Western Region Variety of the Standard Ukrainian Language in the Interwar Period: A Review of Liudmyla Pidkuĭmukha’s Monograph “Mova Lʹvova, abo koly ĭ batiary hovoryly” (Kyiv: Klio, 2020, ss. 326)

Western Region Variety of the Standard Ukrainian Language in the Interwar Period: A Review of Liudmyla Pidkuĭmukha’s Monograph Mova Lʹvova, abo koly ĭ batiary hovoryly (Kyiv: Klio, 2020, ss. 326)The reviewed monograph is the first extensive paper on the vocabulary of the western variant of the Ukrainian language based on the texts of the ‘Twelve’, an interwar literary circle of writers from Lʹviv. The paper highlights the social dialects that functioned in Lʹviv during the interwar period, in particular the jargon of schoolchildren and athletes. Particular attention is paid to balak, which became a linguistic feature of the Batyar subculture. This subculture reached its peak in the 1920s and 1930s. Material collated from three editions of B. Nyzhankivskyi’s collection Street (1936, 1941, 1995) illustrates the specifics of Soviet editorial practice, which was aimed at limiting the use of western Ukrainian vocabulary in order to artificially bring the Ukrainian language closer to Russian. Zachodnia odmiana standardowego języka ukraińskiego w okresie międzywojennym. Recenzja monografii Liudmyly Pidkuĭmukhy "Mova Lʹvova, abo koly ĭ batiary hovoryly" (Kyiv: Klio, 2020, ss. 326)Recenzowana monografia jest pierwszą obszerną pracą na temat słownictwa zachodniej odmiany języka ukraińskiego na podstawie tekstów "Dwunastki", międzywojennego literackiego ugrupowania pisarzy z Lwowa. W artykule zwrócono uwagę na dialekty społeczne funkcjonujące we Lwowie w okresie międzywojennym, w szczególności na żargon młodzieży szkolnej i sportowców. Szczególną uwagę zwrócono na balak, który stał się językową cechą subkultury batiarskiej. Subkultura ta osiągnęła szczyt rozwoju w latach dwudziestych i trzydziestych XX wieku. Materiał zebrany z trzech wydań zbioru B. Nyzhankivskiego Ulica (1936, 1941, 1995) ilustruje specyfikę radzieckiej praktyki edytorskiej, której celem było ograniczenie użycia zachodnioukraińskiego słownictwa, aby sztucznie zbliżyć język ukraiński do rosyjskiego.

„Blicken wir in die Originalausgabe!“

With his contributions both to textual criticism and editorial methodology, Michael Bernays substantially shaped the field of scholarly editorial practice in the nineteenth century. While his treatise of 1866, Über Kritik und Geschichte des Goetheschen Textes (On the Critical Reception and History of Goethe’s Texts), has come to be recognized as one of ‘foundational’ documents of editorial theory and practice, his 1872 analysis of the gestation and emergence of August Wilhelm Schlegel’s Shakespeare translations (Zur Entstehungsgeschichte des Schlegelschen Shakespeare – The Creation of Schlegel’s Shakespeare), as well as his conception of a new and revised edition of the Schlegel-Tieck translation (1871–1873, 1892), have both until now attracted very little attention. This article attempts to provide a more precise account of Bernays’ text-critical methodology, and to set his editorial deliberations over the Schlegel-Tieck translation in the broader context of contemporary endeavours to create a ‘German’ Shakespeare.

Thomas Percy

Thomas Percy (b. 1729–d. 1811) is primarily remembered for his seminal collection of ballads, Reliques of Ancient English Poetry. However, the 1765 publication of this text was only the midpoint of an extraordinarily prolific decade. After publishing some original poems and a translation of Ovid’s elegy for Tibullus in the 1750s, the 1760s also saw Percy produce the first Chinese novel translated into English, Hau Kiou Choaan (1761); Miscellaneous Pieces Relating to the Chinese (1762); The Matrons (1762); Five Pieces of Runic Poetry (1763); a new translation of The Song of Solomon (1764); A Key to the New Testament (1766); and his influential study of “Gothic” art and society, Northern Antiquities (1770). He also worked on his long poem, The Hermit of Warkworth (1771), and edited the Northumberland Houshold [sic] Book (1770). This only covers his published works: during the same period, he worked on several other editing and translating projects—preparing an edition of The Spectator and other journals by Addison and Steele, for example—which never reached print. As Percy rose through the ranks of the Anglican clergy—becoming one of the king’s chaplains by 1770, Dean of Carlisle in 1778, and finally Bishop of Dromore in 1782—he stopped publishing new works, perhaps because he thought it detracted from the dignity of his ecclesiastical office. Nevertheless, his translations of Spanish ballads—Ancient Songs, Chiefly on Moorish Subjects—were ready for press in 1775 (though they were only published in 1932). His extensive correspondence also reveals his continuing interest in literary matters, and he was certainly ready to lend a hand to other scholars, providing they were sufficiently polite. In antiquarian circles, Reliques of Ancient English Poetry attracted considerable attention: his theory of minstrels’ high status was disputed, and his editorial practice was (and remains) controversial. The literary reception was more positive. Although Percy’s own ballad, The Hermit of Warkworth, was mercilessly parodied by Samuel Johnson, the medieval ballads he anthologized were profoundly important to Romanticism, both British and German. As critics increasingly attend to Percy’s work beyond Reliques of Ancient English Poetry, other aspects of his influence—including troubling legacies—have come to light. His work on Spanish and Chinese material has been taken as foundational for “world literature,” and scholars have debated whether Percy’s treatment of China is orientalist, or whether there are ethnonationalist and racialist elements to Percy’s Gothic interests.

