A
Alassi, Sepideh, and Lukas Rosenthaler. "Semantic precision: crafting RDF-based digital editions for
unveiling the layers of historical correspondence." Digital Scholarship in the Humanities, vol. 39, no. 3, 2024, pp. 813-835, https://doi.org/10.1093/llc/fqae027. [Alassi2024]
Abstract
This article proposes that Resource Description Framework (RDF) technology is well
suited for representing and storing inherently connected epistolary data. We justify
this proposition by creating an RDF-based digital edition of the correspondence of
members of the Bernoulli dynasty and Leonhard Euler and depicting the benefits this
type
of edition provides, which are hardly achievable otherwise. We describe the ontologies
defined to fully represent letters and illustrate how we formulated letters’ historical,
scientific content, rich with mathematical formulae, markups, figures, and references,
as RDF statements to facilitate complex queries common in the humanities field. Next,
we
outline the tools we developed for presenting these editions in an efficient and
user-friendly form, hiding the complexity of the data structure from non-technical
users
while offering sophisticated analysis features to explore atoms of knowledge and their
relations. Additionally, since the citability and durability of the studied digital
sources play a crucial role for scholars who publish research on the editions, we
explain the steps we undertook to ensure the sustainability of the RDF-based editions
and to offer persistent citation possibility.
Almas, Bridget, and Emad Khazraee, et al. "Manuscript Study in Digital Spaces: The State of the Field and
New Ways Forward." Digital Humanities Quarterly, vol. 012, no. 2, 2018. [Almas2018]
Ananieva, Anna, and Sandra Balck, et al. "The Study of Historical Travelogues from a Digital Humanities
Perspective: Experiences and New Approaches." Comparative Southeast European Studies, vol. 72, no. 3, 2024, pp. 370-385. [Ananieva2024]
Abstract
Abstract: This article explores howDigitalHumanitiesmethodologies can be applied
to historical travelogues and highlights the potential of these technologies to provide
new insights into historical data. It summarizes the experiences acquired through
various research tasks undertaken by the interdisciplinary project team “Digital
Editions of Historical Travelogues” (DEHisRe), funded by the German Research Council
(DFG) from 2021 to 2024. Based on an iterative case study of handwritten travel journals
from the early 19th century, the authors outline the six-step “Life Cycle of Digital
Editing”. This circular workflow incorporates best practices in the field while aiming
to produce sustainable digital editions of historical travelogues.
Andrews, Tara. "The Third Way: Philology and Critical Edition in the Digital
Age." Variants: The Journal of the European Society for Textual
Scholarship, vol. 10, 2013, pp. 61-76. [Andrews2013]
Apollon, Daniel, et al. Digital Critical Editions, University of Illinois Press, 2014. [Apollon2014a]
Apollon, Daniel, and Claire Bélisle, et al. "Introduction: As Texts Become Digital." Digital Critical Editions, University of Illinois Press, 2014. [Apollon2014b]
Abstract
First Paragraph: As the world becomes digital and new generations consider
computers, mobile appliances, and the Internet as extensions of their body that are
essential for living and being today,¹ the future of the traditional forms of culture,
knowledge, and scholarship appears to be at risk. The very status of texts, heirs
to a
long tradition of manuscript and printed books, is evolving with multimedia writing,
constantly developing technologies, and new reader expectations. Dynamic creation
of new
spaces and media for knowledge is gradually superseding the authority of secular
cultural objects.
Apollon, Daniel, and Claire Bélisle, et al. "The Digital Fate of the Critical Apparatus." Digital Critical Editions, University of Illinois Press, 2014. [Apollon2014c]
Abstract
First Paragraph: The adoption of digital technologies has upset our relationship
to texts and confronts us with the long history of critical edition underlying this
relationship. The advent of the printing press had already put an end to the erratic
fluctuation of texts that were subject to the hazards of physical or mechanical
hand-copying. Many medieval manuscripts are assorted with maledictions issued by the
author or the scribe against future counterfeiters, threatening them with leprosy
or
burning in hell. These curses illustrate well how the old scribal culture based its
conception of the intrinsic uniqueness of the text on prescriptions and
prohibitions...
B
Balderston, Daniel. "Latin American Textualities: History, Materiality, and Digital
Media ed. by Heather J. Allen and Andrew R. Reynolds (review)." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 169-172, https://muse.jhu.edu/pub/269/article/867249. [Balderston2022]
Barton, Melissa. "Editing the Harlem Renaissance ed. by Joshua M. Murray and Ross
K. Tangedal (review)." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 172-177, https://muse.jhu.edu/pub/269/article/867250. [Barton2022]
Bassett, Caroline. "The Construct Editor: Tweaking with Jane, Writing with Ted,
Editing with an AI?." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 155-160, https://muse.jhu.edu/pub/269/article/867246. [Bassett2022]
Abstract
New AI language modelers are increasingly capable of taking on multiple editing
roles, previously thought to demand humans. Where are the limits? What does further
automation of the scholarly editor's function suggest? Will the Construct Editors
of the
(possible) future render today's scholarly editors redundant? A thought experiment
along
these lines suggests that editing tools are becoming editing agents — a future of
tighter collaboration rather than replacement appears to be likely.
Battershill, Claire. "The Stories We Tell: Project Narratives, Project Endings, and the
Affective Value of Collaboration." Digital Humanities Quarterly, vol. 17, no. 1, 2023, https://www.digitalhumanities.org/dhq/vol/17/1/000665/000665.html. [Battershill2023]
Abstract
This paper considers the the affective and narrative dimensions of considering
project lifespans. How do collaborators feel about endings and how does that impact
project outcomes and project planning? How might we consider digital projects as
temporal and narrative forms deserving of analysis? How do professional relationships,
team dynamics, and precarious labour conditions impact the longevity of projects?
I
argue in this paper that in addition to thoughtful sustainability planning on the
technical side, there is value in thinking from a literary perspective about digital
humanities projects, about the stories and relationships we are making along with
the
websites, digital archives, databases, tools, marked-up texts, maps, and innumerable
other digital artifacts that arise from large-scale collaborations in this field.
The
provocation I offer is that applying some of the discursive analytical structures
of
literary genres to the construction of a digital project and foregrounding its human
components of affect and relation can also show a team its ideal duration and ending.
Thinking about these matters requires a multi-dimensional approach: we need to think
beyond institutional repositories and mirror sites and consider the lived experience
of
project making and about the structure of the stories we tell about digital work.
The
paper uses examples from two collaborative projects of different types and durations
that I have undertaken.
Bernard, Lou, et al. Electronic Textual Editing, Modern Language Association, 2006. [Bernard2006]
Bleier, Roman, and Helmut Klug. "Discussing Interfaces in Digital Scholarly Editing." Digital Scholarly Editions as Interfaces, Norderstedt, 2018. [Bleier2018]
Abstract
Interfaces define how research material is presented. They shape the view
recipients acquire from historical sources. Since the digital medium is more open
to
variations than the once traditional form of presenting Scholarly Editions in printed
book form, discussions on how to deal with the new possibilities started at a very
early
stage after the emergence of digital scholarly editions. In the beginning these were
strongly influenced by traditional presentation practices but have shifted to aspects
more associated with the digital paradigm. Theoretical approaches towards interfaces,
however, were only sporadically published and have been continuously demanded by the
scholarly community. This introduction attempts to summarize the scholarly discussions
on interfaces and provides an overview of the papers presented in these proceedings:
they offer both theoretical approaches and discussions of practical implementations
together with studies evaluating interfaces.
Bodard, Gabriel, and Juan Garcés. "Open Source Critical Editions: A Rationale." Text Editing, Print, and the Digital World, Routledge, 2009. [Bodard2009]
Abstract
This chapter formulates propositions about the audience, nature, function and
status of the scholarly edition that lead to a seventh proposition about the electronic
edition as the ideal maximal medium for the inclusion of the minimal edition, even
in
printable form. The text-critical edition presents itself explicitly as a reading
edition but contains elements which are traditionally found in a study edition. The
purpose of the edition is to inform the interested reader rather than provide a forum
for the textual scholar to demonstrate the results of their research. In the
Anglo-American tradition, the acknowledgement of the scholarly editors' subjective
critical judgements and the articulation of the editors' freedom to apply their theory
of the text in editing has referred the concept of the definitive text to the annals
of
scholarly editing and introduced different editorial or formal orientations.
Bornstein, George. "Facsimiles and their Limits The New Edition of Yeats's The
Winding Stair and Other Poems." Textual Cultures: Texts, Contexts, Interpretation, vol. 6, no. 2, 2011, pp. 92-102. [Bornstein2011]
Abstract
This essay uses the recent 2011 volume of W. B. Yeats, The Winding Stair and Other
Poems: a Facsimile Edition to argue that so-called facsimile editions can never be
exact
replicas of literary works but necessarily differ in various and important ways. Chief
among them in this case are cover design, paper, and binding among other elements.
Some
of these are inevitable, but others result from often legitimate organizational and
financial demands of publishers. A ''facsimile edition'' will always be a new edition,
even if of a special kind.
Bowman, Deborah. "(Say) Between 22 and 24 Seconds: Edition as Totality." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 33-43, https://muse.jhu.edu/pub/269/article/867234. [Bowman2022]
Abstract
This essay considers William Empson's Seven Types of Ambiguity (1930/1947) as a
text situated within overlapping cultures of editing. Most famously, the book responds
to Robert Graves and Laura Riding's readings of Shakespeare's 'unedited' Sonnet 129,
but
it also closely reads scholarly footnotes. Empson's own revisions for the 2nd edition
and his prefatory reflections on them then extend an awareness of and willingness
to
play with mise-en-page unusual in literary criticism of the period, though common
in its
poetry. Seven Types should also be seen in the context of the Experiment group of
writers, artists, and film-makers, for whom editing included montage and the curation
of
found texts and images. As a highly self-conscious textual environment predicated
on
editorial intervention read and written as a creative resource and scene of performance,
it challenges the prospective editor by focusing attention on the spaces and times
of
editing., Further questions about textual performance are posed by this article's
form.
All academic articles, like editions, are montages: they assemble, in significant
sequence, textual elements drawn from different sources. Current conventions of
scholarly referencing tend to conceal this, however, in that they persistently shift
authority and attention away from the montage as process, the local effects of the
selections and juxtapositions it performs, and the reader's experience of these in
the
here and now of reading. Whereas the edition's authority draws a text's history into
the
present tense of its utterance, the article's scholarly apparatus directs us to the
past
(in the form of those pre-existing and uncut works from which cited material originates)
and scripts a future (in which readers will trace and restore this material to its
original location). In order to reflect on the edition, this essay removes most of
the
article's usual apparatus of reference in order to allow the montage itself and its
present tense to predominate; where short quotations are incorporated in the text
italics are substituted for quotation marks to indicate the temporary alteration of
tone
from one voice to another. These departures do not argue for the wholesale elimination
of scholarly apparatus; rather, the essay's wider suggestion would be that
creative-critical writing is in a position to question all aspects of the academic
text,
reclaiming its form and formats for authorial use so that the conventional can re-emerge
as an expressive resource.
Bree, Linda, and James McLaverty. "The Cambridge Edition of the Works of Jonathan Swift and the
Future of the Scholarly Edition." Text Editing, Print, and the Digital World, Routledge, 2009. [Bree2009]
Abstract
This chapter provides a narrative account of the project, setting out the
practical issues, while trying to draw attention to the generic and methodological
issues. The Leverhulme grant allowed us to appoint Gabriel Bodard as a research
assistant; Gabriel was completing a PhD on Greek tragedy, and had worked for a year
at
the TLG project. Another crucial aspect of the project is its relationship to other
digital undertakings in the field. Epigraphers have been exploring ways of using
computers to organize their data for at least 20 years. Much of the pioneering work
was
done with Latin texts, since there were no fount problems. There are two large databases
which put such material online, grouped as the Electronic Archive of Greek and Latin
Epigraphy. In Greek epigraphy the pattern has been somewhat different: the lead was
taken by David Packard, who sponsored the development of a collection of epigraphic
texts in electronic form.
