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This book investigates the practices of reconstructing and representing performance art and their power to shape this art form and our understanding of it. Performance art emerged internationally between the 1960s and 1970s crossing disciplinary boundaries between performing arts and visual arts. Because of the challenge it posed to the ontologies and paradigms of these fields, performance art has since stimulated an ongoing debate on the most appropriate means to document, preserve and display it. Tancredi Gusman brings together international scholars from different disciplinary fields to examine methods, media, and approaches by which this art form has been represented and (re)activated over time and its transnational history reconstructed. Through contributions and case studies spanning various countries, regions and artistic fields, the authors outline an innovative theoretical-methodological framework for capturing the processes and strategies for transmitting the tangible and intangible heritage of performance art. This book will be of great appeal to students, researchers, and practitioners in the fields of Theatre and Performance Studies as well as Visual Arts and Art History, who have an interest in performance art, its history and presence in the contemporary artistic and cultural landscape.

Unsere »second screens«, E-Reader, Smartphones und Tablets, haben die Grenze zwischen digitalen und gedruckten Texten durchlässig gemacht. Doch die Frage ist nicht, ob das Ende des Buches gekommen ist, sondern welchen Umgang mit Information, Wissen und Literatur die jeweilige Form des Textes ermöglicht. Angesichts wachsender Online-Textarchive gilt es, beide Formen des Textes aktiv zu nutzen. Eine ko-operative Lektüre, die vom Buch zum Bildschirm und vom Bildschirm zum Buch wechselt, kann Vor- und Nachteile beider Medien beobachten und nutzen lernen. Dabei ist auch das Buch als materieller Gegenstand wiederzuentdecken, der zu etwas auffordert, das mit keinem digitalen Text gemacht werden kann – einer Kulturtechnik, der bislang kaum Aufmerksamkeit geschenkt wurde: das Blättern in Büchern.

Digital Humanities Workshops is the first volume to focus explicitly on the most common and accessible kind of training in digital humanities (DH): workshops.Drawing together the experiences and expertise of dozens of scholars and practitioners from a variety of disciplines and geographical contexts, the chapters in this collection examine the development, deployment, and assessment of a workshop or workshop series. In the first section,'Where?', the authors seek to situate digital humanities workshops within local, regional, and national contexts. The second section,'Who?', guides readers through questions of audience in relation to digital humanities workshops. In the third and final section,'How?', authors explore the mechanics of such workshops. Taken together, the chapters in this volume answer the important question: why are digital humanities workshops so important and what is their present and future role?Digital Humanities Workshops examines a range of digital humanities workshops and highlights audiences, resources, and impact. This volume will appeal to academics, researchers and postgraduate students, as well as professionals working in the DH field.

The ubiquity of social media has transformed the scope and scale of scholarly communication in the arts and humanities. The consequences of this new participatory and collaborative environment for humanities research has allowed for fresh approaches to communicating research. Social Knowledge Creation takes up the norms and customs of online life to reorient, redistribute, and oftentimes flatten traditional academic hierarchies. This book discusses the implications of how humanists communicate with the world and looks to how social media shapes research methods. This volume addresses peer-review, open access publishing, tenure and promotion, mentorship, teaching, collaboration, and interdisciplinarity as a comprehensive introduction to these rapidly changing trends in scholarly communication, digital pedagogy, and educational technology. Collaborative structures are rapidly augmenting disciplinary focus of humanities curriculum and the public impact of humanities research teams with new organizational and disciplinary thinking. Social Knowledge Creation represents a particularly dynamic and growing field in which the humanities seeks to find new ways to communicate the legacy and traditions of humanities based inquiry in a 21st century context. New Technologies in Medieval and Renaissance Studies Volume 7. Edited by Alyssa Arbuckle, Aaron Mauro, and Daniel Powell

