Archive for the ‘Digital Archives’ Category

Universal Short Title Catalog (USTC)

April 5, 2014

The Universal Short Title Catalog (USTC) holds records for European books printed through the sixteenth century.  Records list locations of original copies.  If open-access digital copies are available, these are also noted.

The USTC web site describes itself as “a collective database of all books published in Europe between the invention of printing and the end of the sixteenth century.”

The project also offers 6-8 week internships at St. Andrews for

available to qualified scholars wishing to gain experience of work with a major bibliographical project. Successful applicants will receive instruction in rare books cataloguing and have the chance for hands-on experience with the University Library’s uncatalogued 17th century collections.  In addition to physical bibliography, the internship will involve extensive practice in the manipulation of digital resources. A certificate of completion or letter of reference will be made available to those successfully completing the internship. They also attend our annual book conference, held at the end of June (this coming year, 19-21 June 2014).

Please see St. Andrews’  internship page for details.  Plans are underway to expand coverage into the seventeenth century.

Folger Digital Texts Now Online (and Other March Announcements)

March 15, 2014

This month has already seen a number of news items of potential interest to EMOB readers including Gale-Cengage’s announcement that will it offer STEM e-books from Springer and Elsevier (a potentially potent nexus of publishing forces in the subscription database world) as part of its Gale Virtual Reference Library (GVRL) and that it is launching a Proprietary Monograph Publishing Program; free access in March to Orlando: Women’s Writing Online that Anna announced here a few days ago; and a note from Dr. Ian Christie-Miller about digital imaging resources he has been developing and the interest it has received in the UK.

Just this week the Folger announced that all 38 of its digital texts of Shakespeare’s plays are now available, free of charge, online. As the homepage’s title Timeless Texts, Cutting-Edge Code suggests, a key feature of these texts is the robust coding that one can freely download. Besides the meticulously executed TEI-compliant XML structure of these plays, the texts are also attractively designed for reading as this opening of All’s Well That Ends Well illustrates. This page also displays the useful digital paratexts accompanying each work. Barbara Mowat and Paul Werstine offer a brief Textual Introduction to the site.

We would like to hear from others about how they are using this new resource–both in terms of its texts and the source code.

2013 ODH Project Directors Meeting

September 23, 2013

The NEH has just announced its 2013 Office of Digital Humanities Meeting will take place on Friday, October 4, 2013, at NEH Headquarters in Washington, DC.

As in the past, the meeting will feature 3-minute Lightning-Round presentations from ODH grantees. This year thirty-two grant recipients from 2013 will be presenting–almost all of those who received a grant this year. EMOB will be reporting on these presentations in a subsequent Fall post. See an earlier post for reporting on past NEH awards.

In addition to these lightening rounds, Dr. Michael Witmore, Director of the Folger Shakespeare Library, will give one of two keynote addresses. His talk is titled “Adjacencies, Virtuous and Vicious, in the Digital Spaces of Libraries.”
Abstract: This talk will explore how techniques of discovery — scanning shelves, exploring digital texts and catalogues — may change the nature of research conducted in Libraries. The argument: with the advent of massively searchable digital corpora, the uses and advantages of “nearness” in Libraries will change.

Dr. Amanda French, Center for History and New Media at George Mason, will deliver the second keynote, “On Projects, and THATCamp”
Abstract: Since its start in 2008, THATCamp, The Humanities and Technology Camp, has seen more than 170 events held or planned worldwide and has provided digital training and professional development to more than 6000 people, most of them humanities scholars, students, or professionals. Whether we consider it one project or many, THATCamp has become an essential feature of the digital humanities landscape, and it is time for some perspective on it.

While there is no charge to attend, one must register. For more details and to register to attend, please visit the ODH webpage.

Trial Access to ECCO and NCCO for SUNY Colleges + Essay Contests

August 16, 2013

The following announcement from Gale Cengage will interest faculty and students at SUNY schools. It’s a great opportunity to explore these resources and students’ responses to them.

We hope to hear about classroom experiences here on emob.
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*****

This fall, Gale Cengage Learning is sponsoring an essay contest for SUNY students. Its purpose is to encourage primary source research using advanced databases like Eighteenth Century Collections Online (ECCO) and Nineteenth Century Collections Online (NCCO). We hope this experience with these key resources will help students prepare for a digital future.

We are offering free access to SUNY schools during fall 2013 through our new platform Artemis, which will contain both ECCO and NCCO. We hope you and your students will explore these tools to see how they enrich the learning environment. We also hope you will encourage your students to submit essays that incorporate these resources as part of the contest.

Two undergraduate essay awards ($250 each) and one graduate essay award ($500) will be offered for the best submissions on 18th-19th-century history and/or literature.