Briggs, Julia. "Hope Mirrlees's Paris: towards the electronic editing of a
modernist poem." Variants, no. 1, 2002, pp. 107-121, https://dialnet.unirioja.es/servlet/articulo?codigo=4700040. [Briggs2002]
Bryant, John. The Fluid Text, University of Michigan Press,, 2002. [Bryant2002]
Bryant, John. "Witness and Access: The Uses of the Fluid Text." Textual Cultures: Texts, Contexts, Interpretation, vol. 2, no. 1, 2007, pp. 16-42, https://www.jstor.org/stable/30227854. [Bryant2007]
Bryant, John. "Version and Document: Conception and Design in the Editing of
Revision." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 108-116, https://muse.jhu.edu/pub/269/article/867242. [Bryant2022]
Abstract
I have two provocations to share: one theoretical, having to do with the revision
text of Moby-Dick; the other practical, having to do with visualizing versions in
the
editing of Billy Budd. Both are rooted in the material and yet digital; both engage
readers in creative interpretations of revision.
Bullard, Paddy. "Digital Editing and the Eighteenth-Century Text: Works, Archives,
and Miscellanies." Eighteenth-Century Life, vol. 36, no. 3, 2012, pp. 57-80, https://doi.org/10.1215/00982601-1672826. [Bullard2012]
Abstract
This article develops recent work by literary historians on miscellany
publication, and on the printed miscellanies that were so important and popular for
the
early eighteenth-century book trade. It offers a history of the form, illustrated
by
comments made by the Duke of Buckingham, Francis Osborne, Sir William Temple, Charles
de
Sainte-Évremond, John Locke, John Wilson, the Earl of Shaftesbury, Jonathan Swift,
Alexander Pope, and John Gay. It examines examples of miscellanies produced by John
Dryden and his publisher Jacob Tonson, by John Dennis and Charles Gildon, and by Pope
and Swift. Previous commentators have argued that miscellanies were the product of
book-trade contingency—publishers simply bundled whatever fugitive poetry they happened
to have to hand. This article argues that miscellanies were in fact well-theorized
vehicles for authorial and editorial intention. Multiauthor miscellanies often
represented complicated patterns of social and cultural allegiance. Miscellaneity
had
distinct formal meaning. This essay proposes that editors and designers of electronic
editions should consider “digital miscellaneity” as an eligible model for future
editions of eighteenth-century texts.
Buzzetti, Dino, and Jerome McGann. "Critical Editing in a Digital Horizon." Electronic Textual Editing, Modern Language Association, 2006. [Buzzetti2006]
Buzzetti, Dino. "Digital Editions and Text Processing." Text Editing, Print, and the Digital World, Routledge, 2009. [Buzzetti2009]
Abstract
This chapter emerges from the recent debates of editorial theory and, on the
practical level, from a project for producing electronic scholarly editions. It reflects
on the nature of text, explores the implications for text encoding, and outlines a
methodology within which text encoding may be able to respond satisfactorily to the
theoretically enunciated problems. Humanities researchers comment most often upon
existing texts, whether literary, documentary, filmic, biblical, legal or musical.
The
acknowledged need for an agreed standard of text encoding has also brought its problems
for the study of humanities e-texts. The reader, with book in hand, will find that
its
material logic has been extended most usefully. The foot-of-page textual apparatus
will
be serving as an epitome of the whole production process. The precisions required
by
computer encoding, together with the passing of postmodern theory, have set the
conditions and created the requirement for us to sort out more of what text means
and
how it functions.
Buzzoni, Marina. "A Protocol for Scholarly Digital Editions? The Italian Point of
View." Digital Scholarly Editing:Theories and Practices, Open Book Publishers, 2016. [Buzzoni2016]
Abstract
This chapter discusses whether it is desirable to establish a protocol that
would provide, if not a standard, at least some guidance on how to structure the core
elements that one should expect to find in a scholarly electronic edition. A preliminary
examination is thus needed to determine which features should be defined as fundamental.
Though the debate on the issue is still intense, many scholars in the field of digital
philology 1 now agree that there are at least five domains in which scholarly digital
editions may offer important advantages over paper editions, namely:² 1. the possibility
to present
C
Cappellotto, Anna, and Raffaele Cioffi. "Towards an Inclusive and Accessible Digital Scholarly Editing: A
Critical Assessment." Journal of the Digital Humanities Association of Southern
Africa, vol. 5, no. 1, 2024, https://upjournals.up.ac.za/index.php/dhasa/article/view/5012. [Cappellotto2024]
Abstract
This paper is based on an ongoing project on Diversity, Inclusivity, Accessibility
in Digital Scholarly Editing (DIA-DSE and in our view it should be seen as a place
of
critical assessment of existing digital scholarly editions (DSE) and discussion for
future developments and improvement. Our idea is the result of a bigger initiative
based
at the University of Verona (Italy) on the topic Inclusive Humanities: Perspectives
of
Development in Research and Teaching Foreign Languages and Literatures [1]. In its
essence it tries to respond to some of the goals envisaged by globally relevant agendas
and strategic plans which put in the foreground the challenges posed by our time and
focuses on the idea that a knowledge society like ours needs to develop an open model
of
science. This novel model pleads for an accessible science and through innovative
methodologies seeks to involve wide, inclusive and diverse agents, contents, and targets
into the scientific discourse. In this context, our aim is to investigate from the
perspective of Diversity, Inclusivity and Accessibility (which we call by the acronym
DIA) a traditional field of study, that is philology and textual criticism, in its
very
ultimate development: Digital Scholarly Editions (DSE). The field of DSEs raises
nowadays the following questions: Do DSE projects consider Diversity, Inclusivity
and
Accessibility? If so, how much and how do they do this? To try to provide an answer,
in
the context of DIA-DSE project we will build a corpus of existing resources and we
will
try to assess their DIA degree according to different parameters. In the long term,
after data collection and analysis, a ranking of diverse, inclusive and accessible
resources will be defined. These results will be followed by a survey that will be
disseminated among the scholarly community and users, with the objective engage in
an
open critical discussion, to raise awareness and to gain suggestions for the creation
of
DIA-DSE guidelines that will be published and promoted at the end of the
project.
Causer, Tim, and Melissa Terras. "Crowdsourcing Bentham: Beyond the Traditional Boundaries of
Academic History." International Journal of Humanities & Arts Computing: A
Journal of Digital Humanities, vol. 8, no. 1, 2014, pp. 46-64. [Causer2014]
Abstract
The Bentham Papers Transcription Initiative2 (Transcribe Bentham for short) is an
award-winning crowdsourced manuscript transcription initiative which engages students,
researchers, and the general public with the thought and life of the philosopher and
reformer, Jeremy Bentham (1748-1832), by making available digital images of his
manuscripts for anyone, anywhere in the world, to transcribe. Since its launch in
September 2010, over 2.6 million words have been transcribed by volunteers. This paper
will examine Transcribe Bentham's contribution to humanities research and the burgeoning
field of digital humanities. It will then discuss the potential for the project's
volunteers to make significant new discoveries among the vast Bentham Papers collection,
and examine several examples of interesting material transcribed by volunteers thus
far.
We demonstrate here that a crowd-sourced initiative such as Transcribe Bentham can
open
up activities that were traditionally viewed as academic endeavors to a wider audience
interested in history, whilst uncovering new, important historical primary source
material. In addition, we see this as a switch in focus for those involved in digital
humanities, highlighting the possibilities in using online and social media technologies
for user engagement and participation in cultural heritage.
Chalghoum, Naima. "Algerian Literary Heritage: From the Depths of Manuscripts to the
Realms of Digitization." Afak for Sciences Journal, vol. 9, no. 4, 2024, pp. 144-163. [Chalghoum2024]
Abstract
Algeria's literary heritage boasts a rich history that reflects the wealth of
Algerian culture and history through ancient manuscripts. With the advancement of
technology, there has emerged a pressing need to preserve this precious heritage and
document it using modern methods that ensure its continuity and accessibility for
future
generations. The transition from traditional methods to digitization represents a
pivotal step, requiring the accurate scholarly editing of texts, systematic cataloging,
and digitization for widespread dissemination. This research paper aims to explore
the
importance and methods of preserving Algerian literary heritage and facilitating access
to it through digitization. It will also examine ways to effectively integrate
digitization with processes of editing and cataloging to enhance the preservation
of
Algerian literary heritage, offering a comprehensive vision for improving these
processes in the digital age. Additionally, the study will address the challenges
related to the digitization of manuscripts and provide practical recommendations to
overcome them.
Chernysheva, Daria. "Intentions, Extensions: Creative Editing and Translation Practice
in A Sauvage Reader." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 63-70, https://muse.jhu.edu/pub/269/article/867237. [Chernysheva2022]
Abstract
Translation and editing may be defined as highly similar practices yielding an
independent text that bears a relationship to other texts. This article offers examples
from the author's ongoing project A Sauvage Reader to demonstrate how it may be possible
to emphasize the bonds of correspondence that emerge, via translation and editing,
between texts, as opposed to anxieties about the search for and fidelity to a definitive
text.
Coble, Zach, and Jojo Karlin. "Reference Rot in the Digital Humanities Literature: An Analysis
of Citations Containing Website Links in DHQ." Digital Humanities Quarterly, vol. 17, no. 1, 2023, https://www.digitalhumanities.org/dhq/vol/17/1/000662/000662.html. [Coble2023]
Abstract
The ubiquity of the web has dramatically transformed scholarly communication. The
shift toward digital publishing has brought great advantages, including an increased
speed of knowledge dissemination and a greater uptake in open scholarship. There is
also
an increasing range of scholarly material being communicated and referenced. References
have expanded beyond books and articles to include a broad array of assets consulted
or
created during the research process, such as datasets, social media content like tweets
and blogs, and digital exhibitions. There are, however, numerous challenges posed
by the
transition to a constantly evolving digital scholarly infrastructure. This paper
examines one of those challenges: link rot. Link rot is likely most familiar in the
form
of “404 Not Found” error messages, but there are other less prominent obstacles to
accessing web content. Our study examines instances of link rot in Digital Humanities
Quarterly articles and its impact on the ability to access the online content referenced
in these articles after their publication.
Comeau, Emily. "The Project Endings Interviews: A Summary of Methodological
Foundations." Digital Humanities Quarterly, vol. 17, no. 1, 2023, https://www.digitalhumanities.org/dhq/vol/17/1/000661/000661.html. [Comeau2023]
Abstract
Project Endings is a collaborative SSHRC-funded project conducted by a team of
faculty members, librarians, and programmers at the University of Victoria in BC,
Canada, that explores questions about the ending and archiving of digital humanities
(DH) projects. The main goals of Project Endings are to align the aims of faculty
researchers and archivists in the long-term curation and preservation of DH projects,
and to develop practical tools to assist with the archiving of both data and interactive
elements of digital projects. To achieve these goals, we conducted a survey followed
by
a series of interviews with DH scholars across Canada and internationally about their
experiences ending and archiving digital projects. In April 2021, we also hosted the
Endings Symposium, where we brought together members of the Project Endings research
team as well as a number of interview participants to further discuss some of the
issues
facing DH work. This paper will summarize the methodological foundations of the Project
Endings interviews and illustrate how these foundations have been reflected in the
interviews and subsequent analysis conducted by the Project Endings team. The interview
process was guided by constructivist grounded theory, narrative inquiry, and
phenomenology. These principles have allowed us to collaboratively co-construct
knowledge with each other and with research participants. This paper will discuss
the
ways in which knowledge has been co-constructed over the course of the Project Endings
interviews and analysis, as well as through the 2021 Endings Symposium.
Crompton, Constance. "“No Boutique or Fashionable Technologies”: Project Development,
Mentorship, and Sustainability in an Innovation-First World." Digital Humanities Quarterly, vol. 17, no. 1, 2023, https://www.digitalhumanities.org/dhq/vol/17/1/000660/000660.html. [Crompton2023]
Abstract
In recent decades, university research has become bound up in the expectation of
innovation, often at the expense of sustainability. As a guiding principle, innovation
has shaped the goals of universities and funders; the recent turn to sustainability,
signaled by the rise of data management plans and data deposit requirements, may
indicate a welcome discursive shift. This article explores the interplay of knowledge
creation and mentorship in the development of digital humanities research projects,
with
the aim of articulating how to resolve the artificial tension between innovation and
sustainability. While often framed in opposition to each other, or used in a neoliberal
framework to force researchers to do more with fewer resources, innovation and
sustainability can, this article argues, be dual goals in the development of lasting
digital humanities scholarship, with a focus on XML serializations’ role in this
scholarly ecosystem.
