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Готові списки джерел за темами / Digital scholarly edition

Добірка наукової літератури з теми "Digital scholarly edition"

Автор: Grafiati

Опубліковано: 22 жовтня 2022

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Статті в журналах з теми "Digital scholarly edition":

1

Gabler, Hans Walter. "Theorizing the Digital Scholarly Edition." Literature Compass 7, no. 2 (February 2010): 43–56. http://dx.doi.org/10.1111/j.1741-4113.2009.00675.x.

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2

Del Turco, Roberto Rosselli. "Designing an advanced software tool for Digital Scholarly Editions:." Textual Cultures 12, no. 2 (August 29, 2019): 91–111. http://dx.doi.org/10.14434/textual.v12i2.27690.

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The increasing dissemination of Digital Scholarly Editions has highlighted not only the great potential of this method of publication, but also a good number of theoretical problems that affect both the DSEs as editorial products, and the impact of tools and methods of computer science on the methodology of textual criticism. On the one hand, the editions published so far are an evolution of the practice of ecdotics and represent not only a col- lection of interesting experiments, but also innovative and effective research tools. On the other hand, however, the limits within which an author of digital editions is forced to operate and the most appropriate strategies to minimize their impact have not yet been thoroughly investigated. The adoption of IT tools and methods, in fact, provides many answers to the requests of digital philologists, but the very nature of these tools imposes very strict modes of action, sometimes perceived as too rigid by the scholar. This article presents and describes a software tool that comes at the end of the process of creating a digital edition, to be used in that crucial phase when the edition is prepared for publication on the Web. The aim is not to show the more technical aspects of this tool, even if its fundamental characteristics will be introduced to better understand the terms of the issue, but to describe its genesis and development, and to highlight how visualization software represents a crucial element of the whole editorial process.

3

Strobel, Jochen. "A. W. Schlegels Korrespondenz – kollaborativ!" editio 35, no. 1 (October 1, 2021): 142–67. http://dx.doi.org/10.1515/editio-2021-0008.

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Abstract The paper appeals for a re-examination of the digital scholarly edition of letters informed by a ‘theory of practice’ appropriate to a project environment. The genre letter seen as a means of communication and the use of digital media 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 edition projects and their interests.

4

Pierazzo, Elena. "Quale infrastruttura per le edizioni digitali:." Textual Cultures 12, no. 2 (August 29, 2019): 5–17. http://dx.doi.org/10.14434/textual.v12i2.27685.

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L’articolo riflette sui modi di produzione delle edizioni scientifiche digitali, lamentandone i costi eccessivi che di fatto escludono i giovani ricercatori dalla loro produzione. Utilizzando una metafora presa in prestito dal mondo della moda, le edizioni scientifiche digitali esistenti sono paragonate all’haute couture e al prêt-à-porter: l’autrice distingue infatti le edizioni specializzate, caratterizzate dai costi elevati e dall’essere costruite “su misura” (haute cou- ture) da quelle seriali, caratterizzate da una certa uniformità e dai costi ridotti (prêt-à- porter), auspicando una più generale diffusione di quest’ultimo modello. La seconda parte dell’articolo riflette sulle caratteristiche delle edizioni seriali e loro relazioni con le edizioni specializzate. This article reflects on current ways of producing digital scholarly editions, noting that they typically involve excessive costs that effectively exclude young or independent scholars from undertaking their production. Using a metaphor borrowed from the world of fashion, exist- ing digital scholarly editions are described as either ‘haute couture’ or ‘prêt-à-porter’: that is, either specialized editions characterized by high costs and by production ‘to measure’ (haute couture), or those that use existing frameworks and so are characterized by a certain unifor- mity and reduced costs (prêt-à-porter). The article argues for a wider diffusion of the latter model, but the second part presents a reflection on the characteristics of these editions and their productive interactions with the more specialized type of edition.

5

Crowley, Ronan, and Joshua Schäuble. "Modernism on the Punch Tape: Editing the 1984 Ulysses." Modernist Cultures 15, no. 1 (February 2020): 29–47. http://dx.doi.org/10.3366/mod.2020.0278.

