tag:blogger.com,1999:blog-39597440330764554082024-02-22T08:08:55.602-08:00ArchBook: Architectures of the BookThis is the project blog for ArchBook, an online, open-access reference resource of textual features that illustrate technologies and human practices for transmitting knowledge in textual form.Unknownnoreply@blogger.comBlogger24125tag:blogger.com,1999:blog-3959744033076455408.post-54600355786171965522012-09-08T16:47:00.000-07:002014-12-03T09:21:20.312-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Times New Roman","serif";"><span style="color: #990000;"><span style="font-size: x-large;"><a href="http://archbookblog.blogspot.ca/2012/09/swiftsparodic-paratexts-firstpublished.html">Swift’s Parodic Paratexts</a></span></span></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">First
published in 1704, Jonathan Swift’s <i style="mso-bidi-font-style: normal;">A
Tale of a Tub</i> satirizes a host of contemporary religious and political
issues. The three sections that constitute the <i style="mso-bidi-font-style: normal;">Tale</i>—the titular “A Tale of a Tub,” “A Full and True Account of the
Battel, Fought Last Friday, Between the Antient and the Modern Books in St.
James’s Library,” and “A Discourse Concerning the Mechanical Operation of the
Spirit”— also take aim at the conventions of modern writing, especially the
tendency of writers, editors, and publishers to affix extended prefatory and
supplementary materials like dedications, introductions, annotations, and so on
to main bodies of text. Robert Hauptman notes that Swift “ludicrously multiplies”
(49) supplementary sections and notes throughout the <i style="mso-bidi-font-style: normal;">Tale</i>. Swift begins the first section of his 1710 edition with a
mock list of other treatises by the author of the <i style="mso-bidi-font-style: normal;">Tale</i> (who is figured as an anonymous recluse), an apology (with
postscript), two dedicatory epistles, a note from the fictional bookseller/editor/publisher
(i.e. Swift) to the reader, and a preface. The second and third sections are
introduced by two notes from the bookseller to the reader, another preface, and
a dedicatory epistle (with a different addressee than either of the first two
epistles). All three sections and their attendant prefatory remarks are
annotated both in the margins and in footnotes. The result is a dizzying array
of voices, motives, and intentions that is rather more disorienting than
edifying. The 1710 edition is also illustrated by a series of engravings but
these, again, are of questionable assistance to the reader. One engraving, for
example, represents the author’s description of the lunacy of students and
professors and the bedlam they create and inhabit (fig. 1). </span><br />
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3dLiEtNLMTr09COHTjiKriODz-se5xrkJvV822zrls6-wjlqoAW-5Ztbv-dlf5dvM_D4emOXGb1gYgIa1mz-wyJCfcZGDe0QhcZ3KPuIatp5sCj-NfpWNSpIKGeS1oc-odzS8JIzljo04/s1600/bedlam0001.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3dLiEtNLMTr09COHTjiKriODz-se5xrkJvV822zrls6-wjlqoAW-5Ztbv-dlf5dvM_D4emOXGb1gYgIa1mz-wyJCfcZGDe0QhcZ3KPuIatp5sCj-NfpWNSpIKGeS1oc-odzS8JIzljo04/s640/bedlam0001.JPG" height="640" width="404" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig 1: Bedlam</td></tr>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Fittingly, critic Marcus
Walsh maintains that Swift’s paratexts are “elements in the theatre of
obfuscation with which Swift surrounded the <i style="mso-bidi-font-style: normal;">Tale</i>”
(xxxii). That is, the mass of paratextual information that Swift, the parodist,
provides is less supplementary and clarifying than digressive and confusing. By
demonstrating the disruptive effect of the paratext gone mad, Swift satirizes the
work of writers, editors, and publishers whose ham-fisted adoption of
paratextual conventions confounds and exhausts readerly interest. In this
sense, the obfuscatory nature of Swift’s paratexts is an extension and
amplification of his satire.<o:p></o:p></span><br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Two
important examples of obfuscatory paratexts in Swift’s <i style="mso-bidi-font-style: normal;">Tale</i> are the list of other treatises by the author at the beginning
and the annotations throughout. The list, titled “Treatises wrote by the same
Author, most of them mentioned in the following Discourses; which will be
speedily published,” falls between the title page and the author’s initial
apology for the work (as an aside, Swift’s hilariously over-the-top use of
litotes in the apology mercilessly parodies the conventional humility of
prefatory rhetoric). The list (fig. 2) is thus placed as one might expect, but
the treatises which it describes surely defy readerly expectations. </span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-K4eT2vj37EyAE2IqGyvlHF1r-dvgfHwx6krdgZSPHM5E2Ann_-Byu9TSvL-hlUywSwQOsYREaVfZt9BCZe1nKtNMGfS4c_67bMPw9rfFF4fCP72gOaBk-7EkcmAMDDK7RAlJIM4ZSGrX/s1600/bedlam0002.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-K4eT2vj37EyAE2IqGyvlHF1r-dvgfHwx6krdgZSPHM5E2Ann_-Byu9TSvL-hlUywSwQOsYREaVfZt9BCZe1nKtNMGfS4c_67bMPw9rfFF4fCP72gOaBk-7EkcmAMDDK7RAlJIM4ZSGrX/s640/bedlam0002.JPG" height="640" width="444" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 2: List of treatises</td></tr>
</tbody></table>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">In general,
lists of this sort serve to indicate the themes and trajectories of an author’s
oeuvre. These lists allow readers, at a glance, to identify patterns of
authorial interest. Because they are by their very nature referential and
bibliographic, such lists can be useful tools for readers who are looking for
more to read by the same author. That is, these lists can effectively market
and recommend an author’s work to a reader. Swift’s list, by contrast, is
baffling. Although the author refers to most of the listed treatises in the
main body of the <i style="mso-bidi-font-style: normal;">Tale</i>, the list’s
place at the very beginning of the book confronts the reader at the outset with
a frustrating set of riddles: what could the relationship possibly be between
“A Panegyrical Essay upon the Number THREE” and “A general History of Ears,” and
how will any of these absurdly-titled treatises be referenced in the <i style="mso-bidi-font-style: normal;">Tale</i>? Who is the author of these works,
who seems, judged from this list alone, irredeemably eccentric? Swift’s list
forces the reader to pause and ask “what am I getting myself into?” This is
hardly a desired aim of what might, in most uses, be characterised as an
unobtrusive bit of paratext.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Nevertheless,
as Walsh points out in his annotations to the Cambridge Press edition, each of
the listed treatises does make sense according to themes developed in the <i style="mso-bidi-font-style: normal;">Tale</i> or in other satires Swift planned
to write. For example, “An Analytical Dicourse upon Zeal, Histori-theo-physi-logically
considered” mocks the use of pseudo-scientific terms such as
physico-theological and physico-mechanical by writers like William Wotton and
Samuel Parker, whom Swift criticizes throughout the <i style="mso-bidi-font-style: normal;">Tale</i> as pedants and philosophically-suspect (Swift, 317–8). “A
Voyage into England, by a Person of Quality in Terra Australis incognita,
translated from the original” mirrors an idea that Swift intended to write a
book about (see Swift, 318). So while the list at first seems to deviate
entirely from the norm, the titles do in fact correspond, as a set of inside
jokes, with the satiric thrusts of the <i style="mso-bidi-font-style: normal;">Tale</i>.
As a parody of other such lists, this one is outwardly obfuscatory, but it
does, on further analysis, contain information consistent with the insights into
authorial interests, trajectories, and so forth that can be gleaned from more
apparently conventional lists of this sort.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Swift’s
annotations also play with expected conventions of usage. His marginal notes,
for the most part, perform the very conventional task of referencing
paraphrased and quoted authors. Likewise, many of his footnotes elucidate the
text by a process of adduction; they identify and bring to bear explanatory and
illustrative passages, allusions, sources, analogues, and contexts (see Walsh,
lxxix). However, the annotations are frequently parodic as well. Swift uses
them to heighten and continue his jokes. Even though Swift wrote all of the
notes himself, in his prefatory apology, Swift notes that “The Author is
informed, that the Bookseller has prevailed on several Gentlemen, to write some
explanatory Notes, for the goodness of which he is not to answer, having never
seen any of them, nor intends it, till they appear in Print, when it is not
unlikely that he may have the Pleasure to find twenty Meanings, which never
enter’d into his Imagination” (14). In one example (fig. 3) the author writes,
in the body of the text, that he affixed multiple titles to his work out of
deference to literary custom. In a marginal note, the bookseller writes that the
title page of the author’s original manuscript was torn, and that many of the
book’s titles were lost. Using the personae of the author and the bookseller,
and balancing the author’s purple prose with the bookseller’s pragmatism, Swift
points out the extraneous, superficial, and ultimately dispensable nature of
extended titles. The point would simply not be as effectively or humorously
made without the author’s enthusiastic participation in the conceit and the
bookseller’s sober notational reminder of material realities. </span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioVYPkEAWCIHePsSwdVa7Z-Dm-bpC4H3EjPmtwqf9E69RXJ7Uu8znl-EfO7jeujlnZNDehi_f3aD04eBB573rbCh3YYd-tl0zZnqVvijha3RfU_0QYJwpx0mYgZQxKHrXkWxPo8PIa4KfQ/s1600/bedlam0004.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioVYPkEAWCIHePsSwdVa7Z-Dm-bpC4H3EjPmtwqf9E69RXJ7Uu8znl-EfO7jeujlnZNDehi_f3aD04eBB573rbCh3YYd-tl0zZnqVvijha3RfU_0QYJwpx0mYgZQxKHrXkWxPo8PIa4KfQ/s400/bedlam0004.JPG" height="177" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 3: A note by the bookseller</td></tr>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Some notes are
presented as having been written by the critic William Wotton, a target of
Swift’s. These notes are invariably pedantic and rambling, and they tend to
miss the subtleties and nuance of Swift’s prose. Other notes are absurd. These
satirize the tendency of authors to attach notes of questionable value to their
documents. At one point, for example, Swift notes that “The Egyptians
worshipped a monkey, which animal is very fond of eating lice, styled here as creatures
that feed on human gore.” Edifying stuff, indeed. At another point, Swift
writes that “I was told by an eminent divine, whom I consulted on this point,
that two barbarous words [“Bythus and Sigé”], with that of Acamoth and its
qualities, as here set down, are quoted from Irenaeus” (see Hauptman, 49). In
this last case, Swift’s target is authors who do not reveal their sources of
information but instead reference mysterious, unnamed “eminent divines.” In
short, while Swift’s annotations do seem to perform many of the tasks we
associate with annotations, very few of them are untouched by his desire to
parody and satirize literary conventions.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Without
getting into Swift’s apology, his dedicatory epistles, his prefatory notes by
the fictional bookseller, and his other attendant prefaces and paratexts, it
will be enough to say that readers of <i style="mso-bidi-font-style: normal;">A
Tale of a Tub</i>, particularly readers accustomed to very dependable, reliable
paratexts—paratexts that fade into the background of one’s experience with a
text—would be well-advised to leave such expectations at the door, or the front
cover, as it were.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><o:p>
</o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Works Cited</span><br />
</div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Hauptman,
Robert. <i style="mso-bidi-font-style: normal;">Documentation</i>. Jefferson:
McFarland and Company, 2008. </span><br />
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</div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Swift,
Jonathan. <i style="mso-bidi-font-style: normal;">A Tale of a Tub</i>. In <i style="mso-bidi-font-style: normal;">A Tale of a Tub and Other Works</i>, edited
by Marcus Walsh, </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">1–136.
Cambridge: Cambridge University Press, 2010.<o:p></o:p></span></div>
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Rob Imeshttp://www.blogger.com/profile/00274085805030290021noreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-64661104200031497582012-07-25T12:20:00.000-07:002012-07-26T13:39:50.240-07:00A Rhetorical Index in Richard Bernard's Thesaurus Biblicus<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6iqXgmCyNt9FMOpTW6muv-MTB0KkHAnlMD1SimnsuglzAFpc13vsV2MIaexvhTC-VBZM0PGAXjDsYdRkKzzqtTkZEArkWsN5epzlrwLgJAqXpNFwIAsYzKMxhOj0VpAtcM3Pajg6282SJ/s1600/FisherForbes00137%2528tpcroppe3%2529.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6iqXgmCyNt9FMOpTW6muv-MTB0KkHAnlMD1SimnsuglzAFpc13vsV2MIaexvhTC-VBZM0PGAXjDsYdRkKzzqtTkZEArkWsN5epzlrwLgJAqXpNFwIAsYzKMxhOj0VpAtcM3Pajg6282SJ/s640/FisherForbes00137%2528tpcroppe3%2529.jpg" width="382" /></a></div>
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<span style="font-family: 'Times New Roman'; font-size: 12pt;">Bernard, Richard. <i style="mso-bidi-font-style: normal;">Thesaurus Biblicus, Seu Promptuarium Sacrum: Whereunto are Added all
the Marginall Readings, with the Words of the Text, and Many Words in the Text Expounded
by the Text, all Alphabetically Set Downe Throughout the Bible: In the End is
Annexed an Abstract of the Principal Mattters [Sic] in the Holy Scripture</i>.
London: Imprinted by Felix Kingston, and are to be sold at his house in
Pater-Noster-Row, at the Signe of the Gilded Cock, 1644.</span></div>
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This is a strange beast, defying
easy generic categorization. It certainly
is not a concordance, as Bernard himself makes clear in his preface to the
reader (for a proper concordance, he refers to the reader to either Cotton's or
Newman's: these seem to be the standards ones). And yet it looks a lot like other concordances
of the period (and the DNB entry on Bernard calls it a concordance). </div>
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Compare:</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/FisherForbes00137tpcroppe3.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmOwr2CP0oFRN3UzYk_9O8zo30g59IH2QzP8RslviIFD074XhdMGqpOfmRcsct31-zrWviwTBEajO1pBd44n6B-ftUg8SHSFEn-i5-hUFToJSMQG2XeFUscxUijxXBGIPEGZlTdhehElpr/s640/FisherForbes00137(cropped).jpg" width="396" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bernard's <i>Thesaurus Biblicus</i> (not a concordance)</td></tr>
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... with ...</div>
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<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/FisherKnoxf00066detail.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwOa4uJkW-mxFNLm__dXMWxVn31V08fNeFQ5kQdFLgTSmEfzGZ3-Bm97isYgjoaFONpr9jsBVOq0mms0fdbn9-sKE9jTsXmFS00i_BLcMu6z-zF_i-QT3A5ARwHz5dXo331YF428KdtxKH/s400/FisherKnoxf00066(detail).jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Samuel Newman's <i>A Concordance to the Holy Scriptures</i> (1658)</td></tr>
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And the <i>Thesaurus</i> and the <i>Concordance</i> share a similar indexical function: identifying
common content and pointing to various locations where it and be found. The main difference between the <i>Thesaurus</i>
and a concordance is that a concordance correlates content words with their
various occurrences in the Bible (as in Cotton and Newman), whereas the <i>Thesaurus</i>
organizes its material according to subject words, which includes both
occurrences of the word itself in the biblical text and instances where the
text exemplifies the subject. For example, under “Abase” Bernard includes
verses that use the word (all of the one that Cotton's Concordance includes)
and also verses that exemplify the idea without naming it. Bernard is also more
selective in his headwords, including only words that he deems topically
important. He also provides paraphrases of the subject term, along with
instances of what appear to be Latin cognates. </div>
<span style="font-family: 'Times New Roman'; font-size: 12pt;"><br />
The title, calling it a holy storehouse, places this book in the
tradition of aids to rhetorical invention (such as Cawdrey's <i>Rich Storehouse
of Similes</i>): there is even, under the section heading "Simile," a
section of similes arranged under alphabetical heads from A-Z. Editor John Conant,
in his preface to the volume, picks up on this rhetorical function in his
historical contextualization of the <i>Thesaurus</i>: "Chrysostome likens
the holy scripture, to a treasury, to a fountaine, to an Apothecaries shop:
Irome, to a table richly furnished with variety of delicates: Ephrem, to an
armorie: Basil, to a looking glasse: Chrysostom againe, to a pleasant garden;
and Cassian, to a fruitfull field" (sig. A3). Many of these metaphors were
used in the Renaissance in discussions of poetics and rhetoric. For both Canant
and Bernard, the <i>Thesaurus</i> is all about enabling the reader in the
Biblical environment (A3-[A3v]). Much of Bernard's preface consists of
instruction of the reader in how s/he can make use of the <i>Thesaurus</i>. </span><br />
<span style="font-family: 'Times New Roman'; font-size: 12pt;"><br /></span><br />
<span style="font-family: 'Times New Roman'; font-size: 12pt;">
</span><br />
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<i>A postscript on marginalia:</i> <o:p></o:p></div>
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An interesting notion of the
"marginal" as expressed in “The Diverse Marginall Readings with the
Text.” It is interesting in that Bernard seems not to be referring to a
physical margin. That is, he is not collecting readings found in marginalia.
