This essay compares and analyses five different editions of Beethoven’s Piano Sonata no. 29 in Bb-major, op.106, with focus on editorial choices and techniques. The analysis takes as its point of departure James Grier's definitions of different types of editions. In the study the editions are scrutinized in a number of aspects from chosen passages, deemed as problematic in Beethoven scholarship, in order to see how the editions answer to the definitions of Grier. The comparisons show that the editions are shaped, affected and influenced by the aims regarding their use and function, and testify to how different the outcome may be even when editions are based on the same source material.

The thesis comprises an introduction and annotations to Collected Poems of Richard Outram, Volume One (1957–1988), a planned critical edition of the poems of Richard Outram (1930-2005), Canadian poet and printer. It tells the story of Outram’s published oeuvre, beginning in 1957, when he published his first work in collaboration with his wife, the artist Barbara Howard (1926–2002), up through 1988, when Outram and Howard published the last of their hand-printed, letterpress collaborations. Jernigan asserts that Outram’s oeuvre is characterized by a reiterative poetics, in which the poet “reads” individual poems into the public record of his work on multiple occasions, allowing the poems’ meanings to be shaped by the changing context of an unfolding oeuvre, as well as by changes in material context and addressed readership — an assertion reflected in the structure of her edition. At the same time, she speaks to the collaborative context of Outram’s published work, all of which was made in explicit or implicit conversation with his wife, the artist Barbara Howard (1926 – 2002), while also being shaped by the sorts of communal forces famously noted by D.M. Mackenzie. Both the introduction and the annotations demonstrate the close link between composition and publication for Outram, poet-printer. In her introduction, Jernigan considers how this link complicates the traditional dichotomy between genetic and bibliographic approaches to textual criticism. Throughout, Jernigan establishes an updated bibliographical and biographical context for Outram’s work, enlarging upon the seminal scholarship of Peter Sanger, and contributes to the existing scholarship on Outram’s personal and publishing life with new archival research in the Gauntlet Press fonds at Library and Archives Canada, the Richard Outram papers at the Thomas Fisher Rare Book Library, the Allan and Nancy Fleming fonds at York University, and the Macmillan and Key Porter fonds at McMaster University. / Thesis / Doctor of Philosophy (PhD) / The thesis comprises an introduction and annotations to Collected Poems of Richard Outram, Volume One (1957–1988), a planned critical edition of the poems of Richard Outram (1930-2005), Canadian poet and printer. It tells the story of Outram’s published oeuvre, beginning in 1957, when he published his first work in collaboration with his wife, the artist Barbara Howard (1926–2002), up through 1988, when Outram and Howard published the last of their hand-printed, letterpress collaborations. Both the introduction and the annotations demonstrate the close link between composition and publication, for Outram, and show the deep effect on Outram’s poetics of his longterm collaboration with his wife. The annotations map the interaction, through three decades, of Outram’s commercial- and private-publishing practices, and cast new light on his lifelong practice of reiteration: his habit of reading his own, older poems into the record of his unfolding work again, in new contexts, linking old work to new, and enriching the meanings of both.