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ABSTRACTS Creative Processes Creativeand Archives Processes in Arts and Humanities andHelsinki, Archives 7–9 June 2017 in OrganisedArts and by the Humanities Finnish Literature Society SKS and ITEM – Institut des textes & manuscrits modernes Helsinki, 7–9 June 2017 Organised by the Finnish Literature Society – SKS and ITEM – Institut des textes & manuscrits modernes GENESIS HELSINKI 2017 Creative Processes and Archives in Arts and Humanities Helsinki, 7–9 June 2017 Organised by the Finnish Literature Society – SKS and ITEM – Institut des textes & manuscrits modernes Organising Committee Hanna Karhu (University of Helsinki / Finnish Literature Society – SKS / ITEM) Sakari Katajamäki (Finnish Literature Society – SKS/ Edith – Critical Editions of Finnish Literature) Christophe Leblay (University of Turku, TERs, ITEM, ENS-CNRS) Veijo Pulkkinen (University of Helsinki) Sakari Ylivuori (Jean Sibelius Works) Organisers and Partners in Cooperation The conference is organised by the Finnish Literature Society – SKS and ITEM in cooperation with several institutional partners: Ambassade de France en Finlande; Cardiff University; Centre for Manuscript Genetics, Antwerp; Finnish National Agency for Education; Huygens ING, Amsterdam; Jean Sibelius Works, Helsinki; Loughborough University; The National Library of Finland; Université Paris 3; The Swedish Cultural Founda- tion in Finland; University of Helsinki – French Philology/Department of Modern Languages; and University of Turku – School of Languages and Translation Studies. The conference has been supported by The Federation of Finnish Learned Societies and Jenny and Antti Wihuri Foundation. Design by Veijo Pulkkinen SCOPE GENESIS – HELSINKI 2017: Creative Processes and Archives in Arts and Humanities in Helsinki, 7th–9th June 2017 is an international and interdisciplinary conference organized by the Finnish Literature Society – SKS and ITEM – Institut des textes & manuscrits modernes. It is the �rst broad conference on Genetic Criticism in the Nordic countries. Genetic Criticism (critique génétique) is a discipline that explores writing processes and other creative work. Its central research corpora comprise various archival sources from writer’s notes to drafts, and other types of manuscripts. Genetic research can reveal, for instance, how a writer has outlined, developed and revised a literary work regarding its structures, topics, themes, symbols and style. Thus, genetic research can enrich interpretations of literature. In addition to writing, genetic critics have been interested in other creative processes such as cinema and architecture. The conference provides an international and interdisciplinary forum for the theory and practice of Genetic Criticism from various angles. We aim to gather scholars and students from various disciplines interested in creative processes, such as Literary Criticism, Linguistics, Didactics of Writing, Translation Studies, Musicology, and Art History. ABSTRACTS Mateusz Antoniuk Jagiellonian University in Kraków Eleven Deaths of Félicité, Nine Deaths of Iusta Grata Honoria. Gustave Flaubert, Zbigniew Herbert and the Economy of Creation Félicité is the name of a �ctional character who appears in Gustave Flaubert’s short story A Simple Heart (Un cœur simple, 1877). Iusta Grata Honoria, on the other hand, is a his- torical �gure who lived in the �fth century and belonged to a Roman imperial family. She is also the main character of an un�nished prose work, Attila’s Fiancée (Narzeczona Attyli), by the important Polish poet and essayist Zbigniew Herbert (1924–1998). But what do A Simple Heart and Attila’s Fiancée have in common? Firstly, the plots of both works conclude with the deaths of their protagonists – respectively Félicité and Hon- oria. Secondly, both Flaubert and Herbert devoted a lot of time and energy to conceiv- ing and constructing the “closure” of their texts. Flaubert left eleven rough drafts (eleven versions) of the �nal episode – all of them later transcribed, analysed and interpreted by Raymonde Debray Genette in her excellent and inspiring genetic study. According to Genette, Flaubert vacillated between different literary and cultural pictures of death, “test- ing” and “mixing” various pre-existing models (for instance “beati�c death”, “scienti�c death” and “Romantic death”) in his “laboratory”. In fact, Zbigniew Herbert – who was certainly not familiar with Flaubert’s archive – followed with a similar, though not identi- cal process. The nine draft versions of Honoria’s death episode differ in apparently slight but semantically relevant linguistic details, while the �nal paragraph of Herbert’s novel drifts between “medical”, “Christian”, “nihilist” and “enigmatic” visions of human death. My intention is to compare the