Editing Beckett: Towards a Bilingual Digital Genetic Edition of Samuel Beckett's Works

该项目旨在建立爱尔兰作家塞缪尔·贝克特作品的双语数字基因版，并通过创建一个编辑以多个版本生存的现代文本的模型，为超越贝克特研究的数字学术编辑提供解决方案。他允许查尔斯·克兰斯领导的一个编辑项目出版双语“基因”版本（重建文学作品起源的版本）。由于贝克特用法语和英语写作，并在这两种语言之间翻译了他几乎所有的作品，该项目是明确的双语。但该项目是短暂的，只出版了三个版本。在此印刷计划的基础上，PI和Co-I获得了Samuel Beckett遗产的许可（2010年12月23日），以重建贝克特全集的双语起源。这将是一个数字化的在线版本，利用了文本学术研究中最先进的技术。在文本学术研究的理论中，数字档案和数字版本之间有区别，在后者的类别中，“文本版本”（通常专注于一个阅读文本）和“手稿版本”（包括多个版本）之间也有区别。在贝克特数字手稿项目（Beckett Digital Mandarin pt Project）数字档案材料的基础上，拟议的项目旨在制作这样一个“手稿版”。组装和数字化重新组合属于贝克特每部作品起源的手稿是一回事，而对这些通常几乎难以辨认的手稿进行转录则是另一回事。但其结果仍然是“仅仅”一个数字档案馆的意义上的收集个别件的文件。为了将数字档案转化为数字版本，该项目集成了一个“整理引擎”（使用户能够通过计算机辅助校对的方式比较文本版本）。具体而言，该项目将因此产生贝克特短篇散文的版本（选自《一件被遗弃的作品》;《人造的遗物》;《一切都陌生了》;《想象死去的想象》;《够了》;《失落的人》;《平》;《少》;《失败》;《如故事所述》; La Falaise/The Cliff; neither; Sounds; Still 3）;批评性作品;散文文本Mal vu mal dit / Ill Seen Ill Said;小说Murphy;电视剧Eh Joe，Ghost Trio，......但是云... Quad，Nacht und Trästen;电影;该版本本身并不是目的：该项目还旨在展示该版本如何在文学文本的解释中发挥作用，以及它如何有助于写作过程的研究（遗传学批评）。这就是为什么数字版都附有一个辅助印刷卷（由Bloomsbury出版），解释工作的发展，并解释作者的阅读和他的写作之间的互文联系。《贝克特的批判性写作》将由费伯和费伯出版社出版，《贝克特如何写作》将由剑桥大学出版社出版。该项目的编辑模式包括作者的个人图书馆（既有“现存”图书馆，也有“虚拟”图书馆，即根据阅读笔记、信件和日记中的信息重建作者的阅读）以及《曼尼托邦年表》。它不仅可以实现跨版本的近距离阅读，还可以实现跨版本的远距离阅读，显示诸如修订模式等发展。其中一个将被更仔细研究的模式是取消或“削减”的行为。任何写作过程的这一重要方面将与广泛的观众（包括GCSE和A级学生，以及创意写作的学生）在博德利图书馆（冬季2023-24）的展览中分享，暂时称为“削减”，这将展示贝克特（从阅读大学借出）和其他现代作家的手稿。

The proposed project aims to establish a bilingual digital genetic edition of the Irish writer Samuel Beckett's works, and to offer solutions to digital scholarly editing that go beyond Beckett Studies by creating a model for editing modern texts that survive in multiple versions.Towards the end of Beckett's career, he gave his permission to an editorial project led by Charles Krance to publish bilingual 'genetic' editions (editions that reconstruct the genesis of the literary work). Since Beckett wrote in both French and English, and translated almost all of his works between these two languages, the project was explicitly bilingual. But the project was shortlived and only three editions were published. Building on this print initiative, the PI and Co-I obtained the Estate of Samuel Beckett's permission (23/12/2010) to reconstruct the bilingual genesis of Beckett's complete works. This will be a digital, online edition, making use of state-of-the-art techniques in textual scholarship.In the theory of textual scholarship, a distinction is made between digital archives and digital editions, and - within this latter category - between 'textual editions' (typically focusing on one reading text) and 'manuscript editions' (which include multiple versions). Building on material in the digital archive of the BDMP (the Beckett Digital Manuscript Project), the proposed project aims to produce such a 'manuscript edition'. Assembling and digitally reuniting manuscripts that belong to the genesis of each of Beckett's works singly is one thing, and making transcriptions of these often near-illegible manuscripts is another. But the result is still 'only' a digital archive in the sense of a collection of individual pieces of documentation. To turn the digital archive into a digital edition, the project integrates a 'collation engine' (enabling users to compare textual versions by means of computer-assisted collation).In concrete terms, the project will thus produce editions of Beckett's short prose (From an Abandoned Work; Faux Départs; All Strange Away; Imagination Dead Imagine; Enough; The Lost Ones; Ping; Lessness; Fizzles; As the Story Was Told; La Falaise/The Cliff; neither; Sounds; Still 3); the critical writings; the prose text Mal vu mal dit / Ill Seen Ill Said; the novel Murphy; the TV plays Eh Joe, Ghost Trio, ...but the clouds..., Quad, Nacht und Träume; Film; the plays Play, Not I, That Time, Footfalls.The edition is not an end in itself: the project also aims to show how this edition can be instrumental in the interpretation of literary texts and how it can contribute to the study of writing processes (genetic criticism). That is why the digital editions are accompanied by an ancillary print volume (published by Bloomsbury), explaining the development of the work and interpreting the intertextual links between the author's reading and his writing. 'Beckett's Critical Writings' will be published by Faber and Faber and an accessible monograph 'How Beckett Wrote' by Cambridge University Press. The project's editorial model includes the author's personal library (both the 'extant' library and a 'virtual' library, i.e. a reconstruction of the author's reading, based on information in reading notes, letters and diaries) as well as a Manuscript Chronology. It enables not only close reading across versions, but also distant reading across versions, showing developments such as patterns of revision. One of the patterns that will be studied more closely is the act of cancelling or 'cutting'. This crucial aspect of any writing process will be shared with a broad audience (including GCSE and A-level students, as well as students of creative writing) in an exhibition at the Bodleian Library (Winter 2023-24), provisionally called 'Cut', which will show manuscripts by Beckett (on loan from the University of Reading) and other modern writers.