methodological approaches used in selected editions published between the 18^th and 20^th centuries. The result is designed to serve as a resource for future editorial scholarship.

These conference proceedings on critical editions in the area of musical theater contain papers that approach the topic from diverse perspectives. The scope of the subject matter ranges from classical Italian libretto to experimental forms of musical theater. In addition to illustrative projects, predominantly from the field of digital editions, the papers also address theoretical considerations.

Time and again canonical works must be newly edited, printed, and published, so that they may continue to find public reception and their canonical status be affirmed. Located at the intersection of literary studies, media science, and the history of German studies, the articles collected in this volume investigate editions of modern and established classics on the German book market in the time around 1900.

Featuring essays by scholars of ancient and modern German studies, musicology, and philosophy, the common focus of this volume is on the description and critical examination of recorded traces that reveal the process by which works are revised. The findings evoke exciting insights into the genesis of works and the interplay of different transmitted versions, while opening up new pathways for interpretation.

Essays from the Greifswald Conference "Dissipated, Postponed, and Discarded" (2014), which examined the problems emerging from attempts to reconstruct the text genesis of Wolfgang Koeppen’s Jugend, consider the broader context of modern literature and perspectives on some fundamental issues in edition philology.

This book includes 30 specialized articles devoted to the benefits of editions. They share a strongly interdisciplinary approach: while a major focus is on ancient and modern German studies, a number of essays also address editions in musicology, philosophy, and the film sciences.

This volume discusses the diversity of scholarly traditions, methods of textual analysis, and editorial practices that characterize international edition philology. This diversity is attributable in part to the interdisciplinary contexts in which edition philology is now being practiced. Most recently, the information and natural sciences have been playing an increasing role in the field.

In ever-larger sections devoted to documentation, historical-critical editions have increasingly focused on the material and medial components of a text through descriptions and illustrations of textual media. The collected essays in this volume use theoretical arguments and case examples to illustrate the potential benefits that accrue to literary interpretation from careful attention to the materiality and mediality of texts.

The lack of consistency and precision of editorial terminology is an often-bemoaned complication for the work of any publisher or editor. Against this backdrop, the editor of this volume launched an ambitious project to create a “Dictionary of Editorial Philology.” The book compiles articles and findings from this endeavor, with the aim of making a contribution to raising general awareness about the problems of editorial terminology.

The contemporary media revolution has had far-reaching consequences for the editorial profession. The present volume documents presentations at the Frankfurt conference “Changing and Shifting Media in the Editorial Sciences.” It includes discussions about the fundamental implications of the media revolution for basic categories in the historical sciences as well as editorial case studies from the fields of classical and contemporary German literature as well as musicology.

The digital age presents the editors of academic editions of letters with new dilemmas and possibilities. This collection examines the opportunities and difficulties facing publishers of letters due to media change, and presents examples of publication projects. A focus is placed on the changes in editorial standards for the field of letter publishing necessitated by changes in research and presentation options, as well as on the management of large volumes and networks of text.

The contributions in this volume explore the poetic works of Friedrich Hölderlin, Stefan George, Rudolf Borchardt, Rainer Maria Rilke, Georg Trakl, Gottfried Benn, Bertolt Brecht, Paul Celan and Ernst Jandl and the various text editions of their works. Different aspects of how to edit modern poetry are discussed, and new criteria are established for historical-critical editions as well as for student editions. The book asks what kind of reader each text edition addresses and how different ways of editing influence the interpretation of modern poetry.

This volume is a collection of essays about editions and the materials involved in their making. Elucidating the material characteristics ‑ e.g. the appearance and composition of the material and the different written layers, the arrangement and features of handwritten and printed books can provide clues about the origin of a text. Thirty-five individual contributions ‑ ranging from Bible transmission in antiquity, medieval manuscripts to the sketch books of modern authors ‑ explore how such material features are studied, processed and presented within the framework of edition-making.

This volume documents the contributions of the conference “Digital Editions between Experiment and Standardization”, which took place on December 6‑8, 2007 in the Heinz Nixdorf Museum Forum in Paderborn. It contains the written versions of the oral presentations ‑ here for the most part greatly expanded ‑ as well as summaries of the panel discussions of the three conference sections: concepts of digital editions,
data formats for written music, and problems of encoding letters, diaries etc.

In this collected volume, editors are joined by expert archivists, librarians, publishers and IT specialists to discuss the problem of making editions of medieval texts available both in print and digitally. To facilitate orientation, the discussion included consideration of setting up an internet-based 'Text Portal', which would include access to the ‘raw materials’ of editorship in the form of historical text media or their facsimiles.

