Digital Critical Editions (Topics in the Digital Humanities)

Free download. Book file PDF easily for everyone and every device. You can download and read online Digital Critical Editions (Topics in the Digital Humanities) file PDF Book only if you are registered here. And also you can download or read online all Book PDF file that related with Digital Critical Editions (Topics in the Digital Humanities) book. Happy reading Digital Critical Editions (Topics in the Digital Humanities) Bookeveryone. Download file Free Book PDF Digital Critical Editions (Topics in the Digital Humanities) at Complete PDF Library. This Book have some digital formats such us :paperbook, ebook, kindle, epub, fb2 and another formats. Here is The CompletePDF Book Library. It's free to register here to get Book file PDF Digital Critical Editions (Topics in the Digital Humanities) Pocket Guide.

  • Digital Scholarly Editions as Interfaces.
  • Dray Prescot 02 - The Suns of Scorpio;
  • The Imaginary Institution of India: Politics and Ideas!
  • Studying DH in the Classroom.
  • North American Tunneling 2010 Proceedings.

This entire paradigm runs counter to the rationale behind literary studies, a field dedicated to the interpretation and explication of meaning. Literary critics explain and interpret how meaning is made. They analyze texts in ways that illuminate the ideologies texts contain and thereby enable critique of them. Recent innovations in the field of literary studies provide avenues towards answering this question in meaningful ways. In particular, the work of two literary scholars influence the essays contained in this collection.

Digital Humanities Student Association

Franco Moretti and Jerome McGann present very different interpretative methodologies and are rarely described in the same sentence, but these two scholars thoroughly inform how authors in this issue think through the relationship between the literary and the digital humanities. They each show how the literary matters in our increasingly data-driven, digital culture by showing how literature possesses and provides data for interpretation. Even the most traditional forums for literary scholarly discourse seem to be exploring the relationship between the literary and the digital humanities. Are there new models of interpretation?

Will literary studies and hence literary criticism need to take new forms? Will the move from a print-based to an electronic-based culture have repercussions for the concept of literature and hence for criticism? It has been argued that the DH is about hands-on production of digital objects archives, tools, images, etc. This stance positions the DH in opposition to traditional models of literary scholarship, specifically to the practices of an individual reading, thinking, and writing to produce a textual or discursive product.

The tension between traditional literary practices of interpretation and those of the DH motivates discussion about the present and future shape of the humanities. This is not an isolated decision on the part of upper-management for the governing organization of literary studies. The necessity is evidenced by the fact that in the midst of a financial crisis that resulted in a dearth of new positions in higher education, the MLA job market list included well over thirty positions for professors with a research specialty in the Digital Humanities not including fellowships and non-tenured jobs with this emphasis.

Humanities + Digital Tools: Text Technologies

This robust number reflects the fact that Digital Humanities is one of the few areas within literary studies to see job growth in the midst of an economic downturn. Scholars within institutions of higher education are not the only ones considering the relationship between the literary and the digital. Stanley Fish has also used his op-ed space in The New York Times to chime into the discourse about the recent influx of the digital humanities to literary studies. Instead, the DH identifies an emergent perspective for seeing how traditional literary scholarship provides the means for asking and pursuing interpretative questions, both about digital culture but also about other, older, and non-digital objects of study.

It is not that the digital humanities can save literary studies but that, when viewed through a digital humanities perspective, literary studies does not need saving. The impetus behind this special issue is an unabashed attempt to stake a claim for the importance of the humanities in our digital culture and, more specifically, a reminder about the crucial significance of literary studies. We took as our starting point a belief that the digital humanities and literary studies are intersecting and co-dependent.

By the time our submission deadline approached, we realized that we were far from alone in this conclusion.

  • The Surgeon in Medieval English Literature.
  • The Responses to Regionalism in East Asia: Japanese Production Networks in the Automotive Sector (Palgrave MacMillan Asian Business).
  • Posters 2018.
  • Digital Humanities | Department of English | Nebraska;
  • Real World Project Management: Beyond Conventional Wisdom, Best Practices and Project Methodologies.
  • Digital Humanities: Overview?
  • Selected Readings in Chromatography. The Commonwealth and International Library: Selected Readings in Analytical Chemistry.