While the entry under "Accept thy sacrifice" does paraphrase a
marginal gloss in the KJV for Psalm 20.3, in the case of “Abase” it does not.
What he does provide for “Abase” is a paraphrase—“bring low”--, which is the
kind of thing one might <i>expect </i>in a marginal gloss for Job 40.11. So,
marginal now has a kind of metaphorical meaning: a gloss is a string of text
that is removed from the object of focus, the centre of view, but related to it,
and it is the kind of material one might very well relegate to the physical
margin of a book. That said, there doesn't seem to be a whole lot of difference
between the kind of material (and its rationale) provided in the “The Diverse
Marginall Readings with the Text” and that provided in the <i>Thesaurus</i>.<o:p></o:p></div>Brent Nelsonhttp://www.blogger.com/profile/16550395953656233133noreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-55303723060242705472012-07-16T15:21:00.000-07:002012-07-16T15:26:46.847-07:00Deckled edges<br />
<i>n. deckle</i>: "a contrivance in a paper-making machine to confine the pulp within the
desired limits, and determine the size or width of the sheet" (OED).<br />
<br />
adj. <i>deckled edge</i>: "the rough uncut edge of a sheet of paper, formed by the deckle" (OED).<br />
<br />
Interesting article demonstrating how the
culture of the book is becoming increasingly strange and inscrutable to
those born-digital: "Deckle Detecting" in <i>The Economist</i>, 15July 2012. <a href="http://www.economist.com/blogs/babbage/2012/07/printed-books">http://www.economist.com/blogs/babbage/2012/07/printed-books</a> <br />
<blockquote class="tr_bq">
The deckle edge was unavoidable until the 19th century, a byproduct of
the papermaking process. Since it became unnecessary, the rough edge
gradually turned into a status symbol. Advertisements for books in the
late 1800s are rife with mentions of a "deckle edge" alongside the fine
paper on which a title was printed. But even that aspect has begun to
fade as modern book buyers do not know what to make of it.</blockquote>
If the deckled edge is an index of the diminishing symbolic power of the print, is there a corresponding feature of the digital artefact that bespeaks its social prestige, perhaps also a vestige of a bygone era?Brent Nelsonhttp://www.blogger.com/profile/16550395953656233133noreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-211687311021739082012-07-06T15:22:00.000-07:002012-07-06T15:25:45.973-07:00Manicules working with pilcrows: a couple of curious examples<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-CA" style="font-family: 'Times New Roman'; font-size: 12pt;">Another follow-up to the entry on "<a href="http://inke.ischool.utoronto.ca/archbook/manicules.php" target="_blank">Manicules</a>" by Bialkowski et al. In
this example from <i style="mso-bidi-font-style: normal;">Eunuchus</i> in a 1499
edition of Terence’s comedies ( sig. [H2v], at the start of Act 4 scene 3, not
numbered in the text), the manicule is used in a curious way. At the top of the page, the manicule is
extended by a line that more precisely locates the beginning of the passage of
interest in the commentary, which seems to correspond to a similar manicule
pointing to the corresponding place in Terrence’s text. A marginal note “absente nobis” in MS (highlighted
by a pilcrow) further locates the point of interest. </span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-CA" style="font-family: 'Times New Roman'; font-size: 12pt;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://inke.ischool.utoronto.ca/archbook_admin/images/archbook_full/166_full.jpg" target="_blank"><img border="0" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM4pRNQDPWHjG-ymhJJuuPTBdaeFUmW6ZfJlUXo5xw9Ittl_JDCZGOK5OGxnn0z_lTiPcixnhsQlMmmDLVpAdtBNqrHXehYfWD_HbuaZTbgdmKDuUCs6bRyecdKyM9EAhxJY3u-D5uZeaM/s400/FisherInc00134pilcrowA.jpg" width="400" /></a></div>
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<span lang="EN-CA" style="font-family: 'Times New Roman'; font-size: 12pt;"><br /></span></div>
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<span lang="EN-CA" style="font-family: 'Times New Roman'; font-size: 12pt;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-CA" style="font-family: 'Times New Roman'; font-size: 12pt;">Further down the margin, the manicule is used
together with a pilcrow in the text, again (evidently) to locate the beginning
of the passage of interest, which interest is further indicated by the marginal
note “Temulentus. a.” which identifies both the masculine and the feminine of
the adjective for “intoxicated.”<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-CA" style="font-family: 'Times New Roman'; font-size: 12pt;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: 'Times New Roman';"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://inke.ischool.utoronto.ca/archbook_admin/images/archbook_full/167_full.jpg" target="_blank"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitL9AVbPj4FSN7plkXYFSq28m_CHdYFTxp52C4HvNkLc7yNhsOPeMslUwTDd_FkKs08JZuXXRNxzhl7VWDmkrRKsWvvJE-k6wbMtlNnyUAsaaLMAXiUeQvbXYy90Pkd5VYX5yK7c-YP0um/s400/Fisher+inc+00134+(3)+pilcrow+detail+B.jpg" width="371" /></a></div>
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<span lang="EN-CA" style="font-family: 'Times New Roman'; font-size: 12pt;">
</span></div>
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<span lang="EN-CA" style="font-family: 'Times New Roman'; font-size: 12pt;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-CA" style="font-family: 'Times New Roman'; font-size: 12pt;">Work cited:</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-CA" style="font-family: 'Times New Roman'; font-size: 12pt;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-CA" style="font-family: 'Times New Roman'; font-size: 12pt;">Terence. <i style="mso-bidi-font-style: normal;">Comoediae</i>.
[In urbe Argentia]: [Johann (Reinhard) Gruninger], 1499. <b><i> </i></b></span><span lang="EN-CA" style="font-family: 'Times New Roman'; font-size: 12pt;"><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm;">
<span lang="EN-CA" style="font-family: 'Times New Roman'; font-size: 12pt;">Fisher
inc 00134<o:p></o:p></span></div>
<br />Brent Nelsonhttp://www.blogger.com/profile/16550395953656233133noreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-21579946649868426442012-07-06T13:27:00.003-07:002012-07-06T16:03:48.954-07:00Defining the Scholarly Edition: a reconsideration<br />
<div class="MsoPlainText">
It might be a good idea to step back (following on the previous post) and make a
distinction between the scholarly edition and the critical edition. We might define the former as any
instantiation of a text that is produced according to some scholarly principles
for use by scholars. Thus for some scholarly uses, the establishment of a text
and analysis of its history and variant states might be of foremost importance,
as is the case for many literary texts designed for use by professional
scholars. For other scholarly purposes, the contextual information and
commentary around the text (the introductions and the annotations, for example)
might be the most important work of the edition. This might be true for texts designed for
student scholars, or for use in disciplines other than literary studies. Even in literary studies, the textual work of
an edition is more important for some works and some historical periods than
others.<o:p></o:p><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span class="Apple-style-span" style="margin-left: auto; margin-right: auto;"><a href="http://www.blogger.com/goog_154076747"><img border="0" height="377" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUI3cpXKcdgNjJQY_MGqnp1gOB9OCj8kAJXfpbDSc7D1jBRMFRvmb5jlkwKcmqO5aMI5MBgxVqkPwqBJJZ4BksMrV5PhNwolZ_tfYv157kaFJ3D0nrWZMdVFb8Q4ndpHN9NnD2I88RxikG/s400/FisherB-10-5336studentedition.jpg" width="400" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/archbook_full/168_full.jpg" target="_blank">A student edition of Terence, designed to enable the student to make inter-linear translations (1521)</a><br />
Fisher Rare Book Library B-10 5336</td></tr>
</tbody></table>
<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><span class="Apple-style-span" style="margin-left: auto; margin-right: auto;"><a href="http://www.blogger.com/goog_154076756"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwMijBh9fNV7vgzYWcmOf-coGtiQ2n2Iqcl43_F4IrGejoA6a3YH394mM-cjh-MGH3hnAA3-cVdfbnkKP-L39tgGw7kFA_GafIRBtwOJTKBgmktUQCLey8Svp6Zffcg9UbZHOb1A0fcnNy/s400/FisherHutt00012.jpg" width="400" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/archbook_full/168_full.jpg" target="_blank">A scholarly edition of Terence with an emphasis on commentary (1544)</a><br />
Fisher Rare Book Library hutt 00012</td></tr>
</tbody></table>
<br /></div>
<div class="MsoPlainText">
In his emphasis on the textual work of the scholarly
edition (as opposed to the contextualizing work) Shillingsburg arguable blurs
the line between the scholarly edition in general and the critical edition in
particular. A critical edition focuses
more fully on the text. D. C. Greetham defines a scholar edition as an edition
that attempts to establish a text through the exercise of editorial judgment
and/or choice, as opposed to merely reproducing a text already in existence
(347). It should contain “an apparatus
that presents the evidence used in the text’s construction and that lists the
variants of the authoritative states... ”; and “since critical editions are
eclectic [i.e., in the sense of requiring choice among variant alternatives],”
their preparers “must have some principle of eclecticism, some basis on which
to judge the authority of the variant readings and states of the text and on
which to make emendations” (Williams and Abbott, 57).<o:p></o:p></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
Works Cited<o:p></o:p></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
Greetham, D. C. <i>Textual Scholarship</i>. New York: Garland,
1994.<o:p></o:p><br />
<br />
Terence. <i>Comoediae</i>. Paris, 1521.<br />
<br />
--------. <i>Comoediae</i>. Venice, 1544.</div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
Williams, Bill and Craig Abbott. <i>An Introduction to
Bibliography and Textual Studies</i>. 2d ed. New York: MLA, 1989.<o:p></o:p></div>Brent Nelsonhttp://www.blogger.com/profile/16550395953656233133noreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-72274590206972230702012-07-06T13:03:00.000-07:002012-07-06T13:37:23.694-07:00Defining the Scholarly EditionThe current focus of INKE extending into the coming year
is the scholarly edition. This was an opening gambit from the Textual
Studies team as INKE began to think about how we might re-imagine this well
developed print genre in the digital medium.<br />
<div class="MsoPlainText">
<o:p></o:p></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
Scholarly editions are moving targets, both
diachronically and synchronically, which means that any single definition will
be provisional, but also that the scholarly edition is inherently a rich
manifestation of a diverse range åçof practices. <o:p></o:p></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
Peter Shillingsburg has recently defined scholarly
editing with a strong emphasis on the materiality of the text: “The core goal
of all scholarly editing (regardless of medium) is to provide a reliable text
of a historical work and allow readers to see or feel or sense the historical
materialities and contexts of the work. This contrasts with most
Internet-available texts from which the materiality of the source book has been
stripped away like a banana peel” (“Impact” 22). His definition and the
distinction it relies upon might not be universally accepted, but it is a
helpful point of reference as we consider both what might be gain and what
might be lost in moving scholars editing from the page to the screen.<o:p></o:p></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
Shillingsburg links his definition to a list of specific
desiderata for digital scholarly editions (Gutenberg 92-3), all of which
might translate into specific affordances that could be modelled and
implemented in prototypes. In that spirit, and for INKE’s purposes, we find
that scholarly editions tend to have at least some of the following
characteristics:</div>
<div class="MsoPlainText">
</div>
<ul>
<li>they account for the text’s transmission over time,
including changes made by the creator of the present edition</li>
<li>they account for alternate versions of the text</li>
<li>they provide additional information to explain or comment
upon the text</li>
<li>they provide an instance of the text</li>
<li>they include finding mechanisms for sub-sets (word,
section, chapter, etc.) of the text</li>
</ul>
<div class="MsoPlainText">
Works Cited<o:p></o:p></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
Peter Shillingsburg. <i>From Gutenberg to Google</i>.
Cambridge: Cambridge UP, 2006.<o:p></o:p></div>
<div class="MsoPlainText">
<br /></div>
<div class="MsoPlainText">
Peter Shillingsburg. “The Impact of Computers on the Art
of Scholarly Editing.” <i>Electronic Publishing: Politics and Pragmatics</i>. Ed.
Gabriel Egan. Toronto & Tempe, AZ: Iter/Arizona Centre for Medieval and
Renaissance Studies, 2010. 17–29.<o:p></o:p></div>Brent Nelsonhttp://www.blogger.com/profile/16550395953656233133noreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-35723555387280675352012-07-04T14:04:00.001-07:002012-07-04T22:28:15.331-07:00A Follow-up Spotlight on the Opening as a Meaning Making Device: The interface of the early modern polyglot bibles<br />
<b style="mso-bidi-font-weight: normal;"><span lang="EN-US"></span></b><span lang="EN-US"></span>
<br />
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US">Galey in his ArchBook entry on "<a href="http://inke.ischool.utoronto.ca/archbook/openings.php" target="_blank">The Opening</a>" makes the case that in many ways, it is
the opening, not the single page, that should be considered the basic reading
surface of the printed book. The page
opening as reading interface is essential to the great polyglot Bibles of the
16<sup>th</sup> and 17<sup>th</sup> centuries,<span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[1]</span></span></span>
which in their fullest development required two full pages to present all of
the parallel texts in one view to the reader.
This fact of publication is important, yet strangely (though as Galey
suggests, perhaps not surprisingly) overlooked by a recent scholar of the
London polyglot who describes this book as a “triumph of technology” for “being
the first Bible to print all the versions side-by-side <i style="mso-bidi-font-style: normal;">on the same page</i>” (Miller, 467 my emphasis). Indeed, it is an essential feature of these
publications that the <i style="mso-bidi-font-style: normal;">opening</i>, not
the <i style="mso-bidi-font-style: normal;">page</i>, constitutes the full
reading interface.</span></div>
<div class="MsoNormal" style="mso-pagination: none; text-indent: 36.0pt;">
<span lang="EN-US">The basic form of the polyglot
Bible was established by the first of these,<span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[2]</span></span></span>
the Complutensian polyglot (Alcalá, 1514-1517), which presents the Hebrew,
Latin Vulgate, and Greek Septuagint (interlined with a Latin translation) in
parallel columns across the top three-quarters </span>of the page, with (for the Pentateuch only) Onkelos’s
Chaldee/Aramaic targum (i.e. paraphrase)<span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">[3]</span></span></span> together
with an accompanying Latin translation across the bottom. The recto and verso each contain a full set
of texts, but they are presented in mirror-image to each other: moving from
left to right across the opening, Hebrew, Latin Vulgate, and Greek Septuagint
on the verso, then in reverse, Greek, Latin, Hebrew on the recto; similarly,
along the bottom of the opening, the Aramaic, in Hebrew characters, with a Latin
translation (verso), and then the Latin followed by the Aramaic (recto). In this polyglot, the full set of parallel
texts fits on a single page, but the mirrored image of these from verso to
recto implies that the full opening—verso and recto together—is the basic
interface of this book. The centrality
of the Latin Vulgate in this page layout is curious but easy to explain. The theological rationale is articulated by
James Lyell:</div>
<div class="MsoNormal" style="margin-left: 36.0pt;">
<span lang="EN-US"><span style="color: #0d0d0d;">The </span><span style="color: #1d1d1d;">position of honour given to the Vulgate ... is </span><span style="color: #333333;">emphasised </span><span style="color: #1d1d1d;">in [this
bible’s] Second Preface, where it is </span><span style="color: #333333;">stated </span><span style="color: #1d1d1d;">that </span><span style="color: #333333;">as our </span><span style="color: #1d1d1d;">Lord was </span><span style="color: #333333;">crucified </span><span style="color: #1d1d1d;">between two thieves, so the Latin Church </span><span style="color: #333333;">stands between </span><span style="color: #1d1d1d;">the
Synagogue and the Greek Church (29).</span><span style="color: #0d0d0d;"> </span></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US" style="color: #0d0d0d;">This explanation is based on
ecclesiological (the pre-eminence of the Latin church) rather than textual
grounds, for the whole project was undertaken with the conviction that biblical
scholarship must go back to a study of the primary languages (Lyell, 27,
29). The centrality of the Latin Vulgate
text on the page might also be rationalized on the basis of the reading
environment. For scholars of the period,
the Latin Vulgate was the familiar version of the Bible, the centre of their
textual knowledge. Even for many
theologians and humanist scholars of the period, the original languages existed
on the margins of their understanding, so the Vulgate remained the central
reference point. It is less easy to
explain why the Hebrew and Greek are arranged in mirrour-image to each other
across the opening, but again, the layout of the page might have been a factor.
</span>The outer margins of the pages provide root
words for the Hebrew and Aramaic texts, but not for the Greek. By keeping the Hebrew texts on the outer
edges of the page−both the verso and the recto−the printer (perhaps with input
from Cardinal Ximenes, the patron and supervising editor of the project) could
relegate the most marginal matter to the outer edges and maintain clearly
justified columns toward the centre of the opening. The layout of the page thus represents the
priority of the material with respect to the interests of the reader, with the
familiar Latin at the centre and the original-language helps on the margins. The rationale for the arrangement of the Aramaic
at the bottom of the page is less obvious: why is the Aramaic in the centre of
the opening on verso and recto, separated from the root words in the margins by
the Latin translation? It may be that
the Latin here serves a marginal function (i.e. it is not the <i style="mso-bidi-font-style: normal;">vulgate</i>), as a kind of gloss on the
original text. <span lang="EN-US">The opening is much less important in the New
Testament portion of this bible, where the principal parts are only the Greek
original and the Latin translation.