A cutting-edge view of the digital humanities at a time of global pandemic, catastrophe, and uncertaintyWhere do the digital humanities stand in 2023? Debates in the Digital Humanities 2023 presents a state-of-the-field vision of digital humanities amid rising social, political, economic, and environmental crises; a global pandemic; and the deepening of austerity regimes in U.S. higher education. Providing a look not just at where DH stands but also where it is going, this fourth volume in the Debates in the Digital Humanities series features both established scholars and emerging voices pushing the field's boundaries, asking thorny questions, and providing space for practitioners to bring to the fore their research and their hopes for future directions in the field. Carrying forward the themes of political and social engagement present in the series throughout, it includes crucial contributions to the field—from a vital forum centered on the voices of Black women scholars, manifestos from feminist and Latinx perspectives on data and DH, and a consideration of Indigenous data and artificial intelligence, to essays that range across topics such as the relation of DH to critical race theory, capital, and accessibility.Contributors: Harmony Bench, Ohio State U; Christina Boyles, Michigan State U; Megan R. Brett, George Mason U; Michelle Lee Brown, Washington State U; Patrick J. Burns, New York U; Kent K. Chang, U of California, Berkeley; Rico Devara Chapman, Clark Atlanta U; Marika Cifor, U of Washington; María Eugenia Cotera, U of Texas; T. L. Cowan, U of Toronto; Marlene L. Daut, U of Virginia; Quinn Dombrowski, Stanford U; Kate Elswit, U of London; Nishani Frazier, U of Kansas; Kim Gallon, Brown U; Patricia Garcia, U of Michigan; Lorena Gauthereau, U of Houston; Masoud Ghorbaninejad, University of Victoria; Abraham Gibson, U of Texas at San Antonio; Nathan P. Gibson, Ludwig-Maximilians-Universität, Munich; Kaiama L. Glover, Barnard College; Hilary N. Green, Davidson College; Jo Guldi, Southern Methodist U; Matthew N. Hannah, Purdue U Libraries; Jeanelle Horcasitas, DigitalOcean; Christy Hyman, Mississippi State U; Arun Jacob, U of Toronto; Jessica Marie Johnson, Johns Hopkins U and Harvard U; Martha S. Jones, Johns Hopkins U; Annette K. Joseph-Gabriel, Duke U; Mills Kelly, George Mason U; Spencer D. C. Keralis, Digital Frontiers; Zoe LeBlanc, U of Illinois at Urbana-Champaign; Jason Edward Lewis, Concordia U; James Malazita, Rensselaer Polytechnic Institute; Alison Martin, Dartmouth College; Linda García Merchant, U of Houston Libraries; Rafia Mirza, Southern Methodist U; Mame-Fatou Niang, Carnegie Mellon U; Jessica Marie Otis, George Mason U; Marisa Parham, U of Maryland; Andrew Boyles Petersen, Michigan State U Libraries; Emily Pugh, Getty Research Institute; Olivia Quintanilla, UC Santa Barbara; Jasmine Rault, U of Toronto Scarborough; Anastasia Salter, U of Central Florida; Maura Seale, U of Michigan; Celeste Tường Vy Sharpe, Normandale Community College; Astrid J. Smith, Stanford U Libraries; Maboula Soumahoro, U of Tours; Mel Stanfill, U of Central Florida; Tonia Sutherland, U of Hawaiʻi at Mānoa; Gabriela Baeza Ventura, U of Houston; Carolina Villarroel, U of Houston; Melanie Walsh, U of Washington; Hēmi Whaanga, U of Waikato; Bridget Whearty, Binghamton U; Jeri Wieringa, U of Alabama; David Joseph Wrisley, NYU Abu Dhabi. Cover alt text: A text-based cover with the main title repeating right-side up and upside down. The leftmost iteration appears in black ink; all others are white.

How do we understand religious spaces? What is their role or function within specific religious traditions or with respect to religious experience? This handbook brings together thirty-three essays addressing these questions using a range of methods and approaches to examine specific spaces or types of spaces around the world and across time. The authors here represent and draw upon many disciplines: religious studies and religion, anthropology, archaeology, architectural history and architecture, cultural and religious history, sociology, geography, gender and women's studies and others. Their essays are snapshots, each offering a specific way to think about the religious space(s) under consideration: Roman shrines, Jewish synagogues, Christian churches, Muslim and Catholic shrines, indigenous spaces in Central America and East Africa, cemeteries, memorials, and more. Some overarching principles emerge from these snapshots. The authors demonstrate that religious spaces are simultaneously individual and collective, personal and social; that they are influenced by culture, tradition, and immediate circumstances; and that they participate in various relationships of power. These essays demonstrate that religious spaces do not simply provide a convenient background for religious action but are also constituent of religious meaning and religious experience; they play an active role in creating, expressing, broadcasting, maintaining, and transforming religious meanings and religious experiences. By learning how religious spaces function, readers of this collection will gain a deeper understanding of religious life and religions themselves.

