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Lecturer(s)
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Course content
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1. The Subject of Textological Research. We will examine the history of textology and its establishment as an academic discipline. We will discuss the history of the field in our countrythe development of editorial theory and practice. We will then define the subject of research within the discipline of textology. 2. The Textual Process. From Manuscript to Book. Models of Mediation. We will highlight the differences between spoken and written communication, and between written and literary texts. We will emphasize the institutional nature of the act of publication. We will examine the author's position in relation to mediation models and the act of publication. We will compare the institutional position of a debut author with that of an established author. The increase in authors' "powers" influences the relationship between author and editor as well as the extent of editorial interventions in the text. 3. Manuscript and Text. We will define a manuscript, determine the significance of auxiliary historical sciences in textual studies (paleography, graphology, codicology, diplomatics), and conceptually distinguish between a source, a document (including documents of a "diplomatic" nature), a manuscript, a text, and a work, with regard to editorial concepts such as "work," "writings," "selected writings," and "anthologies." 4. Literary Archives and Textual Criticism. Literary archives, the processing of archival documents, and textual and editorial issues related to methods of archival storage. What methods can be used to prepare so-called "ego-documents" (correspondence, notes, diaries, bundles, etc.) for publication? 5. Manuscript Draft. When studying a draft, we approach a text in statu nascendi. But what exactly is a draft, and what characterizes it? We will distinguish the terms "draft" and "protograph" (first draft) from early versions and variants, as well as from variants linked to already published texts. We will define the term "fair copy." We will demonstrate the relationship between the fair copy and the typewritten copy. 6. Typescript. Is a typescript the first stage of publication or the final stage of the author's writing process? How does this method of recording influence the act of writing itself? How does a typescript differ from handwritten notes? Here, we will also examine the specific characteristics of samizdat editions. 7. Editor, typesetter, copyist. We will distinguish between the roles of the proofreader and the editor, as well as the differences in the types of revisions they perform. We will do the same for the proofreader and the copyist, particularly in the context of modern Czech literature. We will contrast the role of the copyist in samizdat literature with editorially organized samizdat editions. The editor is the bearer of current aesthetic norms, actively intervening in literary development and participating in the literary activities of the time. 8. Censorship and self-censorship. To what extent is it an internal or external factor? Censorship and self-censorship are usually considered external factors, just like, for example, an editor, typesetter, transcriber, etc. Their role in the history of the textand thus in the form in which the work is presented to the readeris fundamental. But can it be excluded from the text altogether?
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Learning activities and teaching methods
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unspecified
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Learning outcomes
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The aim of the course is to provide students with a basic understanding of the current state of textual criticism. Students will also gain knowledge of the creative process in literature, particularly the factors that determine the genesis of a text (the creation of a manuscript) and its subsequent history. The key to understanding lies in the role of the act of publication, which separates the manuscript phase from the textual phase. Attention will be given to manuscript drafts, early versions and variants, fair copies, editorial revisions, various forms of censorship, and variants related to already published texts. We will focus on the connections between the medium and the creative act, highlighting how the medium co-determines the final form of the work. For textological investigations, however, explorations of the connections between the literary and book artifacts are also significant. We will highlight the specifics of using so-called ego-documents in textological research.
Students will gain a basic understanding of textual criticism, the development of the discipline, and the current state of textual research. They will acquire the skills necessary for editorial work and textual criticism.
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Prerequisites
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Understanding the Editor and Text Guide (HAVEL, Rudolf; ŠTOREK, Břetislav; FLAIŠMAN, Jiří a KOSÁK, Michal. Editor a text: úvod do praktické textologie. Vyd. 2. Scholares. Praha: Paseka, 2006.)
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Assessment methods and criteria
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unspecified
Students must earn a passing grade before taking the exam. To do so, they must complete four written assignments (analysis of editions and selection of a source text; creation of a chronology; textological analysis of a manuscript; and analysis of editorial and censorship revisions). The exam will consist of two parts: a) a written test (questions focused on theory: Editor and Text + Textological Course Notes) and b) an oral textological analysis of a writer's manuscript.
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Recommended literature
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Havel, R.?Štorek, B. (eds.). (1971). Editor a text. Úvod do praktické textologie. Praha.
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Kosák, M. - Flaišman, J. (2010). Podoby textologie. Praha.
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KOSÁK, MICHAL ? FLAIŠMAN, Jiří a kol. (2018). Editologie (Od náčrtu ke knize). Edice Varianty, sv. 9. Praha.
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Lichačov, D. S. (2015). Textologie. Stručný nástin. Ed. Varianty.. Praha.
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Vašák, P. a kol. Textologie a ediční praxe. Praha 1993.
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