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This article explores the set of interlocking and overlapping institutional, pedagogical, and commercial developments that led to the critical editing of James Joyce's Ulysses by Hans Walter Gabler in the late 1970s and early 1980s. While the polarised reception of Ulysses: A Critical and Synoptic Edition in the late 1980s is well known, we reconstruct the material and technological conditions of digital scholarly editing that gave rise to this major edition of a canonical modernist work.

6

Van Hulle, Dirk. "Modelling a Digital Scholarly Edition for Genetic Criticism: A Rapprochement." Variants, no. 12-13 (December 31, 2016): 34–56. http://dx.doi.org/10.4000/variants.293.

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7

Alvarado, Rafael C., Aldo Ismael Barriente, and Allison Margaret Bigelow. "Popol Wujs: Culture, Complexity, and the Encoding of Maya Cosmovisión." Ethnohistory 68, no. 4 (October 1, 2021): 493–518. http://dx.doi.org/10.1215/00141801-9157219.

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Abstract The Popol Wuj is one of the most important, commonly studied, and widely circulated Indigenous literary works from colonial Mesoamerica. By some accounts, there are 1,200 editions of the work published in thirty world languages, all of which trace back to a single manuscript—itself a copy of an earlier Mayan work. To protect their work from being destroyed by colonial officials or Inquisitional authorities, the original K’iche’ authors of the Popol Wuj had to embed their ways of knowing in a language and narrative structure that could not be detected by Spanish readers. Each edition of the Popol Wuj therefore helps to uncover different elements of the cosmovisión that is embedded in the text. This article draws from recent collaborative efforts to prepare a digital critical edition of the Popol Wuj based on the editorial standards and scholarly conventions of the Text Encoding Initiative (TEI). By comparing and contrasting the advantages and drawbacks of this edition relative to printed works and digital editions, we suggest how methods from the digital humanities can shed new light on texts like the Popol Wuj.

8

Nelson, Brent. "The Sociable Textual Archive: Laying the Groundwork for Linked Bibliographic Entities." KULA: Knowledge Creation, Dissemination, and Preservation Studies 3 (February 27, 2019): 4. http://dx.doi.org/10.5334/kula.12.

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Much of our scholarly thinking of the ‘social’ in digital editing has been with respect to the human processes of building an archive or an edition. This paper explores the idea of the ‘social’ with respect to the archive’s materials themselves. Taking the John Donne Society’s Digital Prose archive as a test case, this paper explores the infrastructure and resources available for creating an open ‘sociable’ knowledge network of linked bibliographic resources.

9

Van Hulle, Dirk. "The Stuff of Fiction: Digital Editing, Multiple Drafts and the Extended Mind." Textual Cultures 8, no. 1 (March 5, 2014): 23–37. http://dx.doi.org/10.14434/tcv8i1.5048.

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Since genetic criticism regards modern manuscripts as a research object in and of itself, it objects to an editorial practice that treats manuscript studies as a mere tool towards the making of a scholarly edition. Still, an exchange of ideas between genetic criticism and scholarly editing can be mutually beneficial and may work in two directions. This essay therefore starts from digital scholarly editing, more specifically from recent developments in computer-assisted collation of multiple draft versions, to see how it can contribute to the study of modern manuscripts. The argument is that the combination of textual scholarship and genetic criticism can be an effective instrument for literary critics, enabling them to study the material aspect of the writing process as an inherent part of what cognitive philosophy calls “the extended mind”; and that this extensiveness does not only apply to the writer’s mind, but that an awareness of manuscripts as a crucial part of the “stuff of fiction” can also contribute to a better understanding of literary evocations of the fictional mind.

10

Münzmay, Andreas, and Christine Siegert. "Phonographischer Text, Interpretation und Aufführungsmaterial als kritisch edierbarer Sachzusammenhang." Editio 33, no. 1 (November 1, 2019): 10–30. http://dx.doi.org/10.1515/editio-2019-0002.

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Abstract The article discusses possibilities and specific problems of including audio material in the realm of scholarly music editions. From this perspective, the authors propose to include the sounding manifestation of music both into the notion of the musical ‚work‘ and of the musical ‚text‘. The outcome of this thought experiment which considers music as performative art, Beethoven’s and other classical composers’ own wider notions of musical works as musical practice, phonographic recordings as text, different types of music as different types of data, programmed concordances as specific feature of digital editions, and musical interpreters as authors of musical interpretations is a theoretical model that for the first time makes record productions the object of scholarly critical edition.