A collection of essays providing insights into new directions in rhetorical history Kathleen J. Turner's 1998 multicontributor volume Doing Rhetorical History: Concepts and Cases quickly became a foundational text in the field, and the studies in the book have served as an important roadmap for scholars undertaking such scholarship. In the decades since its publication, developments in rhetorical-historical research, engaged scholarship, and academic interventionism have changed the practice of rhetorical history tremendously. To address this shift, Turner and Jason Edward Black have edited a much-anticipated follow-up volume: Reframing Rhetorical History: Cases, Theories, and Methodologies, which reassesses both history as rhetoric and rhetorical history as practice. This new book attends to a number of topics that have become not just hot-button issues in rhetorical scholarship but have entrenched themselves as anchors within the field. These include digital rhetoric, public memory, race and ethnicity, gender dynamics and sexualities, health and well-being, transnationalism and globalization, social justice, archival methods and politics, and colonialism and decoloniality. The sixteen essays are divided into four major parts: “Digital Humanities and Culture” introduces methods and cases using twenty-first century technologies; “Identities, Cultures, and Archives” addresses race and gender within the contexts of critical race theory, gendered health rhetoric, race-based public memory, and class/sectionalism; “Approaches to Nationalism and Transnationalism” explores ideologies related to US and international cultures; and “Metahistories and Pedagogies” explores creative ways to approach the frame of metarhetorical history given what the field has learned since the publication of Doing Rhetorical History. CONTRIBUTORS Andrew D. Barnes / Jason Edward Black / Bryan Crable / Adrienne E. Hacker Daniels / Matthew deTar / Margaret Franz / Joe Edward Hatfield / J. Michael Hogan / Andre E. Johnson / Madison A. Krall / Melody Lehn / Lisbeth A. Lipari / Chandra A. Maldonado / Roseann M. Mandziuk / Christina L. Moss / Christopher J. Oldenburg / Sean Patrick O'Rourke / Daniel P. Overton / Shawn J. Parry-Giles / Philip Perdue / Kathleen J. Turner

This volume is a groundbreaking discussion of the role of digital media in research on ancient painting, and a deep reflection on the effectiveness of digital media in opening the field to new audiences. The study of classical art always oscillates between archaeology and classics, between the study of ancient texts and archaeological material. For this reason, it is often difficult to collect all the data, to have access to both types of information on an equal basis. The increasing development of digital collections and databases dedicated to both archaeological material and ancient texts is a direct response to this problem. The book's central theme is the role of the digital humanities, especially digital collection,s such as the Digital Milliet, in the study of ancient Greek and Roman painting. Part 1 focuses on the transition between the original print version of the Recueil Milliet and its digital incarnation. Part 2 addresses the application of digital tools to the analysis of ancient art. Part 3 focuses on ancient wall painting. The book will be of interest to scholars working in art history, classics, archaeology, and digital humanities.

Publikace prostřednictvím uceleného souboru mezioborově pojatých statí dokumentuje inovace, které tzv. digitální obrat přináší do práce českých sociálněvědních a humanitních badatelů. Rozvoj digitálních technologií totiž netransformuje pouze společnost a kulturu, ale mění i vědní obory, které se těmto oblastem lidského soužití věnují. Část studií se zabývá novými digitálními fenomény a jejich dopady na škálu problémů, kterými se sociální a humanitní vědy musí zabývat. Empiricky laděné kapitoly pak sledují jednotnou linii výkladu, v níž čtenářům nejprve představí jevy vymezené v tradiční oborové perspektivě a následně názorně předvedou uplatnění digitálních postupů, s jejichž pomocí lze zkoumanou oblast uchopit prostřednictvím počítačové analýzy. Kniha zůstává přístupná i pro čtenáře, kteří nemají předchozí znalosti programování a odborných digitálních aplikací, ale mají zájem seznámit se blíže se způsoby, jak zkoumat společnost a kulturu s využitím dat a počítačů.

An important new approach to the study of laboratories, presenting a practical method for understanding labs in all walks of life From the “Big Science” of Bell Laboratories to the esoteric world of séance chambers to university media labs to neighborhood makerspaces, places we call “labs” are everywhere—but how exactly do we account for the wide variety of ways that they produce knowledge? More than imitations of science and engineering labs, many contemporary labs are hybrid forms that require a new methodological and theoretical toolkit to describe. The Lab Book investigates these vital, creative spaces, presenting readers with the concept of the “hybrid lab” and offering an extended—and rare—critical investigation of how labs have proliferated throughout culture.Organized by interpretive categories such as space, infrastructure, and imaginaries, The Lab Book uses both historical and contemporary examples to show how laboratories have become fundamentally connected to changes in the contemporary university. Its wide reach includes institutions like the MIT Media Lab, the Tuskegee Institute's Jesup Wagon, ACTLab, and the Media Archaeological Fundus. The authors cover topics such as the evolution and delineation of lab-based communities, how labs'tools and technologies contribute to defining their space, and a glossary of key hybrid lab techniques.Providing rich historical breadth and depth, The Lab Book brings into focus a critical, but often misunderstood, aspect of the contemporary arts and humanities.

In An Archaeological, Sociological and Historical Study, volume 2 of The Oasis of Bukhara, Rocco Rante, Florian Schwarz and Luigi Tronca engage in a strong, pluridisciplinary collaboration and use an innovative approach to offer a new contribution to the history of the oasis of Bukhara from the end of the last millennium BCE to the end of the medieval era. Referencing archaeological, historical and sociological data, the book revisits the history of this Central Asian region, giving the specialist and general reader a detailed description of the political and socio-economical features that characterized the oasis during this long chronological span. The volume is co-published by Brill, Leiden, and the Louvre Museum, Paris.