Cummings, James. "Academics Retire and Servers Die: Adventures in the Hosting and
Storage of Digital Humanities Projects." Digital Humanities Quarterly, vol. 17, no. 1, 2023, https://www.digitalhumanities.org/dhq/vol/17/1/000669/000669.html. [Cummings2023]
Abstract
This article examines the technical development and afterlives of two projects,
the CURSUS project (2000-2003) and the William Godwin’s Diary project (2007-2010)
to
undertake case studies in problems relating to hosting and storage of digital humanities
projects. In both cases a combination of outside events or project decisions negatively
impacted the project. This was discussed as part of a symposium for the Endings
Principles for Digital Longevity and reflects on whether following these principles
would have benefited these projects. Overall, the case is made that we should always
be
planning for events that could affect the sustainability of digital research
projects.
D
Dahlström, Mats, and Espen S. Ore, et al. "Electronic Scholarly Editing - Some Northern European
Approaches." Literary and Linguistic Computing, vol. 19, no. 1, 2004, pp. 3-8, https://doi.org/10.1093/llc/19.1.3. [Dahlström2004]
Dahlström, Mats. "The Compleat Edition." Text Editing, Print, and the Digital World, Routledge, 2009. [Dahlström2009]
Abstract
The chief concerns of text processing for interpretational purposes remain
information retrieval, content management, or knowledge representation and extraction.
A
text has to be conceived, equally in a digital environment, as a semiotic system.
The
mapping of the text onto itself can be performed by markup that gives explicit
expression to implicit structural features of the text. The application of the extended
string' data type to text critical problems' has proved to be a substantial step towards
reaching satisfactory solutions', and its application to problems of analysis and
interpretation looks just as promising on the same grounds'. The examination and testing
of these new possibilities opens up a new, promising direction for research, in the
conviction that only an improved form of low-level text representation can allow
semantic and content-based text processing and afford an effective transfer of
linguistic competence from the human reader to the machine.
Damon, Cynthia. "Beyond Variants: Some Digital Desiderata for the Critical
Apparatus of Ancient Greek and Latin Texts." Digital Scholarly Editing: Theories and Practices, Open Book Publishers, 2016. [Damon2016]
Abstract
Texts from the ancient world reach us via a long, complicated process of
transmission from copy to copy. As printed today they are at best near approximations
of
what an ancient author wrote. A critical edition, which presents the text along with
the
surviving evidence of the transmission process and an editor’s interpretation of it,
allows the reader to go beyond a generalised expectation of error and to see whether
any
given bit of text is secure, or corrupt, or disputed, or weakly supported by the
manuscripts that preserve it. No classical text can be read responsibly without one.
Yet
De Tombe, J. "Digital editing as autopoietic process." Digital Studies/le Champ Numérique, vol. 6, no. 6, 2016, https://www.digitalstudies.org/article/id/7285/. [DeTombe2016]
Deegan, Marilyn, and Kathryn Sutherland. "Introduction." Text Editing, Print, and the Digital World, Routledge, 2009. [Deegan2009a]
Abstract
This introduction presents an overview of the key concepts discussed in the
subsequent chapters of this book. The book suggests that the desirability of uniting
the
authority of the traditional print edition with the searchable multiple texts made
possible by electronic publication. Eggert argues that there must be some clear way
of
authenticating electronic editions and preserving their integrity, just as in the
print
world the fixed and stable nature of the book preserves the integrity of the work.
He
proposes the use of what has come to be known as just-in-time-markup' (JITM) to ensure
the accuracy and authenticity of the electronic text. This system runs counter to
common
practice in markup, where tagsets are inserted into the text and travel along with
it
when it is transmitted or transformed. ITM keeps markup and texts separate, and any
corruptions or changes in the text are detected instantly using algorithmic methods
to
keep track of even the slightest difference.
Deegan, Marilyn, Text Editing, Print, and the Digital World, Routledge, 2009. [Deegan2009b]
Abstract
Traditional critical editing, defined by the paper and print limitations of the
book, is now considered by many to be inadequate for the expression and interpretation
of complex works of literature. At the same time, digital developments are permitting
us
to extend the range of text objects we can reproduce and investigate critically -
not
just books, but newspapers, draft manuscripts and inscriptions on stone. Some exponents
of the benefits of new information technologies argue that in future all editions
should
be produced in digital or online form. By contrast, others point to the fact that
print,
after more than five hundred years of development, continues to set the agenda for
how
we think about text, even in its non-print forms. This important book brings together
leading textual critics, scholarly editors, technical specialists and publishers to
discuss whether and how existing paradigms for developing and using critical editions
are changing to reflect the increased commitment to and assumed significance of digital
tools and methodologies.
Del Turco, Roberto Rosselli. "The Battle We Forgot to Fight: Should We Make a Case for Digital
Editions?." Digital Scholarly Editing: Theories and Practices, Open Book Publishers, 2016. [Del_Turco2016]
Abstract
When Peter Robinson wrote ‘Current Issues in Making Digital Editions of Medieval
Texts—Or, Do Electronic Scholarly Editions Have a Future?’ he was looking back at
what
we may call the ‘pioneer era’ of digital editing and publishing: a time span of roughly
ten years, from the early 90s to 2004.² It was during this time that important editorial
projects such as the Piers Plowman Electronic Archive, the Electronic
Beowulf, the Canterbury Tales Project, the Parzival-Projekt and
many more published the results of their efforts. The preferred publishing medium
during
this phase was that of an optical support, CD or
Desenclos, Camille. "Early Modern Correspondence: A New Challenge for Digital
Editions." Digital Scholarly Editing: Theories and Practices, Open Book Publishers, 2016. [Desenclos2016]
Abstract
The project of building a platform dedicated to early modern correspondence at the
École Nationale des Chartes is the starting point for this contribution. Its reflections
are based on the editing of two early modern corpora: the correspondence of Antoine
Du
Bourg, chancellor during the reign of Francis I (1536– 1538),¹ and the correspondence
of
the extraordinary embassy led by the duke of Angoulême in the Holy Roman Empire
(1620–1621).² The former encompasses approximately 1200 letters concerning every matter
with which a chancellor had to deal (justice, royal finances, monitoring printed
production, economic policies etc.), while the latter contains
Diamond, Sara. "The Dangers of Disappearance, the Opportunities of
Recovery." Digital Humanities Quarterly, vol. 17, no. 1, 2023, https://www.digitalhumanities.org/dhq/vol/17/1/000670/000670.html. [Diamond2023]
Abstract
This essay considers two archives and their traces: the Banff New Media Institute
(BNMI) and the Daniel Langlois Foundation (DLF). Both archives are the product of
transitory but significant initiatives in the media arts and digital media context.
Both
suffered unanticipated project endings due to institutional and human agency and are
now
in varying stages of recovery and rediscovery. A third personal artistic, cultural,
and
social history collection – the Sara Diamond Fonds at VIVO Media Art Centre's Crista
Dahl Library and Archive – seeks lessons from the endings of those first two archives;
administrators of this third archive have developed a dynamic partnership strategy
to
prevent the same issues that resulted in the disappearance of the BNMI and DLF
archives.[1] In the instances of the BNMI and DLF, disappearance has meant the removal
from public access. Disappearance has a second meaning in the context of digital media
whether online or platform (such as CDs, DVDs)
Driscoll, Matthew James, Digital Scholarly Editing: Theories and Practices, Open Book Publishers, 2016. [Driscoll2016a]
Driscoll, Matthew James, and Elena Pierazzo. "Introduction: Old Wine in New Bottles?." Digital Scholarly Editing: Theories and Practices, Open Book Publishers, 2016. [Driscoll2016b]
Abstract
In the past few years we have succeeded in raising the profile of digital editing;
networks, conferences, events, training, journals and publications—nothing seems able
to
stop the stream of scholarly contributions within the field of textual scholarship
around the world. The present book is part of this development, and highlights some
of
the work done between 2011 and 2015 under the auspices of NeDiMAH, the Network for
Digital Methods in the Arts and Humanities, which has been funded by the European
Science Foundation with the aim to reflect on and provide guidance in a wide range
of
fields within
E
Earhart,, Amy. "An Editorial Turn: Reviving Print and Digital Editing of
Black-Authored Literary Texts." The Digital Black Atlantic, University of Minnesota Press, 2021. [Earhart2021]
Abstract
This essay reviews the history of editing theory while arguing for the importance
of going beyond recovery to elucidate 'the history of textual production' for 'black
texts.'
Eggert, Paul. "Canonical works, complicity and bibliography: a
case-study." Variants, no. 1, 2002, pp. 159-173, https://dialnet.unirioja.es/servlet/articulo?codigo=4700063. [Eggert2002]
Eggert, Paul. "Text-encoding, Theories of the Text, and the 'Work-Site.'." Literary & Linguistic Computing, vol. 20, no. 4, 2005, pp. 425-435. [Eggert2005]
Abstract
This essay emerges from the recent debates in editorial theory and, on the
practical level, from a project for producing electronic scholarly editions. It reflects
on the nature of text, explores the implications for text encoding in relation to
recent
debate, and outlines a methodology using stand-off markup within which text encoding
can
respond to the theoretically enunciated problems.
Eggert, Paul. "The Book, the E-text and the ‘Work-site’." Text Editing, Print, and the Digital World, Routledge, 2009. [Eggert2009]
Abstract
This chapter summarizes the digital critical editions to be recognized as a
deeper, richer and potentially very different kind of publication from printed editions
of texts, even if such editions are digitized and made available in open content form.
Open Source Critical Editions (OSCE) are more than merely presentations of finished
work; they involve an essential distribution of the raw data, the scholarly tradition,
the decision-making process, and the tools and applications that were used in reaching
these conclusions. The Open Content model is an extremely important new movement in
publication; the OSCE proposal is for a potentially new approach to research itself.
In
theory the editorial and even publication implications of the Open Source Critical
Editions discussion allow for a wide range of approaches, from a traditional one-editor
text published in static form to a free-for-all wiki that can be contributed to
concurrently and without restriction by any number of editors.
Eggert, Paul. "The Archival Impulse and the Editorial Impulse." Variants: The Journal of the European Society for Textual
Scholarship, vol. 14, 2019, pp. 3-22. [Eggert2019]
F
Fischer,, Franz. "All texts are equal, but... Textual Plurality and the Critical
Text in Digital Scholarly Editions." Variants: The Journal of the European Society for Textual
Scholarship, vol. 10, 2013, pp. 77-92. [Fischer2013]
Flanders, Julia. "Data and Wisdom: Electronic Editing and the Quantification of
Knowledge." Literary and Linguistic Computing, vol. 24, no. 1, 2009, pp. 53-62, https://doi.org/10.1093/llc/fqn036. [Flanders2009]
Abstract
The concept of data in the humanistic academy carries a heavy cultural freight: as
a reductionist yet efficient representation of complex textual significance. Far from
being an invention of the digital age, this conception of the role of quantification
has
a prehistory whose terms continue to resonate in modern debates about digital editing
and digitally mediated scholarship. This essay explores these terms and the anxieties
they reflect, concluding that digital representation is no less textually and
methodologically rich, and no less a production of knowledge, than its print
counterpart.
Fraistat, Neil, and Steven E. Jones. "Editing Environments: The Architecture of Electronic
Texts." Literary and Linguistic Computing, vol. 24, no. 1, 2009, pp. 9-18, https://doi.org/10.1093/llc/fqn032. [Fraistat2009]
Abstract
Immersive multimedia performances, especially in the theater, installation art,
and computer games, suggest to us interesting models for reconceiving the possibilities
of textual editing in digital media. Traditionally, textual editions have taken
different forms for different audiences of readers. Editing protocols, including the
critical apparatus, are determined in part by those forms. Mostly this has meant
conceiving of a given text as produced for a scholarly, classroom, or popular audience.
However different these types of editions, they share familiar textual ontologies,
developed primarily over the past 200 years and based on print technology. We suggest
instead that editors begin thinking of digital editions primarily as ‘editorial
environments’, with spatial, temporal, procedural, performative, and participatory
properties. An electronic edition is always already a virtual world. A digital edition
is an electronic environment. Citing as an example our experiment in the MOO with
Shelley's sonnet ‘Ozymandias’, we imagine the role of the editor as textual
ecologist/dramaturge/gamemaster, maximizing the resources of digital
environments.