Більше джерел

Дисертації з теми "Digital scholarly edition":

1

Lautenbach, Jan. "Komplexe Edition im Digitalen Zeitalter." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2012. http://dx.doi.org/10.18452/16548.

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Am Beispiel der altgermanistischen Edition wird dargelegt, dass das Buch als Publikationsort herausgefordert ist: Einerseits haben die Diskussionen zur ''New Philology'' gezeigt, dass die Möglichkeiten des Printmediums erschöpft sind. Andererseits hat sich durch die ''Neuen Medien'' der Erwartungshorizont der Leser-Benutzer gravierend verschoben. Obwohl die elektronische Datenverarbeitung im Editionsprozess seit Beginn des digitalen Zeitalters eine bedeutende Rolle spielt, fällt es dem Fach schwer, diesem Horizont und den daraus resultierenden Ansprüchen gerecht zu werden. Das liegt daran, dass – der Theorie nach – bei Medienumbrüchen das alte Medium dem neuen den Aktionsradius vorgibt, sodass Bremseffekte stets die Entwicklung beeinflussen. In der Praxis bedeutet dies, dass die digitalen Medien nur als Präsentationsvehikel ausgebeutet werden. Zwar werden Handschriften, Buchbestände und Texte erschlossen und im Internet zugänglich gemacht, sodass klassische Editionen (Faksimile, diplomatischer Abdruck, Fassungsedition oder historisch-kritische Ausgabe) nicht mehr nur im gedruckten Buch abgebildet werden. Jedoch macht schon die Rezeption an unterschiedlichen Endgeräten (E-Book-Reader, PC-Bildschirmen, Smartphones, Braille Displays etc.) Grenzen sichtbar. Noch deutlicher wird dies unterhalb der sich wechselseitig treibenden Wirkkräfte Standardisierung, Interoperabilität, Ausdifferenzierung, Kollaboration, Webapplikationen, Semantik, Zugänglichkeit, Barrierefreiheit und Legalität. Sie stellen für die komplexe Textedition einen völlig neuen Anforderungskatalog dar, der die statische Präsentation der Ergebnisse hinter sich lässt. Dieses traditionelle Ziel allen Edierens rückt gegenüber dem Editionsprozess und dem genuinen Potential der digitalen Medien, der Trennung der Präsentation vom Speicher, in den Hintergrund. Entscheidend wird sein, dass Editionsdaten für das fortgesetzte Bearbeiten offen und dabei auf verschiedensten Endgeräten flexibel präsentierbar bleiben.
Looking at recent publications of medieval German texts reveals two challenges to the dominance of the printed book as the principal place for publishing: On the one hand, the ''New Philology'' has shown that the possibilities of print are exhausted. On the other hand, the expectations of the 21st century reader/user have radically changed. Despite the fact that from the beginning, digital data processing has played a major role in the editing process, it is very hard to live up to these expectations. This is because - in theory - the old medium dictates limitations to the new one, slowing down the process of expansion and change. In practice this means that so far digital media have been used only as a vehicle for presentation. With manuscripts, book collections and texts being extensively captured and made available on the Internet, classical editions (facsimiles, diplomatic editions, edited versions and historical-critical editions) are increasingly being published outside the printed book. Nevertheless, the reception of this digital content on different devices (e-book readers, computer screens, smartphones, braille displays etc.) has its limitations. This becomes even more obvious when one considers the mutually active forces of standardization, interoperability, differentiation, collaboration, web applications, semantics, availability, accessibility and legality. These establish a whole new list of requirements that goes beyond the static presentation of the results of the editing process. While the traditional goal of all editing processes is losing its importance, it nevertheless opens up the genuine potential of digital media: the separation of presentation from memory. In the future, publishing data could be kept open for further processing and would remain flexible for presentation on all kinds of devices.

2

Siciliano, Angela. "La bibliothèque de Giorgio Bassani : origines, transformations, usages, intertextualités." Thesis, Université Grenoble Alpes, 2022. http://www.theses.fr/2022GRALL015.

