Olive Schreiner, National Portrait Gallery (NPG x128457)
Over the past couple of years, my attention has been caught by new projects that digitize the letters of Victorian women writers. I’d like to share two of them here, The Olive Schreiner Letters Project and the Letters of Charlotte Mary Yonge. To me, these projects fulfill the best promises of the digital humanities, to make texts by marginalized writers freely and widely available.
The Olive Schreiner Letters project makes almost 5000 letters of the feminist and socialist writer, best known for the novel, The Story of an African Farm, freely available online. The letters, held in 16 archives across three continents, have been transcribed, double-checked, and marked up in TEI. The editors describe their impressive workflow here. (For more on the technical aspects of editing a digital edition of letters, see Miriam Posner’s helpful blog post, How Did they Make That?). Similarly, Charlotte Mitchell, Ellen Jordan, and Helen Schinske have collaborated to offer for the first time the unpublished letters of Charlotte Mary Yonge, carefully transcribed and double-checked, as an antidote to the partial information we have had about this popular mid-Victorian woman writer. I wish this archive had been available a few years ago while I was writing a chapter on Yonge, and can only say that it has already proven helpful to me in contextualizing women’s writing in the mid-nineteenth century marketplace.
The countdown is on, the ball is dropping—I am almost ready to holler “Happy New (School) Year!” and head into the classroom. I am teaching a Reading Popular Culture course this semester, and, so between rounds of rubric and syllabus design have been wracking my brains to figure out how to get my students engaged not only with new media, but also with old media.
Alan’s most recent post got me wondering how to get my students to engage with Victorian and twentieth-century media in a way that helps them see a medium as new, cutting edge, the Google glasses of its time (or indeed, perhaps more exciting than Google glasses. The glasses seem, by and large, to be met with a world weariness: “Another gadget? They look so terribly uncool”). Alan, quite rightly, warns against being sucked in by nineteenth-century newspapers’ celebratory accounts of then-new media. That said, while I would Continue reading
I’m sure I speak for all of us at the Floating Academy when I say how grateful I am to those academics who commit their time and energy to the various volunteer roles of editors, advisory board members, and manuscript readers, and thereby help create the forums where we can read the work of other scholars and publish our own research. In recent conversations with friends and colleagues in editorial roles, however, I have detected a pattern that concerns me and it relates to all the ways that we scholars, the very ones who benefit from this volunteer labor, make an editor’s role more challenging than it needs to be. Whether through missing deadlines, not responding to queries in a timely way, or not being as careful as we might be in our writing and documentation, many of us add untold hours and stress to our colleagues working in editorial roles. Continue reading
As I’ve been finishing off the manuscript for my book The Shakespearean Archive: Experiments in New Media from the Renaissance to Postmodernity, I’ve been realizing that a spin-off project could explore the new media demo as an emergent performance genre with a cultural history of its own. This should be a familiar genre thanks in part to Steve Jobs’s sense of theatricality in his Apple rollout presentations, which serve as a kind of technology theatre. Another famous tech demo from the era of modern computing is Douglas Englebart’s so-called “Mother of All Demos,” which gave the world its first look at now-commonplace features like a windowed GUI, a computer mouse and pointer, word processing, hypertext, real-time collaborative document editing (think GoogleDocs), and teleconferencing — and this was in 1968 (!!). (There’s plenty of surviving video of this particular demo, which is worth a look.) Considering this kind of event as a cultural and social phenomenon — and as a performance susceptible to critical interpretation — is something I often do with my students, and someday I’d like to teach a course on the cultural history of the tech demo at U Toronto’s iSchool. Continue reading
Jesse Oak Taylor’s recent article in Novel makes a bold claim about modelling, realism, and the project of representation. He suggests that Dickens’ novel “performs a kind of fictional ‘greenhouse effect’ in which the real is severed from its stabilizing lifeline to the natural, giving way to the paradoxically artificial nature of the Anthropocene” (1). Among the things I learned from reading it was the range of Victorian attitudes to urban pollution, including the belief “that coal smoke could be beneficial in combating [the] noxious vapours…killing off the organic components of miasma, sterilizing the fog” emanating from the natural marshes upon which London sat (13). I’m skeptical that very many Victorians held this view—every era has its fringe theorists—but Taylor’s article supports the view that Victorians were deeply aware of and interested in the effects of their industrial lives upon the landscape. Continue reading
Screenshot of 19thC Disability: A Digital Reader
Following up on Connie’s post on “Editorial Traces: The Yellow Nineties Online“, I’d like to take this post to introduce another digital project, Nineteenth-Century Disability: A Digital Reader. The project is an interdisciplinary, open-access scholarly resource on physical and cognitive disability in the long nineteenth-century. Leading and emerging scholars in nineteenth-century disability studies (including the Floating Academy’s own Jennifer Esmail and Daniel Martin), have chosen texts and objects important to the field, and annotated them with introductions, footnotes, and suggestions for further reading.
Eddy’s thoughtful post about Jeremy Deller’s kaiju-Morris mural in this year’s Biennale is full of interesting observations about what happens when nineteenth-century ideas about art and commerce and social engagement are juxtaposed with twenty-first-century versions of the same. Amid all those big ideas, I found myself quite taken by the small affective moment that kicks off Eddy’s discussion, the “Hey!” that resulted from Eddy’s unanticipated encounter with William Morris in a Globe and Mail image. Continue reading