Modeling genetic networks. Gustave Roud's oeuvre, from diary to poetry collections
10.6092/issn.2532-8816/9063
In quest'articolo viene presentato un modello di dati per le relazioni genetiche tra i manoscritti e le pubblicazioni di un autore. La proposta prende le mosse dallo studio di un corpus specifico, presentato nella prima sezione dell'articolo, quello dello scrittore svizzero Gustave Roud (1897-1976). La scrittura di Roud nasce raramente dal foglio bianco: più spesso egli riutilizza, riscrivendo o assemblando, passaggi provenienti dal suo diario o da testi già pubblicati. La modellizzazione del progesso genetico nel caso di un tale corpus richiede necessariamente di andare oltre l'avantesto della singola opera e di creare una rete di connessioni tra i testi. Il modello, e la sua formalizzazione in un'ontologia OWL, sono presentati nella seconda sezione. Di seguito, il modello viene applicato a dei casi concreti tratti dall'opera di Roud. In conclusione, sono discusse alcune possibilità per proseguire lo studio intrapreso e applicare il modello a genesi diverse.
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Modeling genetic networks. Gustave Roud's œuvre, from diary to poetry collections
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https://umanisticadigitale.unibo.it/
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2019-12-18
2019-02-10
2019-12-18
2020-05-19
Um. Dig.
Elena Spadini
2019/12/18
10.6092/issn.2532-8816/9063
Université de Lausanne
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Modeling genetic networks. Gustave Roud's œuvre, from diary to poetry collections
https://umanisticadigitale.unibo.it/article/view/9063/9760
     Umanistica Digitale - ISSN:2532-8816 - n.7, 2019
A. Christen, E. Spadini – Modeling genetic networks. Gustave Roud's œuvre, from diary to
poetry collections
DOI: http://doi.org/10.6092/issn.2532-8816/9063


    Modeling genetic networks. Gustave Roud's œuvre,
            from diary to poetry collections

                                1
                                 Alessio Christen, 2Elena Spadini

                                           Université de Lausanne
                                    1
                                        alessio.christen@unil.ch
                                         2
                                           elena.spadini@unil.ch


       Abstract

In this paper we build upon and contribute to the discussion between the adjacent fields of
(digital) genetic criticism and (digital) scholarly editing. In particular, we focus on the
modelling process in a real-life project, "Gustave Roud, Œuvres complètes", presented in
section 1. The project aims to create an edition of the complete works of the Swiss author
Gustave Roud (1897-1976), including the publication of his drafts and manuscripts. This large
corpus sheds light on Roud's writing practices: on the one hand he created afresh, mainly in his
diary, and on the other hand he selected and reused materials from the diary and from already
published texts. The goal of this paper is to propose a data model for representing the genetic
processes in question. This model should necessarily go beyond the notion of avant-texte of a
single work and explore the connections between the texts, in order to create a network of
genetic materials. The model and its formalization in an OWL ontology are presented in
section 2. In the following section the model is applied to two case studies from Roud's corpus.
We conclude by presenting some possibilities for improving and enlarging the focus of this
study.
In quest'articolo viene presentato un modello di dati per le relazioni genetiche tra i manoscritti
e le pubblicazioni di un autore. La proposta prende le mosse dallo studio di un corpus
specifico, presentato nella prima sezione dell'articolo, quello dello scrittore svizzero Gustave
Roud (1897-1976). La scrittura di Roud nasce raramente dal foglio bianco: più spesso egli
riutilizza, riscrivendo o assemblando, passaggi provenienti dal suo diario o da testi già
pubblicati. La modellizzazione del progesso genetico nel caso di un tale corpus richiede
necessariamente di andare oltre l'avantesto della singola opera e di creare una rete di
connessioni tra i testi. Il modello, e la sua formalizzazione in un'ontologia OWL, sono
presentati nella seconda sezione. Di seguito, il modello viene applicato a dei casi concreti tratti
dall'opera di Roud. In conclusione, sono discusse alcune possibilità per proseguire lo studio
intrapreso e applicare il modello a genesi diverse.




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Keywords: data model, genetic criticism, scholarly editing, ontology, edizioni critiche, filologia
d'autore


        Genetic criticism and digital scholarly editing1

The field of genetic criticism is vast and constantly evolving, broadening its boundaries in order
to welcome new research questions. The central notion of avant-texte, along with its
counterparts, exogenesis and endogenesis, originally developed by Raymonde Debray-Genette
([34]), has recently been questioned: different levels of genetic approaches, such as micro- and
macro-genesis, have been adopted ([77]); and the study of post-editorial genesis or epigenesis,
dealing with textual variants emerging after the first publication of a work, has been flourishing
([54]; [56]).2
In the Digital Humanities realm today, scholarly editing is prompted to consider issues
fundamental to genetic criticism, such as the organisation of materials and thorough analysis of
each document. Dirk Van Hulle, active in promoting a combination of scholarly editing and
genetic criticism, suggests that combining these perspectives would be to the advantage of both:
"The digital genetic edition does not have to be either an archive edition or a text edition; it
can be a continuum between the two" ([75]: 49).3
In this paper we build upon and contribute to the discussion between the adjacent fields of
(digital) genetic criticism and (digital) scholarly editing. In particular, we focus on the
modelling process in a real-life project, "Gustave Roud, Œuvres complètes", presented in section
1. The project aims to create an edition of the complete works of the Swiss author Gustave
Roud (1897-1976), including the publication of his drafts and manuscripts, which are archived
mostly at the Centre des littératures en Suisse romande of the University of Lausanne. 4
This large corpus sheds light on Roud's writing practices: on the one hand he created afresh,
mainly in his diary, and on the other hand he selected and reused materials from the diary and

1    This article has been written jointly by the co-authors: in particular, Alessio Christen is responsible
    for sections 1,3,5 and Elena Spadini for the introduction and sections 2,4.
2   For its application to the critical edition of a Swiss author, see [63].
3   In Van Hulle's view, the notion of "macrogenesis" is a relevant point of intersection between genetic
    criticism and scholarly editing. The distance between scholarly editing and genetic criticism almost
    disappears in the case of the Italian filologia d'autore. The critique génétique proposed a way of reading
    the texts and of interpreting their unstable nature, on the basis of a genetic dossier which needed to be
    available (in printed or digital form): thus the edition of the text(s) is instrumental to the criticism.
    On the other hand, the goal of the filologia d'autore is to produce a scholarly edition which takes into
    account the genetic process and, eventually, enables the criticism. While the focus differs, the two
    traditions have much in common and have long ago started a profitable dialogue ([39]).
4    The project "Gustave Roud, Œuvres complètes", based at the University of Lausanne and funded by
    the Swiss National Science Foundation, is directed by Daniel Maggetti and Claire Jaquier. In addition
    to the authors of this paper, the researchers working on the project are Julien Burri, Raphaëlle Lacord
    and Bruno Pellegrino. Most of the ideas presented here come from a joint effort of the team, whom
    we would like to thank here.