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Cette recherche est une étude monographique consacrée à la bibliothèque personnelle de Giorgio Bassani, une riche collection de livres aujourd'hui conservée à Ferrare, à la Maison de l’Arioste. L'ouvrage ne se limite pas à établir le catalogue de la bibliothèque et l'édition des volumes annotés par l'écrivain, mais se présente comme une étude analytique qui combine philologie et critique.Le chapitre I reconstitue d'abord l'histoire matérielle de la collection : sa formation, son démembrement à l'automne 1943 et son réassemblage final après la mort de l'écrivain en 2000.Le chapitre II, en revanche, traite des liens entre les livres et la biographie humaine et artistique de Bassani, qui est reconstruite en cinq sections : les années universitaires (1934-1939), les années racontées dans Il Giardino dei Finzi-Contini (1938-1939), les années durant lesquelles Bassani traverse une grave crise stylistique après la publication de Una città di pianura (1940-1944), la période de son militantisme antifasciste (1937-1944) et la maturité de l'écrivain (après 1948).Plus strictement philologique, mais également attentif aux implications critiques, le chapitre III reconstruit la méthode de lecture et d'annotation de Bassani en commentant des exemples significatifs, utiles pour révéler des aspects inédits de la poétique et de la pensée de l'écrivain, notamment dans ses années de formation.La recherche a également été l'occasion de réfléchir aux méthodologies d'édition des livres annotés et aux problèmes rencontrés par le philologue-éditeur, face auxquels la philologie numérique présente des avantages considérables. Ce point est développé dans le chapitre IV, dans lequel nous examinons les caractéristiques et le potentiel du prototype d'édition numérique qui a été réalisé sur les annotations écrites par Bassani en marge du volume La scuola dell'uomo de Guido Calogero
This research is a monographic study dedicated to Giorgio Bassani's library, a rich collection of books now preserved in Ferrara, at Casa Ariosto. The work is not limited to providing a catalogue of the library and a critical edition of its annotations but is presented as an analytical study that combines philology and criticism.Chapter I reconstructs the material history of the collection: its formation, its dismemberment in the autumn of 1943 and its final reassembly after the writer's death in 2000.Chapter II, on the other hand, discusses the links between the books and Bassani's human and artistic biography, which is reconstructed in five sections: the university years (1934-1939), the years recounted in Il Giardino dei Finzi-Contini (1938-1939), the years in which Bassani went through a serious stylistic crisis after the publication of Una città di pianura (1940-1944), the period of his militancy in anti-fascism (1937), and the writer's maturity (after 1948).More strictly philological in approach, but also attentive to critical implications, is Chapter III, which reconstructs Bassani's method of reading and annotation by commenting on significant examples, useful for revealing previously unseen aspects of the writer's poetics and thought, particularly in his formative years.The research also offered the opportunity to reflect on the methodologies of editing annotated books and on the problems faced by the philologist, in the face of which digital philology shows considerable advantages. This point is developed in chapter IV, in which we examine the characteristics and potential of the digital edition prototype that was created on the annotations written by Bassani on the margins of La scuola dell'uomo by Guido Calogero

3

Barrellon, Vincent. "A generic approach towards the collaborative construction of digital scholarly editions." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEI113/document.

