Acknowledgements

Retirement is a phase in life of deep reward when one has the good fortune of health and of an environment conducive to thought and stimulating exchanges; and the support of colleagues and acquaintances with whom relations deepen into friendships. The essays in this book are a garnering of writings grown from such soil since I was retired in 2003. The seedbed for everything that further developed was the Graduiertenkolleg Textkritik als Grundlage und Methode der historischen Wissenschaften at the Ludwig Maximilians Universität in München that I had the privilege of coordinating from 1996 until 2002/04. Happy in the knowledge that this offered strong impulses to its participants for their futures, I thank them and our cooperating faculty colleagues for all I learnt in working and thinking with them. Hardly retired, as one might say, I was honoured with participation from 2005 onwards in the activities of the Nordic Network for Editorial Philology (NNE): they only confer in their respective native tongues, but since my second language from early childhood was Swedish, I was deemed eligible to join. This initiated permanent professional connections with the Scandinavian countries, for which I am grateful to Christian Janss in Oslo, Johnny Kondrup in Copenhagen and above all to Paula Henrikson in Uppsala. The Institute of English Studies at the School of Advanced Study, London University, honoured me in 2007 with a Senior Research Fellowship. This virtual foothold in London and the UK has earned me the friendship of Warwick Gould, the Institute’s erstwhile director.

In the early 2000s, Paolo D’Iorio of the Institut de textes et manuscrits modernes in Paris housed at Munich University his ‘HyperNietzsche’ project for digitally editing uncollected early Nietzsche drafts. As the project unit’s honorary advisor at the time, I am grateful for all I learnt to use in those years of HyperNietzsche’s system of tools for the digital analysis and visualisation of genetic writing processes in manuscripts. The immersion into digital editing environments carried over into COST Action A32 ‘Open Scholarly Communities on the Web’ http://www.cost.eu/COST_Actions/isch/A32, initiated by Paolo D’Iorio and chaired during its final two years by me. The Action vice chair was Dirk van Hulle of the University of Antwerp. Cooperation with him still flowers, for which warm thanks. The University of Antwerp thus continues as a node in a network of professional, indeed intellectual stimulation. It is there also that Ronan Crowley and Joshua Schäuble together meanwhile develop a Digital Critical and Synoptic Edition out of the Critical and Synoptic Edition of James Joyce’s Ulysses of three-and-a-half decades ago. Over the past few years, I feel we have been mutually helping each other to re-thinking the edition as a digital edition and to bring this along on an increasingly independent path.

This cooperation had its beginning in a joint Deutsche Forschungsgemeinschaft and National Endowment for the Humanities project for ‘Diachronic Markup and Presentation Practices for Text Edition in Digital Research Environments’. The project enlisted me as its ‘coordinator’. I performed the office with pleasure. I most gratefully acknowledge, moreover, the stimulus from the project’s team cooperation over two years; Katrin Henzel’s engaged translation into German of the essay ‘Beyond Author-Centricity in Scholarly Editing’, given above in its original in English; and the permanence in friendship with Malte Rehbein in Passau and Anne Bohnenkamp-Renken in Frankfurt, the project’s prime investigators. From among friends in fellowship of interests I will just name and thank them for being there: Paul Eggert in Canberra and Chicago, Jūratė Levina in Vilnius, Roger Lüdeke in Düsseldorf, J.C.C. Mays in Ashford Co. Wicklow, Peter Robinson in Saskatoon.

Thanks go in conclusion very warmly to Alessandra Tosi and Rupert Gatti at Open Book Publishers for taking on the book, to Lucy Barnes for copy-editing it with such engagement, and to Bianca Gualandi for so excellently laying it out.