Rather than root words in the margin, the page provides marginal cross
references and, on rare occasion (only five in the whole New Testament)
marginal annotations (Lyell, 34, 44).</span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
</div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/archbook_full/161_full.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdcIvJ9ntSSdeKk3sXZZpNXvTU1oFX-WTXPyPdiYmtwSbCAz7NZyQ_QHN_x6unz5vQ5wtEsUVC-QCtaME0OSdr4SG4sIc4N_oCXLMWYQfwGXk2euT4zwcBiQdPtiA4C03j4KWWo2mKkNt9/s400/Complutensian+Polyglot.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="mso-pagination: none;">
figure1: The opening of Exodus 2 from the Complutensian Polyglot. Internet Archive CCL.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="mso-pagination: none;">
<i style="mso-bidi-font-style: normal;"><br /></i></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/archbook_full/162_full.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9fTygdLpinEx_7VC-doUpRfY2k27IqO6EVdBYkdWDAEhPlaWHnfC9OgRj_ZfGCV2HdhiIWnyXQ_VDsElFh3OyyZ5901s9bxHOH2W7r6gEJ9waY8VLJofXjamnW_fnoBLz8NYQXKz-EYNf/s400/Complutensian+Polyglot+%281+John+5+with+annotation%29.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US"></span>
<br />
<div class="MsoNormal" style="mso-pagination: none;">
<i style="mso-bidi-font-style: normal;">figure 2</i>: The opening of 1 John 5 in the Complutensian Polyglot, </div>
<div class="MsoNormal">
with a rare marginalannotation in the footer. Internet Archive CCL.</div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US"><br /></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US">The 1569 <i style="mso-bidi-font-style: normal;">Biblia
Sacra, Hebraice, Chaldaice, Graece et Latine</i>, </span><span lang="EN-US">known
as the “Antwerp or Plantin’s Polyglot” (named after its printer, Christophe
Plantin) presents, across a single, full opening, four different versions in
four columns: the Hebrew; the Latin Vulgate; Arias Montano’s revision of Xantes
Pagninus’s Latin version from the Greek<span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[4]</span></span></span>;
and the Greek Septuagint.<span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[5]</span></span></span>
At the bottom runs another parallel series: the Chaldean Aramaic version on the
left, with a paraphrase in Latin on the right. The antecedent languages
are easily distinguished by their character sets, and the two Latin texts are
distinguished by use of regular (Vulgate) and italics font (Arias Montano’s
version). The opening has a similar mirrored effect, with the two Latin
versions situated in the middle of the opening, even though this places them in
inverse relation to their original language antecedents.</span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/archbook_full/163_full.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="295" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqlH3xBhXCN1ZXrAjGwuErJXnBctzvsBuEBJD6pu-HI9KQm2VbPk4WDPZJS71QO_nkPkoIqVw4qyXOTcHoF7tcjMGjHRWhby5wnkvCj_lwZ40pmf4iOrDSmfsbd0rC4jbZQMQqyHTjP8iH/s400/Fisher+G-10+00137.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="mso-pagination: none;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US">figure 3</span></i><span lang="EN-US">: The Antwerp polyglot (1569),
opening at 1 Kings (i.e. 1 Samuel). </span></div>
<div class="MsoNormal">
<span lang="EN-US"> Fisher Rare Book Library CCL.</span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US"><br /></span><span lang="EN-US"></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US"> The last and most mature of the great
polyglots is Brian Walton’s <i style="mso-bidi-font-style: normal;">Biblia Sacra
Polyglotta</i> (1655-7), commonly known as the “London Polyglot.” Like the Antwerp polyglot, it presents its
texts across the full opening, containing now (for the Pentateuch) a total of
thirteen discrete texts in one view: </span><span lang="EN-US"><a href="http://en.wikipedia.org/wiki/Hebrew_language" title="Hebrew
language"><span style="color: windowtext; text-decoration: none;">Hebrew</span></a>
(with word for work Latin interlineated) in parallel with the <a href="http://en.wikipedia.org/wiki/Latin" title="Latin"><span style="color: windowtext; text-decoration: none;">Latin</span></a> Vulgate, the <a href="http://en.wikipedia.org/wiki/Greek_language" title="Greek
language"><span style="color: windowtext; text-decoration: none;">Greek</span></a>
(Septuagint) with the standard Latin translation that predated Jerome’s
Vulgate; Onkelos</span>’<span lang="EN-US">s “<a href="http://en.wikipedia.org/wiki/Chaldee" title="Chaldee"><span style="color: windowtext; text-decoration: none;">Chaldee</span></a>”
(Aramaic) targum (parphrase) with a Latin translation,</span><span class="MsoEndnoteReference"><span lang="EN-US"> </span></span><span lang="EN-US">[two texts of?] the <a href="http://en.wikipedia.org/wiki/Samaritan" title="Samaritan"><span style="color: windowtext; text-decoration: none;">Samaritan</span></a> Pentateuch with Latin translation, and along the
bottom, the <a href="http://en.wikipedia.org/wiki/Syriac_language" title="Syriac
language"><span style="color: windowtext; text-decoration: none;">Syriac</span></a> and Arabic versions, each with
Latin translations.<span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[6]</span></span></span> Again, the primacy of Latin as the familiar
language is evident in the matching of original language texts with Latin
translations. Walton’s 19<sup>th</sup>-century
biographer, Henry J. Todd, quotes in full Walton’s published description of his
planned work, where he explains the many advantages of the polyglot format:</span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none;">
<span lang="EN-US">The several languages shall be printed in several columns, whereby
they may all be presented to the reader’s view at once; whereas in the other
Editions divers great volumes must be turned over to compare them together
(42).<span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[7]</span></span></span></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US">This
multi-sectioned opening provides a maximized space that correlates by implicit
links a series of parallel texts from diverse sources, presenting a scholar’s
entire desktop in one viewing interface.</span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/archbook_full/164_full.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpl0jAvSMcqIESuaKxWnUt2eqNuxR2-2BfG6AqrUYEsKAIhZXb9hSt1hv9leGUId_g8_eBNo-6SE8AVXZYHGLQU0dtM5cmN4N2QqtBp7MYaDCdk7OEVLZ6iIpdBrFuUlfORePYcKwxkeaI/s400/Fisher+F-10+00161+opening.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="mso-pagination: none;">
<i style="mso-bidi-font-style: normal;"><span lang="EN-US">figure 4</span></i><span lang="EN-US">: Walton’s London
Polyglot, opening at Exodus 1. </span></div>
<div class="MsoNormal">
<span lang="EN-US"> Fisher
Rare Book Library CCL.</span></div>
</td></tr>
</tbody></table>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US"></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US">As is the case
with other developments in bible technology, this innovation of the parallel
text interface grew from the demands and needs presented by the textual
material itself and the intellectual framework and methods of its readers. For Walton, as for the earlier humanists, it
was the need to purge received translations of their error and bias by having
recourse to the text in its antecedent languages for comparison across all
versions, a task that previously would have required a very large desk full of
open folios.<span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[8]</span></span></span></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US"></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<span lang="EN-US"></span><br />
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US"></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US">Notes:</span><span lang="EN-US"></span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div style="mso-element: endnote-list;">
<hr align="left" size="1" width="33%" />
<div id="edn1" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span class="MsoEndnoteReference"><span lang="EN-US"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[1]</span></span></span></span><span lang="EN-US"> </span>These are the
Complutensian Polyglot (Spain, 1514-1517); the Plantin or Antwerp polyglot
(Antwerp, 1569 and 1572); and the Paris Polyglot (1645); and Walton’s London
Polyglot (Todd 34-5).</div>
</div>
<div id="edn2" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span class="MsoEndnoteReference"><span lang="EN-US"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[2]</span></span></span></span><span lang="EN-US"> </span>Brian Walton in fact
found his ultimate source of inspiration in the idea of Origen’s <i style="mso-bidi-font-style: normal;">Hexpala</i> and its columnar arrangement of
different Hebrew and Greek texts in parallel, and regretted the loss of these
artefacts to history (Miller 473).</div>
</div>
<div id="edn3" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span class="MsoEndnoteReference"><span lang="EN-US"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[3]</span></span></span></span><span lang="EN-US"> </span>Lyell calls it a
“paraphrase” (28). The genre of the
targum is ambiguous, sometimes considered translation, sometimes commentary:
“paraphrase” captures some of this ambiguity.</div>
</div>
<div id="edn4" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span class="MsoEndnoteReference"><span lang="EN-US"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[4]</span></span></span></span><span lang="EN-US"> <b>“</b>Versions of the Bible” in <a href="http://oce.catholic.com/index.php?title=Versions_of_the_Bible" target="_blank">The Original CatholicEncyclopedia</a>: “Xantes Pagninus, O.P. (d. 1541), made an inter-linear version of both the Old
and New Testaments from the original languages, which by its literal fidelity
pleased Christians and Jews and was much used by the Reformers. A revision of
this translation resulting in a text even more literal was made by Arias
Montano. His work appeared in the Antwerp Polyglot (1572).”</span></div>
</div>
<div id="edn5" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span class="MsoEndnoteReference"><span lang="EN-US"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[5]</span></span></span></span><span lang="EN-US"> See Elly Cockx-Indestege.</span></div>
</div>
<div id="edn6" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span class="MsoEndnoteReference"><span lang="EN-US"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[6]</span></span></span></span><span lang="EN-US"> </span>The configuration of
versions and translations vary across the Bible, depending on which were
available of each section of the Bible: the Psalms, Canticles, and the New
Testament, for example, include an Ethiopic version.</div>
</div>
<div id="edn7" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span class="MsoEndnoteReference"><span lang="EN-US"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[7]</span></span></span></span><span lang="EN-US"> Todd cites this source as a pre-publication proposal, published in
1652 with the title <i style="mso-bidi-font-style: normal;">A Brief Description
of an Edition of the bible in the Original Hebrew, Samaritan, and Greek, with
the most ancient translations of the Jewish and Christian Churches, viz. the
Sept. Greek, Chaldee, Syriac, Ethiopic, Arabic, Persian &c. and the Latin
Versions of them all: a new Apparatus, &c</i>. </span>This
echoes Walton’s
expressed vision (in manuscript) for </div>
<div class="MsoEndnoteText" style="margin-left: 36.0pt;">
<span lang="EN-US">an edition in the
originall Languages, with the most auncient Translations according to better
and more authentick coppies then those of the former editions, with addition of
sundry thinges usefull wch are wanting in them all, and the same digested in
such order, whereby the severall Languages may be represented to the readers
view at once, and the whole maybe printed in a few and easy volumes, and sold
at the price aforesaid (quoted in Miller from British Library, Additional mss
32,093, fol. 333r).</span><span lang="EN-US"> </span> </div>
<div class="MsoEndnoteText">
In his advertisement and prospectus (reprinted by Todd) Walton is
perhaps alluding to his arrangement of the parallels texts on the page when he
refers to the benefit of having “the several languages digested in better
method,” i.e. in comparison with the previous polyglots (36).</div>
</div>
<div id="edn8" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<span class="MsoEndnoteReference"><span lang="EN-US"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">[8]</span></span></span></span><span lang="EN-US"> </span>Miller notes that for
Walton, working in a period of considerable strife and conflict in the national
church, the polyglot was a way of combating sectarianism which he and others
like him believed to be driven by ignorance (470-1). The diversity of text together in one opening
might rightly be considered an emblem of erudition overcoming the divisions
caused by ignorance.</div>
<div class="MsoEndnoteText">
<br /></div>
<div class="MsoEndnoteText">
<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US">Bibliography</span><span lang="EN-US">:</span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: -36.0pt;">
<span lang="EN-US">Arias Montano, Benito, et al. <i style="mso-bidi-font-style: normal;">Biblia Sacra, Hebraice, Chaldaice, Graece Et
Latine: Philippi II. Reg. Cathol. Pietate, Et Studio Ad Sacrosanctae Ecclesiae
Vsum, Christoph Plantinus Excud. Excud</i>. Antuerpiae: Christoph Plantinus,
1569; 1572.</span></div>
<div class="MsoEndnoteText" style="margin-left: 36.0pt; text-indent: -36.0pt;">
<br /></div>
<div class="MsoEndnoteText" style="margin-left: 36.0pt; text-indent: -36.0pt;">
<span lang="EN-US">Cockx-Indestege, Elly. “1569 -1572 Christopher Plantin’s Biblia
regi.” Library of the University of
Amsterdam. http://cf.uba.uva.nl/nl/publicaties/treasures/text/t09.html</span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<span lang="EN-US">Harris, Fletcher.
“Milton and Walton’s Biblia Sacra Polyglotta (1657).” <i style="mso-bidi-font-style: normal;">MLN</i> 42.2 (Feb 1927): 84-7.</span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<span lang="EN-US">----. <i style="mso-bidi-font-style: normal;">Milton’s Semitic Studies</i>. Chicago:
University of Chicago Press, 1926. </span><span lang="EN-US"></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<span lang="EN-US">Lyell, James. <i style="mso-bidi-font-style: normal;">Cardinal
Ximines: Statesman, Ecclesiastic, Soldier, and Man of Letters with an Account
of the Complutensian Polyglot Bible</i>.
London: Grafton, 1917.</span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<span lang="EN-US">Miller, Peter N.
“The ‘Antiquarianization’ of Biblical Scholarship and the London
Polyglot Bible.” <i style="mso-bidi-font-style: normal;">JHI</i> 62 (2001): 463-82.</span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<span lang="EN-US">Todd, Henry J. <i>Memoirs of the Life and Writings of
Walton.</i> 2 vols. London, 1821.</span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -.55pt;">
<span lang="EN-US"><a href="http://books.google.ca/books?id=ocE9AAAAIAAJ&printsec=frontcover&source=gbs_v2_summary_r&cad=0#v=onepage&q=&f=false">http://books.google.ca/books?id=ocE9AAAAIAAJ&printsec=frontcover&source=gbs_v2_summary_r&cad=0#v=onepage&q=&f=false</a></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<span lang="EN-US">“</span><span lang="EN-US">In Folio: Rare Volumes in the
Stanford University Libraries.” Stanford
University Libraries<i style="mso-bidi-font-style: normal;">.</i></span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none;">
<a href="http://www-sul.stanford.edu/depts/spc/exhibits/in_folio/biblia_polyglotta.htm"><span lang="EN-US">http://www-sul.stanford.edu/depts/spc/exhibits/in_folio/biblia_polyglotta.htm</span></a></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<span lang="EN-US">Saurat, Denis. <i style="mso-bidi-font-style: normal;">Milton,
Man and Thinker</i>. London: Jonathan
Cape, [1924].</span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; mso-pagination: none; text-indent: -36.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: -36.0pt;">
<span lang="EN-US">Walton, Brian, Wenceslaus Hollar,
and Pierre Lombart. <i style="mso-bidi-font-style: normal;">Biblia Sacra
Polyglotta: Complectentia Textus Originales, Hebraicum, Cum Pentateucho
Samaritano, Chaldaicum, Graecum, Versionumque Antiquarum, Samaritanae, Graecae
LXXII Interp., Chaldaicae, Syriacae, Arabicae, Aethiopicae, Persicae, Vulg.