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from already published texts. The goal of this paper is to propose a data model for representing
the genetic processes in question. We will use the term avant-texte to refer to all materials
preparing a work.5 This model should necessarily go beyond the notion of avant-texte and
should explore the connections between the texts around it, in order to create a network of
genetic materials. Hence the focus of our model is on the relationships between the witnesses
(documents and publications), not only on the witness itself as a genetic entity. The model and
its formalization in an OWL ontology are presented in section 2. In the following sections the
model is applied to two case studies from Roud's corpus. We conclude by presenting some
possibilities for improving and continuing this study.


        1. Few avant-textes, but a diary: Gustave Roud's writing
        practices and the edition of his Complete Works

The digital edition of Gustave Roud's work and archives seeks to explore the continuum
between the "archive edition" and the "text edition". All the archival materials will be digitised
and published, together with detailed metadata and descriptions, on a dedicated online
platform that will also host the critical texts and a number of guided itineraries into Roud's
world and atelier6. A paper edition will complement the online platform, providing clean and
readable texts, introductory notes, and commentaries. The complete works will be divided into
four sections: diary, poetry, art and literary criticism, and translation. Roud also has a strong
activity as a photographer and he sometimes included photos in his articles. This heterogenous
corpus, interdisciplinary by nature, raises questions from different research fields including
landscape history, art history, literary geography, ethnography, sociology, gender studies, literary
criticism, and media theory. Exposing these diverse materials will incite a renewal in the way
the author and his works are read and studied.
A genetic approach to the organisation of the documents in the digital platform not only
complements and expands the possibilities of the print edition, but also provides a better
understanding of how Roud developed his texts and poetry collections (recueils). This enlarged
perspective allows us to move from a "print" view, which implies independent textual entities,
to a network of texts accompanied by genetic witnesses. In order to construct such a network,
we need to identify and analyse the nature of the links connecting these entities. Indeed, most
of the poetry collections published by Roud between 1927 and 1972 have a long and slow
gestation: the first elements of a text are formulated in diary notes, which might be copied onto

5   This is a large working definition. The term has been first used by Bellemin-Noël in 1972 ([22]); for
    a diversified look on this concept, see the resources gathered in the corresponding page of the Lexicon
    of Scholarly Editing, at http://uahost.uantwerpen.be/lse/index.php/lexicon/avant-texte/.
6    The critical texts of the poetic works, of the articles of art and literary criticism and of the
    translations are established on the basis of their first edition. The manuscripts will be used to establish
    the critical text of the unpublished works and of the diary, whose different stages will be published: if
    a note has multiple stages, it will be present in the edition multiple times. The variants will not be
    included in the print edition, but will be available online.


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several supports; notes are used in drafts for articles in periodicals, which, after being amended
and corrected, might be repurposed in a poetry collection.
This process of elaboration explains why Gustave Roud's archives preserve several versions of
the same texts, or parts of texts, in different forms (different kinds of diary notes, articles, parts
of poetry collections), instead of a large number of plans and drafts corresponding to the usual
stages of the writing process comprising the avant-texte.
Roud’s diary plays a central role in his writing practices. The poet's journal is well preserved,
despite some gaps, on various supports: notebooks and pocket notebooks, notepads, agendas,
individual sheets and paper bundles. By studying the diary it is possible to illustrate some of
Roud's creative processes and to question his writing practices.


       1.1. The diary as genetic witness
It is rare for a writer's diary to have no direct or indirect link with his works. A space for
recording moments of inspiration, a reservoir of ideas or motifs, a test bench for the first
sketches, the writer's diary serves as a "writing workshop", in a broad sense, for many writers
([59];[70];[78]). However, it is important to situate such an object of study, since its content
and form might vary greatly. A diary can be considered as genetic material only in relation with
and functional to a particular work, according to Philippe Lejeune:


       Un journal peut être l’un des lieux où s’effectue la genèse d’une œuvre […]. Un journal
       peut être le témoin intentionnel d’une genèse qui s’effectue en d’autres lieux, carnet de
       régie, ou de suivi, du processus d’élaboration d’une œuvre […].

       Dans les deux cas, le journal va être, selon le vocabulaire qu’il plaira d’employer, un avant-
       texte, un élément de dossier génétique d’une œuvre autre que lui. Il participe, comme
       acteur et/ou témoin, à un travail de création dont il n’est pas le but. Il ne sera donc pas
       l’objet de l’étude génétique, même si la question de sa propre production peut, dans le
       cadre de telles études, se poser. Il n’en sera que le moyen. [51: p. 29]

Having the advantage of being dated, this genetic account offers a rare testimony for studying a
work’s gestation phases. Though it often begins irregularly, a diary generally develops a
consistency over time, which makes it a stable object of study, pursuing certain aesthetic and
formal principles, despite its possible variations. Generally not intended for publication, it
essentially aims to accumulate traces of life for personal and literary purposes. Finally, a writer's
diary is the result of a writing practice that derives from and refers to the author's life.
In Roud's case, the diaristic practice must be considered broadly, beyond its relation to a single
published text: the diary must be regarded as a text in its own right ([50]) while, at the same
time, its different types of relationship with other texts must also be investigated.
A first type of relationship consists in the use of one or more diary entries, in whole or in part,
to constitute a new text or collection. Entries may be minimally or extensively rewritten. In



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                                                                           poetry collections

most cases, such (re)use essentially involves selection and (re)organisation; textual changes are
limited, but not insignificant. When passages from the diary are selected and grouped together,
they are published almost as they emerged. For Roud, the act of writing, rewriting and reuse all
tend to recreate in the poem an intense moment:


        Le point de départ est une sorte d’illumination, de vision qui vous saisit au cours par
        exemple d’une longue marche à travers un paysage. Tout à coup tout change, vous avez
        l’impression que les choses qui sont devant vous sont toujours les mêmes mais qu’elles
        sont devenues autres, et la vue que vous en avez se change petit à petit en vision. Au lieu
        d’entrer en cœur dans le temporel, il y a une sorte d’éternité qui se découvre, à laquelle
        vous participez peut-être un très bref instant.

