Happy New Year from these dapper folks and all of us here at NINES!
By Dana Wheeles on January 2, 2013
By Dana Wheeles on December 24, 2012
By Dana Wheeles on November 29, 2012
From the Pageant of America collection at the New York Public Library, NINES offers this glimpse into the study of Fireside Poet John Greenleaf Whittier, and the “Desk upon which Snow-Bound and other poems were written.”
By Dana Wheeles on November 14, 2012
NINES is happy to announce the integration of a new resource: Britain, Represention, And Nineteenth-Century History (BRANCH), edited by Dino Franco Felluga. The site provides users with a free, expansive, searchable, reliable, peer-reviewed, copy-edited, easy-to-use overview of the period 1775-1925. And thanks to its site structure, BRANCH offers users an innovative approach to history itself, suggesting that any given bit of historical information can branch outward in often surprising directions.
By Emma Schlosser on November 7, 2012
Here is an illuminated page from a 1910 edition of Shelley’s lesser known poem “The Sensitive Plant.” This ornate (and perhaps a bit ostentatious) illustration of Shelley’s non-canonical poem reminds us of the value once attached to literature now overlooked. Courtesy of the New York Public Library Digital Gallery.
By Dana Wheeles on October 31, 2012
Happy Halloween from all of us at NINES! Enjoy more spooky results in NINES.
By Dana Wheeles on October 22, 2012
To accompany this week’s image, NINES Fellow Elizabeth Fox assembled all five copies of Abraham Lincoln’s Gettysburg Address into one comparison set in Juxta Commons and collated them to see how they differ. Use the embed window below to peruse a heat map of this collation, with the Nicolay Copy as the base text. The darker the highlighting, the more other texts differ from this copy, and you can learn more about each revision site by clicking on the text itself.
By Dana Wheeles on October 18, 2012
[cross-posted from the Juxta blog]
As the Juxta R&D team has worked to take the desktop version of our collation software to the web, I’ve found myself thinking a great deal about the critical apparatus and its role when working with digital (digitized?) texts.
In the thumbnails above, you can see a page image from a traditional print edition (in this case, of Tennyson’s poetry) on the left, and a screenshot of the old Juxta critical apparatus output on the right. In the original, downloadable, version of Juxta, we allowed users to browse several visualizations of the collation in order to target areas of interest, but we also offered them the ability to export their results in an HTML-encoded apparatus. This was an effort to connect digital scholarship to traditional methods of textual analysis, as well as a way to allow scholars to share their findings with others in a familiar medium.
It has become clear to me, based on the feedback from our users, that this HTML critical apparatus has been quite useful for a number of scholars. Even though our output could seem cryptic without being paired with the text of the base witness (as it is in the Tennyson edition), it was apparent that scholars still needed to translate their work in Juxta into the traditional format.
In the meantime, scholars working with the Text Encoding Initiative (TEI) developed Parallel Segmentation, a method of encoding the critical apparatus in XML. In her article, ”Knowledge Representation and Digital Scholarly Editions in Theory and Practice,” Tanya Clement describes the effectiveness of using parallel segmentation to encode her digital edition of the work of the Baroness Elsa von Freytag-Loringhoven. Using a TEI apparatus along with a visualization tool called the Versioning Machine, Clement argued that her project “encourage[d] critical inquiry concerning how a digital scholarly edition represents knowledge differently than a print edition,” and illustrated the flexibility of working with full texts in tandem. Witnesses, or alternate readings, were not subsumed under a (supposedly static) base text, but living, dynamic representations of the social and cultural networks within which the Baroness lived and wrote.
Working with digital texts can make generating a critical apparatus difficult. One could encode your apparatus manually, as Clement did, but most users of Juxta wanted us to take their plain text or XML-encoded files and transform them automatically. The traditional apparatus requires exact notations of line numbers and details about the printed page. How does one do that effectively when working with plain text files that bear no pagination and few (if any) hard returns, denoting line breaks? Instead of hurriedly replicating the desktop apparatus online –knowing it would posses these weaknesses and more — the R&D team chose to offer TEI Parallel Segmentation output for Juxta Commons.
Any user of Juxta Commons can upload a file encoded in TEI Parallel Segmentation, and see their documents represented in Juxta’s heat map, side-by-side, and histogram views. Those working with plain text of XML files can also export the results of their collations as a downloadable TEI Parallel Segmentation file. In short, Juxta Commons and can both read and write TEI Parallel Segmentation.
However, we’re not convinced that the traditional apparatus has lost its functionality. We’d like to ask you, our users, to tell us more about your needs. How do you use the critical apparatus in your studies? What other kind of apparatus could we offer to streamline and enhance your work in Juxta Commons?
By Dana Wheeles on October 17, 2012
From the Forget Me Not annual in 1831 comes this engraving by Henry Chawner Shenton (after a painting by Alexander Chisholm) which depicts a cobbler at home, surrounded by his family. One supposes that the title comes from the moment illustrated, in which the cobbler negotiates the price of a figurine from a peddler passing by the cottage window.
This image comes from the Poetess Archive, which assembles a number of annuals like the Forget Me Not, including textual and visual material.
By Emma Schlosser on October 10, 2012
After hearing an NPR interview on Columbus Day with Timothy Egan, author of Short Nights of the Shadow Catcher: The Epic Life and Immortal Photographs of Edward Curtis, I decided to share a particularly striking example of Curtis’ work. Curtis’ portraits, taken at the beginning of the twentieth century, document and commemorate the lives and cultures of indigenous Americans. This photograph, one of thousands taken for Curtis’ 1905 collection The North American Indian, shows a Hupa fisherman standing in the Trinity River of northwest California. NINES has access to the entire Curtis Collection, courtesy of the Library of Congress Prints & Photographs Online Catalog. To hear the short Egan interview, click here.