Lat. Quicquid Comparari Poterat. Cum Textuum & Versionum Orientalium
Translationibus Latinis: Ex Vetustissimis Mss. Undique Conquisitis, Optim¡sque
Exemplaribus Impressis, Summƒ Fide Collatis: Quae in Prioribus Editionibus
Deerant Suppleta ...: Opus Totum in Sex Tomos Tributum</i>. 6 vols. London:
Thomas Roycroft, 1655-1657.</span></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: -36.0pt;">
<br /></div>
<div class="MsoEndnoteText">
<br /></div>
</div>
</div>Brent Nelsonhttp://www.blogger.com/profile/16550395953656233133noreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-26733255822209824072012-04-24T17:31:00.000-07:002012-04-24T17:35:19.786-07:00Criteria for Creating User-Friendly Interactive Network VisualizationsAs a newcomer to the Digital Humanities, I
first encountered network visualizations in early January of 2012; given my
near-total inexperience and ignorance, there are doubtlessly more qualified
people to write about the positive and negative qualities of such
visualizations. However, I may have something valuable to contribute, precisely
because I have attempted to navigate and make sense of these visualizations as
an outsider.<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">When I began examining interactive network
visualizations, I often found the internal logic and criteria used to create
them baffling or arbitrary; however, I also found some visualizations to be completely
intuitive. In an attempt to put my finger on the differences between these two
sets of visualizations, I composed a list of features without which I was invariably
lost. Eventually, this list grew into a set of criteria for generating relatively
transparent and user-friendly network visualizations. I hope this set of criteria
can be of use to someone:</span></div>
<div class="MsoNormal">
</div>
<ol>
<li><span style="text-indent: -0.25in;">Consider the reason for
everything (including the criteria for item selection and identity,
significance of physical space and distance between nodes, nature of
relationships suggested by lines connecting nodes, how values are assigned to
nodes, etc.), define discrete criteria, and be consistent</span></li>
<li><span lang="EN-GB" style="text-indent: -0.25in;"><span style="font-size: 7pt;"> </span></span><span lang="EN-GB" style="text-indent: -0.25in;">Explain the reasons for
everything; a visualization can be useful to its creators without this step,
but will not be useful (or worse still, will not be used correctly) by others
unless the reasoning behind a visualization is clear; all visualizations should
be accompanied by methodological explanations if they are to be of use to the
wider community</span></li>
<li><span lang="EN-GB" style="text-indent: -0.25in;"><span style="font-size: 7pt;"> </span></span><span lang="EN-GB" style="text-indent: -0.25in;">Beware the argument of false
analogy: the reduction of real-world items to nodes connected by lines is
intrinsically metaphorical and can lead to false conclusions when nodes are
used in ways that do not fit with the definitions of the nodes themselves, the
nature of the relationships between them as defined in a visualization, or
both; each visualization is a metaphor, and errors occur when arguments are
made that take any metaphor too far; this is a particular danger when inheriting
visualizations or visualization frameworks</span></li>
<li><span lang="EN-GB" style="text-indent: -0.25in;"><span style="font-size: 7pt;"> </span></span><span lang="EN-GB" style="text-indent: -0.25in;">There is a tendency for network
visualizations to decrease in utility as they increase in size and complexity.
However, there are ways to counter this:</span><span lang="EN-GB" style="font-family: 'Courier New'; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span></li>
<ul>
<li><span style="text-indent: -0.25in;">A text search option (a must)</span></li>
<li><span style="text-indent: -0.25in;">Enabling the application of multiple
filters (it is typically not enough to highlight items selected by certain
criteria, and there should be a way to eliminate the other data in a refined
visualization); ideally, an interactive visualization would combine predefined and
user-generated filters</span></li>
<ul>
<li><span style="text-indent: -0.25in;">The reasoning behind these filters should be made explicit, as per
points 1-3</span><span lang="EN-GB" style="font-family: 'Courier New'; text-indent: -0.25in;"><span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span></li>
</ul>
<li><span style="text-indent: -0.25in;">If necessary, minimize
interconnectivity and network density (everything can connect to everything
else, but if it does, relationships are probably defined too generally to be
useful – or nodes are not defined discretely enough)</span></li>
<li><span style="text-indent: -0.25in;">In the case of 3D
visualizations, the depth of visualizations ought to be considered carefully;
particularly in spherical visualizations, field depth often makes it difficult
to see anything but the nearest surface (to such a degree that the outer
surface of such a visualization may as well be opaque, for all the good its
transparency does); often, opacity would be preferable, in fact, as the
background noise in a 3D visualization can be extremely distracting</span></li>
</ul>
<li><span style="text-indent: -0.25in;">Visualizations ought to be
supplemented with a text version of the data that that is being represented (I
have not yet found this, but it would be extremely useful); though unexpected patterns
can sometimes “jump out” of visualizations – to use the preferred metaphor of
many visualization proponents – they can also jump out of raw data</span></li>
<li><span lang="EN-GB" style="text-indent: -0.25in;"><span style="font-size: 7pt;"> </span></span><span lang="EN-GB" style="text-indent: -0.25in;">Enable an ordered way of
entering complex or chaotic visualizations; something as simple as an
alphabetized list of nodes linked to the visualization could make it much
easier to access a visualization for a specific purpose (creating an arbitrary
demarcation point is undesirable for a variety of reasons, but this would be
preferable to no demarcation point)</span></li>
</ol>
<div class="MsoNormal">
Here are a couple of visualizations to
consider:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB">GE.
“Healthymagination.” <a href="http://visualization.geblogs.com/visualization/network/">http://visualization.geblogs.com/visualization/network/</a>.<o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">This visualization does many things
effectively. First, it provides two distinct layout options (Images 1.1 &
1.2); given the complexity of this network, the ability to change perspective
is very useful. <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij6RNQBRzJR-r2DXqHf7h-rOAFYwa8_4PJGTU0d1mwe5aiVi16DbWlTdi7repfTg7_O7oX3rZmL9p8wONgEq1igT84CtU6eGfOUjXpqARTQJehbq7FCxiBPobDQjTd_qWUiyKMLPo8MpFi/s1600/Image+1.1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="252" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij6RNQBRzJR-r2DXqHf7h-rOAFYwa8_4PJGTU0d1mwe5aiVi16DbWlTdi7repfTg7_O7oX3rZmL9p8wONgEq1igT84CtU6eGfOUjXpqARTQJehbq7FCxiBPobDQjTd_qWUiyKMLPo8MpFi/s400/Image+1.1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image 1.1</td></tr>
</tbody></table>
<div class="MsoNormal">
<br />
The circular mode of visualization (1.2) is
particularly useful because of the lack of labels and greatly varied type size in
the first mode of visualization – though the latter remains somewhat of an
issue even in the second mode of visualization.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
</div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtF2w8QVQdBDFElShgrI9vnYOqyDYCFyuJHXaZ44n_0yGjq8mjTHNgcb19IiTvz-uIlNtfEm-e6_9yfDloyAgKoCZJ7tFo85CC84T3F8T1TApU7nthmUx-C7kpUMhRsEZFVNHCeR8utEwR/s1600/Image+1.2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtF2w8QVQdBDFElShgrI9vnYOqyDYCFyuJHXaZ44n_0yGjq8mjTHNgcb19IiTvz-uIlNtfEm-e6_9yfDloyAgKoCZJ7tFo85CC84T3F8T1TApU7nthmUx-C7kpUMhRsEZFVNHCeR8utEwR/s400/Image+1.2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption">Image 1.2</td></tr>
</tbody></table>
<br />
Even in the first mode of visualization,
steps are taken to offset the lack of visibility created by the field depth and
network density. Most significantly, a text box appears with information about
a given node when the mouse pointer is placed over that node (1.3).<br />
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq1P_zpkvEbVD4IgqjtAKjHurx51vx2pGziJNA1Qr0tHbyBkm1KtVyezxRVegGjTS-wuvGk7RYWvFknvSM7suwHbGUOY5KeZYLNTuYSBjAv_OqXa0HAiTDRSsHqo_MPyU_AihVnciI4gEw/s1600/Image+1.3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhq1P_zpkvEbVD4IgqjtAKjHurx51vx2pGziJNA1Qr0tHbyBkm1KtVyezxRVegGjTS-wuvGk7RYWvFknvSM7suwHbGUOY5KeZYLNTuYSBjAv_OqXa0HAiTDRSsHqo_MPyU_AihVnciI4gEw/s400/Image+1.3.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image 1.3</td></tr>
</tbody></table>
<div class="MsoNormal">
<br />
In addition, this visualization provides
both a useful set of predetermined categories, which greatly reduce the
displayed information when selected (1.4 & 1.5), and a functional search
option.</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq6__IfhORuHGuBaoiSzab83ME4lqWNu3vXP-0t6qFP_p4DpQ-nBfQO5UCnVnwzFfM2_hRCMnC6SBemLIzDDIbdK-lmV0mHo6KH3Aotn9MI09XG0Dp-ihOM9XgqUk9GDeYlbJnlnGAnYqZ/s1600/Image+1.4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="253" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiq6__IfhORuHGuBaoiSzab83ME4lqWNu3vXP-0t6qFP_p4DpQ-nBfQO5UCnVnwzFfM2_hRCMnC6SBemLIzDDIbdK-lmV0mHo6KH3Aotn9MI09XG0Dp-ihOM9XgqUk9GDeYlbJnlnGAnYqZ/s400/Image+1.4.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image 1.4</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnA-Ak-Atd9okJrV4M-sLLxwbclMxJUdw-dsrv-C61aels6U0rPRji1AcsrbfFzBOSXLEtqgjsgZTWvySgBBV4a6yWYHfTE6bgVU5X7ySLUP4aw44bqKFuIw_-wCsxXX7i6YcfvndxNUZg/s1600/Image+1.5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnA-Ak-Atd9okJrV4M-sLLxwbclMxJUdw-dsrv-C61aels6U0rPRji1AcsrbfFzBOSXLEtqgjsgZTWvySgBBV4a6yWYHfTE6bgVU5X7ySLUP4aw44bqKFuIw_-wCsxXX7i6YcfvndxNUZg/s400/Image+1.5.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image 1.5</td></tr>
</tbody></table>
<div class="MsoNormal">
<br />
Finally, while this visualization does not
provide access to raw data outside of the visualization, it does provide some
information (though nowhere near enough) about both the reasoning behind the
visualization, and the associated data (1.6).</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQNx7vP5haaBgyjj6lCsGLHsD-zR2-mfDHeSWMYbXzNbdhYv3PL0GaPAWOI2ShWQjaVd3on-b4U5IZAV1bYreVfFSG93LJ1XrXU7KvEoAuDXLMeoPRj9YjQOpwuTCijTGcNO71r57-sUFx/s1600/Image+1.6.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQNx7vP5haaBgyjj6lCsGLHsD-zR2-mfDHeSWMYbXzNbdhYv3PL0GaPAWOI2ShWQjaVd3on-b4U5IZAV1bYreVfFSG93LJ1XrXU7KvEoAuDXLMeoPRj9YjQOpwuTCijTGcNO71r57-sUFx/s400/Image+1.6.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image 1.6</td></tr>
</tbody></table>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span lang="EN-GB">Moebio.
“Spheres: Spherical Surface of Dialogue.” <a href="http://moebio.com/esfera/sphere/esfera.htm">http://moebio.com/esfera/sphere/esfera.htm</a>.</span></b><span lang="EN-GB"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">There are several issues that severely
limit the utility of “Spheres.” First, the visual depth of field greatly limits
the ability to be able to identify a significant number of nodes simultaneously
(2.1).<o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu1dKf6sKitcRSE2Hsf3_yuHs3ca2MW2ldUFXnz32KDfXSmpq3FXKoaQiT7FoPwA0KULnwZRBLczvSkde0fa9oYD10TsMobCskPpNL3qYAMEsfWsk09VZdq0OgvhB1xdRKOQ_5UMdxlR6Q/s1600/Image+2.1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhu1dKf6sKitcRSE2Hsf3_yuHs3ca2MW2ldUFXnz32KDfXSmpq3FXKoaQiT7FoPwA0KULnwZRBLczvSkde0fa9oYD10TsMobCskPpNL3qYAMEsfWsk09VZdq0OgvhB1xdRKOQ_5UMdxlR6Q/s400/Image+2.1.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image 2.1</td></tr>
</tbody></table>
<div class="MsoNormal">
<br />
Even though there is a “point of vue”
option that allows one to zoom in (2.2), this option does little to improve the
situation; the zoom is not variable, and the pre-set zoom does not move to a
distance that improves overall visibility.</div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdL9VaviesP1uY4DGGlqnx3l1hRif4wcTXmng37Hr72PoJneStbhcQHtv_zT915NCV5QcFL4-QN_uxUvnCiHr4uMZaNhCCLThyphenhyphenAilWBh4WCCncD_lZ7oStf0UbYE9pbjAwXopicB5kBBDN/s1600/Image+2.2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdL9VaviesP1uY4DGGlqnx3l1hRif4wcTXmng37Hr72PoJneStbhcQHtv_zT915NCV5QcFL4-QN_uxUvnCiHr4uMZaNhCCLThyphenhyphenAilWBh4WCCncD_lZ7oStf0UbYE9pbjAwXopicB5kBBDN/s400/Image+2.2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image 2.2</td></tr>
</tbody></table>
<div class="MsoNormal">
<br />
Although dragging the mouse causes the
sphere to rotate, a large percentage of the nodes remain difficult to perceive
simply because such small a portion of the nodes appear within a readable range.
An option that would either flatten the sphere into two dimensions or reduce
the field depth would solve this problem. In addition, a text-box that appears
when the mouse pointer is placed over a node (as is shown in 1.3) would make it
possible to see the connections between points on opposite ends of the sphere.
As the visualization exists now, it is extremely difficult to seek and select a
specific node the rear half of the sphere; connecting nodes on opposite sides
of the sphere is virtually impossible.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">Furthermore, the explanations for network
connectivity are often arbitrary, pointless, and baffling. For instance, when
selecting “pleasure” and “a white tiger,” the explanation that appears is
“VWYEHRIFN” (2.3). <o:p></o:p></span></div>
<div class="MsoNormal">
<span lang="EN-GB"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd7z37TEEjjFP8uoCNwy_c7Q8WommnWAcHXXP676QB5kT1YkeQ1K3yjtgKZ-_DCItFR-tgR0XFoKQy55p05-qoHlbp61cXQgQSHFnTgul0tu7a33nposPYK1h0_3-cTQjcBqQJLRodeWtA/s1600/Image+2.3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd7z37TEEjjFP8uoCNwy_c7Q8WommnWAcHXXP676QB5kT1YkeQ1K3yjtgKZ-_DCItFR-tgR0XFoKQy55p05-qoHlbp61cXQgQSHFnTgul0tu7a33nposPYK1h0_3-cTQjcBqQJLRodeWtA/s400/Image+2.3.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Image 2.3</td></tr>
</tbody></table>
<div class="MsoNormal">
<br />
Though “VWYEHRIFN” may mean something to
someone, it means nothing to me; as nothing appeared when I entered this into
google, I suspect that others are likely to find this explanation equally perplexing.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span lang="EN-GB">The issue here seems to be that the
relationships between items are generated by the users, who are able to define
or refine the relationships between any items they select. While this seems to
bring an element of democratic collaboration to “Spheres,” it has the potential
to undermine both the legitimacy of the connections drawn and the consistency
of the types of relationships defined by the lines connecting nodes.
(Incidentally, before capturing Image 2.3, I had intended to connect “pleasure”
with “desire,” but as the footprint of the “a white tiger” node was too large
to allow items near it to be chosen, I inadvertently selected “a white tiger.”