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Les éditions critiques numériques sont des ressources patrimoniales annotées, sous une forme numérique. De telles éditions prennent la forme d'une transcription des ressources originales, augmentées d'un apparat critique, c'est-à-dire, la forme de données structurées. Dans un contexte collaboratif, a structure de ces données est définie explicitement par un schéma, document interprétable qui contraint la manière dont les éditeurs vont pouvoir annoter les ressources primaires et va de ce fait garantir une certaine homogénéité dans le respect de la politique éditoriale. Les projets d'édition critique numérique font classiquement face à deux problèmes techniques. Le premier a à voir avec l'expressivité des langages d'annotation, qui empêchent l'expression de certaines informations utiles. La seconde tient au fait que, par expérience, les schémas qui sous-tendent une édition critique vont être amenés à évoluer au cours de la réalisation de cette édition ; cependant, modifier le schéma implique qu'il faille mettre à jour l'intégralité des données structurées validées par ce schéma, ce qui est habituellement effectué à la main par les éditeurs, au moyen de scripts ad-hoc – si les éditeurs, faute de moyens ou de temps, ne renoncent pas à faire évoluer la structure de données. Dans ce travail de thèse, nous définissons les fondements théoriques pour l'établissement d'un système éditorial dédié à l'édition critique numérique. Nous définissons les eAG, un modèle d'annotation déporté basé sur un formalisme de graphes cycliques, autorisant a plus grande expressivité. Nous définissons un mécanisme de schéma innovant, SeAG, permettant la validation à la volée des eAG au cours de leur manufacture. Nous définissons également une syntaxe de balisage présentant des similarités avec les langages d'annotation classiques comme XML, tout en préservant l'expressivité des eAG. Enfin, nous proposons une algèbre bidirectionnelle pour les eAG de telle sorte que, si un SeAG S est transformé en un SeAG S', alors tout eAG I validé par S est traduit de manière semi-automatique sous la forme d'un eAG I', validé par S', et tel que toute mise à jour de I (respectivement I') soit propagé, de manière semi-automatique, sur I' (resp. I)
Digital Scholarly Editions are critically annotated patrimonial literary resources, in a digital form. Such editions roughly take the shape of a transcription of the original resources, augmented with critical information, that is, of structured data. In a collaborative setting, the structure of the data is explicitly defined in a schema, an interpretable document that governs the way editors annotate the original resources and guarantees they follow a common editorial policy. Digital editorial projects classically face two technical problems. The first has to do with the expressiveness of the annotation languages, that prevents from expressing some kinds of information. The second relies in the fact that, historically, schemas of long-running digital edition projects have to evolve during the lifespan of the project. However, amending a schema implies to update the structured data that has been produced, which is done either by hand, by means of ad-hoc scripts, or abandoned by lack of technical skills or human resources. In this work, we define the theoretical ground for an annotation system dedicated to scholarly edition. We define eAG, a stand-off annotation model based on a cyclic graph model, enabling the widest range of annotation. We define a novel schema language, SeAG, that permits to validate eAG documents on-the-fly, while they are being manufactured. We also define an inline markup syntax for eAG, reminiscent of the classic annotation languages like XML, but retaining the expressivity of eAG. Eventually, we propose a bidirectional algebra for eAG documents so that, when a SeAG S is amended, giving S', an eAG I validated by S is semi-automatically translated into an eAG I' validated by S', and so that any modification applied to I (resp. I') is semi-automatically propagated to I' (resp. I) – hence working as an assistance tool for the evolution of SeAG schemas and eAG annotations

4

Vigilanti, Jacqueline. "Critical Digital Transmission through the Transcription of J. A. Nensén’s Records : A Review of the Tools." Thesis, Högskolan i Borås, Akademin för bibliotek, information, pedagogik och IT, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-9556.

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This thesis aims to understand transcription as a critical transmission practice in the digital medium in order to add to the research surrounding digital library initiatives that make these research materials available and accessible. The project to transcribe the records of Lapland priest J. A. Nensén at Umeå University aims to publish the transcriptions in the cultural heritage database Alvin by Uppsala University Library. Looking at these two Swedish projects can better illustrate the issues surrounding digital tool application and integration. This thesis first explores the transcription practices of a group of scholars transcribing J. A. Nensén’s records. By understanding their model, a better picture of transcription as a scholarly practice can be achieved that can be useful when selecting a digital transcription tool. The study then identified appropriate transcription tools and reviewed the ones most applicable for the project based on the group’s paradigm. It was discovered that the main disparity in transcription practice is the balance between producing a diplomatic transcription and one that is readable. The primary consideration in transcription tool selection was found to be the goals of the project; in this case, those of the transcribers. This determined the tools to be reviewed. These were: FromThePage, Scripto, T-Pen, and Wikisource. All the tools are suitable to the editors, but they still present some obstacles in regards to diplomatic transcription.

5

Hiller, Moritz. "Maschinenphilologie." Doctoral thesis, Humboldt-Universität zu Berlin, 2021. http://edoc.hu-berlin.de/18452/23730.

