Milestone Documents

https://www.milestonedocuments.com/faq#faqs

The above link leads to a primary source reader (log in required, but you get the gist from the FAQ). The site includes over 1700 primary sources (and is constantly expanding). Each entry presents an image of the original document, a transcript, and an analysis and commentary.

These sources are divided into 8 topical units; i.e. African-American History, Ancient Near East, etc. Each unit includes a selection of core documents and is then customizable from there. Professors can  hide the commentary from students to encourage independent analysis, and then restore commentary following class discussion.

Each article features links to related primary source documents (each with their own analysis and commentary).  Students can highlight, annotate, and save their notes directly via their site account. Professors can do the same, either privately (for teaching notes), or publicly (to direct/instruct) students.

This online textbook/teaching tool exemplifies the elasticity of dynamic texts (holding a breadth of information to great to compile into print; customizable unlike print), and of interactive/hypertext (both students and professors can take and share notes directly via the site). The latter demonstrates the pedagogical advantages of hypertext.

The Shakespeare Quartos Archive

The Shakespeare Quartos Archive is a transatlantic collection of editions of Shakespeare's plays from before 1642. The archive is comprised of two main sections: the Hamlet prototype and the British Library's Shakespeare in Quarto site. The first offers "full cover-to-cover digital reproductions and transcriptions of thirty-two copies of the five earliest editions of the play Hamlet. You can view quartos separately, or alongside any number of copies. You can search annotate, make public or private sets of annotations, create exhibits or character cue line lists, and download and print text and images." This functionality seems to embody many of the virtues McGann identifies in digital archives. The texts are searchable and can be compared side by side in facsimile. The site itself, however, is not as fully fleshed-out as it could be in order to really take advantage of the potential it holds. It announces plans to add "full functionality" for all of Shakespeare's quarto plays, but the site began in 2008, and Hamlet remains the only text represented. The Shakespeare in Quarto site, which is credited as a predecessor project, is under the auspices of the British Library and seems to be joined to the Quartos Archive but does not seem fully a part of it (I would say that it is really a part of the British Library site). The Quartos Archive says, "The Shakespeare Quartos Archive expands the British Library's 'Shakespeare in Quarto' website into an online collection reproducing at least one copy of every edition of William Shakespeare's plays printed in quarto before the theatres closed in 1642." Thus, one must access both sites to have access to the breadth of what the archive claims. This access, however, adds the ability to compare facsimiles of 107 quartos (not all of the same play, and only two at a time).

The British Library site offers more textual information and references and background, but it is not searchable in the way that the Archive is; it is based on the facsimile, and missing the other elements of digital archives. Other site, such as the Folger Digital Texts of Shakespeare's plays, are based solely on the words themselves, containing high searchability within the text but without facsimiles or the ability to search between editions of a particular text (they instead create their own text rather than provide access to textual variation).

Woolf Online

http://www.woolfonline.com/

Woolf Online is a digital archive containing the holograph drafts, proofs, early editions, and contextual materials on the subject of Virginia Woolf's To the Lighthouse. Funded in part by the National Endowment for the Humanities, the site is divided into four major sections of material: (1) Bibliography, which displays an exhaustive list of criticism on To the Lighthouse with respective links to each citation; (2) Contextual, which contains digital scans as well as transcriptions of material about the novel like newspaper reviews, letters, and journal entries; (3) Image, which showcases scans of the original manuscripts, essay drafts, early editions, proofs, etc.; and (4) Text, which contains transcription pages of the aforementioned material.

In relation to our readings this week, the Woolf Online archive displays the true potential of hypermedia in its range and extent. It is a resource I hadn't known about before, but one I will certainly use in my future scholarship on Woolf. Significantly, the site contains digital scans of proofs heretofore solely available for viewing in the Mortimer Rare Book Room at Smith College in Massachusetts. Moreover, the content is organized in a clear and deliberate manner. The resource is now hosted by the Center for Textual Studies and Digital Humanities at Loyola University and, in McGann's words, has the potential to--indeed, the expectation to--be "indefinitely expanded and developed" (470).