When I repositioned the sphere and successfully connected “pleasure” with
“desire,” no relationship appeared.)</span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-21446604461488357612012-04-05T12:47:00.006-07:002012-04-11T07:49:02.668-07:00Manicules: post-publication discussion<div>I want to use the opening sentence from the <i>ArchBook</i> entry on Manicules by Voytek Bialkowski, Christine DeLuca, and Kalina Lafreniere as a starting point for some post-publication discussion.<div><br /></div><div>“While a manicule (fig. 1) may vary in size, shape, and quality, ranging from the simple outline of a hand (fig. 2) to a more detailed sketch featuring ornate sleeves and cuffs (fig. 3), the unifying characteristic is that of an extended index finger pointing towards a specific selection of text.”</div><div><br /></div><div>What is striking about images two and three referenced in the opening sentence above is how much they differ (see the entry for comparison). While ms. manicules were widely used for notetaking in books and manuscripts of the medieval and early modern periods, no two readers’ manicules ever look the same. Indeed, the manicule image shown below is particularly interesting in this regard. </div><div><br /></div><div><img style="cursor:pointer; cursor:hand;width: 400px; height: 163px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiR_EAyBLefqqcswTDnSvsMu2lLTgFOgsSWALb9oMbmWBqr1ZLm6vjdUcJaQE4FEzwXjYrx7_YIz3ChWB7xv2Rd35fETbvZXcspBbol8twnJ83XEDeREUrzvBpnLIh4xtbQyogPOH_b2ZkO/s400/quill.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5730154455150135122" /></div><div><br /></div><div>Gualterus Burlaeus, <i>Burleus super octo libros Phisicorum</i> Venetijs, Impressa p[er] S. de Luere, iussu A. Torresani de Asula, 1501. sig. B4r. Image Courtesy of the Thomas Fisher Rare Book Library. </div><div><br /></div><div>While at first glance it would appear we are looking at the standard pointing finger, what we are actually looking at is a quill (and an active quill) that is indexing and underlining at once. This reminds me of how personalized handwritten annotation is as an activity, and it makes me wonder if we can say the same about annotation in digital environments? I can choose a bullet, a star and any number of symbols from Microsoft Word for annotating, listing and classifying material, but the key difference is that I didn’t actually design the symbol. Does it matter that we choose a symbol rather than design it when we annotate online? Another question: How global is the history of the manicule?</div></div>Scott Schofieldhttp://www.blogger.com/profile/07516902794645787281noreply@blogger.com2tag:blogger.com,1999:blog-3959744033076455408.post-20773669780491519942012-03-09T05:45:00.000-08:002012-03-09T06:04:52.854-08:00<span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><span style="color: #990000;"><span style="font-size: x-large;">Standard Editions of <i style="mso-bidi-font-style: normal;">Utopia<o:p></o:p></i></span></span></span><br />
<br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Thomas
More’s <i style="mso-bidi-font-style: normal;">Utopia</i>, which is subject to
constant editing and publication, has two modern critical editions regarded as
standard by scholarly consensus: Surtz and Hexter’s 1965 Yale edition, and Logan,
Adams, and Miller’s 1995 Cambridge edition. To differentiate their editions
from those of other editors, justify the production of their versions, and
assist readers, the editors of these two editions explain their editorial
processes in relation to <i style="mso-bidi-font-style: normal;">Utopia</i>’s
textual history. Their explanations may be regarded as exemplary because <i style="mso-bidi-font-style: normal;">Utopia</i> has a convoluted bibliographical lineage
consisting of many variant editions. The Yale and Cambridge editorial teams
provide sophisticated sets of introductory and annotative material, as well as
addenda, to situate their editions.<o:p></o:p></span>
<br />
<br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">As
noted in its introduction, although it takes the March 1518 Latin edition of <i style="mso-bidi-font-style: normal;">Utopia</i> as its copy text, the Yale
edition collates another 14 Latin versions dated from 1516 to 1936. In order to
justify the choice of copy text, descriptive bibliographies identify and
distinguish the earliest four editions of <i style="mso-bidi-font-style: normal;">Utopia</i>
(Louvain, 1516; Paris, 1517; Basel, March and November 1518) on the basis of
their textual variances (in orthography, punctuation, omissions, etc.). Because
<i style="mso-bidi-font-style: normal;">Utopia</i> features supplementary letters
sent between More and his associates, maps, sketches, a section on the Utopian
alphabet, and so on, and because each edition organizes these ancillary materials
differently, the Yale editors explain their inclusion and organization of such supplementary
materials around the body of More’s main text. Expository comments on <i style="mso-bidi-font-style: normal;">Utopia</i> are placed as endnotes, while
footnotes mark syntactic or lexical variants between the 14 variant editions
(see fig. 1). The editors remark that their critical apparatus leaves out small
textual differences deemed inconsequential, such as spellings considered interchangeable
(ex. <i style="mso-bidi-font-style: normal;">iusticia</i> and <i style="mso-bidi-font-style: normal;">iustitia</i>), the multiplicity of forms in
the abbreviation and capitalization of <i style="mso-bidi-font-style: normal;">respublica</i>,
and so forth. There is a limit, then, to the extent of the apparatus’s
inclusion of details about other editions of <i style="mso-bidi-font-style: normal;">Utopia</i>, although the assumption of the editors is that they have
provided enough information to satisfy most readers by situating their edition
relative to its precursors. The Yale editors’ measured consideration of 14 other
editions to complement their Latin copy text, and the wealth of their insights
in that regard, certainly attests to the value of engaged, careful
bibliographic inquiry. Generally, substantive variants between editions are treated
fully; accidental variants are classified as being either significant enough to
be mentioned or not. In a section of the Yale edition’s appendix, the editors
further discuss More’s vocabulary and diction and, in doing so, they validate
their selection and revision of G. C. Richards’ 1923 translation of <i style="mso-bidi-font-style: normal;">Utopia</i>, which furnishes the English text
that parallels the Latin. The editors also briefly explain their use and
revision of Richards’ work in the introduction, but they do not include
annotations to explain specific alterations to the translation. In this regard,
the Yale edition lacks details of particular interest to other editors of
English translations of <i style="mso-bidi-font-style: normal;">Utopia</i>, many
of whom justify their versions by mentioning (but not explicitly citing)
perceived shortcomings in Richards’ translation (see for example Clarence H.
Miller, <i style="mso-bidi-font-style: normal;">Utopia</i>, 2001, esp. xxi–xxiii).
A reader interested in studying variant English translations of <i style="mso-bidi-font-style: normal;">Utopia</i> would find little assistance in
the editorial apparatuses available to them in the many scholarly and critical
editions published since the Yale edition.<o:p></o:p></span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidriYLaIAU6je81KaBRCgfC9cLr7qXK75M8SPpHdedKU45cN_nhSV_HUpI5GnZAkpZsNIspTeXlYKpiv4rJ8puJHdXNZyNNceoLzzcShk6_7nvEZ8QjpkHx0iFSkbleXga17-giHt0du5M/s1600/UtopYale12.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidriYLaIAU6je81KaBRCgfC9cLr7qXK75M8SPpHdedKU45cN_nhSV_HUpI5GnZAkpZsNIspTeXlYKpiv4rJ8puJHdXNZyNNceoLzzcShk6_7nvEZ8QjpkHx0iFSkbleXga17-giHt0du5M/s640/UtopYale12.jpg" width="412" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 1. Footnotes marking variants between editions</td></tr>
</tbody></table>
<br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Logan,
Adams, and Miller’s 1995 Cambridge edition is a revised and expanded version of
Logan and Adams’ 1989 <i style="mso-bidi-font-style: normal;">Utopia</i>. A
preface in the 1995 edition explains the scope and scale of its revisions. For
example, it adds a redaction of the Latin text, a textual introduction, notes,
and an appendix, and it corrects errors in the original edition’s translation.
Like the editors of the Yale edition, Logan, Adams, and Miller take the March
1518 <i style="mso-bidi-font-style: normal;">Utopia</i> as their copy text; they
justify their choice in an appendix which describes and compares the earliest 4
editions of More’s text. Their preface acknowledges their modernisation of the
copy text on three counts: Latin spellings, paragraphs, and punctuation.
Following the preface, a short section titled “Textual Practices” explains the
editors’ references to secondary texts, spelling of the names of historic
figures, choices around the use of gendered language in the English
translation, and so forth (see fig. 2). The next section, the introduction, is
organized into two parts: interpretive contexts and the Latin text. The first
part is a thematic overview of the book, while the second relates the
bibliographic details the editors took into account in their selection of a
copy text. This latter section of the introduction also covers more explicitly
matters of modernisation (breaks into paragraphs, spelling, punctuation)
mentioned in the preface. For instance, the editors explain the method by which
they standardize the spelling of various words that are used with variant
spellings in early editions of <i style="mso-bidi-font-style: normal;">Utopia</i>.
In contrast to the Yale edition, the Cambridge <i style="mso-bidi-font-style: normal;">Utopia</i> confines itself to the textual variants between the earliest
4 editions (instead of the Yale’s 14). Footnotes to the Latin text mark
especially important variants (i.e. substantive variants) between the 4
editions, but, displaying more prejudice than the Yale version, the Cambridge
editors “silently disregard” many accidental variants “when they contribute
nothing to an understanding of the text” (xxxiv). <o:p></o:p></span><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijSxcUKaG4vV6-MQJcVQ4bRTg3bnLS6RsLbXgyZnEyqN47cxtJGTegCOOKsjjggCa0KUHRV8NP6tJLWDJyDigNGQCI_-zLq14TJjpm3IQwJOGW5iMD0_FpPmVRM51kgqI9yI5A5f4s2APS/s1600/UtopCamxv+rotate.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijSxcUKaG4vV6-MQJcVQ4bRTg3bnLS6RsLbXgyZnEyqN47cxtJGTegCOOKsjjggCa0KUHRV8NP6tJLWDJyDigNGQCI_-zLq14TJjpm3IQwJOGW5iMD0_FpPmVRM51kgqI9yI5A5f4s2APS/s640/UtopCamxv+rotate.jpg" width="382" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 2. Prefatory section on textual practices</td></tr>
</tbody></table>
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<br /></div>
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">The
editors of these two standard editions of <i style="mso-bidi-font-style: normal;">Utopia</i>
thus do much to situate their editions in relation to others and provide
bibliographic information to readers. Much of the editorial apparatus of both
books, in the prefaces, annotations, introductions, appendices and so on, details
the specific choices of the editors to these ends (in their selection of a copy
text, treatment of accidental and substantive variants, and so on). In light of
the tendency of other, less well-known editions of <i style="mso-bidi-font-style: normal;">Utopia</i> to note the deviations that they make from the Yale and
Cambridge versions, it seems that one of the key reasons why the Yale and
Cambridge editions are regarded as standard is that their editors so thoroughly
situate and explain their publications in their editorial apparatuses. The
paratext of the Yale and Cambridge editions is thus exemplary. However, the
editors of both editions remark on the limits of what they include in their
apparatuses. Accidental variants between editions, for example, are regularly
omitted, as are specific instances of modernisation. Although both editions
take the March 1518 <i style="mso-bidi-font-style: normal;">Utopia</i> as the
copy text for their translations, both omit, without notice or explanation, the
extended sections of poems by More and Erasmus, the “Epigrammata Clarissimi
Disertissimi,” which conclude the original. As thorough as the Yale and
Cambridge editions are, then, and as much as they provide a valuable example of
how to collate variant editions into a standard text, there are limits to their
bibliographical comprehensiveness.<o:p></o:p></span><br />
<br /><br />
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Works
Cited<o:p></o:p></span><br />
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">More,
Thomas. <i style="mso-bidi-font-style: normal;">The Complete Works of St. Thomas
More</i>, vol. 4. Edited by E. Surtz, S. J. and J. </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">H. </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Hexter. New Haven: Yale University Press, 1965.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">---.
<i style="mso-bidi-font-style: normal;">Utopia</i>. Edited by G. M. Logan, R. M.
Adams, and C. H. Miller. Cambridge: Cambridge </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">University
Press, 1995.<o:p></o:p></span></div>
<br />
<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">---.
<i style="mso-bidi-font-style: normal;">Utopia</i>. Edited by Clarence H. Miller.
New Haven: Yale University Press, 2001.<o:p></o:p></span></div>
<br />Rob Imeshttp://www.blogger.com/profile/00274085805030290021noreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-6641466022123601162012-02-12T14:16:00.000-08:002012-02-12T15:04:55.961-08:00An App Based Solely on _The Waste Land_: What's Next?<span class="Apple-style-span">In keeping with Michael's introduction of interesting and informative apps, this app produced by TouchPress is a learning tool that delivers T.S. Eliot's <i>The Waste Land.</i> The app provides full published text and various readings of the poem by T.S. Eliot, </span>Sir Alec Guinness, a<span class="Apple-style-span">nd others, as well as a filmed reading performed by Fiona Shaw. There is also commentary from notable scholars and writers that provides various impressions of the poem. The app is fully searchable, and allows one to jump back and forth between the text and the performed passages without skipping a beat. In addition, it contains the original manuscript pages of <i>The Waste Land</i>, complete with Ezra Pound's notes, and one can move back and forth between the published text and the handwritten original text. I can't do it justice here, so you can see for yourself:</span><div><span class="Apple-style-span"><br /></span></div><div><iframe width="560" height="315" src="http://www.youtube.com/embed/rlhosnfP-Jw" frameborder="0" allowfullscreen=""></iframe></div><div><br /></div><div>At the very least, this is an interesting example of what is being produced currently in the way of learning tools, and, although my technological foresight is definitely not authoritative, it certainly seems to have the potential to turn into a larger, more comprehensive product.</div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-3959744033076455408.post-11104321080193183212012-02-12T12:34:00.000-08:002012-02-12T12:34:19.975-08:00Announcing an INKE Modelling/Prototyping Twitter Account<div class="MsoNormal"><span style="font-family: "Times","serif"; font-size: 10.5pt;">Last week, the INKE Modelling/Prototyping Team launched a Twitter account, <a href="http://twitter.com/INKE_MP">@INKE_MP</a>. It is our hope that this account will increase our online visibility, produce another way for the general public to discover us (we will be using the #INKE hashtag when providing links to content produced by the team), and provide us with a forum for sharing our discoveries with both other group members and the public.<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Times","serif"; font-size: 10.5pt;">For our team to develop relevant models and prototypes, it is quite simply a necessity to know what models exist and how they are being utilized; given the current state of digital publication, this task requires that we continually search for new models, devices, and applications. Though much of what we find deserves a great deal of discussion, much of it also seems self-explanatory, or does not appear to relate directly to modelling and prototyping. A Twitter account gives us a way to say, “You may find this interesting,” without having to comment further. <o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: "Times","serif"; font-size: 10.5pt;">Consider, for instance, the subject of our first Tweet, a promotional video announcing a new iPad app, “<a href="http://itunes.apple.com/us/app/hebrew-from-insight-out-the/id492643150?mt=8">Hebrew from Insight Out</a>”:<o:p></o:p></span></div><div class="MsoNormal"><br />
</div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/0qgkzew5D4k?feature=player_embedded' frameborder='0'></iframe></div><div class="MsoNormal"><span style="font-family: Times, serif;"><span style="font-size: 14px;"><br />
</span></span></div><div class="MsoNormal"><span style="font-family: Times, serif; font-size: 10.5pt;">This app is, in essence, a multimedia parallel edition of the </span><i style="font-family: Times, serif; font-size: 10.5pt;">The Book of Genesis, Bereshit</i><span style="font-family: Times, serif; font-size: 10.5pt;"> that is aimed at teaching Hebrew to English speakers. Along with the Hebrew text come features that provide commentary on passages in both Hebrew and English, and a talking Hebrew/English dictionary. While “Hebrew from Insight Out” is an interesting example of the current state of digital publication, and while it provides some insight into the future of the book, it is nothing that I am capable of commenting on beyond suggesting that others involved with or curious about our project may find it interesting.</span></div><div class="MsoNormal"><span style="font-family: Times, serif;"><span style="font-size: 14px;"><br />