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"Maschinenphilologie" – das heißt: Fahndung nach dem Subjekt der Philologie. Literaturarchive, Textkritiken und Digital Humanities sind heute Schauplätze digitaler Medien, die nicht nur den passiven Gegenstand, sondern das methodische Werkzeug von Philologie abgeben. Ihre Wirkmacht nötigt zur Frage, wie eine bestimmte Maschinengattung die Prämissen, Praktiken und Institutionen dieses seit 1800 humanistisch geprägten Wissenschaftsfeldes affiziert. Und damit auch seinen geschichtsträchtigen Subjektbegriff: Denn wo nicht mehr nur oder primär Menschen, sondern auch ihr maschinelles Andere schreibt, liest, archiviert und ediert, ist die Logosliebe, mit N. Katherine Hayles zu sprechen, längst posthumanistisch geworden. Grund genug, dieses Beziehungsgeflecht von Menschen und Medien noch einmal abseits von allen Humanexzeptionalismen zu denken: Philologie am heutigen Tag ist immer auch Maschinenphilologie.
This dissertation is in pursuit of the elusive agent of philology. Be it literary archives which curate digital remains, textual criticism which processes computer software, or the Digital Humanities as an alleged new paradigm of humanities, digital media poses particular challenges for philology today—not only as an object of study, but also as a methodological tool. "Machine Philology" confronts these challenges, asking more generally how a particular type of machinery affects the premises, practices, and institutions of a scientific field informed by traditional humanism. Central to the project is an inquiry into the notion of subjectivity. For, where not only human beings, but also their machinic Other, reads, writes, archives, and edits, it is to be argued that philology has—following N. Katherine Hayles—become posthumanistic. The dissertation uses this as an opportunity for a fundamental reconsideration of the entangled network of human beings and media that philology can be described as, evacuated of any human-exceptionalism: Philology today is machine philology.

6

Howard, Ashley. "Florists and feasts: a critical digital edition of Ralph Knevet's Rhodon and Iris." Thesis, 2020. http://hdl.handle.net/1828/12115.

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One spring afternoon in 1631, the Norwich Society of Florists held a feast to celebrate and display its exquisite flowers. The celebration included an entertainment written just for the occasion—Ralph Knevet's quirky play about a war among flowers. Early modern florists were not the sort of people who sold cut flowers in shops; rather, they were experts in floriculture who applied this knowledge to cultivate new flowers. Norwich was already renowned for its gardens, but flowers soon became even more significant. Rhodon and Iris was performed just before tulipomania, a frenzy of tulip cultivation lasting from c.1634 – 1637. During this period, florists grew elaborate multi-coloured flower bulbs that sold for extremely high prices. In other words, the florists' feast and Knevet's play emerged when flowers were important to the economy and identity of Norwich. My thesis presents an open-access, digital critical edition of Rhodon and Iris encoded in TEI-P5. This edition offers an old-spelling transcription of the 1631 playbook, a modernized text with annotations, and a critical introduction. Responding to the need for more editions of non-canonical early modern plays, my research widens the otherwise Shakespeare-centric canon and helps make more early modern drama accessible to student readers. Rhodon and Iris also merits critical attention on its own grounds: an example of Caroline occasional drama, the play experiments with convention and offers a rare glimpse into the Society of Florists. My thesis approaches the play with special interest in editorial praxis, ecotheory, and the history of floriculture. The florists' feast delighted audiences and participated in a tradition of floral celebrations—one reaching, at least, from the ancient Roman ludi Florales to the modern Netflix series The Big Flower Fight.
Graduate
2021-06-26

7

Coleman, Anita Sundaram. "Comments on Dalbello's Scholarly Editions, Historians' Archives, and Digital Libraries." 2006. http://hdl.handle.net/10150/106123.

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8

Dalbello, Marija. "Scholarly Editions, Historians' Archives and Digital Libraries: The Pragmatics and the Rhetoric of Digital Humanities Scholarship." 2006. http://hdl.handle.net/10150/105293.

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Анотація:

This is a submission to the "Interrogating the social realities of information and communications systems pre-conference workshop, ASIST AM 2006." The development and current uses of digital libraries and digital environments supporting humanities scholarship will be analyzed through the agency of disciplinary communities that are primary users of these resources. The pioneering efforts of individual scholars and digital humanities initiatives are an integral part of the history of the first generation of digital libraries. Significant collections of primary source materials shaped by scholars themselves point to the social nature and disciplinary shaping of technological development, in which domain specialists have become technology innovators. The proposed paper will survey exemplary scholarly editing and archival projects of the first generation from the point of view of their developers. The paper will also present an analysis of the literature of the digital humanities field in relation to that development. Future trends of shaping collections of primary sources for user communities in the traditional disciplines will be discussed as well.

