- Hans Walter Gabler, Professor of English Literature and Editorial Scholarship (retired) at Ludwig-Maximilians-Universität, Munich, Germanyedit
Gabler reconstructs and analyses the creation of Virginia Woolf’s novel To the Lighthouse with a focus on the third section, ‘The Lighthouse’. The novel’s structure and publication history are discussed alongside the rich sources on the... more
Gabler reconstructs and analyses the creation of Virginia Woolf’s novel To the Lighthouse
with a focus on the third section, ‘The Lighthouse’. The novel’s structure and publication
history are discussed alongside the rich sources on the text’s genesis, (auto)biographical
materials and Woolf’s drafts. These drafts, although only few of them survive, shed light
on the early development of her prose. Gabler’s analysis shows how Woolf departed
from her personal experience – traces of which are visible in the earliest drafts – and
gradually transformed the material of memory into fiction, thus endowing her work with
artistic autonomy.
with a focus on the third section, ‘The Lighthouse’. The novel’s structure and publication
history are discussed alongside the rich sources on the text’s genesis, (auto)biographical
materials and Woolf’s drafts. These drafts, although only few of them survive, shed light
on the early development of her prose. Gabler’s analysis shows how Woolf departed
from her personal experience – traces of which are visible in the earliest drafts – and
gradually transformed the material of memory into fiction, thus endowing her work with
artistic autonomy.
Research Interests:
Profitably to be read in continuation of "The Genesis of A Portrait of the Artist as a Young Man." In: Philip Brady and James F. Carens (eds.), Critical Essays on James Joyce's A Portrait of the Artist as a Young Man. New York: G.K.... more
Profitably to be read in continuation of
"The Genesis of A Portrait of the Artist as a Young Man." In: Philip Brady and James F. Carens (eds.), Critical Essays on James Joyce's A Portrait of the Artist as a Young Man.
New York: G.K. Hall, 1998, pp. 83-112. [e-pub: http://epub.ub.uni-muenchen.de/13101/1/gabler_83_112.pdf ] [Downloadable from academia.edu]
"The Genesis of A Portrait of the Artist as a Young Man." In: Philip Brady and James F. Carens (eds.), Critical Essays on James Joyce's A Portrait of the Artist as a Young Man.
New York: G.K. Hall, 1998, pp. 83-112. [e-pub: http://epub.ub.uni-muenchen.de/13101/1/gabler_83_112.pdf ] [Downloadable from academia.edu]
Research Interests:
“From Memory to Fiction: An Essay in Genetic Criticism.” In: The Cambridge Companion to To The Lighthouse, ed. Allison Pease. Cambridge: CUP, 2015, 146-157.
Research Interests:
[Published in:] Culture del Testo e del Documento 46.1 (2015), 122-144. [Originally, the opening address at the ESTS Conference, "Textual Scholarship and the Canon," in Vilnius, Lithuania, in November 2007.] [Published in:] Culture del... more
[Published in:] Culture del Testo e del Documento 46.1 (2015), 122-144. [Originally, the opening address at the ESTS Conference, "Textual Scholarship and the Canon," in Vilnius, Lithuania, in November 2007.] [Published in:] Culture del Testo e del Documento 46.1 (2015), 122-144.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
This is a condensed exposé in German of the contribution to Literature Compass 7/2 (2010): 43–56: "Theorizing the Digital Scholarly Edition" (see above).
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Occasioned by critique and criticism of the Critical and Synoptic Edition of James Joyce's Ulysses (edited in three volumes by Hans Walter Gabler with Wolfhard Steppe and Claus Melchior, New York and London 1984), this is a reflection on,... more
Occasioned by critique and criticism of the Critical and Synoptic Edition of James Joyce's Ulysses (edited in three volumes by Hans Walter Gabler with Wolfhard Steppe and Claus Melchior, New York and London 1984), this is a reflection on, and in its turn a critique of, principles and practices of scholarly editing. Specifically, the Anglo-American orientation in the 20th century towards bibliography, and towards copy-text editing with its claims to fulfilling authorial intention, is scrutinized in the light of alternative perspectives on the discipline.