ways in which Flaubert and Herbert “write death” (to some degree pursuing a kind of “comparative genetic criticism”, as postulated by Graham Falconer). In conclusion, however, I will underline the fundamental difference between the two works (and processes). Even if, as Debray Genette suggests, Flaubert’s “play with tropes, ellipses, sound patterns and the length of phrases” distracted him from ending, his creative process still reached a �nal result (the published text). On the contrary, Herbert failed to decide which of the nine possible deaths for Horatia should be the de�nitive one. In consequence, Attila’s Fiancée was never published or even �nished. We might say, in terms proposed by Pierre-Marc de Biasi, that Herbert’s effort had got stuck on the border between the “precompositional” and “compositional phase”. Iusta Grata Honoria – the Iusta Grata Honoria written by Zbigniew Herbert – will remain an “eternal draft”. My paper will be supported by illustrative material. Short fragments from the Polish drafts will be accompanied by English translations. Solène Audebert-Poulet University of Paris III: Sorbonne Nouvelle Youth Literature Writer’s Manuscripts: Yvan Pommaux, Between Texts and Illustrations. Studies and Didactic Applications This presentation addresses how the youth literature authors’ manuscripts can be used in classrooms. In other words : what kind of didactic applications can be set up in classrooms. The manuscripts studied are the ones of Yvan Pommaux. He is a well-known French youth literature writer who has published many albums. We are interested in the construction of the text with the image. That’s why we chose a writer-illustrator.The results will serve to propose some didactic applications for the rewriting work of the pupils. Our subject have never been studied before with that kind of corpus. Some manuscripts of « adult authors » have already been correlated with rewriting didactics for students. Youth literature manuscripts has never been correlated with rewriting didactic for pupils before. Our corpus is composed of the whole notebooks of Yvan Pommaux, who will hand them over to us. 13 notebooks, with different shapes and disparate contents, has already been given to us. We propose to show some extracts from the notebooks and our methodology. Olga Beloborodova University of Antwerp Mapping the Writer’s Extended Mind: A Genetic Study of Samuel Beckett’s Play It has long been assumed, both in specialised literature and in popular opinion, that writing is a perfect example of an exclusively internal cognitive activity. Unlike oral storytell- ing, which invariably involves the narrator and the audience and is largely based on the interaction between the two, written narratives evoke an image of a solitary �gure locked in a room, producing texts that are the result of their – strictly intracranial - imagination and writing skills. This paper aims to cast a shadow on this Romantic picture by emphasising the ma- teriality of the writing process and the writer’s constitutive engagement with their texts. Conceived as an interdisciplinary enterprise, its theoretical framework is provided by the concept of extended cognition – an umbrella term encompassing a number of post-Car- tesian approaches to cognition from philosophy of mind and cognitive science that reject the principle of subject/object dualism and propose instead a model of the mind that is grounded in the brain’s continuous interaction with objects in the environment. Applied to creative writing and literature studies, this extended model reconsiders the traditionally 8 passive role assigned to the writer’s manuscripts: instead of being little more than material bearers of the brain’s creative activity, they become an essential part of a hybrid cognitive process of writing. Genetic criticism - the study of the writing process based on manuscript research – is a perfect method to illustrate this inherent hybridity: by subjecting the writer’s manuscripts, notebooks and marginalia to a rigorous genetic critical analysis, we attempt not just to retrace the genesis of a particular text, but also to examine the writer’s extended mind at work. As an illustration for the theoretical framework of extended cognition, a genetic study of Samuel Beckett’s short play Play will be presented, in order to demonstrate how the au- thor’s mind, contrary to the generally accepted Cartesian internal-external opposition, ex- tends beyond the boundaries of skin and skull and forms a seamless cognitive system with the emerging text in the drafts. The analysis will also reveal that the creation of Play was in�uenced by a number of other external factors (apart from the emerging text), includ- ing the play’s rehearsals and its �rst performances in Germany.

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