A necessary volume of essays working to decolonize the digital humanities Often conceived of as an all-inclusive “big tent,” digital humanities has in fact been troubled by a lack of perspectives beyond Westernized and Anglophone contexts and assumptions. This latest collection in the Debates in the Digital Humanities series seeks to address this deficit in the field. Focused on thought and work that has been underappreciated for linguistic, cultural, or geopolitical reasons, contributors showcase alternative histories and perspectives that detail the rise of the digital humanities in the Global South and other “invisible” contexts and explore the implications of a globally diverse digital humanities.Advancing a vision of the digital humanities as a space where we can reimagine basic questions about our cultural and historical development, this volume challenges the field to undertake innovation and reform. Contributors: Maria José Afanador-Llach, U de los Andes, Bogotá; Maira E. Álvarez, U of Houston; Purbasha Auddy, Jadavpur U; Diana Barreto Ávila, U of British Columbia; Deepti Bharthur, IT for Change; Sayan Bhattacharyya, Singapore U of Technology and Design; Anastasia Bonch-Osmolovskaya, National Research U Higher School of Economics; Jing Chen, Nanjing U; Carlton Clark, Kazimieras Simonavičius U, Vilnius; Carolina Dalla Chiesa, Erasmus U, Rotterdam; Gimena del Rio Riande, Institute of Bibliographic Research and Textual Criticism; Leonardo Foletto, U of São Paulo; Rahul K. Gairola, Murdoch U; Sofia Gavrilova, Leibniz Institute for Regional Geography; Andre Goodrich, North-West U; Anita Gurumurthy, IT for Change; Aliz Horvath, Eötvös Loránd U; Igor Kim, Russian Academy of Sciences; Inna Kizhner, Siberian Federal U; Cédric Leterme, Tricontinental Center; Andres Lombana-Bermudez, Pontificia, U Javeriana, Bogotá; Lev Manovich, City U of New York; Itay Marienberg-Milikowsky, Ben-Gurion U of the Negev; Maciej Maryl, Polish Academy of Sciences; Nirmala Menon, Indian Institute of Technology, Indore; Boris Orekhov, National Research U Higher School of Economics; Ernesto Priego, U of London; Sylvia Fernández Quintanilla, U of Kansas; Nuria Rodríguez-Ortega, U of Málaga; Steffen Roth, U of Turku; Dibyadyuti Roy, Indian Institute of Technology, Jodhpur; Maxim Rumyantsev, Siberian Federal U; Puthiya Purayil Sneha, Centre for Internet and Society, Bengaluru; Juan Steyn, South African Centre for Digital Language Resources; Melissa Terras, U of Edinburgh; Ernesto Miranda Trigueros, U of the Cloister of Sor Juana; Lik Hang Tsui, City U of Hong Kong; Tim Unwin, U of London; Lei Zhang, U of Wisconsin–La Crosse.

Make to Know: From Spaces of Uncertainty to Creative Discovery will change the way you think about creativity. The book upends popular notions of innate artistic and visionary genius and probes instead the event of discovery that happens through the act of making. In contrast to the classic tale of Michelangelo, who'saw the angel in the stone', the artists and designers Buchman interviews for this book talk about knowing their work as they engage in the doing. Make to Know explores the revelatory nature of the creative journey itself. As Buchman weaves together the vivid stories of his multiple conversations, we learn about writers of all stripes as they confront creative spaces of uncertainty'the blank page'; about visual artists and what they understand from the materials they encounter; about designers and architects and the iterative process of solving problems; and about actors and musicians facing the surprises of improvisational performance. Make to Know is a book that will, ultimately, open a path to your own making, and, in the end, will have significant implications for how you live. Make to Know presents a way of thinking that democratizes creativity and uncovers a process that leads to knowing both ones work and oneself. It is relevant to anyone interested in why creativity matters.

This pioneering study harnesses virtual reality to uncover the history of five venues that have been'lost'to us: London's 1590s Rose Theatre; Bergen's mid-nineteenth-century Komediehuset; Adelaide's Queen's Theatre of 1841; circus tents hosting Cantonese opera performances in Australia's goldfields in the 1850s; and the Stardust showroom in 1950s Las Vegas. Shaping some of the most enduring genres of world theatre and cultural production, each venue marks a significant cultural transformation, charted here through detailed discussion of theatrical praxis and socio-political history. Using virtual models as performance laboratories for research, Visualising Lost Theatres recreates the immersive feel of venues and reveals performance logistics for actors and audiences. Proposing a new methodology for using visualisations as a tool in theatre history, and providing 3D visualisations for the reader to consult alongside the text, this is a landmark contribution to the digital humanities.