Книги з теми "Digital scholarly edition":

1

Smith, Abby. New-model scholarship: How will it survive? Washington: Council on Library and Information Resources, 2003.

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2

Fossati, Giovanna. From Grain to Pixel. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789463725002.

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Анотація:

In From Grain to Pixel, Giovanna Fossati analyzes the transition from analog to digital film and its profound effects on filmmaking and film archiving. Reflecting on the theoretical conceptualization of the medium itself, Fossati poses significant questions about the status of physical film and the practice of its archival preservation, restoration, and presentation. From Grain to Pixel attempts to bridge the fields of film archiving and academic research by addressing the discourse on film's ontology and analyzing how different interpretations of what film is affect the role and practices of film archives. By proposing a novel theorization of film archival practice, Fossati aims to stimulate a renewed dialogue between film scholars and film archivists. Almost a decade after its first publication, this revised edition covers the latest developments in the field. Besides a new general introduction, a new conclusion, and extensive updates to each chapter, a novel theoretical framework and an additional case study have been included.

3

Stubbs, Estelle. The Hengwrt Chaucer Research Edition CD: Digital Facsimile (Individual Licence) (Scholarly Digital Editions). Scholarly Digital Editions, 2002.

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4

Stubbs, Estelle. The Hengwrt Chaucer Research Edition CD: A Digital Facsimile (Institutional Licence) (Scholarly Digital Editions). Scholarly Digital Editions, 2002.

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5

Régnier, Philippe. Ongoing Challenges for Digital Critical Editions. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038402.003.0003.

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This chapter focuses on the issues at stake in digital scholarly edition, commenting on the main challenges and opportunities that the use of digital technology, computers, and dynamic schemas in online publication of critical editions entails. It emphasizes how the new digital environment can modify and perhaps extend textual criticism's scope and reach. Particular attention is given to societal, epistemological, and cultural factors that can influence the evolution of the discipline; to the rapid change and transformation rhythm; to the inherent instability of new digital environments; and finally, to the multiplicity of the varied representational frameworks that can compete within a digital structure.

6

Hillesund, Terje, and Claire Bélisle. What Digital Remediation Does to Critical Editions and Reading Practices. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038402.003.0005.

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This chapter analyzes critical edition digitization ambitions, ranging from the conception and aims of editors to the expectations of readers. The first part deals with issues and questions raised by the digital trend in scholarly text editions as they migrate from one media to another. The chapter explains, through the concept of remediation, how the traits and configuration of editions that are present in print technology live on in digital technology, even though text creation and dissemination have profoundly changed. Digital remediation of text is taking place within a digital context impelling new reading habits. The remainder of the chapter explores these new emerging reading practices, coupled with a probing of readers' expectations.

7

Shaw, Prue. Dante's Monarchia (Scholarly Digital Editions) (Scholarly Digital Editions). Scholarly Digital Editions, 2006.

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8

Shaw, Prue. Dante's Monarchia> (Scholarly Digital Editions) (Scholarly Digital Editions). Scholarly Digital Editions, 2006.

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9

Régnier, Philippe. Toward a New Political Economy of Critical Editions. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038402.003.0010.

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This chapter analyzes the political economy of digital critical editions and the development of research networks, as well as the ecological environment and the concrete human resources in digital critical edition. The first part builds on the scope of scholarly editing's “political economy in a pre-digital era,” and describes the human resources context that has followed the migration of critical edition to the digital world. Meanwhile, the second part discusses the impacts of collaborative work, human networks, open software ideology, and resource sharing on the new political economy of digital scholarly edition. Particular attention is given to the role of institutions such as publishers, research organizations and universities, and scientific networks in this new production environment.

10

Pierazzo, Elena. Digital Scholarly Editing. Taylor & Francis Group, 2020.

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Частини книг з теми "Digital scholarly edition":

1

Vogeler, Georg. "Digital Edition of Archival Material - Machine Access to the Content: On the Role of Semantic Web Technologies in Digital Scholarly Editions." In Atelier de recherche sur les textes médiévaux, 37–56. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.artem-eb.5.117327.