</span></span></div><span style="font-family: "Times","serif"; font-size: 10.5pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Be sure to follow us at <a href="http://twitter.com/INKE_MP">@INKE_MP</a>.</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-41796103440360949852012-02-04T15:34:00.000-08:002012-02-04T16:12:51.164-08:00Visual Data Analysis: New Ways of Understanding and Interpreting Information in a Digital Format<blockquote cite="mid:22509188.1328214953047.JavaMail.mje363@mail.usask.ca" type="cite" style="font-size: 12px; "><p class="MsoNoteLevel1CxSpFirst" style="margin-left: 0cm; text-indent: 0cm; "><span class="Apple-style-span" style="font-family:georgia;">Now that data analysis is task relegated to the everyday, the processes that serve particular functions related to this task must be simple despite their complexity. Because of the large quantities of data that are generated for any given project, techniques must be developed that allow researchers to “[interpret data] holistically, and to expose meaningful patterns and structure, trends and exceptions, and more”. </span></p><p class="MsoNoteLevel1CxSpMiddle" style="margin-left: 0cm; text-indent: 0cm; "><span class="Apple-style-span" style="font-family:georgia;">The 2010 Horizon Report examines the blending of visualization, data mining, and statistics that has produced the new field of visual data analysis. Essentially, visual data analysis allows data to be placed into any number of charts, maps, tag clouds, or any other graphical means through pattern-matching in relation to human interaction, and the making of meaning from various sets of information. The report draws on tools such as self-organizing maps that “create a grid of ‘neuronal units’ such that neighboring units recognize similar data, reinforcing important patterns so that they can be seen” to prove the usefulness of such a system for the common user.</span></p><p class="MsoNoteLevel1CxSpMiddle" style="margin-left: 0cm; text-indent: 0cm; "><span class="Apple-style-span" style="font-family:georgia;">Although visual data analysis is useful for everything from flow charts to word collages, it also may be a useful tool due to its ability to seek and find patterns within a given text. Another boon involves the ease with which data may be accessed from various sites. Thus, interactive visualizations of data can someday be widely available, which will add to the effectiveness of electronic books and journals, as these visualizations will allow users to draw on and visually map the most up-to-date data available. In this way, “graphical representations, in whatever form they take, will be expected to clarify the narrative in an environment that combines increasingly sophisticated multimedia presentation with ever-increasing amounts and types of data” (<a send="true" href="http://net.educause.edu/ir/library/pdf/ELI7052.pdf" style="text-decoration: none; ">http://net.educause.edu/ir/library/pdf/ELI7052.pdf</a>).</span></p><p class="MsoNoteLevel1CxSpLast" style="margin-left: 0cm; text-indent: 0cm; "><span class="Apple-style-span" style="font-family:georgia;">For more information, the link to the 2010 Horizon Report is here: <a send="true" href="http://wp.nmc.org/horizon2010/chapters/visual-data-analysis/" style="text-decoration: none; ">http://wp.nmc.org/horizon2010/chapters/visual-data-analysis/</a></span><span class="Apple-style-span" style="font-family:georgia;">. Here also is an example of visual data analysis at work from Gapminder World: </span></p><p class="MsoNoteLevel1CxSpLast" style="margin-left: 0cm; text-indent: 0cm; "><span class="Apple-style-span" style="font-size: 16px; "><iframe width="420" height="315" src="http://www.youtube.com/embed/fHlrckmIAV8?rel=0" frameborder="0" allowfullscreen=""></iframe></span></p></blockquote><div style="font-size: 12px; font-family: verdana, helvetica, arial, sans-serif; "><p class="MsoNoteLevel1CxSpLast" style="margin-left: 0cm; text-indent: 0cm; "><span style="color: rgb(0, 0, 0); font-family: verdana, helvetica, arial, sans-serif; "><span style="color: rgb(51, 102, 255); font-family: verdana, helvetica, arial, sans-serif; "><br /></span></span></p></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-64957255342078452672012-02-02T11:27:00.000-08:002012-02-02T11:48:43.383-08:00Scholarly Editions: The Facsimile Redux in the Digital Archive<div class="separator" style="clear: both; text-align: center;">
<a href="http://inke.ischool.utoronto.ca/archbook_admin/images/KentStateFacsArcadia.jpg" style="margin-left: 1em; margin-right: 1em;" target="_blank"><br /></a></div>
The facsimile has made a comeback in the digital age. The facsimile became a common variant of the scholarly edition in the late 1960's and 1970's, issued by such presses as Scolar [sic] Press (Menston, Engl.), Da Capo Press (Amsterdam), The Facsimile Society (Columbia UP), and Scholar's Facsimiles and Reprints (Ann Arbor), and Theatrum Orbis Terrarum (Amsterdam). Some editions included a fairly substantial introduction. Others (like many of the Scolar editions) provided only a very brief, often single-paragraph, introduction. I consider these “scholarly” because they present the text in a way that presents textual information that is of scholarly interest, albeit in a visual rather than an analytical form. This new emphasis on the original form of the literary work coincided with a new emphasis on the materiality of the book (see e.g. Wilson). More recently, Randall McLeod has observed the power of the photo-facsimile to liberate the text from accumulated projections and interventions of meaning.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/KentStateFacsArcadia.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV9_lX4JbNkOBGsz5gFZ41BZMl8skqkpPoCwHoPhoL9DOSDe79QO_PDZX0uxPOdEID6suPdKSBhwnTK5jYgoJKzVxjvgxWc5UI9xpWuLSDjky2S_QkQyikZgwNcty_o7HNoLm4XIYLPITZ/s640/KentStateFacsArcadia.jpg" width="403" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 1. This edition of Sir Philip Sidney’s <i>Arcadia </i>presents an
interesting double-remove from the original object. The backside of the
title page describe it as a "Facsimile reproduction of the 1891
photographic facsimile of the original 1590 edition published in a
limited edition by Kegan Paul, Trench, Trubner and Co., Ltd., and edited
by Oskar Sommer."</td></tr>
</tbody></table>
<br />
<br />
We see a similar emphasis on the facsimile in this incunable period of digital editing, but now the exemplar is commonly matched with a transcription, sometimes, but not always, marked-up in XML using the TEI schema. This combination of image and text forms the basis of most Web-delivered digital archives. (See for examples the <a href="http://digitaldonne.tamu.edu/DisplayText?id=4&toline=160a.00A.000&display=1&pageno=28&term=&copyname=00A&poem=160a&orderby=orderby&group=bypage" target="_blank">Donne Variorum facsimiles</a>, or <a href="http://www.rossettiarchive.org/docs/2-1881.1stedn.radheader.html" target="_blank">The Rossetti Archive</a>). Less commonly are these materials the basis for original textual scholarship and corresponding apparatus of the type one sees in the mature print facsimile exemplified in Jeanne Shami’s edition of a manuscript of <i>John Donne’s 1622 Gunpowder Plot sermon</i> (with authorial corrections). This edition presents its material in a form that is similar to the digital archive. Taking advantage of the full, two-page opening, it presents on the left a page facsimile of the exemplar, and on the right, the corresponding transcription. Interestingly, the lines in the transcription are numbered, just as they are in XML transcriptions to enable correlation between the facsimile and the transcription. Along the foot of the page are the major variant readings of the only other witness, the printed text found in <i>Fifty Sermons</i> (1649). So then, while the page arrangements are similar to those of the interface to a digital archive, the content presents more than the simple primary materials. It includes, in addition to an extensive introduction to the manuscript, a textual apparatus comprising a record of variants, and, at the back, a summary table of Donne’s corrections and a section of paleographic commentary titled “Transcription Details.”<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/ShamiGunpowderPlotSermonsmaller.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihyphenhyphenbyGhKGK5K356hzNxQTdduaxbtxqPcSZC0JzcbB-7go3VA9uSx5JcCDzVArNy37oUeiePss5QVXIeSNFXh7PinH9YX6g-0FgUAF_3_cGqmznz3h-JVYlTvLSbbIssnaWYWC22u7yLSXD/s400/ShamiGunpowderPlotSermonsmaller.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 2. An opening from Shami's edition of <i>John Donne's 1622 Gunpowder Plot Sermon</i>.</td></tr>
</tbody></table>
<br />
Ernie Sullivan’s edition of <i>The First and Second Dalhousie Manuscripts</i> places the facsimile of the exemplar and the matching transcription side-by-side, but on the same page, rather than on facing pages. Although the book is folio-sized, the page is not large enough, or not laid-out well enough, to give the reader a legible facsimile image. There is also a great deal of wasted white space. In contrast to the Kent State edition of Sidney's <i>Arcadia</i>, and other facsimiles common in the 1960s and 1970s, this one provides much of the supporting documentation that one would expect of a newly edited text. It has a substantial introduction and note on the transcription at the front, and at the back, a section of explanatory notes, a section on "Manuscript and Print Locations of the Poems," a "Textual Apparatus," and an "Index" to the contents. That is, this edition, like Shami’s, is the work of original textual scholarship. The difference between these and other, similar editions, is the presence of page facsimiles of the original artifact (illegible though they may be). <br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/FacsimileEditionDalhousieManuscripts.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj48q74OMc3mgTKA9bnN6NpZuzPhZh6T8f4fzwSHHJB2TzXReI4_KUJ5P5NXFao2ds74IcWg4-fDWIgnu6R_k1tV3G2m6Y2hMSJbStTNZekfqZXFeIShTiBHUcBdqycdPVa-qgun-UfKGQk/s640/FacsimileEditionDalhousieManuscripts.jpg" width="464" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 3. A page from Ernie Sullivan’s edition of <i>The First and Second Dalhousie Manuscripts</i></td></tr>
</tbody></table>
<br />
<br />
<br />
Works Cited<br />
<br />
<br />
McGann, Jerome, ed. The Complete Writings and Pictures of Dante Gabriel Rossetti: A Hypermedia Archive. <a href="http://www.rossettiarchive.org/index.html">http://www.rossettiarchive.org/index.html</a>.<br />
<br />
McLeod, Randall. “UN Editing Shak-speare.” <i>Sub-Stance</i> no. 33/4 (1982): 37. <br />
<br />
Shami, Jeanne, ed.<i> John Donne’s 1622 Gunpowder Plot Sermon: A Parallel-Text Edition</i>. Language & literature series volume 22. Pittsburgh, PA: Duquesne University Press, 1996.<br />
<br />
Sidney, Philip. <i>The Covntesse of Pembrokes Arcadia</i>. Ed. Carl Dennis. [Kent, Ohio]: Kent State University Press, 1970.<br />
<br />
Stringer, Gary, ed. DigitalDonne: the Online <i>Variorum</i>. <a href="http://digitaldonne.tamu.edu/">http://digitaldonne.tamu.edu</a>/.<br />
<br />
Sullivan, Ernest W. II., ed. <i>The First and Second Dalhousie Manuscripts: Poems and Prose</i>. Facs. ed. Columbia: University of Missouri Press, 1988. <br />
<br />
Wilson, F. P. <i>Shakespeare and the New Bibliography</i>. Rev. and ed. Helen Gardner. Oxford: Clarendon Press, 1970.<br />
<br />
<br />
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<br />
<br />Brent Nelsonhttp://www.blogger.com/profile/16550395953656233133noreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-86357571446569424452012-01-11T11:17:00.000-08:002012-01-11T11:28:58.536-08:00Notes on the frontispiece as graphical navigational interface<br />
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US">In addition to providing some of the most striking images of the early modern period, frontispieces brought new functionality to the printed book. The frontispiece of Swammerdam’s <i style="mso-bidi-font-style: normal;">Tractus Physico </i>functions as a graphical
interface that gives the reader another kind of access into the material of the
book.<a href="http://www.blogger.com/blogger.g?blogID=3959744033076455408#_edn1" name="_ednref1" style="mso-endnote-id: edn1;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;"></span></span></span></a> This navigational device reflects the
interests of an emerging group of readers–the early modern natural
philosopher–and the need for their reading environment to respond to the
particular needs of this group of readers.
The need for objective representation, familiarization with new and, to
many readers, strange apparati,<a href="http://www.blogger.com/blogger.g?blogID=3959744033076455408#_edn2" name="_ednref2" style="mso-endnote-id: edn2;" title=""><span class="MsoEndnoteReference"><span class="MsoEndnoteReference"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;"></span></span></span></a>
and careful representation of physically executed processes provide the impetus
for a visualization of the experiment that the tract describes. (</span><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;">On
the importance of experimental apparatus and the need for accurate
representation to audiences unfamiliar with the apparatus, see Shapin
and Schaffer)</span><span lang="EN-US">. It also represents a way into the text that
is organized around the logic of the type of material the book contains: i.e.
the steps and stages of the experiment.</span></div>
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<span lang="EN-US">The reference on the frontispiece to page 40
(at the base of the receiver, to which is attached the pump piston) sends the
reader to the corresponding point in the experiment where one finds a more
detailed description of a diagram on the facing page, using alpha-labels to
correlate the discussion to the diagram.</span></div>
<br />
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<a href="http://inke.ischool.utoronto.ca/archbook_admin/images/Swammerdam3.jpg" target="_blank"><img border="0" height="351" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix88zQJ64vwGdidNjhykZzeqXqMEepIqgEuZt_Ov40sajYprQjGx1MECaLKznYDA0Nw7bl_E5giH7t-5BCGeZbJceL3nGnGUBuFQr7ZySGl0mVMeWkpVd5TR6uwKLDROCamys9TUtRo5s7/s400/Swammerdam3.jpg" width="400" /></a></div>
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</div>
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</div>
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<span lang="EN-US">Similarly, the reference to page 55 (on the
surface of the plinth, just above the snails) points to a description with a
corresponding, detailed diagram with alpha-labels.</span><br />
<br /></div>
</div>
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<a href="http://inke.ischool.utoronto.ca/archbook_admin/images/Swammerdam4.jpg" target="_blank"><img border="0" height="353" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFos5oFuchJSio18PXd59tQtr36YM_1H45U65gSl9d5iTpSgv1Q_r85UbXs1XWHz150xwHdU3WYUql_r2-V8aS04PuAoJz_5de4EqSddws_r8s0vvnTuCkU27vXE5DCPEl4U4V7ONnziuE/s400/Swammerdam4.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU83h-w-F5vTobR0OioKgs-kE_ulBiFSEZBoGCm9ilI1K4fetwJhLAGaIXu9OsWS3MRBZlteIkwj4Gqs_VHrqhxNq8ntrOc5AMeVoRRiG8ny0fG8RWmIxlnPMC70wC6N4nNH56tdLJPGAW/s1600/Swammerdam3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span lang="EN-US">Other features of
navigation:</span></b><span lang="EN-US"></span></div>
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<br /></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US">This little book (duodecimo?) of less than
140 pages is fully equipped for referencing. Each of the seventeen short
chapters (broken into three sections, numbered from “one” in each) also has
numbered sections which enable an internal referencing mechanism, as
exemplified on page 27 at the start of §.9, which refers to §.2 and §.4.
References within the text to other parts of the text are by paragraph,
chapter, and page. At the end of the book there is an outline of each chapter
(“Syllabus”) that lists topics and points to the page number where they occur.
The errata list, in contrast, refers to page and line. </span><br />
<span lang="EN-US"> </span></div>
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<a href="http://inke.ischool.utoronto.ca/archbook_admin/images/Swammerdam2.jpg" target="_blank"><img border="0" height="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisdF7Qb5zyywgDAhM1K0GX10DkVE_K99ZDxckogHQE_8KgUEPzr1m4McnZjm1DzX4-Wr0GdXuHTV47Akh0h0ZIt2k5nPcJD9ze9oWEHEPZtlBGPyG4ZJm3DObtPJzYV4XxCND8q03CrCyX/s400/Swammerdam2.jpg" width="400" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiIvYG7lDapLd66IZxrTQrHJjrRS-KFwyWmXLfJHLsABw9auRfR3R_M3LUSC1Y-ikuA83jlnitfaZoM6M9nw_AmLR6b0p0hYvNL8p3-_kCNVqn_rAvw9Fjkln3HhdAFLabDKMdjrK4han_/s1600/Swammerdam6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
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<span lang="EN-US">The frontispiece has not traditionally been
ornamental and symbolic, rather functional, and there is something of this
tradition represented here. Some points
worth noting:</span></div>
<div class="Level1" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -36.0pt;">
<span lang="EN-US" style="font-family: "WP TypographicSymbols";">$</span><span lang="EN-US"> The
apparatus merges with the ornamental frame [what is the precise term?].</span></div>
<div class="Level1" style="margin-left: 36.0pt; mso-list: l0 level1 lfo1; text-indent: -36.0pt;">
<span lang="EN-US" style="font-family: "WP TypographicSymbols";">$</span><span lang="EN-US"> The
<i>penes </i>of the two snails intertwine as they look at the date of publication.</span></div>
<div class="MsoNormal" style="mso-pagination: none;">
<span lang="EN-US">The page reference below the snails is to a
section (ch. IV §.3) where Swammerdam introduces a discussion of the
reproduction of snails which, he discovered, are hermaphrodite.</span><br />
</div>
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</div>
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<div id="edn1" style="mso-element: endnote;">
<div class="MsoEndnoteText">
<a href="http://www.blogger.com/blogger.g?blogID=3959744033076455408#_ednref1" name="_edn1" style="mso-endnote-id: edn1;" title=""><span lang="EN-US"><span lang="EN-US" style="font-family: "Times New Roman","serif"; font-size: 12pt;"></span></span></a><span lang="EN-US"></span></div>
</div>
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<div>
<br />
Bibliography:<br />
<br /></div>
<div>
</div>
<div>
<span lang="EN-US">“Illustrations and their meaning.” Swammerdam’s Science
(Webpage)
http://www.janswammerdam.net/illus.html</span><br />
<br /></div>
<div>
</div>
<div>
<span lang="EN-US">Shapin, </span><span lang="EN-US">Steven
</span><span lang="EN-US"> and Simon Schaffer, <i>Leviathan and the Air-Pump</i>. Princeton UP, 1985.