Other Sources Consulted:
https://www.smith.edu/news/new-digital-humanities-project-virginia-woolf/

The John Milton Reading Room

http://digitalhumanities.dartmouth.edu/projects/the-john-milton-reading-room/

The John Milton Reading Room is an online archive in affiliation with Digital Humanities at Dartmouth. It is comprised of prose, poetry, epigrams, and Paradise Lost/Regain'd in digital form. The viewer has the language options of Latin and English, and a Dartmouth login isn't required to view the archives.  The "project principal investigator" as is stated on the website, or general editor,  is Thomas H. Luxon of the Dartmouth department of English. The website design is by the DALI Lab. As quoted from the web page, Digital Humanities is "where computing meets the big picture questions across the disciplines of the humanities. by its very nature, it involves novel methods, analysis, and tools to discover new ways of understanding to world around us." Though this archive does not perfectly align with the idea of the social edition per "Toward Modeling the Social Edition," there are social practices put in to this collection that make me wonder if  it can be categorized as such regardless.
This project is using social media in an interesting way- "the Milton Reading Room Facebook page is experimenting successfully with crowd-sourced scholarship"- so it is socially funded. I requested to join their Facebook page, and was met with posts from the editor, Thomas H. Luxon, as well as people I assume are either interested in the project, or are working on it as well. On November 7 Luxon updated that he is "working on a bit of a mystery today concerning the Tetrachordon." He goes on to explain that several online editions are missing pages, and he is trying to figure out if there was a photocopying error, or if the book is actually missing those pages. There are other interactive posts throughout the page in which the editor is keeping his readers up to date with his current scholarship regarding the John Milton Reading Room. There is even a post asking for peer review. The John Milton Reading Room is an intriguing project in my opinion due to the use of social media in its assembly.

Hypertext, dynamic, social editions

Dynamic Texts

Bloomfield's Letters
https://www.rc.umd.edu/editions/bloomfield_letters/HTML/letterEEd.25.1.html

Collected Letters of Robert Southey
https://www.rc.umd.edu/editions/southey_letters/Part_Two/HTML/letterEEd.26.317.html

Digital scholarly archives / hypertext editions

Blake Archive
http://www.blakearchive.org/blake/

Rossetti archive
http://www.rossettiarchive.org/

Hypertext scholarship

Hypertext History of the Transmission of Coleridge's "Christabel" (1998)
https://www.erudit.org/projspec/article/005806ar/005806arp012.html#contents

Tools that might facilitate a social or dynamic edition

Collaborative transcription:
Mary Smith's Commonplace Book transcription project
https://transcription.si.edu/project/6774

Collaborative Annotation (in a limited community):
Hannah More's Letters (collaboratively annotated in separate space)
http://hannahmoreletters.co.uk/Letters/

User-derived content:
NINES http://www.nines.org/about/
Book Traces: http://www.booktraces.org/

Folksonomy tagging:
The English Broadside Ballad Archive (now standardized)
https://ebba.english.ucsb.edu/

Victorian Web

www.victorianweb.org

The digital archive I have chosen is The Victorian Web. I find it to be an interesting example of some of the issues that were brought up in both the McGann and the Siemens et al. articles. The archive is curated by George P. Landow, professor of English and Art History at Brown University. Landow does serve as a gatekeeper for what gets added to the site; however, anyone is welcome to e-mail him with contributions. This is somewhere in between a standard edition and the social edition Siemens et al. were envisioning. The other interesting thing about this archive is it is somewhat decentralized in nature. Part of this comes from the fact that it is centered around a certain time period instead of a work of literature, but even when you click on the author or textual tabs you get no one text or author from this time period privileged. You can find various information on  a number of texts, with most individual pages using hypertextual editing in order to provide outside information and criticism about an author or their work. Victorian Web has some limitations, and I think a lot of this is due to the scope of this project (for instance, many longer works like novels do not have hyperlinks to a full text).  It is still a fascinating example of what a digital archive could look like and how digital archives do not have to privilege a single text, work, or even author.

Shakespearean Study

I am sorry for the first post. Here I found a web page similar to Rossetti Archive, but it might send you to other pages. It was established in 1997 to help people research Shakespeare. I believe such work could be described as non page based work.

http://www.bardweb.net/study.html

Rum's Tale 

I have tried to find a terminology for a digital text with out page numbers, but I was unsuccessful. Anyway, I found this interesting website that shows graphical novels in a different method, it does it in some way tell you where to start. 