        […] Tout le désir est justement de prolonger, par la parole, par le poème, le souvenir de
        cet instant que l’on vient de vivre.7

The result is a very free mode of composition, described as "rhapsodic" ([53]; [13]: 16-18),
based on the juxtaposition of these notes-moments. The collection Feuillets (1929) ([1]), as well
as several articles published in the periodical Aujourd'hui (1929-1931) and later in other
reviews, result from this particular relationship with the notes collected in the diary.
Another type of use, in addition to textual reuse, is the thematic reuse of a strong idea, a "sème"
or "motif" according to Bellemin-Noël ([22]: 34-40). This semantic reworking is more
common in dense and elaborate texts that combine various elements.
The nature of a thematic reuse makes its path from diary to text more difficult to trace;
accordingly, we decided not to include it in the formal model presented below. 8
A tight connection between diary and works, which does not comprise reuse, occurs when the
diary plays the role of a "journal de genèse".9 In this case, the diary provides information and
reflections about the writing process and its progress, but its content is not directly utilised in
the texts. This happens mainly in the 1960s with "L'Aveuglement" ([12]), Requiem ([13]) and
Campagne perdue ([15]), where "Roud se fait le metteur en scène et le critique de ses recueils; il
donne les clés de leur composition, il évalue les effets de ses choix" ([49]: 13).
Given the importance of the diary in Roud's writing practices, it is fundamental to consider it
as genetic material. Its nature, however, prevents us from placing it easily on one side or the
other of our genetic network: a note recording visions and thoughts, despite representing a first

7   Gustave Roud, radio interview with Suzanne Pérusset, recorded on 15 August 1956, broadcasted on
    20 August by Radio Suisse romande ([18]: 36).
8   This kind of intertextuality is so diffuse and fleeting in Roud's works that its inclusion in the genetic
    network would cause an exponential growth in complexity — of both the scholars' work and of the
    final product, to the detriment of its usability. A commented close-reading, as well as rules-based or
    machine learning algorithms, might give an account of the phenomenon.
9   The most important example from the 20th century is probably André Gide’s Journal des Faux-
    Monnayeurs. See [77].


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phase of the writing process, and which will be reused in later texts, is not originally written
with those later texts in mind nor as an element of an ongoing project. From a genetic point of
view, this affects whether we should consider Roud’s diary an avant-texte or not. The author’s
use of the diary is close to what Suzanne Simonet-Tenant calls the "diary as provision"
("journal provisionnel") ([69]: 17): the entries are not conceived with a particular text in mind,
but the writer knows that they might be reused. 10 This category of use is close to the "reservoir"
or "grenier poétique" used by Jaccottet ([48]: 7) and accepted by several critics ([36];[65];[66];
[67]).
If we accept this role for the diary, we must consider that a note only becomes a "provision"
when it is used as the basis for, or in the creation of, a new text or project. Rudolf Mahrer
keenly argues that a document "a posteriori génétique ne trouve son statut « avant-textuel », ou
préparatoire, qu’en raison de ce qui se produit, après lui, dans l’histoire du texte considéré."
([55]: 18). Thus, the diary does not obey to the logic of the avant-texte per se, but can be
regarded as an avant-texte depending on our perspective. The genetic status of a document is
part of the discourse that we impose on it and should not be considered an intrinsic quality.
Because we tend to address Roud's œuvre as a complex whole, and not only to study the single
works, our perspective continuously changes. We are reminded that a diary entry might later be
included in several different texts, being used a posteriori, therefore, in several distinct geneses
(see Section 3).
In the formal model presented in the next section, the diary is included in the genetic network.
Its importance in Roud's writing practices, its autonomous nature, and the possibility for it to
be reused in several heterogeneous creative processes, explain its position in the network: not
directly included in the avant-texte of the genetic dossier but attached to it, to indicate a reuse
of materials.


        1.2. Post-editorial reuse
Mahrer's "genetic a posteriori" approach does not apply only to manuscripts. Though genetic
criticism traditionally considers the bon à tirer as the final step of the writing process, by
arguing that "rien ne peut signifier par principe l’arrêt du processus d’écriture" ([55]: 21),
Mahrer considers that a published text can itself become an avant-texte again, either of a reissue
or of a new text, serving again as "provision". 11 This overlapping of genesis and post-editorial
genesis is so frequent in Roud's works as to become a hallmark.
In order to study the author’s poetics, we can distinguish the most common types of post-
editorial reuse, that we organized in a provisional taxonomy, to be refined if different cases

10 See also [44]: 45: "Que fait l’écrivain quand il prend une note ? Il s’enjoint (ou plutôt se suggère)
   d’utiliser le matériau recueilli, mais il y a de très grandes différences entre une note précisément
   orientée vers un passage défini, ou une idée notée dans le vide, au cas où…"
11 Dirk Van Hulle uses the term epigenesis or epigenetic variance ([75]: 46-47) to refer to the post-
   editorial development of a single textual genesis. His recent work also aims to implement a
   conceptualization and a representation of genetic steps, see Modelling Text-Genetic Relationships, with
   Joshua Schäuble, presented at DH2019 https://dev.clariah.nl/files/dh2019/boa/0346.html.


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emerge. A frequent type of reuse is the incorporation into a poetry collection of a previously
published text, in part or in its entirety. In the latter case, the whole completed text is inserted
into a new ensemble, or network of co-texts, in which each text maintains its autonomy even as
their linking enables new readings. In the former case, a portion of the original text is extracted
and integrated into the poetry collection, as an independent textual unit ([7]) or as part of a
new poem together with others ([15]) (see also Section 3). In both cases, the process involves
the assembly of texts or fragments more than it does editing and rewriting.
The manuscript of Air de la solitude (private collection) clearly shows the steps in this process
and how the reuse of materials might have a tangible aspect. This document consists of a batch
of sheets entirely covered by pieces of published texts, cut from the originals and pasted one
after the other, and finally amended with an ink pen. The only typed note in the document had
not previously been published, coming instead directly from Roud's diary.
In addition to reuse in a poetry collection, a published text can be employed, partially or
entirely, for the genesis of other kinds of texts, such as a poetic text for an article (see Section 4)
or a piece of literary criticism (see [14], in which are partially reused [10] and [11], themselves
reusing previous articles).
The last type of reuse is essentially a ‘remake’, as in the case of a new edition of a published
work directed by the author. In Roud's case, the most interesting of these, in terms of
abundance of variation, are some of the works included in the 1950 Écrits ([9]), his first
collection of complete works.
An instinctive returning to what has already been conceived and should still be pursued
emerges in Roud's writing practices. This instinct suggests an author working as an assembler
or a composer, trying to produce a unity out of fragments of fleeting impressions, in a constant
attempt to reunite and stabilise what is scattered and dispersed in the world and in his writing.


