Dirk Van Hulle – författare

In Genetic Criticism, Dirk Van Hulle introduces the study of creative processes to an Anglophone audience. As a method in the study of literary writing processes, genetic criticism is also a reading strategy. The idea behind this book is to introduce this strategy to a broader audience, from interested readers and graduate students to early career researchers and literary critics. In literary studies, it is often obvious that a particular work somehow seems to hit a nerve, but more challenging to pinpoint exactly why it 'works'. This book therefore starts from a clear, basic assumption: knowing how something was made can help us understand how and why it works. This strategy is at the basis of many disciplines, including art history. By means of X-ray technology or hyperspectral imaging, it is possible to look at a painting as a multilayered object with not only spatial dimensions, but also a temporal one. This temporal dimension is the core of the reading strategy introduced in this book. Note books, marginalia, manuscripts, and typescripts (even if one works with scans) give a concrete dimension to literature, which is a helpful reading strategy for many students. On the one hand, this involves concrete, transferrable skills such as aspects of transcription and digital scholarly editing. On the other hand, it also involves more abstract theoretical issues relating to matters of authorship, collaboration, authority, agency, intention and intertextuality.

The text of Finnegans Wake is not as monolithic as it might seem. It grew out of a set of short vignettes, sections and fragments. Several of these sections, which James Joyce confidently claimed would "fuse of themselves", are still recognizable in the text of Finnegans Wake. And while they are undeniably integrated very skillfully, they also function separately. In this publication history, Dirk Van Hulle examines the interaction between the private composition process and the public life of Joyce's 'Work in Progress', from the creation of the separate sections through their publication in periodicals and as separately published sections. Van Hulle highlights the beautifully crafted editions published by fine arts presses and Joyce's encouragement of his daughter's creative talents, even as his own creative process was slowing down in the 1930s. All of these pre-book publications were "alive" in both bibliographic and textual terms, as Joyce continually changed the texts in order to prepare the book publication of Finnegans Wake. Van Hulle's book offers a fresh perspective on these texts, showing that they are not just preparatory versions of Finnegans Wake but a 'Work in Progress' in their own right.

Samuel Beckett's Library critically examines the reading notes and marginalia contained in the books of Samuel Beckett's surviving library in Paris. Previously inaccessible to scholars, this is the first study to assess the importance of the marginalia, inscriptions, and other manuscript notes in the 750 volumes of the library. Setting the library into context with other manuscript material such as drafts and notebooks, this book examines the way in which Beckett absorbed, 'translated', and transmitted his reading in his own work. It thus illuminates Beckett's cultural and intellectual world, and shows the ways in which his reading often engendered writing.

In the past decade, there has been an unprecedented upsurge of interest in Samuel Beckett's works. The New Cambridge Companion to Samuel Beckett offers an accessible and engrossing introduction to a key set of issues animating the field of Beckett studies today. This Companion considers Beckett's lasting significance by addressing a host of relevant topics. Written by a team of renowned scholars, this volume presents a continuum in Beckett studies ranging from theoretical approaches to performance studies, from manuscript research to the study of bilingualism, intertextuality, late modernism, history, philosophy, ethics, body and mind. The emphasis on burgeoning critical approaches aids the reader's understanding of recent developments in Beckett studies while prompting further exploration, assisted by the guide to further reading.

In the past decade, there has been an unprecedented upsurge of interest in Samuel Beckett's works. The New Cambridge Companion to Samuel Beckett offers an accessible and engrossing introduction to a key set of issues animating the field of Beckett studies today. This Companion considers Beckett's lasting significance by addressing a host of relevant topics. Written by a team of renowned scholars, this volume presents a continuum in Beckett studies ranging from theoretical approaches to performance studies, from manuscript research to the study of bilingualism, intertextuality, late modernism, history, philosophy, ethics, body and mind. The emphasis on burgeoning critical approaches aids the reader's understanding of recent developments in Beckett studies while prompting further exploration, assisted by the guide to further reading.

