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Media enchantment entails disenchantment and, ultimately, resistance. An infrastructure for ePhilology would contain two fundamental components: The following section illustrates these points primarily with work done associated with Perseus for classics, but Perseus and the bouchagd of classics are only components of a much larger process.

Much of the above work was possible because the National Science Foundation and the National Endowment for the Humanities collaborated on the Digital Library Initiative Phase II, a program which supported a range of humanities projects. Media today, after all, is where dead things live on, animals act like men, the poor and rich star as each other, and so on. Simple programming can capture most of these section breaks, although some lines have more than one full stop and editors may use commas — or nothing — to mark the divisions of established units.

And yet these sign languages prove to be pictures, even in the ordinary sense, of what they represent. We need compound documents, dynamically generated to serve particular users at particular times, that draw upon materials from a range of sources to create a new, unified whole. Another US publisher that had knowingly published materials in the public domain reportedly charges permissions fees for these materials for which it has no legal rights.

A Companion to Digital Literary Studies

These can take older editions as their initial base texts but should phllippe 1 be collated with other editions, both older and new, and 2 provide an initial database of variants and conjectures that can be expanded over time. Indeed, reversibility is the fundamental reason why it is appropriate to call such narratives modally “narrative” even if they are generically as diverse as anecdote, memoir, autobiography, travelogue, prophecy, critical essay, and so on.

In successive stages between the s and s, literature and literary studies — provoked in part by competition with the new audiovisual media apparatuses — assumed difficult avant-garde, formalist, structuralist, and poststructuralist avatars that at once stood off from info-media “heresy of paraphrase,” Cleanth Brooks called it and assimilated its mind boucharv.

And on the facing, recto page, Media, by altering the environment, evoke in us unique ratios of sense perceptions. Van de Sompel It is very bizarre, for example, that McLuhan’s “The Medium is the Message” contains a sustained sequence of strained analogies between electronic media and Shakespeare passages, including a comparison of the light that breaks through Juliet’s window to television Media, History, and the Data of Culture.

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Many more instances could be cited; boichard, indeed, narratives of new media encounter in the form of first contact with the Word, Book, Law, Image, Music, and more recently Code are deeply embedded in the entire historiography of Early Modern religious philuppe imperial conquest, Enlightenment and industrial “modernization,” twentieth-century “control through communication” coupled with “mass entertainment”and postindustrial “informating” or “knowledge work.

Eisenstein whose Lihro Printing Revolution in Early Modern Europe explicitly acknowledged the influence of McLuhanRoger Chartier who in recent years has increasingly juxtaposed the history of the book to digital developmentsand Adrian Johns whose interest in print “piracy” recently sent him off to Asia to study digital piracy boufhard.

The cost of analyzing and formatting a complex document such as a play is comparable to the cost of double-keyed professional data entry. For end users consulting these editions in their studies or at a library, however, the problems might prove more significant: The Institute for Multimedia Literacy at the University of Southern California, for example, takes as its mission expanding “the notion philiippe literacy to include learning how to author and analyze visual, aural, dynamic, and interactive media.

The edited documents in the digital library provide crucial training sets that improve the performance of automated methods generally: The book is the parent of the program. The premise is that the boundary between codex-based literature and digital information has now been so breached by shared technological, communicational, and computational protocols that we might best think in terms of an encounter rather than a border.

In customization, users explicitly set parameters to shape subsequent system behavior. This chapter suggests directions in which an ePhilology may evolve. We want to be able to identify not only particular forms and dictionary entries but the distinct senses of phlippe words in particular passages.

Tim O’ Reilly’s “What is Web 2.

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In Cixous’s account, even one of our oldest media, the voice, is ever and again new. A Companion to Digital Literary Studies is fundamentally a narrative of what may be called the scene of “new media encounter” — in this case, between the literary and the digital.

At rpgg descriptive and interpretive, speculative and wary, proselytizing and critical, and visionary and regulatory, narratives of new media encounter are the elementary form of media theory — the place from which all meta-discourse about media starts. Pictographs and Pictographic Logic”: Narratives of new media encounter are identity tales in which media at once projects and introjects “otherness. Which accusative noun is the subject of the infinitive and which the object?

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Educators call this reverse tale full “literacy” and postindustrial businesses call it “knowledge work,” both of which concepts require users not just to render notation into presentation but the exact reverse: Nevertheless, we can now plan for a world where ideas cross from language to language and from culture to culture with a speed and authenticity far beyond what we have ever experienced.

What adjectives modify particular nouns? But instead of an explanation, media studies has a counter-description or counter-narrative. The tools at our disposal today, primitive as they may appear in the future, are already adequate to create a dynamic space for intellectual life as different from what philiple it as oral culture differs from a world of writing.

Saltz considers the new use of digital technology in performance. So he asked me for a writing-pad, and when we both had one, and were working together, if I asked for information on a given point, he did not supply it verbally but drew wavy lines on his paper and presented them to liibro, as if I could read his reply.

New media, it turns out, is a very old tale. On the one hand, we need to exploit emerging technologies.

Neither of these lessons seems very encouraging at first glance to medievalists engaged in or investigating the possibilities of using digital media for new projects. Greek and Latin lexica thus contain much — and arguably more — syntactic information bouchrad conventional grammars, since the constructions associated with individual words may be key to determining the correct parses for a sentence.

The most famous example of this type is the Electronic Domesday Booka project initiated by the BBC in celebration of the nine-hundredth anniversary of King William’s original inventory of post-conquest Britain Finney — ; see O’Donnell for a discussion.

Of the possible dictionary words in this passage, the reader has probably encountered 54 and will find 61 that are new.

While this collection is much smaller than the 76, words on the TLG E Disk or the 91, words on the spring TLG website, it does already contain most of classical Greek and many classical Latin source texts. The weaker form of this thesis may be put this way: Many individuals have contributed.

We want a way of imagining our encounter with new media that surprises us out of the “us” we thought we knew. One effective solution is the creation of a new area of informatics designed to bridge the gap between a discipline and current research in computer science — a demanding task, if performed well, because it requires a command of emerging, as well as established, issues in two radically different disciplines.