More information can be found at the link below: http://galesupport.com/suny/

Questions can be forwarded to Theresa DeBenedictis:

Theresa DeBenedictis
Gale, Cengage Learning
Theresa.debenedictis@cengage.com
1-800-877-4253 x 2229
Cell: 732-865-4249

Conference to Launch of Digital Miscellanies Index, a New Resource

August 5, 2013

On 17 September 2013, St. Peter’s College Oxford will host a one-day conference, “A Miscellany of Miscellanies: Popular Poetic Collections and the Eighteenth Century Canon” and an evening performance of eighteenth-century music to launch the Digital Miscellanies Index.

This Leverhulme-funded index was three years in the making. Its publication will make freely available 1,000 poetic miscellanies published during the eighteenth century. The Index adds to the porjects hosted by Bodleian’s Centre for the Study of the Book. The Bodleian Library’s Harding Collection, “which houses the most significant but largely neglected group of miscellanies in the world,” contains the majority of the miscellanies, but the project also contains data about copies held at the British Library and the Cambridge Library. The project developers based their work on Professor Michael Suarez, S.J.’s recent bibliography of eighteenth-century poetic miscellanies.

Dr. Abigail Williams (St. Peter’s College Oxford) is the Index’s principal investigator. Some EMOB readers may have heard Dr. Jennifer Batt, DMI’s post-doctoral project coordinator, speak about this exciting project at past American Society for Eighteenth-Century Studies conferences. As the DMI website notes, “In displaying this material for the first time, the Index will enable users to map the changing nature of literary taste in the eighteenth century.”

We look forward to the availability of the Digital Miscellanies Index and to hearing the experiences of EMOB readers using this new resource.

Preserving Digital Archives

April 28, 2013

Most attendees at the Beinecke Library’s recent conference on digital archiving–Beyond the Text: Literary Archives in the 21st Century“–arrived equipped with the idea that there is no preservation without loss.

What may have given some attendees pause, particularly those who work primarily on the first two centuries following the Reformation, is how much 21st-century digital stuff is being preserved–and how idiosyncratic the process of selection can be.

Faced with the data deluge of a contemporary literary figure’s electronic correspondence, for example, how do archivists determine what gets archived and what gets tossed?  Now that archiving can begin during a writer’s or publisher’s lifetime, without a family member’s interference (think Cassandra Austen), who shapes the archive?  And if digital archivists shape the archive, what principles of retention do they use?  Where do their loyalties lie? With the author?  Or with the data-hungry and feverishly scandal-mongering scholars of posterity?

The two-day conference raised unresolved and provocative questions, many of which focused on the problem of selection.  Fran Baker, the Assistant Archivist for John Rylands Library at the University of Manchester, discussed the complexity of archiving the Carcanet editorial papers, including email.  Hearing about the decision-making process determining what stays and what gets tossed may not seem new to librarians familiar with the problem of sorting and discarding, but in the context of shaping an archive, that decision-making process and its likelihood of error takes on urgency.

There were stories of forensic success, the most notable of which is Matthew Kirschenbaum’s narrative of the extensive and collective effort tracking down William Gibson’s electronic poem, “Agrippa,” which was designed to encrypt itself after a single reading.  That a text programmed to go away can be recovered suggests both the value of collaborating on large digital projects like The Agrippa Files and the perils of assuming that an author has control over her or his electronic archives.  Similarly, Beth Luey’s account of the rich storehouse of data contained in publishers’ records–sales data, copies printed, copies sold, print runs, design decisions, contracts, marketing files, legal disputes, reviews, book jacket design, subsidiary rights, and so forth–both encouraged work on publishers’ records and raised ethical and legal issues.  In the discussion that followed, for example, it became clear that though some publishers did not retain rejected manuscripts, others did, including pertinent correspondence and readers’ reports.

The Keynote talk by David Sutton noted that literary manuscripts are like no other manuscripts in that they offer insights into the act of creation.  He showcased ongoing projects that promote an awareness of digital literary archives:

Hazel Carby’s eloquent, harrowing, and culturally resonant account of tracing her family genealogy back to a slave owner’s carefully archived records, reminded everyone that archives preserve both the beautiful and the monstrous.

Diane Ducharme drew on her experience at the Beinecke to warn that however much we may desire an unmediated past and a pristine archival order free from editing and explicating, all archives arrive shaped and selected.  Her discussion underscored the importance of searching for the traces of a previous archivist’s work.

Micki McGee described her experience with the Yaddo Archive Project, which aims at providing visualizations of the social network of writers who worked at Yaddo.  She described the process of seeking a relational database with social network mapping and a visualization widget.  Though the project, Yaddo Circles, requires authentication and is not yet available for public view, this vimeo provides an overview.  Clicking here reveals the kind of relational visualization this project might produce.

McGee also recommended looking at the following projects:

These projects have potential for helping us recover the intensely sociable and highly competitive literary worlds of the long eighteenth century.   Like the many other provocative and interesting papers and introductions to sessions, they point a way forward even as they raise methodological, logistical, and even ethical questions.