Franzini, Greta, and Melissa Terras, et al. "A Catalogue of Digital Editions." Digital Scholarly Editing: Theories and Practices, Open Book Publishers, 2016. [Franzini2016]
Abstract
Since the earliest days of hypertext, textual scholars have produced, discussed
and theorised upon critical digital editions of manuscripts, in order to investigate
how
digital technologies can provide another means to present and enable the interpretative
study of text. This work has generally been done by looking at particular case studies
or examples of critical digital editions, and, as a result, there is no overarching
understanding of how digital technologies have been employed across the full range
of
textual interpretations. This chapter will describe the creation of a catalogue of
digital editions that could collect information about extant digital editions
G
Gabler, Hans Walter. "For Ulysses: a once and a future edition." Variants, no. 1, 2002, pp. 85-105, https://dialnet.unirioja.es/servlet/articulo?codigo=4700029. [Gabler2002]
Gabler, Hans Walter. "The Primacy of the Document in Editing." Ecdotica, vol. 4, no. 1, 2007, pp. 197-207. [Gabler2007]
Gabler, Hans Walter. "Foreword." Digital Scholarly Editing: Theories and Practices, Open Book Publishers, 2016. [Gabler2016]
Abstract
The NeDiMAH Experts’ Seminar on Digital Scholarly Editions, held at the Huygens
Institute for the History of the Netherlands in The Hague in November 2012, was one
of
the most substantial and concentrated gatherings around a given subject I have ever,
I
think, attended. Nor is this an idealised memory: it is now fully borne out by the
essays deriving from that Seminar assembled in the present volume, each of which is
a
fresh and much deepened take on the topics addressed in The Hague. To explore the
subject ‘Digital Scholarly Editing: Theories and Practices’, as this volume is
now
Gabler, Hans Walter. "Beyond Author-Centricity in Scholarly Editing." Text Genetics in Literary Modernism and Other Essays, Open Book Publishers, 2018. [Gabler2018a]
Abstract
Authorship and The Author are lodestars of literary criticism. They are
specifically, too, the habitual points of orientation for textual criticism and
scholarly editing. Here, where materially the very foundations of literary studies
are
laid, we find aggregating around the notions and concepts of ‘authorship’ and ‘author’
further terms, such as: authority; authorisation; the author’s will; the author’s
intention. These form a dense and particularly forceful cluster in this field because
here critics and editors confront texts in their diverse instantiations in and on
documents. Given documents, some form of authoriality is always assumed behind them.
Indeed, we commonly construe
Gabler, Hans Walter. "Theorizing the Digital Scholarly Edition." Text Genetics in Literary Modernism and Other Essays, Open Book Publishers, 2018. [Gabler2018b]
Abstract
Endeavouring to conceptualise the digital scholarly edition, we may do well to
begin by asking what a scholarly edition is taken to be in terms of orthodox principles.
In general outline, a scholarly edition is the presentation of a text—literary,
historical, philosophical, juridical—or of a work (mainly, a work of literature) in
its
often enough several texts, through the agency of an editor in lieu of the author
of the text, or work.¹ We see the editor as ‘agency’, functionary and guardian of
the
lifeline link between work (or text) and author. In support of the professional
editorial
Gailey, Amanda A.. Proofs of Genius: Collected Editions from the American Revolution
to the Digital Age, University of Michigan Press,, 2015. [Gailey2015]
Galey, Alan, and Jon Bath, et al. "Imagining the Architectures of the Book: Textual Scholarship and
the Digital Book Arts." Textual Cultures: Texts, Contexts, Interpretation, vol. 7, no. 2, 2012, pp. 20-42. [Galey2012]
Giuffrida, Milena, and Paola Italia, et al. "From print to digital: A web edition of Giacomo Leopardi’s
Idilli." Digital Scholarship in the Humanities, vol. 36, no. Supplement_1, 2021, pp. i23-i36, https://doi.org/10.1093/llc/fqaa022. [Giuffrida2021]
Abstract
Although most would agree that the future of the scholarly edition lies in the
digital medium, it is the print scholarly edition that is still more often cited and
read. The production of digital scholarly editions (DSEs) is still seen as an
experimental field whose methodology has not yet settled to the extent that a digital
editing project can be approached with the same confidence as the making of a print
edition. This article describes an experimental conversion of a print scholarly
edition—Giacomo Leopardi’s Idilli by Paola Italia (2008)—into a DSE. This posed a
challenge due to the complexity of its internal evidence, but was also relatively
short
and suitable for an experimental edition. Our objective was to assimilate into a
web-based DSE all the information contained in the text and apparatus of the print
edition. We also sought to discover whether the making of a DSE today that could fully
utilize the affordances of the web, would necessarily place a significant technical
load
on editors who are more accustomed to solving textual problems. We review briefly
a
number of generic tools for making DSEs and describe two attempts at making our own
DSE
of Leopardi’s Idilli: a wiki edition whose primary purpose was pedagogical and a DSE
based on the software used to make the Charles Harpur Critical Archive (Eggert, 2019,
Charles Harpur Critical Archive.http://charles-harpur.org). We compare these experiences
and draw conclusions about the prospects of making DSEs today.
Griffiths, Matthew. ""The Answer, as well as a technique": A Reflection on Editorial,
Creative, and Critical Labor." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 79-87, https://muse.jhu.edu/pub/269/article/867239. [Griffiths2022]
Abstract
This article explores the way that the practices of copy-editing technical
journals, composing poetry, and ecocritical research can complement one another, drawing
on individual professional, creative, and academic experience. It reports on an exercise
devised to generate material for a poem by collating edits from technical copy, and
works through this to compose a piece based on the UK government's 2018 environment
plan. Critical reflections are then offered on the resultant text and the value of
the
process, with some proposals for further application.
H
Haugen,, Odd Einar. "The Making of an Edition: Three Crucial Dimensions." Digital Critical Editions, University of Illinois Press, 2014. [Haugen2014a]
Abstract
First Paragraph: This chapter gives a brief overview of the historical development
of textual editing. While the practice of editing has a long history, it is commonly
accepted that the foundation of editing as a scholarly or even scientific activity
was
created in the first half of the nineteenth century. From this time, strict and to
a
certain extent formal methods were being introduced in textual editing—notably, the
use
of shared errors. Yet, generally, textual editing remained a qualitative enterprise.
From the beginning of the twentieth century, there has been a search for more objective
methods, and a number of mathematical...
Haugen, Odd Einar, and Daniel Apollon. "The Digital Turn in Textual Scholarship: Historical and
Typographical Perspectives." Digital Critical Editions, University of Illinois Press, 2014. [Haugen2014b]
Abstract
First Paragraph: This chapter is written under the assumption that the history of
textual scholarship from its very beginnings to the digital age can be understood
from
three perspectives. These perspectives are not the perspectives of the historian who
tries to grasp the development of textual scholarship, but rather the perspectives
held
by the practitioners of the art and science of editing texts, for scholars who edit,
comment, and analyze texts written by other people. This chapter assumes that editors
may choose to look backward, outward, or inward.
Hillesund, Terje, and Claire Bélisle. "What Digital Remediation Does to Critical Editions and Reading
Practices." Digital Critical Editions, University of Illinois Press, 2014. [Hillesund2014]
Abstract
First Paragraph: In migrating their editorial work on literary resources from
print to digital technology, researchers have heeded new challenges and ambitions
for
scholarly editions. This chapter addresses these objectives by looking at designs,
aims,
and uses of existing scholarly editions as they migrate from one media to another.
The
first part deals with issues and questions raised by the digital trend in scholarly
text
studies and with the shift in how historical texts are recorded, presented, and studied.
Confronting the optimistic promises of added value that digital editions will bring
to
scholarly works, we explain through the concept of remediation how...
Holmes, Martin. "Whatever happened to interchange?." Digital Scholarship in the Humanities, vol. 32, no. suppl_1, 2017, pp. i63-i68, https://doi.org/10.1093/llc/fqw048. [Holmes2017]
Abstract
The adoption of XML and encoding standards such as those developed by the Text
Encoding Initiative was accompanied by expectations of easy interoperability which
are
now widely seen as unfulfilled. The related but distinct concept of ‘interchange’
has
received much less attention. This article argues that, particularly for sophisticated
digital edition projects using XML, interchange is a more practical goal, and that
approached in a specific way, it is highly beneficial not only to potential end users
of
the project’s data but also to the project itself.The article illustrates specific
strategies and approaches to enabling and facilitating interchange, using work
undertaken on the Map of Early Modern London (MoEML) project as a case study.
Holmes, Martin, and Joseph Takeda. "Beyond validation: Using programmed diagnostics to learn about,
monitor, and successfully complete your DH project." Digital Scholarship in the Humanities, vol. 34, no. Supplement_1, 2019, pp. i100-i109, https://doi.org/10.1093/llc/fqz011. [Holmes2019]
Abstract
Digital humanities projects have long relied on various schema languages—chiefly,
RELAX NG and Schematron—for validating the XML documents in their data collections;
however, these languages are limited in their ability to check for consistency,
coherence, and completeness across the entire project. In our work as part of “Endings”,
an umbrella project that comprises four diverse digital edition projects from different
fields, we have developed a methodology for checking and enforcing correctness,
completeness, and coherence across the entire document set. The following article
describes the various stages (what we term “levels”) of our diagnostics process, all
of
which are driven by XSLT (Extensible Stylesheet Language Transformations) stylesheets,
and produce a human readable report. These levels include checks for referential
integrity, correct entity tagging, and potential duplicates in the data set. Using
examples from the Endings projects, we show how diagnostic processes not only ensure
correctness in the data set, but can also aid in determining project milestones and
completion dates. Diagnostics, we argue, are thus a crucial extension to schema-based
validation for complex digital projects and can provide concrete ways for digital
humanities projects to enforce coherence and consistency and track their progress
toward
completion.
Holmes, Martin, and Joey Takeda. "From Tamagotchis to Pet Rocks: On Learning to Love Simplicity
through the Endings Principles." Digital Humanities Quarterly, vol. 17, no. 1, 2023, https://www.digitalhumanities.org/dhq/vol/17/1/000668/000668.html. [Holmes2023a]
Abstract
This article, by two of the technical leads on Project Endings, represents the
culmination of all we have learned over the last few years, during which we have rescued
over a dozen projects from death by software obsolescence and reconstituted them as
entirely static, standalone websites with minimal dependencies. We now know a great
deal, mostly from our own mistakes, about how not to build robust, long-lasting digital
resources, and we have developed a set of principles, practices, and software tools
which we believe provide solid defences against digital extinction. Below, we describe
the institutional context within which Project Endings was born, and lay out
methodically the guiding principles by which we now develop digital editions and other
web resources.
Holmes, Martin, and Janelle Jenstad, et al. "Introduction to Special Issue: Project Resiliency in the Digital
Humanities." Digital Humanities Quarterly, vol. 17, no. 1, 2023, https://www.digitalhumanities.org/dhq/vol/17/1/000671/000671.html. [Holmes2023b]
Abstract
This introduction to the Project Resiliency issue argues that we have work to do
in getting projects to the point of being done and archivable. The Endings Project,
a
collaboration between three developers, three humanities scholars, and three librarians,
arose from the maintenance burden accrued by the Humanities Computing and Media Centre
at the University of Victoria and our desire to design projects that, from their
inception, are ready for long-term archiving. After describing the events leading
up to
the Endings Symposium and briefly summarizing the articles in this issue, we discuss
the
necessity of a culture of constraint if we wish to preserve digital humanities projects
in the same way that libraries preserve books.
Huitfeldt, Claus. "Markup Technology and Textual Scholarship." Digital Critical Editions, University of Illinois Press, 2014. [Huitfeldt2014]
Abstract
First Paragraph: This chapter gives a brief overview of the background and
development of markup systems—that is, formal languages for the representation of
electronic documents.¹ The chapter focuses on aspects of markup technology that are
particularly relevant to textual scholarship. It gives an introduction to some of
the
key concepts of the Extensible Markup Language (XML) and the Text Encoding Initiative
(TEI) and considers some of their limitations, possibilities, and future
potential.