Esp. chs. 2 and 6.</span></div>
<div>
<span lang="EN-US"> </span><span lang="EN-US"> </span></div>
<div>
<span lang="EN-US">Swammerdam, Jan. <i style="mso-bidi-font-style: normal;">Johannis Swammerdamī ... Tractatus
Physico-Anatomico-Medicus De Respiratione Usuque Pulmonum: In Quo, Praeter
Primam Respirationis in Foetu Inchoationem, Aëris Per Circulum Propulsio
Statuminatur, Attractio Exploditur; Experimentaque Ad Explicandum Sanguinis in
Corde Tam Auctum Quam Diminutum Motum in Medium Producuntur</i>. Lugduni
Batavorum: Apud Danielem, Abraham, & Adrian. à Gaasbeeck, 1667.</span><span lang="EN-US"> </span> </div>
<div>
</div>
<div>
<br /></div>Brent Nelsonhttp://www.blogger.com/profile/16550395953656233133noreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-11643757731845973752012-01-11T08:10:00.000-08:002012-01-11T08:12:54.969-08:00Spring cleaning of available topics listJanuary's going to be a busy month for ArchBook, with some new team members joining the Toronto crew (Jennette and Matt), my ArchBook workshop beginning at the iSchool, and work beginning on a public interface for our image database. Seems like a good time to do some spring cleaning of the topics list posted on the "For Authors" page.<br />
<br />
Yesterday I updated the page with a list of topics that are already underway, or which team members have expressed interest in working on. That list is pretty long, which is good, but we need to make the list of available topics is also healthy -- especially now that we're about to solicit a bunch of new entries.<br />
<br />
I've updated that list with some new topics that emerged from offline discussions with Richard, Scott, and Rebecca. Defining a good topic is tricky, and I've erred on the side of inclusiveness, figuring that it's best to record ideas before they slip our memories, and then to refine them later. The criteria for a good entry, as I see them, would be:<br />
<ul>
<li>the feature has long enough history or range of use to support an entry (as opposed to being a one-off oddity that would work better as a blog post); remember, that history can be one of success <i>or</i> failure, or both</li>
<li>the feature has what Scott calls "digital potential," in that it can inform digital interface design (including but not limited to e-books)</li>
<li>the feature's "digital potential" isn't simply that of a cute literalized metaphor, like page-turning animations, but can be connected to a more abstract sense of functionality; for example, bookmarks are a good feature because they point us toward <i>bookmarking</i> as an activity that fits into a bigger picture of discontinuous reading (thinking of Stallybrass's "Books and Scrolls" article)<br /><br />Note: with the above criterion I'm hoping we can avoid the mistakes that Johanna Drucker warns against in her chapter "Modeling Functionality: From Codex to E-book" in <i>SpecLab</i>. That chapter is essential reading for us. Further in the background here, but also important, is John Unsworth's notion of scholarly primitives -- that's probably not a concept we need to apply dogmatically here, in the sense of matching features up with primitives, but the spirit of that article could help us think about what textual features matter, and why.<br /></li>
<li>ideally, though not necessarily, the feature should be relevant to the work of the other INKE teams; I don't want to confine my students to this criterion, but we should ensure that new entries undertaken by INKE team members meet this requirement</li>
</ul>
Do these criteria make sense? If not, how should we revise them? <br />
<br />
In any case, what entry topics should we add to the list? Would you define any of the existing ones differently? Do you have an idea for an entry that you can't quite put a name to?Alan Galeyhttp://www.blogger.com/profile/02294929568615191109noreply@blogger.com8tag:blogger.com,1999:blog-3959744033076455408.post-51435273138278050862011-12-29T16:40:00.000-08:002011-12-29T16:43:39.766-08:00The Scholarly Edition: Distinguishing Different Kinds of Notes<br />
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One challenge of complex scholarly editions is to represent
different classes of information in the apparatus. The kinds of information might include:</div>
<ul>
<li><span style="font-family: Symbol;"><span style="font: 7pt "Times New Roman";"> </span></span>representation of the various states and
expressions of the text , most commonly variants between editions, or sometimes
(usually in the case of manuscripts) authorial or editorial changes within a
single text, such as additions or cancellations</li>
<li><span style="font-family: Symbol;"><span style="font: 7pt "Times New Roman";"></span></span>glosses of unfamiliar words </li>
<li><span style="font-family: Symbol;"><span style="font: 7pt "Times New Roman";"></span></span>paraphrases of difficult phrases or passages</li>
<li><span style="font-family: Symbol;"><span style="font: 7pt "Times New Roman";"></span></span>annotations providing interpretation and
clarifying references</li>
</ul>
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This information is often provided in the form of annotation
attached to the text. In literary
editions, these fall into two general classes: textual notes and comment
notes. For ease of use, it is desirable
and often necessary to distinguish these different types of information in the
apparatus. It is especially important to
distinguish textual notes from other kinds of annotation.</div>
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<span style="font-size: large;"><b>An example of textual
notes and comment notes in a single stream but distinguished by formatting codes:</b></span></div>
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<br /></div>
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In this sample (fig. 1) from Theodore Howard Banks’ edition
of Sir John Denham’s poetical works (1928), the textual notes are numbered in a
continuous stream with comment notes, but they are introduced with sigla that
signal their peculiar nature: an italicized number representing the year of the
edition, followed by a representation of the variant found in that
edition. In the case of note 18 to the
poem “The Passion of Dido for Æneas,” <i style="mso-bidi-font-style: normal;">1668</i> has “ayrs” instead of “Ayr,” but <i style="mso-bidi-font-style: normal;">1671</i> and <i style="mso-bidi-font-style: normal;">1684</i> are as in
the edited text. The first two notes to
the new text on the bottom of the page‒“Of Prudence. Of Justice” ‒begin
with no sigla, which signals that these provide commentary: in the first note,
on the sources of the text; and in the second note, a gloss on the referent of
“The Wells” in the first line of the text.</div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/BanksDETAIL.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsy6xwjmF6rpTZ-7zk-IswxyKtt3kW9jnuIt7Ui2nfSdErQSgOdtAw0HkKMI_2ZfhWUwF_HOHP0ZOqAE_huwnIZrJEchFGczGzJSzyMwVBxPNovhVUwJbxBq04gmcDDaajtGhf8NUV1UDl/s400/BanksDETAIL.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 1</td></tr>
</tbody></table>
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<br /></div>
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<span style="font-size: large;"> <b>An example of textual
notes and glosses in segregated streams:</b></span></div>
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<br /></div>
<div class="MsoNormal">
Robert K. Turner’s edition of Thomas Haywood’s two parts of <i style="mso-bidi-font-style: normal;">The Fair Maid of the West</i> (fig. 2) uses
a separating line and indentation to distinguish textual notes from
commentary. Both are introduced by line
number and then a word or string of words from the text, italicized and terminated
with a square bracket, to identify more precisely the point of reference. Again, the textual notes use sigla to
identify source texts. In the case of
note 116, “nations” is found in the current edition (<i style="mso-bidi-font-style: normal;">“this edn</i>” ) as well as “(<i style="mso-bidi-font-style: normal;">Dyce’s
notes</i>)” which, as the “List of Abbreviations” tells us, refers to
manuscript notes entered by Rev. Alexander Rice in the margins of his copy of
the 1631 quarto. The textual variant
“nation” is the reading found in the 1631 quarto, signified by <i style="mso-bidi-font-style: normal;">Q</i>. </div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/TurnerDETAIL.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjojYFaTf-Fh01F_ruYUzLL5-gMkqeaL5jqdCtCX7nCFNoULN4Z8waGTdoCwByha0DAiy-s_5dscXkFH6oEmaa6UntEPz38oKCi8hIJ44fg7mpsnvWKqxo9daErMX5BArgADSlhTn8YfItK/s400/TurnerDETAIL.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 2</td></tr>
</tbody></table>
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<br /></div>
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<span style="font-size: large;"><b>Architectural
challenges in prose:</b></span></div>
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<br /></div>
<div class="MsoNormal">
Prose poses a particular challenge for streaming different
types of notes because one of the most effective modes for referencing—the line
number—is not a natural element of prose structure. In the case of Brenda
Cantar’s edition of Robert Greene’s <i style="mso-bidi-font-style: normal;">Menaphon</i>, two kinds of notes are signaled by two
distinct notational structures. Diamonds in the text (fig. 3)
correspond to the notes in the footer, which are essentially word glosses. Here the keywords are necessary to distinguish
the diamond-marked targets in the text.
The superscript numbers (e.g. 90) are reserved for endnotes that provide
fuller commentary (fig. 4), although in the running title this commentary is
misleadingly referred to as "textual" commentary.</div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/CantarEditionNote.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="380" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwftfVm4h7MXgHnSMUT7yl0zdgIs3yWeGwPVBaSK6OmHDFgbms5OfK0FPFHfdeX7cRTxlWoOQRTg-h0HAtxXX1AkGH9Hll1OLOfSBBiCxMfJ8heViPWvyB2Q85kWVoTY1we8F7qZccBSNi/s400/CantarEditionNote.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 3</td></tr>
</tbody></table>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/CantarEditionCommentary.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="367" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiadzGi6-O78OwbwV4FSR4uWli_LYDpzZOJ_7UkLtgSepfGVTvEPsiT7vY96m0YOeprea7J4FRbwpRyp6k49AwD3MQpjRGWpx_f5N_Kx-JHialhEDoh9OhVy5JadHKgIonren4sRtXXcY4y/s400/CantarEditionCommentary.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig.4</td></tr>
</tbody></table>
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Works cited:</div>
<div class="MsoNormal" style="margin-left: 36pt; text-indent: -36pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: -36.0pt;">
Denham, Sir
John. <i style="mso-bidi-font-style: normal;">The Poetical Works of Sir John
Denham</i>. Ed. Theodore Howard Banks Jr.
New Haven: Yale UP, 1928.</div>
<div class="MsoNormal" style="margin-left: 36pt; text-indent: -36pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: -36.0pt;">
Greene,
Robert. <i style="mso-bidi-font-style: normal;">Menaphon: Camilla’s Alarm to
slumbering Euphues in his melancholy cell at Silexedra</i>. Ed. Brenda Cantar. Publications of the Barnabe Riche Society 5. Ottawa: Dovehouse, 1996.</div>
<div class="MsoNormal" style="margin-left: 36pt; text-indent: -36pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: -36.0pt;">
Heywood,
Thomas. <i style="mso-bidi-font-style: normal;">The Fair Maid of the West. Parts
I and II</i>. Ed. Robert K. Turner
Jr. Lincoln: U Nebraska P, 1967.</div>
<br />
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<br /></div>Brent Nelsonhttp://www.blogger.com/profile/16550395953656233133noreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-1049996084407601922011-12-15T14:50:00.000-08:002011-12-21T12:12:39.702-08:00Varying Complexity in the Table of Contents<br />
<div class="MsoNormal">
In some of its architectural elements, the book's development has been toward
simplification. Take the common table of contents, for
example. In its modern form, it usually comprises a fairly
simple correlation of chapter title--sometimes numbered--with a starting page
number (fig. 1). </div>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/archbook_full/101_full.jpg" target="_blank"><img border="0" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAKQBfdHddUbCtu4OGzu6gD4ngHkJTkLs-fUvOWJeyUKkCf_o4S62t21BKFqwZqSfvn7CNhlndYoXf8OY7zKHMUjp7hvjuTjZ0fBTm4mLTmdOgHQP2EfzgIv434drFabbQAJDhhIop5DWl/s320/RostonTableofContents.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Fig. 1. Simple representation of "Contents" in Roston, <i>Soul of Wit</i> (1974)</td></tr>
</tbody></table>
<div class="MsoNormal">
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<div class="MsoNormal">
In contrast, nineteenth- and early twentieth-century books
often contained fulsome and elaborate descriptions and location aids for
surveying and navigating its contents. The
second edition of Daniel Rock’s <i style="mso-bidi-font-style: normal;">The
Church of Our Fathers</i> (1905), for example, provides an elaborate summary of
the main points of content in each chapter, keyed by reference numbers to the
relevant location in the text. On the
first page of the “Contents,” for example, one gets a detailed itemization of
nine major points discussed and numbered as section headings in chapter one,
comprising a fairly granular account of its contents. Supplied with the “part” number (the
“first”), the chapter number (“1”) and page number (“18”) one can locate not only
where the chapter begins, but also the page on which Rock discusses “The belief
of the Anglo-Saxons in Transubstantiation.”
(The header of the page indicates the page number, of course, but also,
on the recto page, the part and chapter number). </div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/archbook_full/102_full.jpg" target="_blank"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj80nJej0SJt62xo3zjpYZARlCjjtiGZN1C19R_3fC478DAeYJKWNBo1qsxuptKIGcsm7kRr9wDdCxQBYJeCbd3TiAngBMEx2qOZQA53Xd2wp197IIMY2CBd5Pitv6DdnPoo4ZJZZEzaDkn/s400/DetailedContentsInRockTheChurchofOurFathers.jpg" width="255" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Fig. 2. Detailed "Contents" for Rock, <i>Church of Our Fathers</i> (1905).</span></td></tr>
</tbody></table>
<div class="MsoNormal">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/archbook_full/103_full.jpg" target="_blank"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwemX6qgN-UwLqKhqTYZUDQ1MBnbJdr5B-0eNkeZwcQE21tSdjI_wRixDId3tLbASLPZAmlywd96a367ealfy8rmhwtKK6q39qQv2cIVJtZ8gJyDOhMQCu7zJg6UYdqthKh6t6WbpNX0Uq/s400/RockTheChurchofourFathers18.jpg" width="245" /></a></td></tr>
<tr style="font-family: Times,"Times New Roman",serif;"><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">Fig. 2. Section on “The belief of the Anglo-Saxons in Transubstantiation”<br /> with page numbers of the original edition indicated in parentheses: “(20)” and “(21).”</span></td></tr>
</tbody></table>
<br /></div>
<div class="MsoNormal">
This book offers another and peculiar (though potentially
very helpful) feature of navigating its content: page numbers, in parentheses,
marking the page divisions of the original edition of Rock’s text. Someone (whether Burke in the first edition,
or, in the posthumous second edition, the editor or publisher) was very
considerate of the reader in providing intelligent representation and location
aids to the reader.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Works Cited</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 36.0pt; text-indent: -36.0pt;">
Rock, Daniel.
<i style="mso-bidi-font-style: normal;">The Church of Our Fathers as Seen in St.
Osmund’s Rite for the Cathedral of Salisbury</i>. 2<sup>nd</sup> ed. Vol. 1.
London: John Murray, 1905.</div>
<div class="MsoNormal">
Roston, Murray. <i style="mso-bidi-font-style: normal;">The
Soul of Wit: A Study of John Donne</i>.