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
Research Interests:
At a time in the history of scholarly editing in the twentieth century when «authorial intention» was still, under Anglo-American principles of editorial scholarship, a load-star for the realizing of critical editions, this essay set out... more
At a time in the history of scholarly editing in the twentieth century when «authorial intention» was still, under Anglo-American principles of editorial scholarship, a load-star for the realizing of critical editions, this essay set out to critique the implications of the intentional stance. It endeavoured to show that invoking intention, if valid at all for reaching editorial decisions and arriving at critically edited texts, could claim a theoretical foot-hold only in a conception of the closed and determinate text. A stance in theory recognizing and defining
texts as open and indeterminate, by contrast, would needs also foreground texts as by nature processual. In the processes of realizing and modifying texts, «intentions » as expressed in variation and revision will form strings of authors’ readings of successive validity. If and when scholarly editing takes its guidance from the processual variability of texts, «authorial intention is [seen to be no longer] a metaphysical notion to be fulfilled but a textual force to be studied». How such an approach to the forming of scholarly editions might prove to support their critical function is indicated by sketches of examples from texts by Bertolt Brecht and Ezra Pound.
texts as open and indeterminate, by contrast, would needs also foreground texts as by nature processual. In the processes of realizing and modifying texts, «intentions » as expressed in variation and revision will form strings of authors’ readings of successive validity. If and when scholarly editing takes its guidance from the processual variability of texts, «authorial intention is [seen to be no longer] a metaphysical notion to be fulfilled but a textual force to be studied». How such an approach to the forming of scholarly editions might prove to support their critical function is indicated by sketches of examples from texts by Bertolt Brecht and Ezra Pound.
Research Interests:
The essay reflects on the critical implications of a scholarly edition's apparatus of variants. For examples, it draws on a short story of William Faulkner, on the manuscript development of John Milton's poem "At a Solemn Musick," and on... more
The essay reflects on the critical implications of a scholarly edition's apparatus of variants. For examples, it draws on a short story of William Faulkner, on the manuscript development of John Milton's poem "At a Solemn Musick," and on James Joyce's Ulysses. Herein, it constituted at the time of delivery (1981) an advance notice of the apparatus rationale and design for the three-volume Critical and Synoptic Edition of Ulysses which, when published in 1984, coincided roughly with the publication of the essay.
Research Interests:
The conference "The Shape of Things to Come", convened by Jerome McGann, was held in Charlottesville, Va., 26 to 28 March 2010. Its papers and responses were instantly published by Rice University Press under the title "Online Humanities... more
The conference "The Shape of Things to Come", convened by Jerome McGann, was held in Charlottesville, Va., 26 to 28 March 2010. Its papers and responses were instantly published by Rice University Press under the title "Online Humanities Scholarship: The Shape of Things to Come" both online and as print-on-demand. The URL for the entire collection is: http://rup.rice.edu/cnx_content/shape/m34305.html#blank [Rice University Press, 2010].
My response to Gregory Nagy's paper on the Homer Multitext Project focusses on concepts of editorial theory (oral vs. written transmission of texts; textual variation; the strange fact of editorial scholarship being traditionally predicated on 'error').
My response to Gregory Nagy's paper on the Homer Multitext Project focusses on concepts of editorial theory (oral vs. written transmission of texts; textual variation; the strange fact of editorial scholarship being traditionally predicated on 'error').
Research Interests:
This is a contribution primarily to the ongoing discussion of textual collation in COST Action A32 ("Open Scholarly Communities on the Web"). It discusses requirements for instruments of electronic collation both for purposes of textual... more
This is a contribution primarily to the ongoing discussion of textual collation in COST Action A32 ("Open Scholarly Communities on the Web"). It discusses requirements for instruments of electronic collation both for purposes of textual criticism and for critically interpretative work with literary, philosophical, historical etc. texts, and teaching. The existing tools it refers to are the collation module in the TUSTEP package of procedures for text data processing developed in Tübingen (Germany); the tool JuXta within the NINES/Collex system from ARP (Applied Research in Patacriticism) at the University of Virginia; and the collation tool CASE created for Peter Shillingsburg's Thackeray edition. In terms of principles, these tools are measured against fundamental requirements for collation; in terms of pragmatics, they are also looked at for potential integration into the infrastructure design for a research platform on the web that, at the time of writing, bore the name HYPER and has meanwhile been re-de-signed as TALIA.
Research Interests:
Research Interests:
A brief attempt at correlating the study of the book with texts, textual and literary criticism.
The publication in Genesis is a translation into French. The original English is here appended.
The publication in Genesis is a translation into French. The original English is here appended.