K
Kharmawlong, Arnest, and V M Berlin Grace, et al. "Shakespeare, Digital Libraries and Media: A Literature
Review." Library Progress International, vol. 44, no. 3, 2024, pp. 21078-21088. [Kharmawlong2024]
Abstract
The study reviews literature that attempts to connect Shakespeare studies with the
literatures that focus on the novel approaches in teaching Shakespeare in the context
of
the transformation caused by digital technologies in educational practices, teaching
methods and distribution of Shakespeare’s works. Online access to Shakespearean works
has been enhanced through the merger of multimedia and online platforms. These
advancements, however, also create challenges concerning the viability of digital
archival materials, equity, and ethics within the academic community. The paper
discusses the benefits and the drawbacks that animates the discussion of the digital
transformation of Shakespeare studies, support the proposal for the new approaches
that
combine academic quality and easy access to information. The review also draws attention
to the absence of relevant literature on the portrayal of non-Western perspectives
as
well as the future impact of the technology-enhanced approach towards teaching. Future
studies should instead prioritize the development of strategies that advocate for
detailed and critical engagement with Shakespeare’s texts and voice, and non-western
views in combination with hands-on digital resources and progressive digital
preservation.
Kline, Mary-Jo, and Susan Holbrook Perdue. A Guide to Documentary Editing, University of Virginia Press, 2008. [Kline2008]
Abstract
Provides a history of editing and editing debates in the US in relation to US
institutions as well as a guide for documentary editing, from initial conception to
final copy.
Kuczera, Andreas. "Digital Editions beyond XML – Graph-based Digital
Editions." M. Düring, A. Jatowt, J. Preiser-Kapeller, A. van den Bosch
(eds.): Proceedings of the 3rd HistoInformatics Workshop, Krakow, Poland, 11
July 2016, published at http://ceur-ws.org, , . [Kuczera2016]
Kurzmeier, Michael, and James O'Sullivan, et al. "Visualizing the Catalogs of Digital Editions." Journal of Electronic Publishing, vol. 26, no. 1, 2023, pp. digital, https://journals.publishing.umich.edu/jep/article/id/3569/. [Kurzmeier2023]
Abstract
This article provides a data-driven overview of the developments in the field of
digital scholarly editing. It surveys and evaluates the available data source on digital
scholarly editions and provides longitudinal analysis of changes in number of projects,
geographic distribution, licensing, interfaces, and preservation. Digital scholarly
editions (DSEs) are essential to arts and humanities research but also to society
and
culture at large. They are the primary instrument through which textual and cultural
heritage, expert knowledge, and public understanding are negotiated. Their comparatively
long history makes them especially suited for a diachronic approach, describing their
change over time. While digital editions can vary greatly in scope and lifespan, a
quantitative analysis of two of the most comprehensive data sources on digital editions
can produce data-based insight into the developments within the field over time.
Exploring this history and at the same time assessing the available metadata on DSEs
is
the aim of this article. It presents the state of the two most comprehensive available
sources on digital editions and details the methodology and visualization process
undertaken. In its analysis, it is a quantitative approach to DSEs as well as a critique
of the available data sources on editions.
L
Lavagnino, John. "Access." Literary and Linguistic Computing, vol. 24, no. 1, 2009, pp. 63-76, https://doi.org/10.1093/llc/fqn038. [Lavagnino2009]
Abstract
Digital editions have some distinct features that are not present in digital
libraries. Therefore it is somewhat worrisome that there are far more digital libraries
than digital editions. This essay argues that the reason for this is not only a pressure
towards all-inclusiveness but also the fact that scholarly editions are addressing
both
scholars and common readers, each of them having their own expectations of what a
digital edition should actually offer. The essay suggests that we should get away
from
the idea of access to data as the principal merit of the edition and suggests a model
of
criticism instead, meaning that editors should represent their work as providing
critical points of view on the texts they are offering, with their actual contents
thrown in.
M
Martignano, Chiara. "Critical Edition Ontology: a conceptual model for digital
critical editions." Umanistica Digitale, no. 17, 2024, pp. 71-94, https://umanisticadigitale.unibo.it/article/view/19469. [Martignano2024]
Abstract
Over the last thirty years, In the field of digital philology, several generic IT
tools have been developed to produce digital scholarly editions (DSE). However, the
majority of DSEs continue to be produced using custom-developed tools. This trend
is
unsustainable, but it is because generic tools are often less usable, difficult to
customize, and unsuitable for the scientific objectives of scholars. The scientific
community has been exploring how to create flexible and effective tools for digital
philology. Two main responses have emerged in the literature: the need for shared
editorial models that represent philologists’ desiderata, and the adoption of software
engineering practices to produce more robust, durable, and easily maintainable tools.
This article presents a modeling strategy that considers both perspectives and is
based
on the creation of a network of editorial models, each one theoretically framed within
the philological approach in which it has emerged. The editorial models, formalized
as
ontologies, can be applied as conceptual models to determine the logical organization
and functioning of a tool for digital philology, thanks to the principles of
domain-driven design.
Martinez, Merisa. "Critical Approaches to 'Clerical' Work: Textual Transmission in
Two Swedish Digital Resources." LIBER Quarterly, vol. 29, 2019. [Martinez2019a]
Abstract
In this paper, we investigate the distinction between library digitization
projects and digital scholarly editing projects by using qualitative interview data
gathered from two Swedish digital scholarship ecosystems: 1) Litterarturbanken (the
Swedish Literature Bank) and its collaboration with Gothenburg University Library,
and
2) the internal collaboration at Uppsala University Library and the resulting digital
output on the ALVIN platform. After examining the elements of digital editing practice
that show up in each of these collaborations, we argue that these distinctions are
blurring, and we call for a reorientation from critical versus noncritical editing
towards critical transmission activities, which allows more room for less easily
definable digital publishing projects to be examined. Further, we conclude that
librarians, library-based textual scholars, and library technologists such as image
technicians, digitization coordinators, and photographers are actively participating
in
the critical transmission of literary texts and the reframing of the institutionally
enforced boundaries between the terms ‘librarian’ and ‘scholar.’
Martinez, Merisa, and Wout Dillen, et al. "Refining our Conceptions of Access in Digital Scholarly Editing:
Reflections on a Qualitative Survey on Inclusive Design and
Dissemination." Variants: The Journal of the European Society for Textual
Scholarship, vol. 14, 2019, pp. 41-73, https://proxy.library.tamu.edu/login?url=https://search.ebscohost.com/login.aspx?direct=true&db=lkh&AN=145748422&site=ehost-live&scope=site. [Martinez2019b]
Mathews, Timothy. "Provoked by Translation." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 29-32, https://muse.jhu.edu/pub/269/article/867233. [Mathews2022]
Abstract
An evocation of translation as process, and the voices discovered. Followed by
some notes on research fields; and on translation, editing, and self-editing.
McCarty, Willard. "The Analytical Onomasticon Project: An Auto-Ethnographic
Vignette." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 44-52, https://muse.jhu.edu/pub/269/article/867235. [McCarty2022]
Abstract
As Russ Wooldridge pointed out many years ago, all too often 'the computer
disappears into the background' once its results are to hand
(http://projects.chass.utoronto.ca.srv-proxy2.library.tamu.edu/chwp/). This is
especially true if those results fall short of expectations. In the following I describe
the history of a project whose failure in those terms turned out to be far more
important than its impossible success would have been. The moral of this story is
that
with persistence the futile struggle to conform works of the imagination to finite,
algorithmic requirements is, or can be, transformational. To quote Italo Calvino,
the
encoder plays a game that if played long, hard, and well enough 'finds itself invested
with an unexpected meaning […] slipped in from another level' (1980/1966,
§4).
McGann, Jerome. "Editing as a Theoretical Pursuit." Radiant Textuality: Literature After the World Wide Web, Palgrave, 2001. [McGann2001]
McGann, Jerome. "From Text to Work: Digital Tools and the Emergence of the Social
Text." Variants, no. 4, 2005, pp. 225-240. [McGann2005]
McGann, Jerome. "Editing and Curating Online: Beginning Again." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 53-62, https://muse.jhu.edu/pub/269/article/867236. [McGann2022]
Abstract
The complexity of natural language works, especially transinformational works,
cannot be adequately represented by what has become the institutional standard for
DH
editorial projects, TEI. In that respect book technologies remain far superior to
current digital tools in sustaining their reciprocal communicative action. Recent
developments in graph database platforms suggest ways to accommodate the
n-dimensionality of such work to the disambiguating inertia of digital tools.
Mombert, Sarah. "From Books to Collections: Critical Editions of Heterogeneous
Documents." Digital Critical Editions, University of Illinois Press, 2014. [Mombert2014]
Abstract
First Paragraph: The French writer Francois Bon recently described online the
attitude of literary circles (writers, critics, publishers) when confronted with the
changes brought about in editing and publishing with digital technology: “We are lost,
we are afraid. The editing world is like a brick building that is being shaken and
that
trembles. [ … ] Internet is to blame: partly, if the possibility of choice and of
finding points of reference bypasses mediation as it still existed ten years ago”
(Bon
2006).¹ Indeed, in the last few years numerous European intellectuals have had the
opportunity to voice their preoccupation concerning the...
Mussell, James, and Suzanne Paylor. "Editions and Archives: Textual Editing and the Nineteenth-century
Serials Edition (ncse)." Text Editing, Print, and the Digital World, Routledge, 2009. [Mussell2009]
Abstract
The wide availability and relatively low cost of the representation of sources in
a digital environment is dramatically influencing editorial practice, not least in
offering the possibility of reproducing and verifying the scholarly work done on the
text, and effectively overruling the compactness of the critical apparatus. Textual
editions based on digital encoding can, for instance, be easily presented on a website
in different layout formats, some of them even offering to users the possibility of
building their own visualization of the text. Genetic criticism can discover great
advantages in new information technologies, not only because the multiple layout of
the
transcribed text and the possibility of connecting it to facsimile representations
of
the source manuscript can cater for diversified user needs, but because the temporal
dimension can be better represented in digital than in print format.
N
Nabugodi, Mathelinda. "Editing Otherwise." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 18-28, https://muse.jhu.edu/pub/269/article/867232. [Nabugodi2022a]
Abstract
In her important book, In the Wake: On Blackness and Being (2016), Christina
Sharpe encourages Black scholars to 'imagine otherwise' in order to do justice to
the
painful legacies contained in the archive. In this provocation, I consider the
ramifications that Sharpe's argument might have for editorial scholarship and finish
with an invitation to re-examine the boundary between editing and adaptation.
Nabugodi, Mathelinda, and Christopher Ohge. "Introduction: Provocations Toward Creative-Critical
Editing." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 1-10, https://muse.jhu.edu/pub/269/article/867230. [Nabugodi2022b]
Abstract
The guest editors of this special issue, Mathelinda Nabugodi and Christopher Ohge,
describe the rationale of creative-critical editing.
"A Special Issue: Creative-Critical Provocations." Textual Cultures, vol. 15, no. 1, 2022, https://scholarworks.iu.edu/journals/index.php/textual/article/view/34489. [Nabugodi2022c]
Neumann, Joshua, and Kristina Richts-Matthaei, et al. "Toward a community model of scholarly editing: FAIR/CARE,
research ethics, & labour visibility." Journal of New Music Research, vol. 0, no. 0, 2024, pp. 1-19, https://doi.org/10.1080/09298215.2024.2373049. [Neumann2024]
Abstract
Historically, scholarly editions of music have identified a managing editor and
individual volume editors. Other contributors might receive an acknowledgement with
a
vague description of activities, with institutional support often appearing in the
printed metadata. This model’s emphasis on single scholars perpetuates a myth, relying
heretofore upon predominantly invisible labour. Digital editions require
interdisciplinary collaboration combining musicological skills, technical skills,
and
infrastructural resources, thus challenging this model’s ability to endure. Moreover,
digital editions proffer opportunities for reconsidering the roles, workflows, and
knowledge structures involved in critical musical scholarship. Situated at the
intersection of currently running and recently completed digital projects, continuously
emergent tools, sociology, and philosophy, this essay reflects on the role of the
editor
in the digital age. Beginning with Howard Becker’s art worlds model of creative
communities, it suggests a model based on FAIR (Findable, Accessible, Interoperable,
and
Reusable) and CARE (Collective Benefit, Authority to Control, Responsibility, and
Ethics) principles and the Music Encoding Initiative (MEI). MEI affords expansive
metadata recording for contributors – composers, librettists, performers, editors,
researchers, funders, etc. – to a work and its embodiments, which in turn enables
broader visibility and empowers greater acknowledgement of the labour involved in
such
projects. Alongside other digital projects, this essay pays particular attention to
how
these technological and team-focused concepts are at- and in-play in the
Reger-Werkausgabe Online.