        2. Data modeling for genetic editions

The process of data modeling is fundamental to the digital representation of any kind of
information. We can distinguish between a conceptual model and its logical implementation;
in both cases, a model can be defined as a consistent and explicit formalisation of our
understanding of some particular data. 12 Formal models enable two fundamental aspects of
scholarly research: qualitative and quantitative analysis.
The qualitative aspect is necessary for the creation of the model, which represents the scholar's

12 For a clear and synthetic approach to data modelling in the fields of (Digital) Humanities, see [45];
   the same authors pursued the subject in [46]. The contributions of Tito Orlandi (drawing on systems
   theory) remain fundamental to understand the practice of modelling in Digital Humanities (at least,
   [60]). Willard McCarty’s analysis is also widely cited in relation to modelling in Digital Humanities
   ([57];[58]). In the field of Textual Criticism, particular attention is devoted to modelling in [62]: 37-
   40 and elsewhere; see also [74], now in [72].


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understanding, interpretation, and selection of relevant features of the object of study. In this
sense, a data model is a scholarly argument: in comparison to the argument expressed in a
paper, a formal model should be completely explicit; but, like a paper, it is build upon and can
contribute to previous scholarship.
Once the data model is determined and data are encoded, a quantitative approach becomes
possible. Using customised queries and algorithmic analysis (e.g. statistical or network analysis),
patterns might emerge from the data, enlightening new aspects and confirming previous
intuitions.
In the field of genetic criticism, as applied to digital scholarly editing, efforts in modelling have
been mainly oriented towards the information carried by a single document. The establishment
of the Text Encoding Initiative (TEI) as a standard for the encoding of textual phenomena may
have played a role, providing a well-recognised and ready-to-use vocabulary, in use in many
scholarly editions.
Regardless of the reasons, the current situation offers a number of excellent digital scholarly
editions, in which the underlying data model deals with the text of each single witness,
conveying in great detail what happens on the page: every addition, deletion, and substitution
is identified (more rarely stages of composition are distinguished), revealing the author's
decisions and doubts (for example [19], [47], [71], [76]). Some editions also give an account of
textual variations, by means of a critical apparatus ([52]), synoptic visualisations ([24])13 or on-
the-fly automatic collation ([76]). In terms of data modeling, the TEI provides a suitable
architecture for textual variants.
These examples demonstrate the potential of current scholarly editing practices to trace, model,
and digitally represent the writing and rewriting processes that generally occur in single
documents in the avant-texte. But in the case of Gustave Roud, as argued above, the genetic
path is to be found in the selection and reuse of existing and, sometimes, published materials
— not only in the avant-texte of the single work. Therefore a broader picture is needed: one
which allows us to represent the genesis of various works converging into a new one, a process
that cannot be traced by looking at a single manuscript, nor at the variants between two or
more witnesses.
Since there is no established formal model for dealing with the relationships between the
genetic witnesses, loose conceptual models can be inferred from the visualisations provided in
genetic editions: indeed the diagrams available in these editions themselves carry a scholarly
argument, in terms of form and content.14 Research on how to render visually the materials has
not been neglected in genetic criticism and they have contributed to bring out the necessity of
organising and defining the objects of study. An important essay in this sense is that of Daniel
Ferrer, summarising previous experiences with the use of digital tools: various experiments
mentioned dealt with how to place and link the genetic documents in the hyperspace enabled
by the concept of hypertext. The need to give names to the links is explicitly acknowledged

13 See also editorial projects using the Versioning Machine, listed at http://v-machine.org/vm-in-
   use/versioning-machine-in-use/.
14 The question of the interface in digital scholarly editions is addressed in [25].


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                                                                           poetry collections

here: "Ce qui est sans doute à retenir de cette experience [with the software Storyspace] […]
c'est la nécessité de nommer les liens et de prévoir des carrefours de liens" ([43]: 200, italics in
the original). We will see that the existing visualisations haven't yet given an answer to this
question, that we address in the model presented below. Before introducing the model and the
corresponding ontology, in the next subsection we summarise some design trends in the
visualisation of genetic relationships.


        2.1. Visualisation of genetic data
Digital scholarly editions with a genetic approach often include visualisations of their data.
Visualisations provide a way to understand textual dynamics across documents at a glance or to
explore the details of the genetic process.
As we focus on the relationships between documents, we shall consider here only visualisations
that represent more than one manuscript.15 The vast majority, if not all, of the projects offering
some data-visualisation are scholarly editions of a single work and present diagrams of its
avant-texte.
In Les manuscrits de Madame Bovary ([20]) for example, the documents are organised in a bar-
chart: the sections of the work are deployed along the horizontal axes, with the vertical axis
implicitly representing time. Furthermore, the documents are coloured according to a genetic
taxonomy (Figure 1).16




Figure 1: Les manuscrits de Madame Bovary. "Tableau génétique des brouillons".


15 Other digital editions provide equally fascinating visualisations. Among these, there is the
   representation of the writing layers in the facsimiles, included in [19] (in particular the VideApp); and
   the visualisation of the writing sequence of a manuscript in [76] (for L'Innomable, see
   http://www.beckettarchive.org/writingsequenceofinnommable.jsp).
16 http://www.bovary.fr/tableau_genetique.php?
   tabfen=norm&id=41&mxm=0000010002&tabfen=norm.


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The same kind of information is presented in a different type of diagram in Hermann Burger,
Lokalbericht. Digitale Edition ([32]). The experimental visual navigation presents temporal
progression on the vertical axis, and the texts on the horizontal axis. The texts are represented as
lines consisting of individual circles, one for each page of the document. Lines connect the
circles, indicating genetic relationship at page level. Here, too, the colours indicate the various
kinds of avant-texte (Figure 2).17




        Figure 2: Hermann Burger, Lokalbericht. Digitale Edition. Das genetische Dossier.


Though visualised differently, both these editions provide diagrams of the genetic dossier,
showing a temporal progression and the relationship between the documents segmented in
portions of the work. Information about the nature of the document is expressed with colours,
while the position on the vertical axis (and, in the case of Lokalbericht, the lines connecting the
circles) indicates that one document precedes to another. 18 The genetic relationship is expressed
in terms of temporal sequence and is not further specified. We shall see that, in the case of
Gustave Roud's works, a qualification (and differentiation) of the nature of the genetic
relationship is needed in order to include in the picture the author's diary as well as his drafts,
journal publications, and poetry collections.


17 http://www.lokalbericht.ch/dossier#.
18 The dating of the manuscripts and their temporal relationships are also accurately recorded in [26],
   which offers an impressive visual representation in its Makrogenese-Lab, available for the entire work
   as well as for the single scenes (http://faustedition.net/macrogenesis/). Remarkably, in this case each
   statement (i.e. the absolute or relative dating) is associated with its critical source; conflicting
   statements are displayed only in the scene graphs and not in the complete graph.