The volume contains papers delivered to the 11th International Specialist Conference of the Working Group for Editing Germanic Texts from 22nd to 25th February 2006 in Weimar. The range of topics covered in the volume is extremely broad, so that it is of interest both for Germanists and for musicologists and historians of philosophy. The papers discuss specific problems arising from current editorial projects and models for editions which are at present in a preparatory stage. At the same time, there is a debate around theoretical aspects of the overall subject of the conference, so that altogether the volume provides a reliable orientation to the present state of editorial theory and practice.

Scholars concerned with editing text, principally Germanists and musicologists, have placed a central editorial concept, that of textual criticism, centre-stage. In the course of the past decades, a development has taken place in this area, combined with new thoughts, but also with constant irritations. The contemporary significance and function of textual criticism are discussed using concrete examples.

At first glance, esthetic experience and editing appear to have very little in common. But even on such apparently safe ground as philological editing this impression turns out to be wrong. An editor who ignores the esthetic richness of the material he is working on may divert the attention of his edition's recipient away from essential features of the work of art in question. This collection is the fruit of a conference at which numerous editors and editing experts from various disciplines discussed the theoretical and practical consequences of such a constellation and their implications for the history of scholarship.

The articles in this volume discuss the language-historical aspects of text editions undertaken in the framework of German medieval studies. Throughout, due attention is given to the fact that the linguistic resources elaborated in the 19th century were based on highly manipulated versions, whereas more recently there has been a call for the return to manuscript sources. The papers delivered at the Basel symposium proceed from a consideration of this state of affairs. Neighboring disciplines like Dutch studies and Romance studies are also included.

This collection assembles the contributions to an international conference of the "Permanent Research Group on the Editing of Philosophical Works" in conjunction with the Albertus Magnus Institute, which took place in Bonn from 21 to 23 February 2005. Editions of philosophical and literary works are not only of academic value but also of cultural and political significance. At the same time, they are the expression of a given historical situation. Their progress is frequently accompanied by changes of a philological or technical nature. The individual articles discuss editing projects from the Middle Ages to the 20th century and indicate the changes they underwent and the impact they have had.

On the occasion of the 150th anniversary of Gotthelf's death, the editors began on an historical-critical edition of the author's non-literary works, representing the first stage in the eventual historical-critical edition of Gotthelf's entire oeuvre. The editors have engaged in extensive consultations with experienced editing experts and Gotthelf specialists on the objective of editing and commenting on Gotthelf's complete works in their historical and political context, and on potential avenues to be explored toward the realization of this endeavor. The articles assembled here indicate new approaches to Gotthelf, whose experiences as a committed clergyman, school reformer, journalist, and contributor to religious almanacs all found their way into his narratives.

The volume documents the issues revolving around the relation between transmission, editing, manuscript proximity, and textual reconstruction that aroused lively discussion at the Berlin Editing Conference in 2004. Overview articles and reports on projects ranging from Old High German to late medieval carnival plays investigate questions of text constitution and the status of manuscripts, reflected in a broad spectrum of editing approaches selected in accordance with the respective state of transmission. The collection is supplemented by articles on editorial paratexts and electronic editing forms.

The phenomenon of variant versions plays an important role in editing practice, but it has never been systematically studied and described. The articles in this volume are the fruits of a conference engaging with variants from an interdisciplinary and international perspective. The theoretical and practical problems posed by this phenomenon are illustrated with reference to examples from a wide variety of epochs.

The volume assembles papers delivered at the ninth international symposium of the German Studies Work Group on the Scholarly Editing of Texts, which took place in conjunction with the Work Group on Philosophical Editions and the Group of Independent Research Institutes within the German Musicological Society at the Technical University in Aachen from 20 to 23 February 2002. Three categories and concepts central to editing work - author, authorization, authenticity - are explored for the significance they have for different editorial procedures and their mutual relations to one another. The exploration encompasses theoretical and methodological papers concerned with the superordinate connections obtaining within this conceptual field, papers discussing individual aspects of the conceptual field, and case studies pertaining to individual texts or authors.

In the recent past, the reassessment of the transmission situation with regard to Shakespeare's »King Lear« has spawned numerous single editions of the various versions of the play. Proceeding from a discussion of the transmission problems, the editorial history, and present-day editorial practice, the study undertakes a comprehensive reconception of the methodological foundations of version editing in connection with »King Lear«. The discussion of the theoretical editing problems involved produces an outline for a hypermedia edition that departs from traditional norms in its design of reader text, navigation structure, and reference system. An integral part of the study is an electronic component accessible on the internet (www.niemeyer.de/links/link_material.html), which illustrates the editorial and media-theoretical premises with reference to a newly edited portion of the text.