The creative strategies in Design for Transformative Learning offer a playful and practical approach to learning from and adapting to a rapidly changing world. Seeing continuous learning as more than the periodic acquisition of new skills this book presents a design-led approach to revising the stories we tell ourselves, unlearning old habits and embracing new practices.This book maps learning opportunities across the contemporary landscape, narrating global case studies from K12, higher education, design consultancies and researchers. It offers narrative context, best practices and emergent strategies for how designers can partner in the important work of advancing a lifetime of learning. Committed to driving sustained transformation this is a playbook of practical moves for designing memory-making, perspective-shifting, hands-on learning encounters. The book braids stories from design practice with theories of change, transformative learning literature, cognitive and social psychology research, affect theory and Indigenous knowing. Positioning the COVID-19 pandemic as a moment to question what was previously normalised, the book proposes playful strategies for seeding transformational change.The relational practice at the core of Design for Transformative Learning argues that if learning is to be transformative the experience must be embodied, cognitive and social. This book is an essential read for design and social innovation researchers, facilitators of community engagement and co-design workshops, design and arts educators and professional learning designers. It is a useful primer for K12 teachers, organisational change practitioners and professional development facilitators curious to explore the intersection of design and learning.The companion website for the book is a practical resource that connects to many of the projects, activities, methods, designers and stories introduced in the book. The site includes links to downloadable colour diagrams, templates for digital learning encounters, and additional reflective narratives on transformative experiences.www.designingtransformativelearning.com

What led Shakespeare to write his most cryptic poem,'The Phoenix and Turtle'? Could the Phoenix represent Queen Elizabeth, on the verge of death as Shakespeare wrote? Is the Earl of Essex, recently executed for treason, the Turtledove lover of the Phoenix? Questions such as these dominate scholarship of both Shakespeare's poem and the book in which it first appeared: Robert Chester's enigmatic collection of verse, Love's Martyr (1601), where Shakespeare's allegory sits next to erotic love lyrics by Ben Jonson, George Chapman and John Marston, as well as work by the much lesser-known Chester. Don Rodrigues critiques and revises traditional computational attribution studies by integrating the insights of queer theory to a study of Love's Martyr. A book deeply engaged in current debates in computational literary studies, it is particularly attuned to questions of non-normativity, deviation and departures from style when assessing stylistic patterns. Gathering insights from decades of computational and traditional analyses, it presents, most radically, data that supports the once-outlandish theory that Shakespeare may have had a significant hand in editing works signed by Chester. At the same time, this book insists on the fundamentally collaborative nature of production in Love's Martyr. Developing a compelling account of how collaborative textual production could work among early modern writers, Shakespeare's Queer Analytics is a much-needed methodological intervention in computational attribution studies. It articulates what Rodrigues describes as'queer analytics': an approach to literary analysis that joins the non-normative close reading of queer theory to the distant attention of computational literary studies – highlighting patterns that traditional readings often overlook or ignore.

A comprehensive overview into digital literary studies that equips readers to navigate the difficult contentions in this space. The Literary Agenda is a series of short polemical monographs about the importance of literature and of reading in the wider world and about the state of literary education inside schools and universities. The category of'the literary'has always been contentious. What is clear, however, is how increasingly it is dismissed or is unrecognised as a way of thinking or an arena for thought. It is sceptically challenged from within, for example, by the sometimes rival claims of cultural history, contextualized explanation, or media studies. It is shaken from without by even greater pressures: by economic exigency and the severe social attitudes that can follow from it; by technological change that may leave the traditional forms of serious human communication looking merely antiquated. For just these reasons this is the right time for renewal, to start reinvigorated work into the meaning and value of literary reading. You may have heard of the digital humanities--and what you may have heard may not have been good. Yet like an oncoming storm, the relentless growth of the use of digital methods for the study of literature seems inevitable. This book gives an insight into the ways in which digital approaches can be used to study literature and the ways in which humanistic study can be used to explore digital literature. Examining its subject across the axes of authorship, space, and visualization, maps and place, distance and history, and ethical approaches to the digital humanities, this book introduces newcomers to the topic while also offering plenty for seasoned digital humanities pros. Combining original research with third-party case studies and examples, this book will appeal both to students and researchers across all levels who wish to learn about digital literary studies.

As in all fields and disciplines of the humanities, Jewish Studies scholars find themselves confronted with the rapidly increasing availability of digital resources (data), new technologies to　interrogate and analyze them (tools), and the question of how to critically engage with these developments. This volume discusses how the digital turn has affected the field of Jewish Studies. It explores the current state of the art and probes how digital developments can be harnessed to address the specific questions, challenges and problems that Jewish Studies scholars confront. In a field characterised by dispersed sources, and heterogeneous scripts and languages that speak to a multitude of cultures and histories, of abundance as well as loss, what is the promise of Digital Humanities methods--and what are the challenges and pitfalls? The articles in this volume were originally presented at the international conference #DHJewish - Jewish Studies in the Digital Age, which was organised at the Centre for Contemporary and Digital History (C²DH) at University of Luxembourg in January 2021. The first big international conference of its kind, it brought together more than sixty scholars and heritage practitioners to discuss how the digital turn affects the field of Jewish Studies.