Prácticas filológicas en la edición de textos del siglo XX: experiencias de un grupo de investigación

In this article, we intend to show how critical editing of texts has changed over time and how philologist-editors have taken different critique, politic and social attitudes in the task of editing texts, taking into account their interests regarding the editorial project to be developed, the idiosyncrasies of the materials that make up the archive corpus, the commitment to the text and the reading that will circulate at another point in our history (literary and dramaturgical), among other aspects arising from the examined textual situations. We briefly discuss editorial theories and methodologies, seeking to show how the ecdotic method was transformed from the 19th to the 21st century, outlining contemporary philological practice in two aspects: platonic (teleological) and pragmatic (sociological) in paper and electronic support. To illustrate and comment on the editorial practice of 20th-century texts, poems, short stories, and above all censored theatrical texts, we bring a synthesis of the work developed within the Institute of Letters from Federal University of Bahia, in the research group that I coordinate, considering the editorial models adopted (digital facsimile, synoptic-critique, interpretive, critique, genetics, critical-genetics, electronic/digital [hypertextual archive or hyperEditing]), according to the critical, philological, genetic and sociological approaches. Also, we consider that critical-philological studies point to a particular theme selected by the philologist for weave comments and criticism.

Aline Valette’s L’Harmonie sociale (1892–93): From Social Theory to Editorial Practice

When on 15 October 1892, Aline Valette (1850–99) edited the first issue of her weekly newspaper L’Harmonie sociale: organe des droits et des intérêts féminins [Social Harmony: Organ of Women’s Rights and Interests] (1892–93), this activist of the French Workers’ Party had already developed an elaborate social philosophy, the fruit of her double journey as a Marxist and as a feminist. In her journal, Valette synthesized her double fight for the emancipation of women and of the working class in her famous formula ‘Socialism and Sexualism’. This revolutionary project is not only reflected in Valette’s own writings for the journal, but also in the editorial model which she incarnated, and which inspired both her male and female collaborators. This article studies the manner in which Aline Valette, through her conception of female editorship, succeeded to propose a social paradigm that embodied her vision for a society concomitantly socialist and sexualist. Socialism for this editor is based on the contradiction between Individualism — the excess of which is the source of social inequities, and Collectivism — the only solution to reestablish social harmony. This opposition reflected within her journal through the subtle balance between plurality of voices and opinions on the one hand, and the attachment to a common journalistic enterprise on the other. Likewise, Valette, who defended Sexualism as a means to revoke masculine domination, did not exclude male journalists from her editorial staff, and in doing so, procured a particular position for her ‘feminine’ journal within the press, which at the time was predominantly produced by and destined for men.

The Work of Editing, its Context and Transformations: Denis Roche’s Fiction & Cie Collection (1974-2004)

Drawing on source material from archives and press articles, this article presents the conditions in which the Fiction & Cie collection, published by Éditions du Seuil, was founded by Denis Roche in 1974 and how it subsequently evolved. Imagined by an avant-garde writer, this collection offered a new editorial model that ultimately brought about a reconfiguration of the power dynamics within Le Seuil. It illustrates how, at the end of the 1970s, as Marxist or structuralist theoretical-political debates subsided, space opened up for other approaches to editing and aesthetics. Through the prism of Roche’s editorial practice, the relationship between different forms of aesthetic discourse and editorial logic over a period of three decades is examined. Translated by Daniel Henkel

Data-Driven Editorial? Considerations for Working With Audience Metrics

Drawing on Caitlin Petre’s ethnographic study of Chartbeat, Gawker Media and The New York Times, this chapter explores the role of metrics in contemporary news production and offers recommendations to newsrooms incorporating metrics into editorial practice.

ASPECTS OF STUDYING THE UKRAINIAN FOLK TALE IN THE LAST THIRD OF THE 20th CENTURY: FORMATION OF A NEW SCHOOL OF TALE SCIENCE

The last third of the 20th century in folklore is marked by the revival of methodology and editorial practice. International experience in studying fairy tales (creation of indexes, dictionaries, and theoretical research) had a positive effect on the development of Ukrainian storytelling, in particular its international character, but negatively created an atmosphere of national inferiority of Ukrainian science, inability to discover something new and original in its own folklore. The basis for writing our study was the work of Ukrainian storytellers (I. Berezovskyi, M. Gyrak, M. Zinchuk, L. Dunaevska), dating from the last third of the 20th century. The study also uses fairy tale works of domestic and foreign scientists in their consistent and logical interaction; points to the international issues raised by scholars in relation to the study of folk tales, its genre basis and poetics. Based on the review of collections of fairy tales, conclusions are made about the dynamics of improving the methodology of recording and publishing fairy tale narratives. Giving an assessment of the state of development of Ukrainian science of fairy tales, we can state: 1) Ukrainian storytelling of the last third of the 20th century developed in theoretical and practical aspects. The appearance of multi-volume collections of fairy tales by M. Gyrak and M. Zinchuk, as well as serial editions by L. Dunaevska laid the foundations for further theoretical research; 2) the participation of Ukrainian storytellers in international projects of indexes of plots and motives of fairy tales testified the high level of methods of studying the genre. The work of scientists has contributed to the emergence not only of textbooks, indexes and encyclopedias, but also university departments; 3) L. Dunaevska's theoretical works formed a new school of fairy tale studies, which focuses on the international context.