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                                                                          poetry collections


       2.2. An ontology for genetic networks
Our approach to modelling genetic relationships begins by thinking in terms of entities, their
hierarchy and the connections between them. A motivation scenario and various competency
questions have been created, together with a glossary of terms relevant in the field of genetic
editing.19 We then organised the terms based on a specification relationship (connecting
specific concepts to general ones) and on parthood (the partOf relationship) ([37]), and
afterwards distinguished nouns and verbs, in order to isolate the relations. The latters were
central, since a model for the links is one of the missing pieces of formal models for genetic
criticism, as argued above. This conceptual model has been translated into the OWL2 formal
language.20 A visual rendering of the ontology is provided in Figure 3.21 The ontology website is
<https://gen-o.github.io/>.22 The modelling task has multiple goals: "[t]he main purpose of
developing an ontology is to get a better understanding of the domain in question and to create
a tool for analysing data concerning the domain" ([41]: 184). We consider the ontology as a
starting point for discussion and not yet as a complete resource, ready for use. This is why the
technical development is not finished yet and the URI are still not resolvable.
The entities in our corpus are archival documents, divided into avant-textes (manuscripts,
typescripts, corrected proofs, etc.; class :Avant-Texte) and diary entries (class :Diary), and
publications (class :Publication). For each avant-texte, a genetic stage (property
:hasGeneticStage) is defined; a possible list of genetic stages is: note, plan, list, draft, clean
copy, final manuscript, annotated proofs, and annotated publication.
Avant-textes   can be gathered in sets (class :GeneticDossier; property
:avantTexteIsPartOfGeneticDossier) and each set, i.e. each genetic dossier, results in a
publication (property :geneticDossierResultsInPublication). This tension towards the
publication does not imply that all materials in the genetic dossier are present in the
publication and does not prevent a document from being part of multiple dossiers.
We can then distinguish three major kinds of relationships between documents, publications
and genetic dossiers, based on the discussion in the previous section (see section 1).
Concerning the avant-texte, we follow the approach proposed by other projects, as exemplified
in section 2.1: the chronological order is expressed through the property

19 We haven’t completely followed a development methodology for the ontology, but our procedure has
   points in common with De Nicola-Missikoff ([37]). This approach has been retained because of its
   relative easyness of application in the context of a Digital Humanities project in which the domain
   experts have a prominent role. The creation of a motivation scenario and of competency questions
   have been added to this methodology, for clarity and testing purposes, as promoted among others in
   [61].
20 The ontology is available in the same Github repository, see previous note.
21 For a dynamic rendering of the ontology, use the service at http://visualdataweb.de/webvowl/,
   entering the ontology IRI. WebVOWL add the class :Thing, when a property has no rdfs:domain
   specified; this is the case when the property has sub-properties with the same object but different
   subjects, as for :isReusedIn.
22 The ontology development repository is https://github.com/gen-o/geno.


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:avantTexteisBeforeAvantTexte. A second relationship type occurs when a diary entry is
copied from a notepad or loose leaves carried in the author's pockets during his trips, to a clean
notebook used at his desk. For this step, the property :diaryIsBeforeDiary is used.
The third kind of relationship concerns post-editorial genesis, or epigenesis. As briefly touched
upon in section 1, the publication does not close the genetic process in Roud's production; on
the contrary, a publication frequently becomes part of a new genetic dossier. The reuse of
published and unpublished material is indicated by the property :isReusedIn. Two sub-
properties are used to specify the type of reuse: :diaryIsReusedInGeneticDossier and
:publicationIsReusedInGeneticDossier.

In the case of the reuse of a document (a diary note), or of a previous publication, for a new
text or collection, the property points to the genetic dossier of the new text. This means that it
is possible to link a diary note or a publication to the dossier in which it has been used to
produce a new text, but not to link the diary note or the publication to one specific document
inside that dossier. This degree of granularity corresponds to the degree of interpretation that
we wish to apply to the materials. All kinds of scholarly criticism (genetic, literary, etc.) create a
discourse on the basis of evidence found in the analysed objects; 23 in this case, we opted for a
cautious approach, interpreting this evidence to a limited degree and considering the possibility
of lost documents. The degree of granularity, and of interpretation, might be refined in future
works and should in any case be customised if the model were to be applied to a different
corpus.




        Figure 3: Visual rendering of the ontology, produced with WebVOWL.




23 In the field of genetic criticism, see e.g. [38]: 8: "the material of textual genetics is not a given but
   rather a critical construction", and, in particular on the avant-texte, [23]: 38: "The avant-texte does
   not therefore designate the material manuscripts […] but rather the critical discourse by which the
   geneticist, having established the objective results of their analysis (transcriptions, relative dating,
   classification, etc.), reads them as successive moments of a process".


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In the project "Gustave Roud, Œuvres complètes", the ontology is implemented in an
infrastructure called Knora.24 This software framework is composed of a triplestore (GraphDB),
a IIIF-compliant image server and an API. 25 It allows for the storage, management, and long-
term preservation of research data. Knora provides a base ontology which defines common data
types, to be used in and extended by each project’s specific ontology. The Roud project’s
specific ontology includes the classes and properties described above for modelling the genetic
status of an entity and their relationships, as well as many others which cover the various
aspects of the project.


       2.3. Towards a LOD integrated model
The project specific ontology models not only the genetic networks created by the texts, but
also other aspects: a description of the archival documents, the named entities referred to in
Roud's texts or in editorial commentaries (persons and places), the works referred to (art,
music, literature), Roud's complete bibliography and his biography.
As each of these portions of the ontology cover a different kind of information (and a different
part of Roud's world), they need to be mapped to several existing ontologies. 26 This step of the
modeling process has not yet been accomplished in the project, but some principles have been
set and will be addressed here.
As said, the project ontology deals with various aspects of the materials. The approaches
presented here are based on previous researches on the use of semantic web technologies in
digital scholarly editions ([27];[73]). The part of the ontology dealing with information about
persons can be mapped to FOAF 27 and Dublin Core,28 and enriched by links to VIAF, 29
DBpedia30 and the Dictionnaire historique de la Suisse;31 for places, reference to Geonames32
data can be provided. For the bibliography, the ontology can be mapped to Bibframe 33,
providing links to Worldcat34 entries. The part of the ontology covering biographical
information is organised into events and can be mapped to entities in Schema.org. 35 For the
archival documents, Dublin Core can offer basic modeling, which could be enhanced by
referring to the new standard, still in development, Records in Contexts. A Conceptual Model for

24 https://www.knora.org/.
25 To these basic components, Salsah, a general-purpose and web-based Virtual Research Environment
   (VRE), should also be added.
26 On the complexities of "Ontology Mapping, Matching and Merging", see [30]: section 7.
27 http://xmlns.com/foaf/spec/.
28 http://dublincore.org/.
29 https://viaf.org/.
30 https://wiki.dbpedia.org/.
31 http://www.hls-dhs-dss.ch/f/home.
32 https://www.geonames.org/.
33 https://www.loc.gov/bibframe/.
34 https://www.worldcat.org/.
35 https://schema.org/.