Campus Medius explores and expands the possibilities of digital cartography in cultural and media studies. Simon Ganahl documents the development of the project from a historical case study to a mapping platform. Based on the question of what a media experience is, the concepts of the apparatus (dispositif) and the actor-network are translated into a data model. A time-space of twenty-four hours in Vienna in May 1933, marked by a so-called »Turks Deliverance Celebration« (Türkenbefreiungsfeier), serves as an empirical laboratory. This Austrofascist rally is mapped from multiple perspectives and woven into media-historical networks, spanning from the seventeenth century up to the present day.

Campus Medius erforscht und erweitert die Möglichkeiten der digitalen Kartografie in den Kultur- und Medienwissenschaften. Simon Ganahl dokumentiert die Entwicklung des Projekts von einer historischen Fallstudie zur Mapping-Plattform. Ausgehend von der Frage, was eine mediale Erfahrung ist, werden die Konzepte des Dispositivs und des Akteur-Netzwerks in ein Datenmodell übersetzt. Als Labor dient ein Zeit-Raum von 24 Stunden im Mai 1933 in Wien, der von einer austrofaschistischen »Türkenbefreiungsfeier« geprägt ist. Diese Massenkundgebung wird multiperspektivisch kartografiert und in medienhistorische Netzwerke eingeflochten, die sich vom 17. Jahrhundert bis in unsere Gegenwart aufspannen.

How are digital humanists drawing on libraries and archives to advance research and learning in the field of religious studies and theology? How can librarians and archivists make their collections accessible to digital humanists? The goal of this volume is to provide an overview of how religious and theological libraries and archives are supporting the nascent field of digital humanities in religious studies. The volume showcases the perspectives of faculty, librarians, archivists, and allied cultural heritage professionals who are drawing on primary and secondary sources in innovative ways to create digital humanities projects in theology and religious studies. Topics include curating collections as data, conducting stylometric analyses of religious texts, and teaching digital humanities at theological libraries. The shift to digital humanities promises closer collaborations between scholars, archivists, and librarians. The chapters in this volume constitute essential reading for those interested in the future of theological librarianship and of digital scholarship in the fields of religious studies and theology.

This book explores the use of digital humanities (DH) to understand, interpret, and annotate the poetics of Indian literary and cultural texts, which circulate in digital forms — in manuscripts — and as oral or musical performance. Drawing on the linguistic, cultural, historical, social, and geographic diversity of Indian texts and contexts, it foregrounds the use of digital technologies — including minimal computing, novel digital humanities research and teaching methodologies, critical archive generation and maintenance — for explicating poetics of Indian literatures and generating scholarly digital resources which will facilitate comparative readings.With contributions from DH scholars and practitioners from across India, the United States, the United Kingdom, and more, this book will be a key intervention for scholars and researchers of literature and literary theory, DH, media studies, and South Asian Studies.

Participatory Practice in Space, Place, and Service Design'is premised on a belief in the importance of participatory practices in finding creative solutions to the plethora of problems we face today. It argues that engaging professions with the public in mutual exploration, analysis, and creative thinking is essential. It not only ensures better quality products, places, services, and a greater sense of civic agency but also facilitates fuller access to them and the life opportunities they can unleash. This book offers a uniquely varied perspective of the myriad ways in which participatory practices operate across disciplines and how they impact the worlds and communities we create and inhabit. This book suggests that participatory practices are multi-disciplinary and relevant in fields as diverse as design, architecture, education, health care, sustainability, and community activism, to name a few of those discussed here. How do designed objects and environments affect wellness, creativity, learning, and a sense of belonging? How do products and services affect everyday experience and attitudes towards issues such as sustainability? How does giving people a creative voice in their own education, services, and built environments open up their potential and strengthen identity and civic agency? Addressing these questions requires a rethinking of relations between people, objects, and environments; it demands attention to space, place, and services.

This book explores the intersection of folklore and new media storytelling in feminist adaptations of traditional fairy tales. Focusing on the Germanic folktale, the author investigates how retelling and reinterpreting fairy tales in online fan fiction both criticizes traditional narratives and reinforces the continued importance of fairy tales, while also mirroring contemporary concerns and changes in German-speaking society. Fan versions of the examined folktales are repurposed to serve new functions within the communities in which they are told. Within the community investigated in this book, the stories open an online space where women can reclaim and reconsider the role canonical fairy tales play in their lives. Introducing fandom and new media studies to the realm of oral storytelling and folklore produces a new way of understanding the importance of communal folklore even in an age of mass culture. The adaptations traced throughout this book show the fascinating longevity and flexibility of the folktale and its power to reimagine the Germanic past into the future.