The Munich-based German Research Council-funded post-graduate research group 'Textual Criticism as a Basis and Method in Historical Studies' brought together editor and text theoreticians from the Classics, art history, musicology and philosophy. The interdisciplinary nature of the research group is reflected in the contributions to this collection, which contains smaller-scale editions and manuscript studies alongside studies on text theory and editing history. The volume marks the 65th birthday of Hans Walter Gabler, who was spokesman of the research group from 1996 to its conclusion in 2002.

The volume assembles papers presented at a conference of the »Research Group on Editing in German Studies« systematically addressing the problem of the editorial handling of translations. The following topics are discussed: Under what heading should translations be listed in the edition of an author's works? What importance do the source texts used for translation have in textual criticism? What function do two-language editions fulfill today?

Unlike editing work performed on literary texts, editing musical scores is not ultimately about mere accuracy in establishing a (musical) text but in determining the way that text will sound. The text (or edition) is a mediator between the work and its performance. Thus, music editors do not address only scholars but also (above all) performers. They enhance the knowledge of their audience and to that end have to make themselves adequately understood. The problems for editing that this can involve (indeed should involve, given the awareness that mutual understanding is anything but easy) is the subject of this volume. It contains the papers delivered at two conferences organized in Berlin in 1998 and 2000 by the Group of Independent Research Institutes within the Music Research Society, in collaboration with the State Institute of Musicology.

The 150th anniversary of Goethe's birth in the year 1999 is taken here as an occasion for reviewing the achievements of modern-day Goethe studies and focussing on the future tasks to be accomplished in this field. Chief among the latter are critical discussion of the major scholarly Goethe editions from Frankfurt and Munich, as well as the question of a fundamental updating of the Weimar edition of Goethe's works. Within this grand design, the projects of the Goethe and Schiller Archives (inventory of Goethe's nachlass, completion of the edition of letters addressed to Goethe, edition of Goethe's diaries and letters) play a central role.

With reference to the relationship between text and author, a subject as challenging as it is problematic in textual criticism terms, the members of the Munich postgraduate research group on »Textual Criticism as Foundation and Method in Historical Studies« here present the findings of their Venice symposium and in so doing give impressive evidence of their competence on the practical and theoretical plane. The range of subjects addressed stretches from inscriptions from the ancient world and medieval authorial awareness to musical works of the Renaissance and from there to texts culled from present-day literary works. In terms of editorial history, the spectrum extends from the beginnings of textual criticism in the writings of J.J. Bodmer and J. Grimm to the textual genesis approach in editorial practice of the modern age.

This collection of essays attempts to address some problems of editorial theory and practice which its contributors have either encountered in their own work as practicing editors or as critical users of English editions. It also discusses more general questions, i.e. linguistic problems of editing, the problems of editing bilingual editions or school editions and the difficult economics of scholarly editions today. There are also essays on editing performance poetry, the waning impact of analytical bibliography, the role of teaching and learning editing as well as on the situation of editorial theory and practice among Anglicists in Germany. Several of the essays in this volume began their lives as papers for a workshop on »Editorial Problems« held at the annual meeting of the German 'Anglistentag' in Gießen in September 1997.

The volume assembles papers held at the 7th International Conference of the Germanic Studies Work Group on Scholarly Editing, focussing either on individual authors or specific editing problems. The individual articles address questions pertaining to the extent to which a specific context influences the production of a work and how such contextual conditions (or dependencies) can be reflected in editing work. With reference to a period ranging from the Middle Ages to the present, both individual and typical contextual influences on work production are illustrated and discussed, with special reference to Dutch and German authors and their literary, musical, theological or historical texts.

This volume discusses a broad range of electronic editing forms and computer systems of potential interest for scholarly editing. Articles on electronic standardizations (SGML, TEI, Metadata) and problems of a general nature (copyright) pertaining to electronic publications provide an introduction to the overall subject. Case studies illustrate present developments in the field of electronic editing. The volume closes with essays on aspects of editing, publication, and archive work heuristically separated off from the overall complex 'computer-aided text editing'.

These contributions by prominent editors inquire centrally into the relation between philology and philosophy, more specifically the possibility of an inner bond uniting them, of a philological form of knowledge and truth, in short of a philosophy of philology. Alongside studies on the theoretical, methodological and hermeneutic aspects of editing, attention is also given to recent tendencies in editing theory and practice such as édition génétique and New Philology. Finally readers are informed about increasingly important practical and pragmatic aspects of editing, including funding, electronic editing and the copyright issues posed by the latter.