Samuel Beckett's Library critically examines the reading notes and marginalia contained in the books of Samuel Beckett's surviving library in Paris. Previously inaccessible to scholars, this is the first study to assess the importance of the marginalia, inscriptions, and other manuscript notes in the 750 volumes of the library. Setting the library into context with other manuscript material such as drafts and notebooks, this book examines the way in which Beckett absorbed, 'translated', and transmitted his reading in his own work. It thus illuminates Beckett's cultural and intellectual world, and shows the ways in which his reading often engendered writing.

Company was first composed in English over two years, with Beckett breaking a 20-year-long pattern of composing primarily in French to craft this meticulously structured 59-paragraph masterpiece of his late prose. Its French companion, Compagnie, was translated in only two weeks.The genetic critical analysis of the manuscripts of Company/Compagnie takes this schema-dependent compositional method as its core focus. It forwards a new hypothesis regarding the genetic map of both works, and considers the relationship between this uniquely entwined ‘original’ and ‘translation.’This volume is part of the Beckett Digital Manuscript Project (BDMP), a collaboration between the Centre for Manuscript Genetics (University of Antwerp, Belgium), the Beckett International Foundation (University of Reading, UK) and the Harry Ransom Humanities Research Centre (University of Texas at Austin, USA), with the support of theEstate of Samuel Beckett.

This volume of the BDMP series charts the genesis of three iconic Beckett plays: Not I (1973), That Time (1976) and Footfalls (1976), all translated into French by their author. Including analyses of abandoned archival precursors – the ‘Kilcool’ drafts (1963) and the ‘Petit Odéon’ Fragments (1967–1968) – the book covers a crucial period in Beckett’s playwriting career, during which his long-held ambition to stage a mouth babbling in the dark became a catalyst for some of his most innovative work. This volume provides a comprehensive guide to the history of the three plays, tracking their development from compositional manuscripts through to publication and performance. The book contends that these plays should be seen as stagings of the subject–object breakdown explored in Beckett’s early writing. Drawing on the notes he took on psychology and psychoanalysis in 1934–1935, it examines the many psychological and psychoanalytic concepts that are used in the author’s later stagings of the mind. The plays are analysed through the lens of enactive cognition: not as representations of particular psychological conditions, but as pieces which encourage active interpretation on the part of their audiences. By staging minds in states of breakdown that resist diagnosis, Not I / Pas moi, That Time / Cette fois and Footfalls / Pas enact the subject–object breakdown that is such a key part of Beckett’s aesthetics.

The text of Finnegans Wake is not as monolithic as it might seem. It grew out of a set of short vignettes, sections and fragments. Several of these sections, which James Joyce confidently claimed would "fuse of themselves", are still recognizable in the text of Finnegans Wake. And while they are undeniably integrated very skillfully, they also function separately. In this publication history, Dirk Van Hulle examines the interaction between the private composition process and the public life of Joyce's 'Work in Progress', from the creation of the separate sections through their publication in periodicals and as separately published sections. Van Hulle highlights the beautifully crafted editions published by fine arts presses and Joyce's encouragement of his daughter's creative talents, even as his own creative process was slowing down in the 1930s. All of these pre-book publications were "alive" in both bibliographic and textual terms, as Joyce continually changed the texts in order to prepare the book publication of Finnegans Wake. Van Hulle's book offers a fresh perspective on these texts, showing that they are not just preparatory versions of Finnegans Wake but a 'Work in Progress' in their own right.

The twentieth century has been called 'the golden age of the modern manuscript,' a time when the historical value of early manuscripts as a record of a writer's thought processes came to be fully recognized. Drawing on the critical tools of French genetic criticism, Modern Manuscripts explores the development of early 20th century literary texts, from source texts and early notes, through successive draft manuscripts to publication and successive editions. Historicizing these modernist processes of writing, Dirk Van Hulle contrasts these twentieth century manuscripts with the development of Charles Darwin's text for On the Origin of Species, itself a formative intellectual influence on modern writing. Exploring the writings of such writers as Joyce, Woolf and Beckett, this is an important study that will open up new avenues of thought for scholars of Modernist literature, material culture and book history.

