Humanist Discussion Group, Vol. 33, No. 441.
            Department of Digital Humanities, King's College London
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    [1]    From: Dirk Van Hulle 
           Subject: ESTS conference 2020, Oxford (51)

    [2]    From: Dirk Van Hulle 
           Subject: GENESIS conference, Oxford 2020 (79)


--[1]------------------------------------------------------------------------
        Date: 2019-11-26 19:11:35+00:00
        From: Dirk Van Hulle 
        Subject: ESTS conference 2020, Oxford

Call for papers

The seventeenth annual conference of the
European Society for Textual Scholarship (ESTS)
will take place at the
University of Oxford (Jesus College), 17-19 September 2020.

The conference theme is:

histories of the holograph:
From Ancient to Modern Manuscripts and Beyond

A holograph can be defined as a manuscript that is written by the person named
as, or presumed to be, its author. Usually, the notion of 'modern manuscripts'
is used in genetic criticism to distinguish these private documents from earlier
(e.g. ancient, medieval) manuscripts, which are often scribal copies, i.e. meant
for public dissemination. But even though holographs are rarer in the pre-modern
period, they do exist. Similarly, the era of the 'modern manuscript' needs to be
confronted on the other end of its temporal spectrum with the era of the
'digital manuscript' – the born-digital holograph, so to speak. By making
'histories of the holograph' the theme of the 2020 ESTS conference, we would
like to encourage the dialogue between colleagues working on texts from all
periods and invite them to investigate habits of revision throughout the ages,
alongside more general ESTS-related topics and questions on textual scholarship
and scholarly editing. These may include: the theories and practices of
scholarly, critical and textual editing; digital scholarly editing and tool
development; philology; manuscript studies; codicology and palaeography; genetic
criticism; historical bibliography and the history of the book; authorship
studies, etc.



Please send your abstract (300 words) to ESTS.OXFORD2020@jesus.ox.ac.uk
by 14 February 2020.

Venue: University of Oxford, Jesus College.

This conference is co-organised by the University of Oxford (Jesus College) and
the University of Antwerp (Centre for Manuscript Genetics).

Academic Committee: Mateusz Antoniuk, Olga Beloborodova, Nicholas Cronk, Paolo
D'Iorio, Sakari Katajamäki, Seamus Perry, Adam Smyth, Kathryn Sutherland, Dirk
Van Hulle, Wim Van Mierlo, Daniel Wakelin.

Organising Committee: Olga Beloborodova, Wout Dillen, Dirk Van Hulle

The conference will be preceded by the GENESIS OXFORD 2020 conference, 15-17
September 2020, and by a pre-conference colloquium on authors' libraries, 15
September 2020.



--[2]------------------------------------------------------------------------
        Date: 2019-11-26 19:10:22+00:00
        From: Dirk Van Hulle 
        Subject: GENESIS conference, Oxford 2020

Call for papers: GENESIS - OXFORD 2020

The third GENESIS conference will take place at the
University of Oxford (Jesus College), 15-17 September 2020.

The conference theme is:

creative revision
exercises in comparative genetic criticism

Revising, reworking or revamping is a crucial element of any artistic process.
In a narrow sense, this revision can be the late phase in the genesis shortly
before the work of art is made public. In a broader sense, it may also include
other forms of re-vision, of looking again. For instance, a recent exhibition of
Rubens' 'intertextual' appropriations in Frankfurt (Städel museum)
showed how the artist gradually processed his own impression and sketch of a
sculpture of a Centaur and then used it to give shape to a painting of a
religious theme, Pilate presenting Christ to the crowd ('Ecce Homo'). From
this 'intertextual' perspective the painting acquires several layers of
complexity. Not only does it show Christ with a Centaur's torso, but the whole
transformation of a Greek mythological theme into a Christian topic is a complex
process, in which the artist's drafts or sketches play a crucial intermediary
role. Similarly, in literary studies, a writer's notebooks and drafts play a
pivotal role in the analysis of intertextual relations.

In this context, Michael Baxandall's criticism of the term 'influence'
(and implicitly of the term 'source') is still relevant, to all types of
artistic research, from architecture to musicology, from art history to literary
studies. 'Influence', he writes, is 'a curse of art criticism primarily
because of its wrong-headed grammatical prejudice about who is the agent and who
the patient' (58).

Another 'agent' in this transformation is the audience - listeners,
spectators, readers - adding 'a dimension of experienced meaning', to
borrow Paul Eggert's phrase. The work of art is as much a process as it is a
product and the audience is a crucial participant in this process. Researchers
interested in the genesis of art works, or genetic critics, are 'readers' in
their own right. So are composers who listen to music, filmmakers who watch
movies, writers who read books. Genetic criticism is therefore not limited to a
focus on the production process, but also involves a work's reception. The
GENESIS - OXFORD 2020 conference invites scholars from various disciplines
(art history, architecture, musicology, literature) to reflect on the
dictum 'ex nihilo nihil fit' (nothing comes from nothing) and explicitly
welcomes papers that compare forms of artistic metamorphosis across various art
forms, as exercises in comparative genetic criticism.

  *   How do different forms of artistic research and literary studies deal with
'negative intertextuality' (the phenomenon that an external source acts upon
the genesis of a work of art, but remains out of sight in the published
version)?
  *   How can the digital medium contribute to the visualisation of creative
revision?
  *   How controversial are the terms 'influence', 'source' or 'source
of inspiration' in various disciplines?
  *   To what extent is 'comparative genetic criticism' possible?
  *   To what extent is it helpful for an audience to be 'genetically
informed'? Or to what extent is it rather an obstacle to the aesthetic
experience?
  *   How do comparative approaches to historical periods, areal traditions,
genres of literature, arts and music, or scholarly traditions widen the scope of
genetic criticism?

Please send your abstract (300 words) to GENESIS.OXFORD2020@jesus.ox.ac.uk by 14
February 2020.

Venue: University of Oxford, Jesus College.
This conference is co-organised by the University of Oxford (Jesus College) and
the University of Antwerp (Centre for Manuscript Genetics).

Academic Committee: Mateusz Antoniuk, Olga Beloborodova, Nicholas Cronk, Paolo
D'Iorio, Sakari Katajamáki, Seamus Perry, Adam Smyth, Kathryn Sutherland,
Dirk Van Hulle, Wim Van Mierlo, Daniel Wakelin.

Organising Committee: Mateusz Antoniuk, Olga Beloborodova, Sakari Katajamäki,
Dirk Van Hulle

The conference will be followed by the ESTS OXFORD 2020 conference (European
Society for Textual Scholarship), 17-19 September 2020, and preceded by a pre-
conference colloquium on authors' libraries, 15 September 2020.


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