We received an outstanding number of high-quality submissions: 45 abstracts submitted by scholars from 12 countries working across diverse disciplines — from English to legal studies, communication to psychology, education to computing, art history to information science. The essays herein explore points of intersection between the literary and the digital humanities from diverse perspectives. Some update close reading; others probe the boundaries of what counts as literary data.

They make use of diverse humanities computing tools — mark-up, tagging, data-mining, and other forms of coding — and show how such tools can serve interpretive ends. Through a perspective informed by the digital, these writers analyze individual literary texts as well as the digital tools involved in reading them. A few of our contributors pursue ways of merging traditional literary scholarship and digital research. In her analysis of the ancient aesthetic concept of ekphrasis, Cecilia Lindhe demonstrates how digital humanities work builds upon traditional hermeneutics. She argues for the tactile nature of ekphrasis in the digital age and uses case studies from digital art and electronic literature to argue for a multi-modal understanding of this ancient term.

Like Cordell, Ed Finn also pursues a middle ground between distant and close reading as well as between traditional literary criticism and emergent practices made possible by digital technologies. Finn uses online book reviews and recommendations culled from sites such as Amazon and LibraryThing as research data to propose a strategy for examining the larger networks involved in canon formation and the production of literary value. This same middle ground — the meeting places where readers find, read, and respond to texts — is another subject of interest for the writers in this issue. Wu considers the introduction, promotion, and evolution of the Kindle.

Whitney Trettien brings traditional bibliographical scholarship to her analysis of another form of digital remediation of print texts: print-on-demand. She shows how these traces, visible both on the surfaces of page and screen, are significant in the ways they signify.

Projects | EADH - The European Association for Digital Humanities

Kirschenbaum reminds us that the archive is not just its content but also its metadata. The material fact that digital texts are, at their core, composed of code and executed via sets of instructions processed by the digital machine inspires another point of intersection in this issue: a focus on code. Close reading computer code is a central and concrete way that digital humanities and literary studies intersect. Three essays in this issue illuminate this intersection by engaging and explicating the textual contexts and poetics of programming code.

Their essay models this argument in its form. The essay models a method of experimenting with the forms used to encode discourse about the literary. It pushes criticism about the digital and about the digital humanities to move beyond describing the specificities of materiality in order to engage with it in the form and function of a critical essay. Marino calls it , Mark Sample reads the paratextual comments in the programming code of such massively popular and commercially successful games as SimCity and JFK Reloaded.

Product information

He does so in order to show how these texts include algorithms for producing gameplay and also encode social, cultural, and even capitalist histories. Mark Marino reads the code of a very different type of digital object and in a very different way. Marino makes this argument while pursuing the political critique of his object of study, demonstrating that the study of code is not the study of rarified abstraction but, on the contrary, the consideration of a viable platform for enacting social change.

Please do not ship the return package before you receive the instructions. Goods must be returned without undue delay and in any event not later than 14 days after notifying us of your cancellation. If you are returning products to several retailers, you should distribute the products accordingly and send the products to those retailers who shipped them to you initially. We strongly recommend that you use registered mail and insure any high-value packages , since neither Fruugo nor the retailer take responsibility for shipments that are lost or damaged during return transportation.

Please ensure you retain a proof of postage receipt so in the unlikely event your parcel goes missing, you will have proof you sent it. You will be refunded within 14 days of the retailer receiving back the goods. We will notify you by e-mail once the products reach the retailer and are accepted for return. Where a retailer has offered to collect the goods, you will be refunded within 14 days of cancelling your contract. Unless a product or products you wish to return arrived to you damaged or faulty, you are responsible for the return transportation costs.

If you chose to pay for a non-standard delivery, we will only refund the cost of our least expensive, standard delivery. Include at least the following information:. We will generally instruct you to ship the damaged product back to the retailer. If the replacement can't be made, or if you wish to cancel the order, you will be refunded in full.

Post navigation

You will also be reimbursed for reasonable returns postage costs for damaged or faulty goods once we have received your postage receipt. If the outer packaging of your order is clearly damaged on arrival, and you are suspecting that the products are damaged as well, you can either reject the delivery or accept the goods and sign for them as damaged.

If you refuse to accept delivery of all or part of your order where the products or packaging do not appear to be damaged or defective you will be responsible for the postage charges. Click image to zoom.

Classics, “Digital Classics” and Issues for Data Curation

Dispatched within 24 hours. Add to basket. View more Hide Product information. View more Hide Product description. View more Hide Delivery Information. View more Hide Returns Policy.