O
Ohge, Christopher. Publishing Scholarly Editions: Archives, Computing, and
Experience, Cambridge University Press, 2021. [Ohge2021]
Abstract
The introduction rightly reintroduces editing theory into the field of digital
publishing, all too often excluded. Reviewing the literature concerning editorial
theory
from Greg to Pierazzo, Ohge argues for taking a theoretically informed practical
approach to creating digital editions.
Ohge, Christopher. "Digital Editing and "Experience […] looked upon as a kind of
text": A Provocation in Three Exhibitions." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 91-107, https://muse.jhu.edu/pub/269/article/867241. [Ohge2022]
Abstract
This provocation argues for a form of digital creative-critical editing to serve
as a pragmatic complement to the dominant 'depth' models of traditional scholarly
editing. What results is a pan-relational praxis of editing that focuses on connecting
edited texts to new contexts and literary experiences with new tools, instead of using
a
depth model to offer the correct description, representation, or data model of those
texts. Creative textual criticism could then be considered ongoing and incomplete,
partaking of an iterative process of close reading and distant analysis, and
redescriptions of textual criticism that are embedded in the creative process and
other
aesthetic experiences. These ideas are demonstrated in three brief exhibitions of
Thomas
Hardy, Herman Melville, and the abolitionist Mary Anne Rawson, all of whom are loosely
connected to Arthur Schopenhauer, who once posited in Counsels and Maxims that
'Experience of the world may be looked upon as a kind of text, to which reflection
and
knowledge form the commentary'. Such 'commentary' inspires a new mode of pan-relational
'reflection' and networked discourse which can only be implemented with digital
technologies. What digital editing can do, then, is to give space to competing and
alternative discourses and processes of the same text and to connect that text to
other
aesthetic contexts.
Ore, Espen S.. "Monkey Business—or What is an Edition?." Literary and Linguistic Computing, vol. 19, no. 1, 2004, pp. 35-44, https://doi.org/10.1093/llc/19.1.35. [Ore2004]
Abstract
Digital editions make it possible to create a collection of all existing copies of
a text including digital facsimiles. Is this a problem if it means that there will
be
editions that are in fact collections of full variant texts with no selected or edited
reading text? This paper argues that both archival editions with digital facsimiles
and
encoded source texts (digital diplomatic editions) and digital critical texts can
and
must exist side by side. It is also suggested that from high quality diplomatically
encoded source texts it is possible to automatically extract texts that either directly
or with some further encoding/editing can function as a base text for editions of
different types and which build on different editorial philosophies. The editions
produced at the Wittgenstein Archives in Bergen and in the project Henrik Ibsen’s
Writings in Oslo are used as examples of projects supporting the author’s
arguments.
Ore, Espen S.. "‘… They hid their books underground’." Text Editing, Print, and the Digital World, Routledge, 2009. [Ore2009]
Abstract
This chapter outlines the generic features of the periodical press and
demonstrates their constitutive role in structuring content and conveying it to readers.
When considering the periodical as genre, figures such as the author do not offer
a
suitable organizing principle; rather, the complex relationships that underpin
periodical publication force editors to attend to the object as a whole. Whereas authors
are conventionally responsible for their words, editors both of nineteenth-century
periodicals and twenty-first century digital editions must make those words into an
object. This involves identifying content, organizing it, developing presentational
tools, identifying users, and then making it available to them. As always, this must
be
achieved under the constraints of time and money. Editing is always located at this
intersection between an existing object and a new object: negotiating the relationship
between them is not simply about reproduction, but also about transformation.
Orley, Emily. "Editing as Creative Act: An Experiment in Speculative
Thinking." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 11-17, https://muse.jhu.edu/pub/269/article/867231. [Orley2022]
Abstract
The following is a provocation inspired by my own imagined conversations with the
works of five makers and thinkers who have all profoundly shaped my outlook at different
times over the last twenty years. These are the American scholar and cultural theorist
Laura Harris; the French theatre maker and educator Jacques Lecoq; the British cultural
geographer Doreen Massey; the American scholar, feminist, and cultural theorist Jennifer
C. Nash; the Brazilian cultural theorist, psychoanalyst, and curator Suely Rolnik,
and
American scholar Gregory Ulmer. Together, they form an eclectic but brilliant group
of
individuals whose writing, thinking, and doing have made me ask questions in new
ways.
Otis, Jessica. "“Follow the Money?”: Funding and Digital Sustainability." Digital Humanities Quarterly, vol. 17, no. 1, 2023, https://www.digitalhumanities.org/dhq/vol/17/1/000666/000666.html. [Otis2023]
Abstract
This essay will explore the role of soft and hard funding in the digital
humanities, with particular attention paid to the ways funding intersects with
sustainability. It will discuss a variety of types of soft funding available from
public, private, and institutional sources, and the ways the needs of funders can
align
with or compete with the desires of scholars. The availability and sustainability
of
funding as project needs change over time, along with funders' agendas, can influence
project teams' decisions about the direction a project will take, who leads it, who
can
contribute to it, what technology supports it, on what servers it is hosted, if and
when
it can be updated, as well as if and where it will be preserved. Not considering the
implications of financial support received can be detrimental to both the project
and
the researchers involved. Seeking funding should become part of wider strategies that
enable the formation of mutually beneficial relationships, promising avenues of
research, and sustainable revenue streams, rather than a time sink that explodes a
project's scope in ways that undermine the project.
P
Pereira, Elsa. "The concept of version in genetically oriented scholarly
editing." Studia Neophilologica, vol. 93, no. 1, 2021, pp. 107-119, https://doi.org/10.1080/00393274.2021.1885306. [Pereira2021]
Abstract
The idea of textual variation was notably rejected in the early days of critique
génétique, but versions have been playing a prominent role in most editorial schools
of
genetic orientation. This article presents a systematic review of the literature to
distinguish the main working definitions and editorial approaches to the notion of
version, both in genetic analogue editions and digital archives based on text encoding
and computer-assisted collation.
Petridou, Eleni, and Katerina Tiktopoulou. "Reaching Out to the Reader: The Audio Guide as a Tool in Digital
Genetic Editions." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 126-134, https://muse.jhu.edu/pub/269/article/867244. [Petridou2022]
Abstract
When designing a digital genetic edition, one of the most challenging and
demanding tasks, upon which the success or failure of the editing venture lies, is
the
ability of the editor to communicate the transformations of the work that took place
during the process of its writing in a comprehensible, reliable, and simultaneously
attractive way. In this paper we suggest supplementary tools that may appear valuable
in
designing a digital reading environment suitable not only for the expert but also
the
common — motivated — reader and address some matters that appear crucial for reading
and
interacting with digital genetic editions. The challenge to reach out to the reader
of
the digital genetic edition and seek tools to improve her reading experience stems
from
our engagement with D. Solomòs' manuscripts and incomplete works and, more particularly,
from the implementation of a digital scholarly edition of his manuscript corpus that
will also include genetic editions for some of his works.
Pichler, Alois, and Tone Merete Bruvik. "Digital Critical Editing: Separating Encoding from
Presentation." Digital Critical Editions, University of Illinois Press, 2014. [Pichler2014]
Abstract
First Paragraph: What happens to “critical editing” in the digital context?¹ What
tells us that digital tools and media facilitate critical editing? Do digital media
make
critical editions more accessible and therefore more democratic? Does the quality
of
critical editions increase when they are produced with digital tools? These are some
of
the questions asked by the editors in the introduction to this volume, to which this
chapter responds. It does so by invoking and describing a principle of editorial
philology that for many will seem trivial, or, at least standard, while others may
disagree with it. The principle we are talking...
Pierazzo, Elena. "Digital Genetic Editions: The Encoding of Time in Manuscript
Transcription." Text Editing, Print, and the Digital World, Routledge, 2009. [Pierazzo2009]
Abstract
Writing, which includes correcting and rewriting, is a process that occurs in time
as well as space. This simple and obvious statement involves many complex issues,
both
theoretical and practical, for the transcription and encoding of manuscript texts;
it is
ultimately, however, a matter of scholarly decision and tact, determined to a large
extent by the kind of manuscript to be transcribed, whether to pursue these issues
or
not.
Pierazzo, Elena. Digital Scholarly Editing: Theories, Models and Methods, Routledge, 2015. [Pierazzo2015]
Pierazzo, Elena. "Modelling Digital Scholarly Editing: From Plato to
Heraclitus." Digital Scholarly Editing: Theories and Practices, Open Book Publishers, 2016. [Pierazzo2016]
Plachta, Bodo. "Change of generation - change of frame of reference: which
direction will scholarly editing take in Germany?." Variants, no. 1, 2002, pp. 143-157, https://dialnet.unirioja.es/servlet/articulo?codigo=4700057. [Plachta2002]
Portela, Manuel. "Literary Fields Forever: Playing with the Book of
Disquiet." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 135-154, https://muse.jhu.edu/pub/269/article/867245. [Portela2022]
Abstract
The LdoD Archive: Collaborative Archive of the Book of Disquiet was published on
the web in December 2017. Over the past four years we have organized many workshops
in
different settings, aimed at encouraging appropriations of the reading, editing, and
writing functionalities of the platform. The virtual editing tools, in particular,
have
been a major source of experiments. These include, for instance, annotated editions,
personal anthologies, staged readings, performance pieces, scriptwriting for video,
virtual editions based on social media, and automatically generated editions. Through
interfaces designed for exploring the multiple facets of Fernando Pessoa's Book of
Disquiet, the role-playing principle of the system has been adopted in creative and
critical activities that bring the text into diverse environments. This article
describes these resituated and playful textual practices as a living model of the
literary field.
R
Rasmussen, Krista Stinne Greve. "Reading or Using a Digital Edition? Reader Roles in Scholarly
Editions." Digital Scholarly Editing: Theories and Practices, Open Book Publishers, 2016. [Rasmussen2016]
Abstract
Hans Walter Gabler has said: ‘We read texts in their native print medium, that is,
in books; but we study texts and works in editions—in editions that live in the digital
medium’.¹ This account of the difference between reading and studying texts is a fitting
point of departure for the present chapter. On Gabler’s account, texts should be read
in
their original media, but they are better studied in editions; and in today’s publishing
scene, scholarly editions live on in the digital medium, where the relationship between
texts and works can better unfold and so be studied. This, at
Rehbein, Malte. "From the Scholarly Edition to Visualization: Re-using Encoded
Data for Historical Research." International Journal of Humanities & Arts Computing: A
Journal of Digital Humanities, vol. 8, no. 1, 2014, pp. 81-105. [Rehbein2014]
Abstract
This paper reports from the perspective of a historian who is investigating an
early medieval manuscript, aiming at opening it up for further research and exploring
its location in space, time, and intellectual context. The manuscript in question
and
the texts it carries show a complex, interwoven network of intra- and intertextual
relations and the paper argues that only a combination, provided by computational
means
as the methodological key, of two usually distinct research approaches, namely close
reading and distant reading, can deliver answers to the research questions imposed.
The
paper introduces some central methods of an interdisciplinary field, commonly known
as
digital humanities, in the realm of data representation (data modeling and text
encoding) as well as core applications in the realm of data presentation and analysis
(digital editing and visualization). As these supportive methods are neither the
starting-point for historical research nor an end-in-itself, they are mirrored against
scholarly practices of both, of the early Middle Ages and of modern
scholarship.
Robinson, Anna. "Found Poems and Creative Editing." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 71-78, https://muse.jhu.edu/pub/269/article/867238. [RobinsonA2022]
Abstract
This article argues that the creation of found poetry, especially 'pure' found
poetry is more an act of creative editing than creative writing. Using some
practice-based research from a 'pure' found poem in my poetry collection Whatsname
Street, published by Smokestack Books in 2021, I discuss how dealing with making a
poem
from another text is an act of creative editing in that it usually aims to keep
something coherent and whole about the original text whilst changing it in some form.
In
the case of the poem under discussion, the changes consider the text's intentions
and
they are also acts of translation.
Robinson, Peter. "What is a critical digital edition?." Variants, no. 1, 2002, pp. 43-62, https://dialnet.unirioja.es/servlet/articulo?codigo=4700016. [RobinsonP2002]
Robinson, Peter. "Towards a Theory of Digital Editions." Variants: The Journal of the European Society for Textual
Scholarship, vol. 10, 2013, pp. 105-132. [RobinsonP2013]
Robinson, Peter. "The Digital Revolution in Scholarly Editing." Ars Edendi Lecture Series, Stockholm University Press, 2016. [RobinsonP2016a]
Abstract
Stockholm University Press is an open access publisher of peer-reviewed academic
journals and books. We aim to make journals and books affordable, and to enable the
widest possible dissemination so that researchers around the world can find and access
the information they need without barriers.In partnership with our authors and series
editors, we publish in the humanities, social sciences and the natural sciences. Our
main focal points are rigorous peer review, open access and global
dissemination.