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Archival Description (RiC-O).36
Concerning the text itself, the Knora framework is capable of managing XML files by mapping
XML elements to standoff RDF properties, which are provided in a separate file along with the
XML. This allows the storage of annotations attached to the texts in the triplestore. A TEI
ontology ([29];[30];[40]) can be used natively in this infrastructure.
Further thought should be given to the modelling of the genetic materials, the main focus of
this article. For this part of the ontology, we turned to FRBRoo ([21]), a general model for
describing physical and digital bibliographical resources.37
FRBRoo allows the expression of a bibliographic reference, differentiating and establishing a
relationship between Work, Expression, Manifestation and Item. This structure, the central
pillar of the model, is hard to apply to the organisation of the genetic materials. Accordingly,
we contemplated two alternatives: (1) considering each document and each publication as a
Work; or (2) considering the publication as a Work and the documents in its avant-texte as
Expressions of it.
Before looking at these possibilities, we should exclude from our analysis the FRBRoo "Analysis
of Creation and Production Processes" ([21]: 21 and 27), and thus the classes F27 Work
conception and F28 Expression Creation. Our model does not cover the act of creation, where
explicit reference should be made to the actors involved and to its modality. Such a model
should, however, be considered in the case of multiple authors or multiple actors contributing
to the creation process.
In the first scenario, every draft, plan, list, and clean copy (that is, every instance of the class
:Document) corresponds to FRBRoo F1 Work, as well as every publication (class
:Publication). No correspondence can be found for the genetic dossier, nor for the genetic
stage of each document. The property :isRewrittenIn, used for the diary in our model but
which could be expanded to cover other cases, can be mapped to property R2 'is derivative of'
(or to its reverse); this property can be refined by E55 Type 'Revision' and has the class F1
Work as both domain and range. The property :isReusedIn corresponds to CIDOC-CRM
property P165 'incorporates',38 which models "the relationship that exists between pre-existing
expressions that are re-used in a new, larger expression and that new, larger expression" ([21]:
88). Furthermore, the poetry collections created by reusing existing materials corresponds to
class F17 Aggregation Work, which may also include additional original parts.
The problem in this scenario is that the genetic documents in the avant-texte are considered as
Works themselves. While a draft is recognised as a text per se, 39 its features and function differ

36 https://www.ica.org/sites/default/files/RiC-CM-0.1.pdf.
37 The analysis proposed here is valid for the conceptual models, FRBRoo and IFLA LRM [64], as well
   as for the FRBRoo implementations ([28];[33];[37]).
38 http://www.cidoc-crm.org/Property/P165-incorporates/Version-6.2.
39 See for example Debray-Genette, already in 1979 (republished in 1988): "si l’on avait pensé jusqu’ici
   la génétique en termes d’évolution, le plus souvent même en termes de progrès, il semble qu’il faudrait
   incliner à la penser en termes de différence, lui accorder un fonctionnement plus autonome, lui
   accorder sa propre poétique" ([35]: 19).


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from those of a publication, precisely because of a draft’s relationship with the publication: in
Ferrer's words, "ce n’est pas la genèse qui détermine le texte, mais le texte qui détermine sa
genèse" ([44]: 83). For genetic scholarship, the genesis is a reconstruction a posteriori, created
from the point of view of the publication. Even if we consider the autonomy of each draft, its
nature is provisional and unachieved, thus would hardly fit in the category of Work.
If the draft does not have a complete autonomy, the second alternative might be invoked, in
which the genetic documents in the avant-texte are considered as Expressions of the
publication, that is the Work. The limitation of this approach, however, is clear: the class F1
Work definition states that "Such concepts [the concepts informing the Work] may appear in
the course of the coherent evolution of an original idea into one or more expressions that are
dominated by the original idea" ([21]: 54); but in genetic criticism the genesis is hardly
definable as a "coherent evolution of an original idea". 40 Treating the documents in the genetic
dossier as Expressions would mean considering them as realisations of the publication, which is
the Work; this view, however, seems to constraint the complex nature of the genetic
documents.
Eventually, we asked ourselves if the FRBRoo model for bibliographical resources is indeed a
suitable reference point for a model of genetic networks. At the moment, the formalisation
presented in this papers is difficult to map onto this conceptual schema: the bibliographic
approach represented in FRBRoo does not coincide with the genetic approach adopted here.
Despite these first findings, we think that it would be to the advantage of the genetic criticism
community to further explore the complementarity, if not the integration, of the
bibliographical model into a genetic one, and vice versa. It seems to be the direction chosen by
the CRM tex41 working group, proposing an extension of CIDOC CRM for the study of
ancient texts: they acknowledge the unsuitability of the FRBRoo model for dealing with textual
entities, since it does not capture "the physical/conceptual duality of a sign", understanding the
text "only as a conceptual object" ([42]: 266).42 The CRMtex model, however, does not offer
any meaningful mapping to our genetic model, because it does not take into account (yet?) any
form of textual variance.
A more fitting correspondence can be found in RiC-O (see above). A record ( RiC-E1 Record)
would correspond to the archival document in our model, to be distinguished between avant-

40 See [44]: 52: "Ce qui est un grave échec pour un pirate est une fatalité pour les écrivains : leurs plans
   n’aboutissent jamais totalement, même dans les genèses les mieux assurées"; and [44]: 68: "L’œuvre
   n’est pas un mobile se déplaçant comme un point immatériel repérable à chaque instant le long de la
   trajectoire représentée par la genèse, car l’œuvre, qu’il s’agisse d’un haïku ou d’un roman-fleuve, n’est
   ni ponctuelle ni instantanée".
41 http://cidoc-crm.org/crmtex/.
42 The authors of [42] state that "FRBRoo [...] deals only marginally with the concept of manuscript,
   and mainly in a modern sense, referring mostly as autographs created by authors, often as an avant-
   texte for possible future publication" ([77]: 266). If it is true that FRBRoo mention authors'
   manuscripts multiple times in the examples, the relationships between them and to the publication is
   not analysed.


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texte and diary. The record has a state, corresponding to the genetic stage ( RiC-P21 Record
State); the examples for this property list “draft; final draft; original; simple copy; certified
copy”. The genetic dossier corresponds to a set of records ( RiC-E3 Record Set). For the
relations between records, a vast number of possibilities exist, among which RiC-R9 is
predecessor of, RiC-R6 is copy of. Even if RiC-O, in the current state, does not cover
all the concepts expressed in our model, we are waiting further developments 43 to explore all
the possibilities of a mapping to RiC-O. The model seems indeed very promising for our
research and conceptually quite close to the domain of genetic criticism.