Here is the link to them 

http://free-online-novels.com/graphic.html

The Graphical novel that I was examining is Rum's Tale. 

http://www.lorestrome.com/devilsbone/main.htm

  

Dante Gabriel Rosetti & Ghost Stories

I have always been drawn to the Pre-Rafaelites such as Rosetti, William Morris of the Arts & Crafts movement and John Ruskin.  For this week's assignment I suggest this website: The Rosetti Archive

Taken from the home page:

The Complete Writings and Pictures of

Dante Gabriel Rossetti

A Hypermedia Archive

The Rossetti Archive facilitates the scholarly study of Dante Gabriel Rossetti, the painter, designer, writer, and translator who was, according to both John Ruskin and Walter Pater, the most important and original artistic force in the second half of the nineteenth century in Great Britain. In Whistler's famous comment, “He was a king”.

Completed in 2008 to the plan laid out in 1993, the Archive provides students and scholars with access to all of DGR's pictorial and textual works and to a large contextual corpus of materials, most drawn from the period when DGR's work first appeared and established its reputation (approximately 1848-1920), but some stretching back to the 14th-century sources of his Italian translations. All documents are encoded for structured search and analysis. The Rossetti Archive aims to include high-quality digital images of every surviving documentary state of DGR's works: all the manuscripts, proofs, and original editions, as well as the drawings, paintings, and designs of various kinds, including his collaborative photographic and craft works. These primary materials are transacted with a substantial body of editorial commentary, notes, and glosses.

As McGann was instrumental in the Rosetti Archive, I thought it might help if I also searched for another sort of hypermedia project on the Internet.

I found a site that does audios of ghost stories:  Short Ghost and Horror Collection.  I also found what could have been a great site for Edgar Allan Poe's "The Raven".  It had three videos, but the files were corrupt so I couldn't view them.

Diane Culpin 10 November 2016

Ebooks, fair use, and machine reading

"It looks like ebooks won't kill print books after all"
http://www.slate.com/blogs/future_tense/2016/11/02/ebooks_are_not_killing_off_print_books.html

Google and fair use case
Settlement with Author's Guild rejected by court, 2011
http://jolt.law.harvard.edu/digest/copyright/authors-guild-v-google-2

Supreme Court decision not to hear the appeal by Author's Guild, April 2016
http://arstechnica.com/tech-policy/2016/04/fair-use-prevails-as-supreme-court-rejects-google-books-copyright-case/
http://www.nytimes.com/2016/04/19/technology/google-books-case.html?_r=0
This effectively ends the appeals.

Palladio visualization software
http://hdlab.stanford.edu/palladio/

Readers Interacting with print

Book Traces:
http://www.booktraces.org/

Extra-illustrated (or Grangerized) books at the Huntington Library
http://www.huntington.org/WebAssets/Templates/content.aspx?id=14386

video of turning the "pages" of a grangerized book
https://vimeo.com/65673921

Example a signature album and a scrapbook from of University of St. Andrew library:
https://standrewsrarebooks.files.wordpress.com/2015/09/ms37102_1and2.jpg

Henry Tiffin Commonplace Book from the Peabody Essex Museum:
http://www.pem.org/library/blog/wp-content/uploads/2013/10/Shipof90Guns1760-Web.jpg

Lewis Carroll's commonplace book from University of TX Austin
http://cdn.thedailybeast.com/content/dailybeast/galleries/2012/08/16/beautiful-commonplace-books-by-lewis-carroll-nancy-cunard-and-more-photos/jcr:content/gallery/slide_6/image.img.1280.1024.jpg/44836894.cached.jpg

19th century Scrapbook from Library Company of Philadelphia
http://www.librarycompany.org/visualculture/images/events/p-9682-1-p42-43.jpg

Links and research guides (plus thoughts on stereotype printing)

Follow up materials from our discussion of image-making processes:

Bibliography of sources for research on print making and print makers:  http://archive.clarkart.edu/library/bibliographies/LibraryGuideARTH506.htm
The most important reference guide here is The Artists of the World : Bio-bibliographical Index

Another list of useful resources for identifying prints and print makers, from the V&A:
http://www.vam.ac.uk/content/articles/p/study-guide-prints-and-printmakers/

On stereotype printing

Several of us had a discussion last week about how to tell if a 19th or early 20th century book was printed with movable type or with stereotype plates. After investigating several authorities, I tend to side with Philip Gaskell in A New Introduction to Bibliography: "Stereotype plates, normally mounted and imposed as separate pages, were printed exactly like ordinary typeset pages, and it is usually hard to tell whether a particular book has been printed from type of plates" (204). The take away here: it's hard to tell.