Munich, 9 February 2018 Hans Walter Gabler

Provenances of Essays in this Volume

1. ‘The Rocky Road to Ulysses’
   first published in the series Joyce Studies 2004, no. 15 (Dublin: National Library of Ireland, 2005).
2. ‘“He chronicled with patience”: Early Joycean Progressions between Non-Fiction and Fiction’
   previously unpublished; to be published, in slightly different form, in Joyce’s Non-Fiction Writings: Outside His Jurisfiction, ed. by James Alexander Fraser and Katherine Ebury (London: Palgrave Macmillan, 2018).
3. ‘James Joyce Interpreneur’
   first published online in Genetic Joyce Studies: Electronic Journal for the Study of James Joyce’s Works in Progress, 4 (Spring 2004).
   http://www.geneticjoycestudies.org/articles/GJS4/GJS4_Gabler
4. ‘Structures of Memory and Orientation: Steering a Course Through Wandering Rocks’
   previously unpublished.
5. ‘Editing Text—Editing Work’
   first published in Ecdotica, 10 (2013), 42–50.
6. ‘Theorizing the Digital Scholarly Edition’
   first published online in: Literature Compass, 7/2 (2010), (special issue Scholarly Editing in the Twenty-First Century), 43–56.
   https://doi.org/10.1111/j.1741-4113.2009.00675.x
7. ‘Thoughts on Scholarly Editing’
   first published online in JLTOnline (2011), http://nbn-resolving.de/urn:nbn:de:0222-001542; reprinted in Ecdotica, 7 (2010), 105–27.
8. ‘Beyond Author-Centricity in Scholarly Editing’
   first published online in Journal of Early Modern Studies, 1/1 (2012), 15–35. (Issue title: ‘On Authorship’, ed. by Donatella Pallotti and Paola Pugliatti) http://www.fupress.net/index.php/bsfm-jems/article/view/10691/10088
9. ‘Sourcing and Editing Shakespeare: The Bibliographical Fallacy’
   condensed from the review of Brian Vickers, The One King Lear (Cambridge, Mass., and London: Harvard University Press, 2016), in Editionen in der Kritik 9 (Berliner Beiträge zur Editionswissenschaft, vol. 17), ed. by Alfred Noe (Berlin: Weidler Verlag, 2017), pp. 30–43.
10. ‘The Draft Manuscript as Material Foundation for Genetic Editing and Genetic Criticism’
    first published in Variants, 12/13 (2016) (published 2017), 65–76. Rewritten in English from the contribution in Swedish, ‘Handskriften som en mötesplats för genetisk utgivning och genetisk kritik’, in Kladd, utkast, avskrift. Studier av litterära tillkomstprocesser, ed. by Paula Henrikson and Jon Viklund (Uppsala: Avdelningen för litteratursociologi, Uppsala universitet (Skrifter, n. 68, 2015), pp. 21–32.
11. ‘A Tale of Two Texts: Or, How One Might Edit Virginia Woolf’s To the Lighthouse’
    first published in Woolf Studies Annual, 10 (2004), 1–30.
12. ‘Auto-Palimpsests: Virginia Woolf’s Late Drafting of Her Early Life’
    previously unpublished.
13. ‘From Memory to Fiction: An Essay in Genetic Criticism’
    first published in The Cambridge Companion to To The Lighthouse, ed. by Allison Pease (Cambridge: Cambridge University Press, 2015), pp. 146–57. https://doi.org/10.1017/cco9781107280342.014
14. ‘Johann Sebastian Bach’s Two-Choir Passion’
    previously unpublished.
15. ‘Argument into Design: Editions as a Sub-Species of the Printed Book’
    first published for limited circulation as a John Coffin Memorial Lecture in the History of the Book, School of Advanced Study, University of London, 2008, and, in abbreviated form, in Variants, 7 (2008 [2010]), 159–77.
16. ‘Cultural versus Editorial Canonising: The Cases of Shakespeare, of Joyce’
    first published in Culture del Testo e del Documento, 46/1 (2015), 122–44. [Originally, the opening address at the ESTS Conference, ‘Textual Scholarship and the Canon’, in Vilnius, Lithuania, November 2007.]