The volume assembles the papers delivered at an international colloquium devoted to the clarification and practical implementation of text-genetic concepts of scholarly editing. The essays brought together here center to a high degree on a comparison of the Critique Génétique approach developed in France and the persuasions underlying Text Genetics as conceived in German-speaking countries. In addition, individual editions are examined for their text-genetic purview, individual problems of text-genetic description are discussed and possibilities for the employment of electronic data-processing investigated. Despite the obvious bias towards questions of scholarly editing, the volume casts light on an important area of editorial activity in a way that also opens up new vistas on textual criticism and study for other literary studies scholars not themselves actively engaged in editing work.

This volume presents the findings of a conference of German studies experts on scholarly editing in Graz (Austria) centering on the subject of 'sources'. The various facets of meaning that this term can have, from almost indefinable initial impulse to immediate model or inspiration for a particular work, are discussed with special emphasis on the effects and repercussions of such sources on text-editorial activity. The purview is extremely broad, both in terms of period and text varieties, the range of examples extending from medieval documents to the contemporary German novel. All of them are used to exemplify the connections between source, text and editing reflected in the present-day approach to editing in German studies.

In the study of modern languages at universities, philology understood in the narrower sense of textual criticism has become such a specialized activity that for a long time it generated only very few methodological impulses of broader relevance to the subjects and disciplines in which it was practised. This state of affairs changed dramatically with the advent of the so-called 'New Philology' in the early 90s, an approach relating textual criticism to text theory and text history. The volume assembles the findings of an international colloquium held at the University of Jena (19 Oct. to 21 Oct. 1995), at which linguists, literary scholars and specialists in Romance and German Studies subjected the theories of this 'New Philology' to a critical review, the overall objective being to revive the dialogue between the relevant disciplines and sub-disciplines.

The volume contains the papers on individual authors and specific problems delivered at the conference of the German Studies Work Group on the Scholarly Editing of Texts in Weimar, where the conference topic was the editing of autobiographic writings and biographic testimonies. Germanists and historians from Germany, Austria, Switzerland, the Netherlands, Italy and France presented state-of-play reports on ongoing edition work and discussed theoretical and genre-related problems of scholarly editing. There thus emerges a collection mirroring the present level of interdisciplinary theoretical reflection on the editing of relevant text genres and providing information on the specific problems involved in dealing with specific authors and specific genres. The volume also contains extensive information on the practical progress being made in various ongoing historical-critical editions of diaries, correspondence and autobiographic testimonies.

Der Band dokumentiert die Ergebnisse der VI. Internationalen Fachtagung der »Arbeitsgemeinschaft philosophischer Editionen«, die im Juni 1992 in der Akademie der Wissenschaften in Berlin stattfand. Die Beiträge behandeln folgende Fragen: Erwartungen an und Wirkungen von Editionen allgemein und konkretisiert an Beispielen (Spinoza, Leibniz, Wittgenstein, Heidegger); neuere Tendenzen in der philosophischen, altphilosophischen und germanistischen Edition; Probleme philosophischer Nachlässe; Computer-Einsatz und EDV-Funktionen für Editionen. Abgedruckt werden auch die Arbeitsberichte der Kommissionen der Arbeitsgemeinschaft.

Comparing editions is one of the most fundamental practices in philological work – but has only seldom been an object of methodological reflection. The chapters here shed light on the largely unseen acts of comparison performed by authors, publishers, literary studies scholars, and readers. They reveal that practices of comparing significantly influence how people approach editions, and how those editions are produced, disseminated, and received.

Edition und Vermittlung stehen in einem Spannungsverhältnis, das Grundsatzfragen aufwirft: Wo beginnt, wo endet der Prozess der Edition? Schließt der offene Textbegriff, wie er besonders in jüngeren Editionen vorherrscht, vermittelnde Texte ein? Oder gilt es streng zu unterscheiden zwischen der Bereitstellung eines ‚verlässlichen‘ Texts und darauf bezogenen Vermittlungsformaten, die nicht mehr Teil der Edition sind oder sein sollen? Und gehen nicht gerade digitale Editionen darüber hinaus, indem sie Visualisierungen, Audioformate, Downloads u.v.m. anbieten?

Zielt Edition auf ein professionelles Publikum, während Vermittlung dieses in Richtung nichtprofessioneller Publika überschreitet? Wie die Auffassung von ,Text‘ unterliegen auch die Adressatinnen und Adressaten von (zumal Hybrid- und Online-)Editionen einer Pluralisierung. Die Öffentlichkeiten werden vielfältiger und heterogener, und die Editionsvorhaben tragen dieser Entwicklung in ihrer Konzeption, ihrer didaktischen Aufbereitung und von den Zugangsmöglichkeiten her Rechnung bzw. werden dazu angehalten – unter anderem von ihren Fördergebern.

Ist Edition also letztlich doch gleich Vermittlung (geworden)? Dieser Frage gehen die hier versammelten interdisziplinären Beiträge nach.