This conference made clear the value of a longer conference, with sessions focusing on specific problems posed by digital archives of material both old and new.  I welcome contributions by others who attended the conference to help complete this cursory overview.

English Broadside Ballad Archive (EBBA at UCSB)

February 25, 2013

This is the second of a two-part series on free digital archives featuring English ballads.  It follows Eleanor’s discussion of the JISC-funded Broadside Ballad Initiative at Oxford.

The University of California at Santa Barbara has created a free digital ballad collection called The English Broadside Ballad Archive (EBBA), which provides access to more than 8,000 seventeenth-century ballads.  The collection includes ballads from the Pepys Collection, the Roxburgh Collection, the Euing Collection, and the Huntington Library.  EBBA is directed by Patricia Fumerton at UCSB.  This project was supported by the N.E.H.

Individual entries provide links to  sheet facsimiles, facsimile transcriptions, and often recordings.  These features facilitate introducing students both to ballads’ visual details–ornaments, woodcuts, columned verse–and to their tunes.

Cataloging is full and includes the following:

EBBA ID: An internal identifier. Each individual ballad in the archive has a unique EBBA ID.

Title: A diplomatic transcription of the ballad title as it appears on the ballad sheet. The title consists of all ballad text before the first lines of the ballad, including verse headers but excluding text recorded elsewhere under other catalogue headings (such as the license or author, date, publisher and printer imprints).

Date Published: The year—or, in most cases, range of years—during which EBBA believes the ballad to have been published. See Dates.

Author: The recognized author of the ballad in cases where an indication of authorship has been printed on the ballad or, in the case of Pepys ballads, when Weinstein has identified an author from external sources (e.g., Wing, Rollins).

Standard Tune: The standardized name for the melody (according to Claude M. Simpson or other reliable sources). Clicking the standard tune name will return all ballads with the same melody, including alternate tune titles.

Imprint: A diplomatic transcription of the printing, publishing, and/or location information as it appears on the ballad sheet.

License: A diplomatic transcription of the licensing or permission information as printed on the ballad.

Collection: The name of the collection to which the ballad belongs. In cases where the ballad is not part of a named collection, the name of the holding library plus “miscellaneous” will appear. For example, Huntington Library ballads that are not part of a collection are grouped as “HEH Miscellaneous.”

Sheet/Page: For ballads that are collected as independent sheets, the citation page displays the word “Sheet” and lists the sheet number given to it by its holding institution (usually part of its shelfmark). For ballads bound in a book, the citation page displays the word “Page” and lists the page number within the bound volume.

Location: The name of the holding institution.

Shelfmark: The shelfmark assigned by the holding institution.

ESTC ID: The Citation Number for the English Short Title Catalogue (ESTC). Use this number to find the full ESTC citation for any given ballad at http://estc.bl.uk/.

Keyword Categories: The keywords from EBBA’s standardized keyword list that relate to the ballad’s theme and content.

Notes: Clarify potential areas of confusion for users, such as ballads that have print on both sides of a sheet.

MARC Record: A link to our MARC-XML records

Additional Information: Information specific to each part of the ballad.

Title: Separate titles for multi-part ballads.

Tune Imprint: Tune title(s) as printed.

First Lines: A diplomatic transcription of the first two lines of the ballad text proper, below any heading information included in the title or elsewhere under other catalogue headings.

Refrain: Repeated lines at the end of or within ballad stanzas.

Condition: Description of ballad sheet damage and the current state of the sheet. (This information is from Weinstein and is currently for the Pepys collection only.)

Ornament: A list of decorations made of cast metal that appear on the ballad. Frequently used to fill empty spaces in the forme and/or to delimit parts of the ballad text, these ornaments include vertical rules, horizontal rules, and cast fleurons. (This information is from Weinstein and is currently for the Pepys collection only.)

Ballad scholars working with EEBO or ECCO will be familiar with the difficulty of finding ballads, making English Broadside Ballad Archive and Bodleian Library Broadside Ballads necessary.

Together with new printed resources, such as Patricia Fumerton and Anita Guerrini’s Ballads and Broadsides in Britain, 1500-1800 (Ashgate 2010) and Angela McShane’s Political Broadside Ballads of Seventeenth-Century England: A Critical Bibliography (Pickering & Chatto 2011), these digital resources provide a robust and growing archive  for the systematic study of a format whose transiency may have discouraged such studies in the past.

Finding English Verse, 1650-1800

January 23, 2013

The following announcement comes from James Woolley, English, Lafayette College:

A revised and enlarged checklist of first-line indexes and fully searchable texts is available here.

