By Terrell Carver, Daniel Blank
Since the Nineteen Twenties, students have promoted a collection of manuscripts, lengthy deserted via Marx and Engels, to canonical prestige in booklet shape because the German Ideology, and specifically its 'first chapter,' referred to as 'I. Feuerbach.' half considered one of this innovative research relates intimately the political heritage by which those manuscripts have been editorially fabricated into variations and translations, in order that they may possibly signify a tremendous exposition of Marx's 'theory of history.' half offers a wholly-original view of the so-called 'Feuerbach' manuscripts in a page-by-page English-language rendition of those discontinuous fragments. through together with the hitherto devalued corrections that every writer made in draft, the hot textual content invitations the reader right into a special laboratory for his or her collaborative paintings. An 'Analytical Introduction' exhibits how Marx's and Engels's considering constructed in duologue as they altered person phrases and words on those 'left-over' polemical pages.
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Additional resources for A Political History of the Editions of Marx and Engels's "German Ideology Manuscripts"
Even the most superficial comparison between the 1926 Marx-Engels-Archiv edition and the 1932 MEGA1 edition reveals that there are grave differences in the way the text has been arranged. ” Therefore, in his view, it could not have been Ryazanov, as a victim of “Stalinism,” who had been responsible for the way the so-called manuscripts on Feuerbach had been edited. ” But who did it then? Other than simply blaming “Stalinism” in general, Koltan fails to come up with a plausible answer. It is thanks to the editors of the MarxEngels-Jahrbuch 2003 that such a simplistic explanation, which explains everything and nothing, can be ruled out.
The introduction to “Das Leipziger Konzil” has no pagination, while “II. Sankt Bruno” was paginated by Marx. The fact that these manuscripts were fair copies that were sent over to Germany does not imply that Marx and Engels had made no corrections to the text. There are plenty of insertions and marginal notes in the right-hand columns. Different colored pencils were used. Parts of “III. Sankt Max” are even in the handwriting of Weydemeyer himself, who allegedly copied from manuscripts (now lost) written down by Engels.
Both are found in a chapter of the apparatus criticus entitled “Die Richtlinien für die Redigierung der Manuskripte” (Guidelines for the editing of the manuscripts), not in the introduction. ” And this in turn would reveal the “large scale trend of the composition” (“die große Linie der Komponierung”) (Adoratskij, 1932b: 561–2). ” Or in other words, we know what the authors wanted to say, and since they did not do so, we have to do it for them by rearranging the text. This is highly problematic.