Robinson, Peter. "Social editions, social editing, social texts." Digital Studies / Le champ numérique, vol. 6, no. 6, 2016, https://www.digitalstudies.org/article/id/7287/. [RobinsonP2016b]
Abstract
This article canvasses the multiple meanings of the word 'social' in the contexts
of editions, editing and texts. It may refer to a theory of editing; to varieties
of
practice; to manners of making; or to characterize the edition itself. Further, not
all
editions which claim to be 'social,' in any of these senses, are any such thing. A
particularly egregious example is the so-called 'Social edition of the Devonshire
manuscript,' whose claim to be 'social' is poorly based. However, there is real
potential in the making of editions which are more inclusive in their making, which
achieve a wider impact and create new understandings in expanding circles of readership,
whether or not we choose to label these as 'social.' Cet article examine les nombreuses
significations du terme « social » dans les contextes de l’édition, de la révision
et du
texte. Le terme social peut désigner une théorie de la révision, une gamme de pratiques,
des manières de faire, ou la caractérisation de l’édition proprement dite. De plus,
les
éditions qui se disent « sociales » que ce soit dans n’importe lequel de ces sens,
ne le
sont pas toutes. Un exemple particulièrement flagrant est le soi-disant « Social edition
of the Devonshire manuscript », dont l’allégation de « sociale » est plutôt mal définie.
Cependant, il existe de réelles possibilités dans la création d’éditions qui sont
plus
inclusives et qui permettent d’avoir des répercussions plus vastes et d’obtenir une
meilleure compréhension en élargissant les cercles de lecteurs, que l’on choisisse
de
les qualifier de « sociales » ou non.
Robinson, Peter. "Some principles for making collaborative scholarly editions in
digital form." Digital Humanities Quarterly, vol. 011, no. 2, 2017. [RobinsonP2017]
Abstract
“Textual Communities” is a new system for managing and performing all aspects of
an online collaborative scholarly editing project. It permits mounting of document
images and offers page-by-page transcription and display, with the facility for project
leaders to recruit and manage transcribers and other contributors, allocating and
reviewing transcription work as it is done. Most distinctively, Textual Communities
is
built on a comprehensive model of scholarly editing, enabling both “document”
(page-by-page) and “work” (intellectual structure, or “entity”) views of the texts
edited. Accordingly, multiple texts of a single work, or part of a work (an entity)
may
be extracted and compared, using an embedded installation of CollateX. While completely
conformant with Text Encoding Initiative guidelines, Textual Communities goes beyond
TEI
and XML in its ability to handle multiple overlapping hierarchies within texts. This
paper will outline the thinking behind the development of Textual Communities, and
show
examples of its use by several major projects.
Roueché, Charlotte. "Digitizing Inscribed Texts." Text Editing, Print, and the Digital World, Routledge, 2009. [Roueché2009]
Abstract
For a scholar in the humanities, it can be intimidating to embark upon a project
with a substantial technical component and then to formulate the experience in writing.
My expertise is in Roman and late Roman epigraphy, the study of inscribed stones,
and I
am a relative newcomer to humanities computing. My contribution to the interrogation
of
the humanist’s use for electronic resources is largely confined to my experience on
one
particular project and the issues that this has raised. This chapter therefore provides
a narrative account of the project, setting out the practical issues, while trying
to
draw attention to the generic and methodological issues.
Régnier, Philippe. "Ongoing Challenges for Digital Critical Editions." Digital Critical Editions, University of Illinois Press, 2014. [Régnier2014a]
Abstract
First Paragraph: As observed in this beginning of the twenty-first century, the
reality of “digital critical edition” is still too embryonic and too unstable, even
though it is developing, to be considered only in its present state and to be adopted
without wondering about its future. It is indeed a strange situation where one has
the
impression of leaving the familiar and well-established world of printed books for
the
adventure and the risks of a medium commonly described as immaterial, in perpetual
evolution, and without rules. Let us dare state up front that the issue at stake is
neither external nor temporary: philology, this old lady born of the marriage of
humanism and printing, is from now on definitely confronted with the question of its
media mutation.
Régnier, Philippe. "Toward a New Political Economy of Critical Editions." Digital Critical Editions, University of Illinois Press, 2014. [Régnier2014b]
Abstract
First two Paragraphs: Producing critical editions is a reputedly old and not
particularly profitable scholarly activity that essentially amounts to establishing,
annotating, and presenting a text. What benefit can be obtained, then, by scrutinizing
it from the perspective of political economy—especially at a time when critical editions
are at last entering the digital realm, whose immateriality seems to open up wide
possibilities and advantages, free of charge, to all users? On the contrary, we believe
that textual scholarship would have much to gain from questioning itself in terms
of
political economy, which for ages was the main branch of economics but has...
S
Sahle, Patrick. "What is a Scholarly Digital Edition?." Digital Scholarly Editing:Theories and Practices, Open Book Publishers, 2016. [Sahle2016]
Abstract
Humanities research is focused on cultural artefacts such as texts, images or
physical objects. Usually they are kept in libraries, archives and museums and are
thus
not encountered as original material objects; rather, scholars work with surrogates
of
them created especially to make them more accessible and to facilitate research. Over
the last centuries, the desire to uncover the cultural treasures of the past and to
reconstitute important documents, texts and works in the most reliable way possible
has
led to the development of the concept of the critical edition in the modern sense.
This
implies the application of wide
Schad, John. "Editing in the Bath: Or, Gerard Manley Hopkins, Intentionality,
and the Man from Petrograd." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 88-90, https://muse.jhu.edu/pub/269/article/867240. [Schad2022]
Abstract
The relationship between authorial intention and the work of textual editing is
often vexed, particularly if the author does not themselves intend to be published
at
all. Cue Gerard Manley Hopkins. In Hopkins' case, though, things become still more
complex when we attend to the fact that the only person who is said ever to have
desired, or intended, that Hopkins be published may not really have existed. Or, if
he
did exist, he may well have been someone who ended his life in a bath, in Oxford,
in
1929.1
Schmidt, Desmond. "A Model of Versions and Layers." Digital Humanities Quarterly, vol. 13, no. 3, 2019, https://digitalhumanities.org/dhq/vol/13/3/000430/000430.html. [Schmidt2019]
Abstract
Our libraries are full of manuscripts, many of them modern. However, the
digitisation of these unique documents is currently very expensive. How can we reduce
the cost of encoding them in a way that will facilitate their study, annotation,
searching, sharing, editing, comparison and reading over the Web? Unlike new documents
prepared for the Web, historical manuscripts frequently contain internal variation
in
the form of erasures, insertions, substitutions and transpositions. Variation is also
often expressed externally between copies of one work: in successive print editions,
in
manuscript copies or successive drafts. Current practice is to prepare separate
transcriptions of each physical document and to embed internal variation directly
into
the transcribed text using complex markup codes. This makes the transcriptions expensive
to produce and hard to edit, limits text reuse and requires that transcriptions be
first
disentangled via customised software for reading, searching, or comparison.
Shillingsburg, Peter. "Manuscript, book, and text in the 21st century." Variants, no. 1, 2002, pp. 19-42, https://dialnet.unirioja.es/servlet/articulo?codigo=4700006. [Shillingsburg2002]
Shillingsburg, Peter L.. "Interpretive Consequences of Textual Criticism." TEXT, vol. 16, 2006, pp. 63-65, https://www.jstor.org/stable/30227957. [Shillingsburg2006]
Shillingsburg, Peter. "What is Scholarly Editing?." Textual Cultures, vol. 15, no. 2, 2022, pp. 33-45, https://www.jstor.org/stable/48713929. [Shillingsburg2022]
Abstract
Scholarly Editing is distinguished here from all other editing by declaring the
two rules that scholarly editing requires: to know and make known all relevant facts
and
to exercise informed judgment while following explicit principles for and details
of the
editorial work.
Siemens, Ray, and Meagan Timney, et al. "Pertinent Discussions Toward Modeling the Social Edition:
Annotated Bibliographies." Digital Humanities Quarterly, vol. 006, no. 1, 2012. [Siemens2012a]
Abstract
The two annotated bibliographies present in this publication document and feature
pertinent discussions toward the activity of modeling the social edition, first
exploring reading devices, tools and social media issues and, second, social networking
tools for professional readers in the Humanities. In this work, which is published
conjointly with the LLC piece “ Toward Modeling the Social Edition: An Approach to
Understanding the Electronic Scholarly Edition in the Context of New and Emerging
Social
Media, ” we consider a typology of electronic scholarly editions adjacent to activities
common to humanities scholars who engage texts as expert readers, noting therein that
many methods of engagement both reflect the interrelated nature of long-standing
professional reading strategies and are social in nature; extending this framework,
the
next steps in the scholarly edition’s development in its incorporation of social media
functionality reflect the importance of traditional humanistic activities and workflows,
and include collaboration, incorporating contributions by its readers and re-visioning
the role of the editor away from that of ultimate authority and more toward that of
facilitator of reader involvement.
Siemens, Ray, and Meagan Timney, et al. "Toward modeling the social edition: An approach to understanding
the electronic scholarly edition in the context of new and emerging social
media*." Literary & Linguistic Computing, vol. 27, no. 4, 2012, pp. 445-461. [Siemens2012b]
Abstract
This article explores building blocks in extant and emerging social media toward
the possibilities they offer to the scholarly edition in electronic form, positing
that
we are witnessing the nascent stages of a new ‘social’ edition existing at the
intersection of social media and digital editing. Beginning with a typological
formulation of electronic scholarly editions, activities common to humanities scholars
who engage with texts as expert readers are considered, noting that many methods of
engagement both reflect the interrelated nature of long-standing professional reading
strategies and are social in nature; extending this frame work, the next steps in
the
scholarly edition’s development in its incorporation of social media functionality
reflect the importance of traditional humanistic activities and workflows, and include
collaboration, incorporating contributions by its readers and re-visioning the role
of
the editor away from that of ultimate authority and more toward that of facilitator
of
reader involvement. Intended to provide a ‘toolkit’ for academic consideration, this
discussion of the emerging social edition points to new methods of textual engagement
in
digital literary studies and is accompanied by two integral, detailed appendices,
published in Digital Humanities Quarterly under the title ‘Pertinent discussions toward
modeling the social edition: Annotated bibliographies’
(http://www.digitalhumanities.org/dhq/vol/6/1/000111/000111.html): one addressing
issues
pertinent to online reading and interaction, and another on social networking
tools.
Siemens, Ray, and Constance Crompton, et al. "Building A Social Edition of the Devonshire Manuscript." Digital Scholarly Editing:Theories and Practices, Open Book Publishers, 2016. [Siemens2016]
Abstract
A Social Edition of the Devonshire Manuscript is an unconventional text: it
blends traditional scholarly editing practices and standards with comparatively recent
digital social media environments. In doing so, the edition aims to reflect both
contemporary editorial theory, which recognises the inherently social form and formation
of texts, as well as the writerly and readerly practices that shaped the original
production of the Devonshire Manuscript (London, British Library, MS Add. 17492).
Dating
from the 1530s–1540s, the Devonshire Manuscript is a multiauthored verse miscellany
compiled by a number of sixteenth-century contributors.¹ As an inherently collaborative
document, the manuscript calls for
Spadini, Elena, and Magdalena Turska. "XML-TEI Stand-off Markup: One Step Beyond." Digital Philology: A Journal of Medieval Cultures, vol. 8, no. 2, 2019, pp. 225-239, https://muse.jhu.edu/pub/1/article/736328. [Spadini2019]
Abstract
Stand-off markup is widely considered to be a possible solution for overcoming the
limitation of inline XML markup, primarily when dealing with multiple overlapping
hierarchies. Considering previous contributions on the subject as well as the
implementations of stand-off markup, we propose a new TEI-based model for encoding
that
still uses the regular TEI elements but in a stand-off manner. Our light notation
moves
the bulk of markup into a separate <standoff> element, grouping layers of related
textual features encoded via existing TEI elements (e.g., <name> or <corr>)
into individual <stf> elements; furthermore, our proposed notation provides a
schema for referencing the transcription using the xml:id attribute. This approach
is
illustrated through a variety of examples. Our proof-of-concept transformation package
works directly on the stand-off markup without the necessity of reducing it back to
inline TEI for parsing, querying, and visualizing.