Building from a range of essays representing multiple fields of expertise and traversing multiple religious traditions, this important text provides analytic rigor to a question now pressing the academic study of religion: what is the relationship between the material and the digital?Its chapters address a range of processes of mediation between the digital and the material from a variety of perspectives and sub-disciplines within the field of religion in order to theorize the implications of these two turns in scholarship, offer case studies in methodology, and reflect on various tools and processes. Authors attend to religious practices and the internet, digital archives of religion, decolonization, embodiment, digitization of religious artefacts and objects, and the ways in which varied relationships between the digital and the material shape religious life.Collectively, the volume demonstrates opportunities and challenges at the intersection of digital humanities and material religion. Rather than defining the bounds of a new field of inquiry, the essays make a compelling case, collectively and on their own, for the interpretive scrutiny required of the humanities in the digital age.

The Routledge Companion to Humanism and Literature provides readers with a comprehensive reassessment of the value of humanism in an intellectual landscape. Offering contributions by leading international scholars, this volume seeks to define literature as a core expressive form and an essential constitutive element of newly reformulated understandings of humanism.While the value of humanism has recently been dominated by anti-humanist and post-humanist perspectives which focused on the flaws and exclusions of previous definitions of humanism, this volume examines the human problems, dilemmas, fears, and aspirations expressed in literature, as a fundamentally humanist art form and activity. Divided into three overarching categories, this companion will explore the histories, developments, debates, and contestations of humanism in literature, and deliver fresh definitions of'the new humanism'for the humanities. This focus aims to transcend the boundaries of a world in which human life is all too often defined in terms of restrictions—political, economic, theological, intellectual—and lived in terms of obedience, conformity, isolation, and fear. The Routledge Companion to Humanism and Literature will provide invaluable support to humanities students and scholars alike seeking to navigate the relevance and resilience of humanism across world cultures and literatures.

In Silencing the Past: Power and the Production of History, Michel-Rolph Trouillot writes that by examining the process of history we can “discover the differential exercise of power that makes some narratives possible and silences others.” Alternative Historiographies of the Digital Humanities examines the process of history in the narrative of the digital humanities and deconstructs its history as a straight line from the beginnings of humanities computing. By discussing alternatives histories of the digital humanities that address queer gaming, feminist game studies praxis, Cold War military-industrial complex computation, the creation of the environmental humanities, monolingual discontent in DH, the hidden history of DH in English studies, radical media praxis, cultural studies and DH, indigenous futurities, Pacific Rim postcolonial DH, the issue of scale and DH, the radical, indigenous, feminist histories of the digital database, and the possibilities for an antifascist DH, this collection hopes to re-set discussions of the straight, white origin myths of DH. Thus, this collection hopes to reexamine the silences in such a straight and white masculinist history and delineates how power comes into play to shape this straight, white DH narrative. A number of the pieces in this volume go back to the origin myth of the digital humanities to reassess the hagiography of Father Busa by reconsidering and recontextualizing his legacy and his work in relation to media archaeology, politics, Cold War maneuvers, mechanized genocide, the Third Reich, and the military-industrial complex as it has organized various fields, including Asian Studies. This reassessment of comparative genealogies — vis-à-vis Foucault — undergirds an alternative history of the Jesuit hagiography we have so far been unwilling to reexamine for its narrative use in embellishing an origin hagiography/historiography for digital humanities. Other pieces intertwine the digital humanities with other fields — area studies, Asian American Studies, cultural studies, literary studies, and environmental studies — in order to reexamine how the intersections and juxtapositions reveal silences in these histories. And finally, a number of pieces considers alternative praxes in rethinking these histories, whether it is an essay that is a game or a reevaluation of feminist media praxis.

In a data-driven world, anything can be data. As the techniques and scale of data analysis advance, the need for a response from rhetoric and composition grows ever more pronounced. It is increasingly possible to examine thousands of documents and peer-review comments, labor-hours, and citation networks in composition courses and beyond. Composition and Big Data brings together a range of scholars, teachers, and administrators already working with big-data methods and datasets to kickstart a collective reckoning with the role that algorithmic and computational approaches can, or should, play in research and teaching in the field. Their work takes place in various contexts, including programmatic assessment, first-year pedagogy, stylistics, and learning transfer across the curriculum. From ethical reflections to database design, from corpus linguistics to quantitative autoethnography, these chapters implement and interpret the drive toward data in diverse ways.

Illuminating their breadth and diversity, this book presents a comprehensive and multidisciplinary view of legal documents and their manifold forms, uses, materialities and meanings. In 1951, Suzanne Briet, a librarian at the Bibliotheque Nationale in Paris, famously said that an antelope in a zoo could be a document, thereby radically changing the way documents were analysed and understood. In the fifty years since this pronouncement, the digital age has introduced a potentially limitless range of digital and technological forms for the capture and storage of information. In their multiplicity and their ubiquity, documents pervade our everyday life. However, the material, intellectual, aesthetic and political dimensions and effects of documents remain difficult to pin down. Taking a multidisciplinary and international approach, this collection tackles the question, what is a legal document?, in order to explore the material, aesthetic and intellectual attributes of legal documentation; the political and colonial orders reflected and embedded in documents; and the legal, archival and social systems which order and utilise information. As well as scholars in law, documentary theory, history, Indigenous studies, art history and design theory and practice, this book will also appeal to those working in libraries, archives, galleries and museums, for whom the ongoing challenges of documentation in the digital age are urgent and timely questions.

