Jane Austen's Fiction Manuscripts: a critical edition in four volumes

简·奥斯汀的小说手稿：四卷批评版

• 批准号: AH/I027037/1
• 负责人: Kathryn Sutherland
• 金额: $ 6.95万
• 依托单位: University of Oxford
• 依托单位国家: 英国
• 项目类别: Fellowship
• 财政年份: 2012
• 资助国家: 英国
• 起止时间: 2012 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FI027037%2F1
• 关键词: Jane; Austen; Fiction; Manuscripts; critical

As a record of the creative mind of one of English Literature's most famous writers, Jane Austen's fiction manuscripts are priceless. Since 1845 when her sister Cassandra died, they have been scattered, first among family members, and subsequently in libraries, museums, and private collections around the world. A digital edition, created with the generous support of the AHRC Resource Enhancement Scheme, has made accessible a new resource for this major writer: images of every page of the manuscript fiction and fully searchable transcriptions of their contents. The real public benefit of the digital edition is that Austen's fiction manuscripts are now freely available online for anyone worldwide wishing to consult or enjoy them. The digital edition was the first part of a more ambitious project that aims to incorporate alongside full facsimile images and transcriptions (derived from the digital edition) a close-grained study of Austen's working practices. This new research will culminate in a four-volume print edition of Jane Austen's Fiction Manuscripts, to be published by Oxford University Press. New elements will be: an introduction tracing the genesis of the individual manuscript writings, their relationship to Austen's print career, their publication history and critical reception; short essays on features of the manuscripts ('Composition and Revision'; 'Writing Habits'; 'Jane Austen's Gatherings'; 'Jane Austen's Reading'; 'Punctuation'; 'The Dynamics of the Manuscript Page'; 'Hands other than Jane Austen's'); full textual critical apparatus and textual annotations for each manuscript. In total, around 50,000 words of new material will be added to the images and transcriptions. I will further consolidate the relationship between digital and print forms of the edition in two essays on their conceptual and practical relationship, to be published in scholarly journals. Though previous studies exist (notably Brian Southam's pioneering Jane Austen's Literary Manuscripts (1964; revised edition, 2001)), systematic examination has been hampered by the relative inaccessibility of the manuscripts themselves and by repeated inconsistencies in editorial practices in dealing with them. Now that we have high quality images with consistently and deeply encoded diplomatic transcriptions, it is possible to develop the first fully comparative scholarly analysis of the compositional features of the manuscript fiction, to create a comprehensive textual critical apparatus, and to map Austen's working methods as a writer: the creative development of individual works, and the comparative understanding of her practices across her career. This new research will be presented in the print edition. Taken together, the distinct digital and print components will create a powerful hybrid edition: part textual laboratory and part authoritative, stable reference source. It is already clear that for Austen there was a vital link between composition surface and the act of writing. Further research for the print edition will substantiate a definition of manuscript editing as the editing of an object (shop-bought notebook or homemade paper gathering) as well as its written text. It will address such questions as: how might we incorporate the formal features of manuscript (information from paper, its quality, shape and size, from ink, and the disposition of words on the page) into our understanding of the meaning of texts? what are the differences between an author's appearance in manuscript and in print, and how might manuscript evidence, as a collection of events and surfaces (objects that encode time as well as space), adjust our understanding of authorial practice?I will draw on the visual and searchable evidence within the digital edition for much of this work. Further research will be undertaken on primary Austen materials held in the Morgan Library & Museum, New York, in King's College, Cambridge, and in the British Library, London.

简·奥斯汀的小说手稿是英国文学史上最著名的作家之一，她的小说手稿是无价之宝。自1845年她的妹妹卡桑德拉去世以来，它们一直分散在家人中间，随后散落在世界各地的图书馆、博物馆和私人收藏品中。在AHRC资源增强计划的慷慨支持下创建的数字版本，为这位主要作家提供了一个新的资源：手稿小说每一页的图像及其内容的完全可搜索的抄本。电子版的真正公共利益是，奥斯汀的小说手稿现在可以在网上免费提供，供世界各地希望查阅或欣赏它们的人使用。数字版本是一个更雄心勃勃的项目的第一部分，该项目旨在将奥斯汀的工作实践与完整的传真图像和抄本(源自数字版本)结合在一起。这项新的研究最终将出版简·奥斯汀小说手稿的四卷本印刷版，将由牛津大学出版社出版。新的内容包括：追溯个人手稿写作的起源、它们与奥斯汀印刷生涯的关系、它们的出版历史和评论界的接受程度的导言；关于手稿特点的短文(《写作和修改》；《写作习惯》；《简·奥斯汀的聚会》；《简·奥斯汀的阅读》；《标点符号》；《手稿页的动态》；《除简·奥斯汀之外的手》)；完整的文本批评工具和对每一份手稿的文本注释。总计约5万字的新材料将被添加到图像和转录中。我将在即将发表在学术期刊上的关于概念和实践关系的两篇文章中进一步巩固数字形式和印刷形式之间的关系。虽然以前的研究已经存在(特别是布赖恩·索瑟姆的开创性的简·奥斯汀的文学手稿(1964；修订版，2001年))，但由于手稿本身相对难以获得，以及在处理它们的编辑实践中反复出现的不一致，系统的研究一直受到阻碍。现在我们有了高质量的图像和一致且深度编码的外交抄本，就有可能对手稿小说的构成特征进行第一次全面的比较学术分析，创建一个全面的文本批评机构，并绘制出奥斯汀作为作家的工作方法：个人作品的创造性发展，以及对她整个职业生涯中实践的比较理解。这项新的研究将发表在印刷版上。结合起来，不同的数字和印刷组件将创造一个强大的混合版本：部分是文本实验室，部分是权威、稳定的参考来源。很明显，对于奥斯汀来说，作文表面和写作行为之间存在着至关重要的联系。对印刷版的进一步研究将证实手稿编辑的定义是对物品(商店购买的笔记本或自制的纸集)及其书面文本的编辑。它将解决这样的问题：我们如何将手稿的形式特征(来自纸张的信息，其质量、形状和大小，来自墨水，以及页面上词语的处理)融入到我们对文本意义的理解中？作者在手稿和印刷品中的表现有什么不同，手稿证据作为事件和表面(编码时间和空间的对象)的集合，如何调整我们对作者实践的理解？我将在这部作品的大部分内容中利用数字版中的视觉和可搜索的证据。将对纽约摩根图书馆和博物馆、剑桥国王学院和伦敦大英图书馆保存的奥斯汀原始资料进行进一步研究。

项目成果

From Kitty to Catharine: James Edward Austen's hand in Volume the Third

从基蒂到凯瑟琳：詹姆斯·爱德华·奥斯汀在第三卷中的手

• DOI: 10.1093/res/hgu042
• 发表时间: 2014
• 期刊: The Review of English Studies
• 作者: Sutherland K