That said, as we were discussing, if an early 20th century book has two different printers, one named on the title page, and one named on the final leaf of the book, this may suggest that you are looking at either 1. a later "edition" of the book (meaning the type has been reset) or 2. a later "impression" of the book (the copy was printed at a different time than the original impression of the book, but the type was not reset). If the book you are analyzing does not say it is a second, third etc. edition, but does have two distinct printers, it *may* be made from stereotype plates. This, however, is speculation since there does not appear to be any scholarship on this question. I will distribute some material from Gaskell in class on Thursday that might help us with this issue, and will send you an article by Michael Winship "Printing with Plates in the Nineteenth Century United States" when I receive it from ILL.

Guide for conducting research in literary studies:

A useful compilation of research guides, organizer by literary period, with links to web resources:
http://libguides.du.edu/c.php?g=90360&p=583464
If you scroll down in any of the individual pages, you will find links to online search engines for archival materials and manuscripts, among other useful information.

Links and research guides (plus thoughts on stereotype printing)

Follow up materials from our discussion of image-making processes:

Bibliography of information on print making and printmakers:  http://archive.clarkart.edu/library/bibliographies/LibraryGuideARTH506.htm
The most important reference guide here is The Artists of the World : Bio-bibliographical Index

Another list of useful resources for identifying prints and printmakers, from the V&A:
http://www.vam.ac.uk/content/articles/p/study-guide-prints-and-printmakers/

On stereotype printing

Several of us had a discussion last week about how to tell if a nineteenth or early 20th century book was printed with movable type or with stereotype plates. After investigating several authorities, I tend to side with Philip Gaskell in A New Introduction to Bibliography: "Stereotype plates, normally mounted and imposed as separate pages, were printed exactly like ordinary typeset pages, and it is usually hard to tell whether a particular book has been printed from type of plates" (204). The take away here: it's hard to tell.

That said, as we were discussing, if an early 20th century book has two different printers, one named on the title page, and one named on the final leaf of the book, this may suggest that you are looking at either 1. a later "edition" of the book (meaning the type has been reset) or 2. a later "impression" of the book (the copy was printed at a different time than the original impression of the book, but the type was not reset). If the book you are analyzing does not say it is a second, third etc. edition, but does have two distinct printers, it *may* be made from stereotype plates. This, however, is speculation since there does not appear to be any scholarship on this question. I will distribute some material from Gaskell in class on Thursday that might help us with this issue, and will send you an article by Michael Winship "Printing with Plates in the Nineteenth Century United States" when I receive it from ILL.

Guide for conducting research in literary studies:

A useful compilation of research guides, organizer by literary period, with links to web resources:
http://libguides.du.edu/c.php?g=90360&p=583464
If you scroll down in any of the individual pages, you will find links to online search engines for archival materials and manuscripts, among other useful information.

Milk & Honey- Rupi Kaur

Rupi Kaur's book of poetry, Milk & Honey, was published by Andrew McMeel Publishing in 2015. She dedicates her book, to "the arms that hold [her]."
For starters, this book is so aesthetically pleasing. There are four sections, the hurting, the breaking, the loving, and the healing. The sections headers are there own page, printed on a black piece of paper, with a very simple white font. She uses no capitalization. Each page has a small poem printed in a very simple font neatly on it. Many pages also have a hand sketched piece of art on the page, that might have to do with the poem, or might make the meaning of the poem to Rupi herself a bit more apparent.
This book of poetry is meant to be very raw and intimate. The way that the book is printed, definitely attributes to the intimacy. From Rupi's hand sketched pictures on the pages, to her note on the back of the book- "this is the journey of surviving through poetry, this is the blood sweat tears of twenty-one years, this is my heart, in your hands, this is the hurting, the loving, the breaking, the healing", it is appealing to any reader who might have felt hurting, loving, breaking, and healing.
The book itself is 204 pages, but it is written in a way that it could be read in an entire setting, due to the fluidity of the type. Furthermore, I think this work can also succeed as a coffee table type book, because it is so aesthetically beautiful, and simple. It's easy to pick it up, flip to page 121, and read a three sentence poem about writing and hands, and then set it back down.