        3. Case study: "Cendre"

"Cendre" ([2]) was published on July 10, 1930 in Aujourd'hui, signed with the name Adrien
Delarze, one of Roud's pseudonyms. It is composed of twenty-three notes, twenty-two of
which are surely taken from the author's diary. They are organised chronologically, from 1916
—the first year for which we have diary entries— to 1929 —the year preceding the publication
of "Cendre"—, with two exceptions. Nine notes are reproduced in full or almost in full, while
the other thirteen are the result of the selection of one or more parts of them.




                Figure 4: Digital facsimile of "Cendre", Aujourd'hui n°32, 10 July 1930.



43 The new RiC-O draft is expected in September 2019, see
   https://web.archive.org/save/https://www.ica.org/en/ica-ric-o-call-for-reviewers-is-now-closed.


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The notes are neither mixed nor recast; on the contrary, they are separated by multiple line
breaks that confirm their autonomy (see Figure 4). All of them are taken from Roud's
notebooks, which generally include clear texts, copied from pocket notebooks, small notepads
or sheets. The author has probably gone through his notebooks in order to elaborate this text,
looking for passages that could be taken up. As Daniel Maggetti points out:


       La revue [Aujourd’hui] offre à Roud l’occasion d’une mise en forme qui autonomise les
       impressions et les intuitions dans lesquelles il cerne des repères de sa quête de sens […].
       Mais sa recherche, tâtonnante, procède par énumération de signes et par juxtaposition de
       situations, plutôt qu’elle n’obéit à une ligne argumentative ou narrative. Ce que Roud vise
       et réalise de prime abord, c’est la restitution d’un climat, d’une atmosphère, non la
       composition d’ensemble d’une suite poétique maîtrisée. D’où une constante menace
       d’éclatement, et une incertitude quant à l’agencement des éléments d’un texte dont
       l’architecture est sans cesse questionnée. ([53]: 105)

In the case of "Cendre", a strong link to the diary is maintained, as the chronological order
suggests; furthermore, the chronological range is given at the end of the text ("1917-1930"
([46]: 2). The poem seems to reduce to its essence the daily work of a long period. The very
notion of "ash" (in French, cendre) underlines this aspect, designating the original diary entry,
which is itself just a residue of life and of "former passions":


       Anciennes passions, dois-je vous sentir mortes en moi, cendre sur cendre ? Il y a des
       heures où quelque libération me semble possible : une poésie confuse tente encore de
       vous étreindre, mais bientôt retombe l’élan. ([3]: 1)

This kind of rhapsodic composition, assembling diary fragments, is common in the texts
published in Aujourd'hui (1929-1931), although not all of them are composed from so many
different notes. "Cendre" can thus be used as a case study for other texts with a similar genesis.
The ontology presented above can be applied here as follows: the diary notes (:Diary
:hasGeneticStage "diary note level 1") are copied (:diaryIsBeforeDiary) in
notebooks (:Diary :hasGeneticStage "diary note level 2"). See Figure 5 for a
visual representation.




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                Figure 5: Genetic network of "Cendre", Aujourd'hui n°32, 10 July 1930
                (§2). Links from the genetic dossier are in pink; the diary rewriting in
                green; sub-properties of :isReusedIn in yellow.




The following step in the composition process is that of the poetry collections: the author
would select portions of published texts and re-organize them into a new work. In the case of
"Cendre", some notes will be included with few modifications in Air de la Solitude ([7]), while
some others will appear as such in the revised version of Feuillets ([1])
(:publicationIsReusedInGeneticDossier). This is represented in Figure 6, together with
the other diary notes incorporated into "Cendre" (:diaryIsReusedInGeneticDossier).
The model and its visual rendering allows us to pursue the arrangement and creation process,
in which Roud undoes the old to form the new: in this way we can follow the journey of the
text from the diary to the collection and trace the fragments’ provenance. 44




44 In this visual rendering the horizontal axis seems to convey a chronological development. While this
   is indeed a visualisation, the figure represents exactly how the data are stored in the database
   according to the model presented in section 2, and there is no attempt here to work on the
   visualisation itself. This step will be addressed later in the project and data visualisation will be
   provided on the project edition website, as it is done in the web applications discussed in section 2.1.


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Figure 6: Genetic network of "Cendre", Aujourd'hui, 10 July 1930 (§1-§7), including its reuse in Feuillets
and Air de la solitude (§16-19). Links to (:avantTextIsPartOfGeneticDossier) and from the genetic
dossier are in pink; the diary rewriting in green; sub-properties of :isReusedIn in yellow. The labels are
not repeated on all of the edges. The date is displayed for each diary entry to maintain chronological
order.




        4. Case study: Requiem (part 1)

The second case study expounds upon the modelling of the genetic dossier, including multiple
avant-textes and of the reuse of published materials.
The entire first part of Requiem ([13]) had previously been published in journals, in three
subsequent versions, each expanding the former. The 1935 text "Dédicace" ([5]) sets down
what will become the beginning of Requiem; to this article is added new prose and together
they form "Deux moments d'une quête" in 1941 ([6]); this text, rearranged, and "Moulin de
Lussery" ([4]), published in 1934, converge into "D'une quête" in 1950 ([8]). This last
publication therefore builds upon three previous texts, to which are added new passages. In
1967 it will become, after a few modifications, the first part of Requiem.



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In Figure 7, the network for the first text, "Dédicace", is presented. A manuscript draft (CLSR
GR MS 1 H1/2a) and a typescript clean copy (CLSR GR MS 1 H1/1a) populate the genetic
dossier and are linked through the property :avantTexteisBeforeAvantTexte.




       Figure 7: Genetic network of "Dédicace", Schweizer Annalen, November 1935. Links to
       the genetic dossier are in pink; the blue edges indicate the chronological succession of the
       documents in the genetic dossier; sub-properties of :isReusedIn are in yellow. Labels
       are sometimes omitted to avoid overcrowding the diagram.


In Figure 8, the entire genetic network for the first part of Requiem is displayed. In addition to
"Dédicace", the genetic dossier of "Deux moments d'une quête", of "Moulin de Lussery" and
of "D'une quête" are included. The textual reuse happening here is of different type to that of
"Cendre": here the property :isReusedIn indicates the gradual extension of the text, up to
"D'une quête", which is integrated in full into Requiem.
A first indication of Roud’s desire to expand the text into a "book" (in French, livre) appears as
early as in the draft CLSR GR MS 1H1/2a:


       p[our] le livre: récit allusif d’une mort, la chambre sans miroir, le sens des fleurs, les
       enfants qui ne veulent rien savoir – la parole qui les trahit. Psaume du voyageur, sa lecture
       par celui qui n’a pas compris.




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                                                                          poetry collections

The first part of Requiem is composed using a sort of amplificatio, where the beginning of the
text stays the same and the rest is prolonged, augmented and recast. The model clearly shows
this complex process.