Stoyanova, Silvia. "Integrating Digital Editions and Methods for Text Editing and
Analysis in Undergraduate Literary Studies." International Journal of Humanities and Arts Computing, vol. 18, no. 1, 2024, pp. 20-39, https://www.euppublishing.com/doi/10.3366/ijhac.2024.0319. [Stoyanova2024]
Abstract
This article evaluates the integration of digital editions, computational text
analysis and digital scholarly editing in the context of an introductory undergraduate
course on Italian literature and digital humanities taught at a US university. It
offers
specific examples of employing the apparatus of several digital platforms dedicated
to
the study of foundational authors in the Italian literary tradition (Dante, Petrarch,
Boccaccio and Leopardi), and of gaining familiarity with a suite of digital tools
for
text analysis and editing, namely Voyant Tools, Recogito, Oxygen, Gephi, Transkribus
Lite and OpenRefine. The discussion of digital project interfaces examines the student
user experience of different design approaches, while the illustrations of tool
exercises explore how these could support the close attention to a text and facilitate
the navigation between its micro and macro frameworks of interpretation. The article
furthermore suggests that digital text analysis could reinforce student appreciation
of
the signifying value of textual form and genre, and that the pedagogical method of
digital text editing creates opportunities for situated learning. In conclusion, it
argues that the academic work of students at the undergraduate level could be harnessed
by the scaffolded methods of faculty-led digital research projects and contribute
to the
creation of public knowledge.
Strobel, Jochen. "A. W. Schlegels Korrespondenz – kollaborativ!: Zu einer Theorie
der Praxis digitaler Briefedition." editio, vol. 35, no. 1, 2021, pp. 142-167, https://www.degruyter.com/document/doi/10.1515/editio-2021-0008/html. [Strobel2021]
Abstract
The paper calls for a re-examination of the digital scholarly edition of letters
informed by a ‘theory of practice.’ The letter genre is seen as a means of communication
and the use of digital tools are emphasised, the use of which in no way precludes
keeping with established scholarly critical edition standards. The ‘behind the scenes’
of the project 'The Digital Edition of August Wilhelm Schlegel’s Correspondence' is
discussed, as are, in a more universal sense, Bourdieu’s critical ideas of theory
and
practice as applied to digital letter editions and their interests.
Sutherland, Kathryn. "Being Critical: Paper-based Editing and the Digital
Environment." Text Editing, Print, and the Digital World, Routledge, 2009. [Sutherland2009]
Abstract
This chapter attempts a tentative discussion of such forces and limits of the
Scholarly editions (SEs), and specifically looks at its supposedly representational
and
reproductive force. For instance, new media and web distribution promise vastly to
enhance the spatial confines of SEs, or even to annihilate them altogether. The making
of SEs and archives using new media seems to have opened up new kinds of communication
between academic and professional communities that were formerly more or less isolated
from each other. The organization and architecture of SEs as well as the task division
between different media change as the ecology changes. SEs are produced for a number
of
reasons by and for a number of professions and groups in society, using a variety
of
media, bibliographical levels in the scope of the edited material selected, granularity,
editorial strategies and theoretical programmes.
T
Taylor, Gary. "In Media Res: From Jerome through Greg to Jerome (McGann)." Textual Cultures, vol. 4, no. 2, 2009, pp. 88-101. [Taylor2009]
Abstract
Gary Taylor's 'In Media Res' argues that editing, like transcription, is a form of
translation, a 'transmediation' that transforms texts across different media and
contexts. Taylor uses the work of W. W. Greg and connects it to the historical influence
of Jerome and the contemporary theories of Jerome McGann to illustrate how editors
inevitably mediate and reshape texts for their intended audiences and the technologies
of transmission. Both sources, therefore, explore the complex relationship between
original textual artifacts, the processes of their reproduction and interpretation,
and
the evolving theories that guide editorial practices across different historical periods
and technological landscapes.
Thieberger, Nick. "Doing it for Ourselves: The New Archive Built by and Responsive
to the Researcher." Digital Humanities Quarterly, vol. 17, no. 1, 2023, https://www.digitalhumanities.org/dhq/vol/17/1/000667/000667.html. [Thieberger2023]
Abstract
In this paper I address the following research questions in the context of having
built a research data repository to safeguard cultural research data. How can the
PARADISEC team ensure the records we create in the course of our research will exist
into the future and remain citable? How can our research data be made available for
a
wider public, most importantly for the people recorded and their descendants? How
can we
prepare our students for this new approach to curation of primary research data so
that
they can build good methodology into their normal research practice, with much more
productive outcomes?
Turnovsky, Geoffrey. "Publishing Scholarly Editions: Archives, Computing, and
Experience by Christopher Ohge (review)." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 161-165, https://muse.jhu.edu/pub/269/article/867247. [Turnovsky2022]
V
Van Hulle, Dirk. "Variants: 'erronymous' intentions from Joyce to
Danielewski." Variants, no. 1, 2002, pp. 123-141, https://dialnet.unirioja.es/servlet/articulo?codigo=4700048. [VanHulle2002]
Van Hulle, Dirk. "Exogenetic Digital Editing and Enactive Cognition." Digital Scholarly Editing: Theories and Practices, Open Book Publishers, 2016. [VanHulle2016]
Abstract
The theoretical framework of this essay is a current paradigm in cognitive
sciences, which may be relevant to the development of scholarly digital editing. In
cognitive philosophy, the ‘Extended Mind’ hypothesis, first formulated by Clark and
Chalmers, suggests that external features in the environment can become partly
constitutive of the mind.¹ In other words, the mind is not limited to something inside
the skull, but is regarded as being ‘extended’.² Varieties of this post-Cartesian
approach, which is being applied to cognitive narratology, are referred to as
‘enactivism’ and ‘radical enactivism’.³ The latter paradigm suggests that the mind
is
not just
Van Hulle, Dirk. "Writers’ Libraries in Genetic Editions." editio, vol. 37, no. 1, 2023, pp. 1-11, https://www.degruyter.com/document/doi/10.1515/editio-2023-0001/html. [VanHulle2023]
Abstract
Falls ein Autor eine persönliche Bibliothek hinterlassen hat, wäre es bedauerlich,
diese exogenetische Information nicht in eine digitale textgenetische Ausgabe
aufzunehmen. Der Beitrag geht von der Hypothese aus, dass eine solche Sachverhalte
einbeziehende Form des Edierens auf einer Art des Verknüpfens beruht und dass die
Herstellung von Verknüpfungen eine der wichtigen Aufgaben des Editors ist. In dieser
Eigenschaft als Verknüpfer spielt der Editor eine zentrale Rolle in der kulturellen
Vermittlung (‘cultural negotiation’) von Text, Kontext, Leser und Selbstdarstellung
des
Autors.
Van Mierlo, Wim. "The Scholarly Edition as Digital Experience: Reading, Editing,
Curating." Textual Cultures: Texts, Contexts, Interpretation, vol. 15, no. 1, 2022, pp. 117-125, https://muse.jhu.edu/pub/269/article/867243. [VanMierlo2022]
Abstract
What if the makers of digital scholarly editions reimagined the edition as an
exhibition? There is no shortage of vision when it comes to reimagining the digital
edition for the future, but innovation always lags behind vision. This affects in
particular the call for reader-oriented editions. Digital scholarly editions are,
on the
whole, rich and useful resources developed to support the critical work of their users.
But as resources they can also be complex and somewhat daunting, which does not make
them 'usable' for a broad spectrum of readers. Bringing curation into the editorial
process can help make editions more inclusive and reach a wider readership. To do
so is
not to change the nature of the game or the purpose of the edition, but to think about
simple solutions for how the data and editorial argument can be communicated more
clearly and effectively. Though separate activities, curating and editing clearly
intersect with one another in the creative-critical modes that they apply to historical
artifacts. The aim of both is to contextualize, historicize, and mediate the past
for
the present. Borrowing some of the verbal, visual, and multimedia tools that curators
employ in exhibitions can augment the edition, help guide the reader through the complex
data, and support her in becoming the kind of relational reader that the digital
scholarly edition envisions.
Van Vliet, H. T. M.. "Electronic editions: new solutions for old editing problems or
old wine in new bottles?." Variants, no. 1, 2002, pp. 63-83, https://dialnet.unirioja.es/servlet/articulo?codigo=4700020. [VanVliet2002]
Van Zundert, Joris. "Barely Beyond the Book?." Digital Scholarly Editing: Theories and Practices, Open Book Publishers, 2016. [VanZundert2016]
Abstract
This is a story about the methodological interaction between two scientific
fields, that of textual scholarship and that of computer science. The names of the
fields, however, only imprecisely delineate the permeable boundaries between research
domains where methodologies interact—for obviously the world is much more fluid than
such nouns suggest.² The interactions of interests are much more complex than the
simplified image of a dynamic whereby one field donates a methodology to another.
Rather
than trying to reflect on the current state and the future potential of the digital
scholarly edition from well inside the field of textual scholarship,
Vanhoutte, Edward. "Every Reader his own Bibliographer – An Absurdity?." Text Editing, Print, and the Digital World, Routledge, 2009. [Vanhoutte2009]
Abstract
This chapter considers a number of different forms an electronic edition may take,
and suggests that such editions can span a broadly defined field ranging from the
critical scholarly edition. A large amount of work at an academic level is performed
on
relatively small amounts of data, to the large-scale, more or less automated,
digitization of considerable amounts of data. It claims that, since tools are now
available that make it possible for users to exploit electronic data in a variety
of
ways, straightforward digitization that makes data available quickly is preferable
to a
critical edition which is never finished, even if less scholarly value is added. In
a
traditional critical edition the individual scholar starts out with a set of manuscripts
and works towards an end result, either a printed or an electronic edition intended
as a
finished product.
Viglianti, Raffaele, and Gimena del Rio Riande, et al. "Open, Equitable, and Minimal: Teaching Digital Scholarly Editing
North and South." Digital Humanities Quarterly, vol. 016, no. 2, 2022. [Viglianti2022]
Abstract
In this paper, we present our preliminary reflections on whether minimal computing
as a practice can extend beyond “computing done under some technological constraints”
to
served as a common ground between different digital humanities research dynamics in
the
Global North and South. We explore this question by commenting on our experience in
developing and teaching an undergraduate course to students enrolled from both the
University of Maryland, College Park in the United States and Universidad del Salvador
in Buenos Aires, Argentina. The class was delivered for its first iteration in
September–November 2020 and introduced students to digital publishing and textual
scholarship of bilingual Spanish and English texts, presenting minimal computing as
a
shared set of values including: use of open technologies, ownership of data and code,
and reduction in computing infrastructure.
W
Walsh, Marcus. "Go figure: metaphors of textuality." Variants, no. 1, 2002, pp. 1-17, https://dialnet.unirioja.es/servlet/articulo?codigo=4699995. [Walsh2002]
Y
Yesypenko, Dmytro. "Printed and digital wor(l)ds: retrospectives and perspectives of
scholarly editing in Slavic countries." Canadian Slavonic Papers, vol. 62, no. 1, 2020, pp. 45-66, https://doi.org/10.1080/00085006.2019.1708530. [Yesypenko2020]
Abstract
This article raises the question of the continuity of national traditions of
scholarly editing (from print to digital), and points to the possibility of overcoming
the “inertia of tradition.” It first considers the transition of the editing and
publishing of literature in Slavic countries from amateur activities based on subjective
principles to scholarly editing. The author pays particular attention to the evolution
of the editor’s role, as well as to opportunities for researchers, editors, and
publishers in the context of digitizing the humanities. The second part of this article
focuses on pioneering attempts at digital representations of Slavic literatures, their
problems, and achievements. The author concludes with some observations concerning
the
role played by editions of authors regarded as classics in the evolution of national
identities in Slavic countries. He argues that significant achievements in print editing
do not guarantee success in digital editing, nor do relatively modest achievements
and
limited possibilities in print editing preclude success in the digital representations
of national literatures. Most examples, observations, and generalizations refer to
the
history of scholarly editing of Polish, Russian, and Ukrainian literatures. However,
speaking about contemporary editing, the author also addresses the experience of
scholars from Czech, Slovak, Slovenian, and Anglo-American academia.