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2

Price, Kenneth M. "Electronic Scholarly Editions." In A Companion to Digital Literary Studies, 434–50. Oxford, UK: John Wiley & Sons, Ltd, 2013. http://dx.doi.org/10.1002/9781405177504.ch24.

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3

Price, Kenneth M. "Social Scholarly Editing." In A New Companion to Digital Humanities, 137–49. Chichester, UK: John Wiley & Sons, Ltd, 2015. http://dx.doi.org/10.1002/9781118680605.ch10.

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4

Caria, Federico, and Brigitte Mathiak. "Minimal Functionality for Digital Scholarly Editions." In Digital Cultural Heritage, 350–63. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-75826-8_28.

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5

Van Zundert, Joris J. "By Way of Conclusion: Truly Scholarly, Digital, and Innovative Editions?" In Analysis of Ancient and Medieval Texts and Manuscripts: Digital Approaches, 335–46. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.lectio-eb.5.102578.

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6

Holstein, Tobias, and Uta Störl. "Towards Supporting Tools for Editors of Digital Scholarly Editions for Correspondences." In Communications in Computer and Information Science, 193–200. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-60700-5_25.

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7

Holstein, Tobias, and Uta Störl. "Insights into the Work of Editors of Digital Scholarly Editions for Correspondences." In Human-Computer Interaction. Design and User Experience, 273–92. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49059-1_20.

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8

Sabel, Helena Bermúdez. "Anotación multicamada externa e o enriquecemento de edicións dixitais/Multi-layered stand-off annotation and the enrichment of digital scholarly editions." In Humanidades Digitales, edited by Déborah González and Helena Bermúdez Sabel, 4–17. Berlin, Boston: De Gruyter, 2018. http://dx.doi.org/10.1515/9783110585421-002.

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9

"Trusting the Edition: Preservation and Reliability of Digital Editions." In Digital Scholarly Editing, 179–202. Routledge, 2016. http://dx.doi.org/10.4324/9781315577227-12.

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10

Gabler, Hans Walter. "6. Theorizing the Digital Scholarly Edition." In Text Genetics in Literary Modernism and Other Essays, 121–42. Open Book Publishers, 2018. http://dx.doi.org/10.11647/obp.0120.06.

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Тези доповідей конференцій з теми "Digital scholarly edition":

1

Fütterer, Daniel. "Herausforderungen bei der Kodierung von Paratext am Beispiel Neuer Musik mit Live-Elektronik." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.103.

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In traditional scholarly editions of music, peritext only plays a minor role so far. Peritexts can be defined as integral components of a score, for example a foreword, that are not part of the musical text. Especially in New Music, which is often intentionally breaking with implicit performance traditions, peritexts might offer essential information, e. g. on the arrangement of instruments and personal on the stage, about the used effects and hardware, and on verbal instructions to the interpreters. Encoding this information to be fully accessible for a scholarly digital music edition, is an important challenge. The poster is explaining this issue using an example by Joachim Krebs.

2

Cividini, Iacopo. "Zwischen klassischer Musikphilologie und angewandter Informatik: Die Digitale Mozart-Edition (DME) der Stiftung Mozarteum Salzburg." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.51.

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With the Digital Mozart-Edition (DME), the Salzburg Mozarteum Foundation and the Packard Humanities Institute, Los Altos (California), intend to build a bridge between music philology and informatics using the example of Wolfgang Amadé Mozart’s oeuvre. The aim of the project is to edit Mozart’s complete works as well as letters, documents and text sources according to scholarly criteria and in a fully digital format available free of charge on the internet. The core project of the DME, the Digital Interactive Mozart Edition (DIME), is conceived as a further development of the Neue Mozart-Ausgabe (NMA). Following the principle “code equals edition”, all musical texts and their critical documentation are encoded in the XML-based format by the Music Encoding Initiative (MEI). All variants and editorial interventions of the music can be made visible through The Digital Mozart Score Viewer (MoVi), a visualisation tool built around the Verovio music engraving library.

3

Merchán-Sánchez-Jara, Javier, José Antonio Cordón García, and Raquel Gómez Díaz. "Towards a hypermedia model for digital scholarly edition of musical texts based on MEI (Music Encoding Initiative) standard." In TEEM 2017: 5th International Conference Technological Ecosystems for Enhancing Multiculturality. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3144826.3145446.

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