   Figure 8: Genetic network of Requiem (part 1). Links to and from the genetic dossier are in
   pinkt; the property :avantTexteIsBeforeInAvantTexte in blue; sub-properties of
   :isReusedIn in yellow. Labels are sometimes omitted to avoid overcrowding the diagram.




       Conclusions

This article presents a data model for genetic criticism, informed by and applied to the
scholarly editing project "Gustave Roud, Œuvre complètes". The inclusion of a genetic
perspective into a digital scholarly edition obliges us to reflect on formal models that can be
implemented in such a context: while genetic and literary criticism makes use of the sources in
order to formulate a scholarly discourse, in the edition the scholarly argument is conveyed
mainly by the very organisation of the materials. In order to advance the rapprochement
between scholarly editing and genetic criticism, we have made a first contribution towards a
model that could address the needs of both fields.
Roud's œuvre offers a particularly stimulating corpus for such an endeavour. His writing process
challenges the notion of avant-texte as the figurative place where genesis happens. The roots of


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Roud's texts can rarely be found in plans, lists and drafts, that is, in the avant-texte; far more
frequent is the case in which the author gleaned from his diary or from already published
works. In section 1, the role of the diary and its definition as a complex object of study are
pursued: Roud's Journal should certainly be considered as genetic material, and we have argued
why its position in our model is outside the genetic dossier, though directly connected to it.
The use of existing texts as provisions for new ones applies not only to the diary but also to the
published works: various kinds of reuse are identified, linking articles and poetry collections.
In section 2, our understanding of the corpus from a genetic point of view is translated into a
formal model, implemented in an OWL2 ontology. Such a model has the potential to
contribute to the scholarship on Roud, as well as to both scholarly editing and genetic
criticism, enabling qualitative and quantitative research. The proposed schema responds to the
lack of formal models for the creation of genetic networks: digital editions and related
modeling proposals can now tackle the annotation of single genetic elements (drafts and other
materials) or the analysis of the textual variation between them. Here we suggest a way to
enlarge the object of study by modelling the relationships between genetic entities. This model
allows to address cases such as those analysed in section 3 and 4, where multiple works
converge into a new one and materials from the diary are reused at different stages of the
writing process. The temporal dimension is central in the model, thus we use the properties ‘is
before’ for the succession of diary level and of avant-textes. In this respect, our model is close to
the data visualisation of the digital editions analysed. The difference, however, is that in our
model it is possible to specify different kinds of temporal relationships for the various entities
to be linked.
Once the entire corpus is annotated following this model, it will be possible to make fine-
grained queries to retrieve subsets of it, for example: which of Roud’s works are rooted in his
diary; of how many avant-textes is generally composed a genetic dossier; in which works it is
reused the article "Cendre" published in the periodical Aujourd'hui in 1930; an avant-texte can
belong to various genetic dossiers and, if yes, how many 45. Quantitative methods, such as
stylometry or text-reuse algorithms, can also be applied to the annotated corpus. Eventually,
data visualisations of the genetic networks obtained, accompanied by statistical results, can
enable new readings of Roud's œuvre.
The work presented in the article should be continued and further tested in order to attain a
degree of maturity permitting its use on other corpora. Nevertheless, the model has been
conceived for being flexible and possible to adapt. This is why the distinction between
documents of different nature is done using a property ( :hasGeneticStage) and not defining
a class for each stage. A possible refinement of the model would be to distinguish phases inside
the avant-texte, separating and linking a pre-redactional stage — in which notes are collected,
plans and lists drafted, and information gathered — and a redactional one; also, portions of the
text might have different geneses that could be considered separately. All these issues should be
addressed with multiple different case studies and involving the genetic criticism community,
in order to conceive a conceptual model, or domain ontology, that would define core concepts
45 These are the competency questions used during the development of the ontology. See
   https://github.com/gen-o/geno.


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and allow for its implementation in ontologies finely customized on each corpus.
In conclusion, taking into account the "hypertextual" and open dimension of the genesis allows
better representation of the multiple possibilities available to the author during his work,
showing the dynamic process that is taking place, and demonstrating the fact that not
everything converges towards a published text. The published text itself can be conceived as a
network of elements whose origins can be traced. As we have demonstrated, the network can be
enlarged to the scale of the entire complete works, putting forward the different types of
relationships between the texts, intertwining and responding to each other. Digital methods
and technologies can be the editors' allies for modelling and representing this complex network
of creative processes and archival documents in a scholarly edition.


       References


       Works by Gustave Roud
    [1] Roud, Gustave. 1929. Feuillets. Lausanne: Mermod.
    [2] Roud, Gustave. 1930a. “Cendre.” Aujourd’hui, no. 32 (July 10): 1–2.
    [3] Roud, Gustave. 1930b. “Cendre (II).” Aujourd’hui, no. 34 (July 24): 1–2.
    [4] Roud, Gustave. 1934. “Moulin de Lussery.” Le Radio. Journal de T.S.F., no. 607,
        (November 23): 1775.
    [5] Roud, Gustave. 1935. “Dédicace.” Annales suisses, no. 1 (November): 15.
    [6] Roud, Gustave. 1941. “Deux moments d’une quête.” Suisse contemporaine, no. 10
        (November-December): 805–8.
    [7] Roud, Gustave. 1945. Air de La Solitude. Lausanne: Mermod.
    [8] Roud, Gustave. 1950a. “D’une quête.” Botteghe oscure, no. V (May): 284–89.
    [9] Roud, Gustave. 1950b. Ecrits. Lausanne: Mermod.
    [10] Roud, Gustave. 1956. “Catherine Colomb, romancière vaudoise.” Gazette de
         Lausanne, (April 18-29): 10.
    [11] Roud, Gustave. 1965. “Notre monde périssable sauvé par la poésie.” Gazette de
         Lausanne, (November 20) 1965: 19.
    [12] Roud, Gustave. 1966. “L’Aveuglement.” Ecriture, no. 2: 9–12.
    [13] Roud, Gustave. 1967. Requiem. Lausanne: Payot.
    [14] Roud, Gustave. 1968. “Préface.” In Catherine Colomb, Œuvres. Lausanne:
         Coopérative Rencontre.


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Umanistica Digitale - ISSN:2532-8816 - n.7, 2019

[15] Roud, Gustave. 1972. Campagne perdue. Lausanne: Bibliothèque des Arts.
[16] Roud, Gustave. 1982. Journal. Edited by Philippe Jaccottet. Vevey: Bertil Galland.
[17] Roud, Gustave. 2004. Journal: Carnets, Cahiers et Feuillets (1916-1971). Edited by
     Anne-Lise Delacrétaz and Claire Jaquier. 2 vols. Moudon: Ed. Empreintes.
[18] Roud, Gustave. 2017. Entretiens. Edited by Emilien Sermier. Paris: Fario.




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