Since last report (August 2010), quite a bit has happened. The Union First Line Index of English Verse has expanded significantly; it now includes, in addition to manuscript verse, printed verse 1603-1710, with more additions promised. We have a new index of Gentleman’s Magazine verse. Other big projects are announced in this update of the checklist as well. For a clue about what’s new, see the update history, p. 22.

Prof. Woolley would like to be apprised of news that ought to be mentioned in the checklist, or errors that ought to be corrected.

SHARP 2013 Call for Submissions, for digital projects related to book history and bibliography

December 13, 2012

The Organizing Committee for the Philadelphia SHARP Conference 2013 announces a second Call for Submissions, for digital projects related to book history and bibliography. These may include but are not limited to research tools, apps and software, bibliographies or databases, corpora of media or texts, digitization initiatives, remediations, and interactive interfaces.

 We will exhibit up to 20 of these projects in a free-form session in which participants will be able to share their digital and new media work with an audience of nearly 300 conference delegates (faculty, librarians, administrators, independent scholars, graduate students).

 The Showcase will be held between 12 and 3pm on Saturday, July 20, 2013. The conference runs from Thursday, July 18 to Sunday, July 21, 2013.

 We welcome submissions on all aspects of SHARP’s purview: authorship, reading, and publishing. We particularly encourage proposals of new or recent work, as well as proposals directly relevant to the conference theme, “Geographies of the Book.” (To learn more about the 2013 Conference, please visit our website at http://www.library.upenn.edu/exhibits/lectures/SHARP2013/index.html).

 The deadline for proposals is Friday, January 25, 2013, at 11:59 p.m.

Eastern Standard Time (GMT +5h).

 

To submit, please email the SHARP 2013 Program Committee at sharpupenn2013@gmail.com with a brief introduction (up to 400 words) of your project/tool/software. Questions that may be addressed include:

  •  what were the origins of your project; what are its theoretical underpinnings and its goals?
  • what are the historical period and geography/ies covered?
  • what determined its design? what tools and software were used? if your project *is* a tool or software, how does it benefit book historians and/or bibliographers
  • how did the digital or media component(s) of your project enable, strengthen, or transform the materials and methods under consideration? what new questions were raised?
  • how might this approach or tool be scaled up, appropriated, or reused in other contexts?

 Please be sure to name all participants and institutions involved.

 Participants will be expected to provide their own hardware for demonstrations (PCs/Macs, tablets, drives, sound systems, etc.). The conference’s Local Arrangements Committee will provide logistical assistance (tables, chairs, extension cords, Internet access) but cannot offer tech support.

 Those who have submitted papers to the main conference program may also submit project proposals to the Digital Projects Showcase, but, with consideration for program planning and maximal participation, will only be selected for one or the other.

 One participant for each proposal must be(come) a member of SHARP prior to the conference.

 

Some financial assistance may be available; in the past we have been able to fund between 10-15% of all travel grant requests. If you wish to apply for a travel grant, please include a statement of up to 150 words explaining how much funding you are requesting and why.

 

Please contact the SHARP Program Committee with any questions by email at sharpupenn2013@gmail.com or by phone at +1.347.6SHRP13 (+1.347.647.7713).

 We look forward to your submissions and to showcasing our changing digital landscape in Philadelphia next July.

 Sincerely,

David McKnight

Convenor, SHARP 2013 Conference, Philadelphia

 

“Geographies of the Book”

The 21st Annual Conference of the Society for the History of Authorship, Reading, and Publishing (SHARP)

18-21 July, 2013

University of Pennsylvania, Philadelphia, PA http://www.library.upenn.edu/exhibits/lectures/SHARP2013/index.html

Folger Digital Texts: Shakespeare’s Plays, Cutting-Edge Code: A Powerful Research Tool for Scholars

December 6, 2012

The Folger is delighted to announce the launch of Folger Digital Texts. These are reliable, expertly edited, and free digital Shakespeare texts for use by researchers. Starting from the Folger Editions of Shakespeare’s works edited by Barbara Mowat and Paul Werstine, Folger Digital Texts uses XML to create a highly articulate indexing system. Researchers can read the plays online, download PDFs for offline reading, search a play or the whole corpus, navigate by act, scene, line, or the new Folger Throughline Numbers. In short, every word, space, and piece of punctuation has its own place online. Twelve plays are currently available, and the remainder of the works and poems will be released throughout 2013.

The XML-coded files are offered as a free download for noncommercial use by scholars and can be used as the groundwork for digital Shakespeare research projects, app development, and other projects.

The Folger Shakespeare Library editions, published by Simon and Schuster, remain available in print and as ebooks and include essays, glosses, notes, and illustrations from the materials in the Folger collections.

The Folger Digital Texts team includes Rebecca Niles, editor and interface architect, and Michael Poston, editor and encoding architect. They welcome your feedback at folgertexts (at) folger.edu.

If you click here, you will be taken directly to Folger Digital Texts.


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