Oxford: OUP, 1974.</div>Brent Nelsonhttp://www.blogger.com/profile/16550395953656233133noreply@blogger.com1tag:blogger.com,1999:blog-3959744033076455408.post-15113574701287518982011-12-15T08:04:00.000-08:002011-12-15T08:31:56.759-08:00The forgotten encoder: Plantin, mise-en-page and some thoughts towards the future<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieQ4CEIN9hrQk6n5XnIT6p14jh2ciuLR8WdGibMjkjtIUh2M2GkCeBj77z5shKSf4B1D6_NbwQe9_H6VMhLJLy1ml9w_FJaKbDAVIGsdBRbLFGIZx7JIS11C01aL-jADuwtm4XSpx3W0-s/s1600/Plantin%252C+sample+opening.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 240px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieQ4CEIN9hrQk6n5XnIT6p14jh2ciuLR8WdGibMjkjtIUh2M2GkCeBj77z5shKSf4B1D6_NbwQe9_H6VMhLJLy1ml9w_FJaKbDAVIGsdBRbLFGIZx7JIS11C01aL-jADuwtm4XSpx3W0-s/s320/Plantin%252C+sample+opening.jpg" border="0" alt="" 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font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;} </style> <![endif]--> <!--StartFragment--> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="mso-bidi-;font-family:Helvetica;"><o:p> </o:p></span></p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="mso-bidi-;font-family:Helvetica;"><o:p> </o:p></span></p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="mso-bidi-;font-family:georgia;" >Designers working with digital media, particularly those with an interest in layout, should look to the early modern book for inspiration.<span> </span>Consider, for example, Christopher Plantin's eight-volume folio Polyglot Bible, the <i>Biblia Sacra</i> (Antwerp: 1568-1573). What an amazing feat. First devised by Plantin in 1566, the set was finally completed in 1573. This remarkable multilingual translation, (which is based on versions in Chaldean, Greek, Hebrew and Latin), was supervised by Arias Montano and Plantin’s Bible received royal patronage from the Spanish King, Philip II. <o:p></o:p></span></p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="mso-bidi-;font-family:georgia;" ><o:p> </o:p></span></p> <p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none; text-autospace:none"><span style="mso-bidi-;font-family:georgia;" >What always amazes me, though, is Plantin’s mise-en-page: remarkable layout, brilliant engravings, and several ancient languages set side by side.<span style="mso-spacerun:yes"> </span>How long would it take to set a single page of Plantin’s Bible, and what compositor had the qualifications to do such work? Unfortunately, the compositors of the early modern period almost always go unnamed. Will today's encoders and web designers face a similar fate? Looking back fifty years from now, in 2061, how often we will know who did the work on a website produced in 2011? Perhaps the problem, if it is a problem, will not be whether we can identify the encoders, but if we can find the site. Just a thought….<o:p></o:p></span></p> <p class="MsoNormal"><o:p><span class="Apple-style-span" style="font-family:georgia;"> </span></o:p></p> <p class="MsoNormal"><span class="Apple-style-span" style="font-family:georgia;">The two images shown here are taken from the second volume of Plantin’s work.<span style="mso-spacerun:yes"> </span>Figure 1. shows a typical opening from Plantin's Bible; figure 2. shows one of five frontispieces commissioned for the eight-volume work.<span style="mso-spacerun:yes"> </span>Both the frontispiece and the historiated initials used to begin the different sections of the translation have been expertly handcoloured.</span></p><p class="MsoNormal"><span class="Apple-style-span" style="font-family:georgia;"><span style="mso-spacerun:yes"></span><o:p></o:p></span></p> <p class="MsoNormal"><o:p><span class="Apple-style-span" style="font-family:georgia;"> </span></o:p></p> <p class="MsoNormal"><span class="Apple-style-span" style="font-family:georgia;">Images come courtesy of the Thomas Fisher Rare Book Library, University of Toronto.<span style="mso-spacerun:yes"> </span>Call # G-10 00137.<span style="mso-spacerun:yes"> </span>The Fisher has volumes 2-6, 8 of the Polyglot Bible.<span style="mso-spacerun:yes"> </span><o:p></o:p></span></p> <p class="MsoNormal"><o:p><span class="Apple-style-span" style="font-family:georgia;"> </span></o:p></p> <p class="MsoNormal"><o:p><span class="Apple-style-span" style="font-family:georgia;"> </span></o:p></p> <p class="MsoNormal"><span class="Apple-style-span" style="font-family:georgia;">Works Cited <o:p></o:p></span></p> <p class="MsoNormal"><o:p><span class="Apple-style-span" style="font-family:georgia;"> </span></o:p></p> <p class="MsoNormal"><span class="Apple-style-span" style="font-family:georgia;"><i style="mso-bidi-font-style:normal"><span style="mso-bidi-mso-bidi-font-weight:bold;">Biblia Sacra, Hebraice, Chaldaice, Graece, & Latine</span></i><span style="mso-bidi- mso-bidi-font-weight:bold;">.</span><span style="mso-bidi-;"> Excud. Antuerpiae : Christoph. Plantinus, 1568-1573. <o:p></o:p></span></span></p> <p class="MsoNormal"><span style="mso-bidi-;font-family:georgia;" ><o:p> </o:p></span></p> <p class="MsoNormal"><span class="Apple-style-span" style="font-family:georgia;">Bowen, Karen L. and Dirk Imhof. <i style="mso-bidi-font-style: normal">Christopher Plantin and Engraved Book Illustrations in Sixteenth-Century Europe</i>. Cambridge: Cambridge University Press, 2008.</span><o:p></o:p></p> <!--EndFragment-->Scott Schofieldhttp://www.blogger.com/profile/07516902794645787281noreply@blogger.com1tag:blogger.com,1999:blog-3959744033076455408.post-53804170892554269912011-10-28T08:56:00.000-07:002011-11-05T01:16:38.439-07:00<div>
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<span style="color: #e06666; font-size: x-large;"><span style="color: #990000;">Annotations in Four Scholarly Editions</span></span><br />
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Among other things, the Modern Language Association considers the following essential in scholarly editions:<br />
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1. Explanatory annotations to various words, passages, events, and historical figures.<br />
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2. A statement, or series of statements, setting forth the history of the text and its physical forms, explaining how the edition has been constructed or represented, [and] giving the rationale for decisions concerning construction and representation. . . . Statements concerning the history and composition of the text often take the form of a single textual essay, but it is also possible to present this information in a more distributed manner.<br />
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3. Appropriate textual apparatus or notes documenting alterations and variant readings of the text, including alterations by the author, intervening editors, or the editor of this edition. <a href="http://www.mla.org/resources/documents/rep_scholarly/cse_guidelines" target="_blank">http://www.mla.org/resources/documents/rep_scholarly/cse_guidelines</a><br />
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In spite of these overtures to standardized expository annotations, a quick survey of scholarly editions exposes varieties of styles of providing supplementary information.<br />
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In some cases, notes are used minimally. Consider, for instance, Albert J. Geritz’s edition of John Rastell’s <em>The Pastyme of People </em>and <em>A New Boke of Purgatory</em>. In his introduction, Geritz offers remarks on the history of the texts, their representation in his edition, their composition, and so on (indeed, all of the editions that I mention here do as much). Geritz does not provide supplementary footnotes in the body of Rastell’s prose; instead, there is a short section of notes and a glossary at the end of the book (fig. 1). Oddly, the presence of the notes and the glossary is not indicated anywhere else in the book. Without superscripted numbers or other marks in Rastell’s text to draw a reader’s attention to Geritz’s notes and glossary, one wonders how useful these tools are.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglwSAh2GxA-nBE9B2-Qz94jXGNxtCbJYwQ8JluXuk40noGEewOulgCX7V1TPZhhaUZKsL4kttp5kr9HAmvs_hTrSs5OA517wlgJsqCjqZ2GTeTbL8a2zV_Ky2xbvSd5eBBRJZDAkE6GYfA/s1600/Rastell+495.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglwSAh2GxA-nBE9B2-Qz94jXGNxtCbJYwQ8JluXuk40noGEewOulgCX7V1TPZhhaUZKsL4kttp5kr9HAmvs_hTrSs5OA517wlgJsqCjqZ2GTeTbL8a2zV_Ky2xbvSd5eBBRJZDAkE6GYfA/s640/Rastell+495.JPG" width="454" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">fig. 1. Geritz's notes</td></tr>
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As in Geritz’s edition of Rastell, in their edition of Stephen Parmenius’ writings David B. Quinn and Neil M. Cheshire include annotations, unmarked in the primary text, in a commentary section following the text (fig. 2). However, they also include expository comments in footnotes at the bottom of each page of text (fig. 3). Although expository information is made obvious by the use of footnotes, the annotations in the commentary section would be readily accessible too if they were simply marked in Parmenius’ text in the manner of proper endnotes. Again, indicating the presence of annotations with running numerals in a body of text seems to be a particularly helpful, if not crucial, strategy when offering expository comments to supplement a reader’s appreciation of a text in the manner supported by the MLA.</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIiStj3kdsYy_hoxYJ0v1TiTp1IX0IHMzCCzWybRH0SCXEmzg8KLYUzdMAbMa3CsOpbck3_Vpcp90D9m3R2u_SNS_C6WQmzwTo7dnliH4Fy2du52swUuXR94Kb_E-uIx4ySBrU2R6HpkU4/s1600/Parmenius%252C+156-70001.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIiStj3kdsYy_hoxYJ0v1TiTp1IX0IHMzCCzWybRH0SCXEmzg8KLYUzdMAbMa3CsOpbck3_Vpcp90D9m3R2u_SNS_C6WQmzwTo7dnliH4Fy2du52swUuXR94Kb_E-uIx4ySBrU2R6HpkU4/s640/Parmenius%252C+156-70001.JPG" width="484" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">fig. 2. Quinn and Cheshire's commentary notes</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5rnXvlK4P7OFjkgrRyLlMYUxxBwQPtA725eg-MLnRTIa3MIPYTY1POlHvKBvvBc1_7iFqmvg31DISb42Gf0Ar4WXnL399I_3eafnbFkBNJtnBwW0mhoLQxYpkUKqXdv1WJ49d7WFZsOaO/s1600/Parmenius%252C+196-77770004.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5rnXvlK4P7OFjkgrRyLlMYUxxBwQPtA725eg-MLnRTIa3MIPYTY1POlHvKBvvBc1_7iFqmvg31DISb42Gf0Ar4WXnL399I_3eafnbFkBNJtnBwW0mhoLQxYpkUKqXdv1WJ49d7WFZsOaO/s640/Parmenius%252C+196-77770004.JPG" width="510" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">fig. 3. Quinn and Cheshire's footnotes</td></tr>
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Jean Robertson improves somewhat on Geritz’s Rastell in his edition of Sir Philip Sidney’s <em>Arcadia </em>by using footnotes to represent variations between early manuscript and print versions of Sidney’s text (fig. 4). Expository annotations and a glossary are left until the end and are again left unindicated in the text itself. Robertson’s supplementary material is thus divided based on content. However, this division effectively makes the expository notes and glossary less accessible to readers than the footnotes on textual variations between editions. Robertson’s organization of his supplementary information in this manner does
not serve the best interests of his readers. </div>
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<tr><td class="tr-caption" style="text-align: center;">fig. 4. Robertson's footnotes</td></tr>
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In their edition of Thomas More’s <em>Utopia</em>, George Logan, Robert Adams, and Clarence Miller offer annotations in more accessible, straightforward manner than the previous three examples do. There is no commentary section or glossary at the end of the book; that is, supplements are not divided based on content. Instead, all expository material is placed in footnotes at the bottom of each page (fig. 5). A range of information is thus made readily available and, significantly, apparent to readers.</div>
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<tr><td class="tr-caption" style="text-align: center;">fig. 5. Logan, Adams, and Miller's footnotes </td></tr>
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Although annotations and contextual supplements are required elements of scholarly editions, this brief survey highlights the lack of standardization not only in the form
but also the functionality of their notational structures. It may seem intuitive, but the accessibility of annotations is a key part of their usefulness.<br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Works Cited<o:p></o:p></span><br />
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<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">“Guidelines for Editors of Scholarly
Editions.” Modern Language Association. October 2, 2011. </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;"><a href="http://www.mla.org/resources/documents/rep_scholarly/cse_guidelines" target="_blank">http://www.mla.org/resources/documents/rep_scholarly/cse_guidelines</a></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">More,
Thomas. <i style="mso-bidi-font-style: normal;">Utopia</i>. Edited by George M.
Logan, Robert M. Adams, and Clarence H. Miller. </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Cambridge:
Cambridge University Press, 1995. <o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Parmenius,
Stephen. <i style="mso-bidi-font-style: normal;">The New Found Land of Stephen
Parmenius: The Life and Writings of a </i></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Hungarian Poet, Drowned on a Voyage from
Newfoundland, 1583</span></i><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">.
Edited and translated by David B. Quinn and Neil M. Cheshire. Toronto: University
of Toronto Press, 1972.<o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Rastell,
John. <i style="mso-bidi-font-style: normal;">The Pastyme of People and A New
Boke of Purgatory</i>. Edited and introduced by </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Albert
J. Geritz. New York: Garland Publishing, 1985.<o:p></o:p></span></div>
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<div class="MsoNormal" style="line-height: normal; margin: 0cm 0cm 0pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Sidney,
Philip. <i style="mso-bidi-font-style: normal;">The Countess of Pembroke’s
Arcadia</i>. Edited and introduced by Jean Robertson. </span><span style="font-family: "Times New Roman","serif"; font-size: 12pt;">Oxford:
Clarendon Press, 1973.</span></div>
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</div>Rob Imeshttp://www.blogger.com/profile/00274085805030290021noreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-31812330293626102992011-09-15T20:00:00.000-07:002011-11-06T18:16:26.979-08:00Case study: the shifting form of the table of contents in Judith Drake's An Essay in Defence of The Female Sex (1696)<div class="separator" style="clear: both; text-align: left;">
Judith Drake's <i>Essay in Defence of The Female Sex</i> (1696, formerly attributed to Mary Astell) has no major structural breaks dividing its content into books, chapters, or sections. Perhaps the author or printer thought the work too short to warrant such divisions. This lack of explicit structural divisions may account for the absence of a table of contents, though some of the functionality of the table of contents is provided elsewhere. At the very entry-point of the book, on the title page, the major elements of content are listed (a series of "characters" that are depicted therein--"A Pedant," "A Squire," "A Beau," etc.) along with an indication of the larger framing genre ("In a Letter, to a Lady") to give a summary of what the reader can expect to find inside, but all without page numbers. The other elements of the book contents in the preliminaries--a dedicatory letter, a preface to the reader, and a commendatory poem on the work by James Drake--are easy to distinguish by their physical form, and they are conventionally placed in the front of the book, so they are easy to locate. The former two elements also have running titles ("Dedication," and "Preface") to aid navigation. </div>
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<tr><td style="text-align: center;"><a href="http://www.archive.org/stream/essayindefenceof00aste#page/n7/mode/2up" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="343" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIsZ6a3heKKEvXZ1a9GCyrAFKvGRyhcI7rPqW593EUi1bVQJuzveZ2lLiHUDWv9lIjqILW5PWvWGEQ5lfYiNvirUno4BRUGWbJOaH1YVMwBxqtl_IpbgJs78dbPR_v9ih565TEAlejYpD7/s400/DrakeTITLEPAGE.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">fig. 1. Title page of Drakes An Essay in <i>Defence of the Female Sex </i>(1696).</td></tr>
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In the main body of the book, marginal notes are the only markers of a new section of content (e.g."Character of a Vertuoso" [sic] fig. 2). <br />
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<tr><td style="text-align: center;"><a href="http://www.blogger.com/goog_1197210883"><span style="font-size: x-small;"></span></a><span style="font-size: x-small;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/archbook_full/81_full.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="304" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS5goDLw03UI5ouD23OUZEIwajH5AueScc-XP64VYO6WDSChMPSpQXZO7K3lJtzNozznLNJqLrD29rpx3RDu3E6pQ_GVs-2wGZSrevs_phD9SudMMC0pK2owWwtVSDs8TTxQh8rKHMez4t/s320/Drake-An+Essay+in+Defense+of+the+Female+Sex+1698+MARGINAL+MARKER+VIRTUOSO.JPG" width="320" /></a></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">fig. 2 Marginal note marking the start of a new section of content</span></td></tr>
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The one element of the book's architecture that gives an explicit signal of representing "THE CONTENTS" comes not in the form of a table correlating section breaks with line numbers, but rather an index at the back of the book, an example of how close in function these two navigational aids are (fig. 3). In some cases, these subject headings, like the list of contents on the title page, are marked in the margins of the text (fig. 2).<br />
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<tr><td style="text-align: center;"><a href="http://inke.ischool.utoronto.ca/archbook_admin/images/archbook_full/82_full.jpg" style="margin-left: auto; margin-right: auto;" target="_blank"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzWK3Wea5PXH0-bXj6YE40_J-6HRt4a_0kU-08JCKkg1lfCcD_Akp9wOs9Qr7S1QPgi8zsoQuq6Xb77UaR8H6ze3oanZDglva0omoKtylDrpPKLVmRt6VS2Edro5muPY77tohArvJ22Tuw/s640/Drake-An+Essay+in+Defense+of+the+Female+Sex+1698+cropped.jpg" width="342" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">fig. 3 "Contents" as index</td></tr>
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The images in this entry are of a copy in the Boston Public Library and were taken from the Internet Archive: <a href="http://www.archive.org/stream/essayindefenceof00aste#page/n7/mode/2up">http://www.archive.org/stream/essayindefenceof00aste#page/n7/mode/2up</a><br />
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Works cited:<br />
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Drake, Judith. <i>An essay in defence of the female sex: in which are inserted the characters of a pedant, a squire, a beau, vertuoso, a poetaster, a city-critick &c. in a letter to a lady</i>. London, 1696.Brent Nelsonhttp://www.blogger.com/profile/16550395953656233133noreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-5435030698636419272011-07-12T09:04:00.000-07:002011-07-12T09:06:09.829-07:00Augmented Reality BookAugmented reality could provide an interesting point of crossover between the e-book and the traditional printed work where the two exist in a symbiotic relationship. Or is this just another version of the "enhanced" book with a cd in the back that no one ever uses?<br />
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<iframe src="http://player.vimeo.com/video/10956863?title=0&byline=0&portrait=0" width="400" height="225" frameborder="0"></iframe><p><a href="http://vimeo.com/10956863">Augmented Reality Book</a> from <a href="http://vimeo.com/marklukas">marklukas</a> on <a href="http://vimeo.com">Vimeo</a>.</p>Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-3959744033076455408.post-24744064253416882092011-07-02T09:20:00.000-07:002011-07-02T09:27:11.564-07:00INKE Panel at Digital Humanities 2011INKE researchers from the Interface Design team Geoffrey Rockwell, Stan Ruecker, Mihaela Ilovan, and Daniel Sondheim presented a panel at <a href="https://dh2011.stanford.edu/" _mce_href="https://dh2011.stanford.edu/">Digital Humanities 2011: Big Tent Digital Humanities</a> at Stanford University. The panel was titled "The Interface to the Collection" and consisted of short papers discussing the interface across print/electronic corpora and presentations of new interfaces to corpora. Mihaela Ilovan presented an interesting animation of the evolution of the Perseus Project interface from its early HyperCard on CD-Rom days:<br /><br /><iframe src="http://www.youtube.com/embed/-i9O6qaQCz4" allowfullscreen="" frameborder="0" height="349" width="560"></iframe><br /><br />Rockwell and Ruecker were also involved in two workshops before the conference on <a href="https://dh2011.stanford.edu/?page_id=493" _mce_href="https://dh2011.stanford.edu/?page_id=493">Visualization for Literary History</a> and <a href="https://dh2011.stanford.edu/?page_id=517" _mce_href="https://dh2011.stanford.edu/?page_id=517">Text Analysis with Voyeur</a>. (You can see the script to the Voyeur one at <a href="http://hermeneuti.ca/node/201" _mce_href="http://hermeneuti.ca/node/201">DH2011 Voyeur Tools</a>.)Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-3959744033076455408.post-41924298878816007442011-06-21T10:21:00.000-07:002011-06-21T10:34:36.636-07:00Swiss Manuscript with Multiple Levels of Commentary<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilVczR7_JKjOsB4799iuaQlzlWA-NEVVBlPYVp8hsqDF06V8F31437two7YZOQhQY19VlDOA6UZ4ihpJR-AjwzeWSFU6WL0t1wpR1MIVof0U0FXcyAQR0fEnK1YPVMgsFUhKpVeNYK7J4b/s1600/300Ege1.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilVczR7_JKjOsB4799iuaQlzlWA-NEVVBlPYVp8hsqDF06V8F31437two7YZOQhQY19VlDOA6UZ4ihpJR-AjwzeWSFU6WL0t1wpR1MIVof0U0FXcyAQR0fEnK1YPVMgsFUhKpVeNYK7J4b/s1600/300Ege1.jpeg" /></a></div>This early 12th century Swiss manuscript page (University of Saskatchewan Ege MS1) shows a page designed for annotation by later readers.<br />
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The central column of text is from the Book of John. It was flanked by two columns of commentary and was written with sufficient leading (space between lines) to allow for interlinear glosses. Over the next century readers added annotations to all four margins.Unknownnoreply@blogger.com0