Samuel Beckett’s short play Play / Comédie and his only film Film were written around the same time (1962-1963). They both have self-referential titles that invite meditation on the genres they represent. Although medium-specific opportunities and challenges underlie their very different geneses, they have influenced each other in terms of both form and content. In more ways than one, Film continues where Play left off. Whereas in Play the genesis shows a steady increase in speech tempo to the point of near unintelligibility, the silent Film radically eliminates speech from the outset. Conversely, the cinematic element is also clearly present in Play, notably in the crucial role assigned to the light beam as the mechanical, mindless inquisitor. Both works are grounded in technology and rely heavily on explanatory notes for the members of their production teams, thus exposing the inherently collaborative nature of such projects. The genetic critical analysis of the manuscripts of Play / Comédie and Film not only contributes to the interpretation of each work separately but also considers the two works together through the prism of Beckett’s multimedial authorship.

The twentieth century has been called 'the golden age of the modern manuscript,' a time when the historical value of early manuscripts as a record of a writer's thought processes came to be fully recognized. Drawing on the critical tools of French genetic criticism, Modern Manuscripts explores the development of early 20th century literary texts, from source texts and early notes, through successive draft manuscripts to publication and successive editions. Historicizing these modernist processes of writing, Dirk Van Hulle contrasts these twentieth century manuscripts with the development of Charles Darwin's text for On the Origin of Species, itself a formative intellectual influence on modern writing. Exploring the writings of such writers as Joyce, Woolf and Beckett, this is an important study that will open up new avenues of thought for scholars of Modernist literature, material culture and book history.

Imagine looking over the shoulder of your favourite author and witnessing the moment they begin writing the opening chapter of their best-loved novel. What you might see is that the author has to write, cut and rewrite their words, often many times, in order to find the right form. Unearthing what has been jettisoned, moved or edited can give us valuable insights into the creative process. Editorial decisions are documented in an extraordinary number of literary manuscripts, notebooks and letters preserved in libraries and archives. What would Frankenstein have looked like if Mary and Percy Shelley had not collaborated on the draft? Would we view The Wind in the Willows differently if its title had remained ‘The Mole & the Water Rat’? This highly illustrated book invites you to explore these roads-not-taken and discover ideas which did not make it into renowned novels, poems and plays. With insights into the drafting techniques of writers as varied as Jane Austen, Christina Rossetti, Raymond Chandler, Samuel Beckett, Franz Kafka, John le Carré, Alan Bennett, Barbara Pym, Philip Pullman and Alice Oswald, this is a fascinating unveiling of the mysteries of writing, cutting, rewriting and publishing exceptional creative works.

This book of collected essays approaches Beckett’s work through the context of modernism, while situating it in the literary tradition at large. It builds on current debates aiming to redefine ‘modernism’ in connection to concepts such as ‘late modernism’ or ‘postmodernism’. Instead of definitively re-categorizing Beckett under any of these labels, the essays use his diverse oeuvre – encompassing poetry, criticism, prose, theatre, radio and film – as a case study to investigate and reassess the concept of ‘modernism after postmodernism’ in all its complexity, covering a broad range of topics spanning Beckett’s entire career. In addition to more thematic essays about art, history, politics, psychology and philosophy, the collection places his work in relation to that of other modernists such as T. S. Eliot, James Joyce, Wyndham Lewis, Gertrude Stein and Virginia Woolf, as well as to the literary canon in general. It represents an important contribution to both Beckett studies and modernism studies.

This book of collected essays approaches Beckett’s work through the context of modernism, while situating it in the literary tradition at large. It builds on current debates aiming to redefine ‘modernism’ in connection to concepts such as ‘late modernism’ or ‘postmodernism’. Instead of definitively re-categorizing Beckett under any of these labels, the essays use his diverse oeuvre – encompassing poetry, criticism, prose, theatre, radio and film – as a case study to investigate and reassess the concept of ‘modernism after postmodernism’ in all its complexity, covering a broad range of topics spanning Beckett’s entire career. In addition to more thematic essays about art, history, politics, psychology and philosophy, the collection places his work in relation to that of other modernists such as T. S. Eliot, James Joyce, Wyndham Lewis, Gertrude Stein and Virginia Woolf, as well as to the literary canon in general. It represents an important contribution to both Beckett studies and modernism studies.