| When one thinks of the process and results of what we have here called "editorial agency," i.e., the successive intervention of several editors in the collective construction of a set of works, one thinks more of the role a publishing house can play in that construction, and less of the role of a series of individual editors. Let us recall that an editor can be understood as the person who publishes a text, but also as the one that produces a critically-established text.;In this thesis we are interested to note the extent, depth, dimension and the delicacy of editorial agency, to highlight the place of editing, which precedes and complements other processes, such as "publication, circulation and ownership" (Chartier), topics which have been studied by the sociology and history of books. Here we argue that editing involves a careful act of reading and interpretation, and that every editor is a new reader, which mediates between the written word and other readers. This doctoral work is divided into four chapters, "Works", "Authors", "Texts" and "Originals", which correspond to four broad conceptual questions: what is a work?, what is an author?, what is a text?, and what is an original?;Chapter I is devoted to analyzing the posthumous construction of Fernando Pessoa's works, to show the extent to which these plural works have been forged collectively. Chapter II discusses the posthumous construction of Macedonio Fernandez's works, edited by his son Adolfo de Obieta, in order to highlight that editorial agency calls into question some notions associated with the concept of "author". Chapter III studies the critical editions of the Coleccion Archivos, to identify how and to what extent this type of edition can forge a "new textuality" and propose a new way of reading. Chapter IV discusses the zeal of graphic fidelity of "genetic" editions, to notice how far the reproduction and presentation of an autograph depends on the editorial agency (of the contrast between "text" and "genesis", for example). |