How Black Latinx communities are using digital technology to achieve visibility and social justice This volume presents examples of how digital technologies are being used by people of African descent in South America and the Caribbean, a topic that has been overlooked within the field of digital humanities. These case studies show that in the last few decades, Black Latinx communities have been making themselves visible and asserting long-standing claims and rights through digital tools and platforms, which have been essential for enacting discussions and creating new connections between diverse groups. Afro-Latinx Digital Connections includes both research articles and interviews with practitioners who are working to create opportunities for marginalized communities. Projects discussed in this volume range from an Afrodescendant digital archive in Argentina, blog networks in Cuba, an NGO dedicated to democratizing technology in Brazilian favelas, and the recruitment of digital media to fight racism in Peru. Contributors demonstrate that these tools need not be state of the art to be effective and that they are often most useful when employed to sustain a resilience that is deep and historically grounded. Digital connections are shown here as a means to achieve social justice and to create complex self-representations that challenge racist images of Afrodescendant peoples and monolithic conceptions of humanity. This volume expands the scope of digital humanities and challenges views of the field as a predominantly white discipline. Contributors: Sandra AbdAllah-Álvarez | Adebayo Adegbembo | Maya Anderson-González | Eduard Arriaga | Silvana Bahia | Yvonne Captain | Monica Carrillo | Yancy Castillo | Alí Majul | Maria Cecilia Martino | Andrés Villar A volume in the series Reframing Media, Technology, and Culture in Latin/o America, edited by Héctor Fernández L'Hoeste and Juan Carlos Rodríguez

Arquitetado e redigido quase todo à distância, este livro resulta de um diálogo de praticamente dois anos entre duas investigadoras e professoras divididas pelo Oceano Atlântico, mas unidas pelo interesse pela literatura juvenil em língua portuguesa, publicada nos últimos anos em Portugal e Brasil. Esta publicação pretende não só dar conta das tendências recentes da literatura juvenil em ambos os países, mas sobretudo proceder a uma leitura comparada das duas produções literárias, chamando a atenção para as afinidades que as caracterizam a partir da análise de obras de alguns dos autores mais relevantes dos dois países. É também propósito deste volume que estas análises possam fomentar as trocas entre ambos os países, mas também um aprofundamento dos estudos comparados, estendendo e ampliando as análises e as propostas de cariz exemplificativo agora avançadas. Vozes consolidadas coabitam com outras mais recentes na tentativa de mapear o estado atual de um universo caleidoscópio cuja leitura merece ser aprofundada.

Authorizing Superhero Comics examines the comic book superhero as a lasting phenomenon of US popular serial storytelling. Moving beyond linear- or creator-centered models of genre development, Daniel Stein identifies authorization conflicts that have driven the genre's evolution from the late 1930s to the present. These conflicts include paratextually mediated exchanges between officially authorized comic book producers and, alternatively, authorized fans that trouble the distinction between production and its reception; storyworld-building processes that subsume producers and fans into a collective rooted in a common style; parodies that ensure the genre's longevity by deflating criticism through self-reflexive humor; and collecting and archiving as forms of memory management that align the genre's past with the demands of the present. Taking seriously the serial agencies of the superhero comic book as a material artifact with a particular mediality, the study analyzes letter columns, editorial commentary, fanzines, encyclopedias, and other forms of comic book communication as critical frameworks for understanding the evolution of the genre—assessing rarely covered archival sources alongside some of the most treasured figures from the superhero's multi-decade history, from Batman and Spider-Man to Wonder Woman and Captain America.

An illuminating exploration of the new frontiers—and unsettled geographical, temporal, and thematic borders—of early modern European history.The study of early modern Europe has long been the source of some of the most creative and influential movements in historical scholarship. New Horizons for Early Modern European Scholarship explores recent developments in historiography both to exhibit the field's continuing vibrancy and to highlight emerging challenges to long-assumed truths. Essays examine • how key ideas and intellectual practices arose, circulated through scholarly culture, and gave way to subsequent forms • Europe's transforming relationship with Asia, the Americas, Africa, and the rest of the world• how overlooked evidence illuminates vital but obscured people, practices, and objects • connections between disciplines, types of sources, time periods, and placesOpening up emerging possibilities, this book demonstrates that early modern European scholarship remains a source for groundbreaking historical insights and methodologies that would benefit the study of any time and place. Contributors: Alexander Bevilacqua, Ann Blair, Daniela Bleichmar, William J. Bulman, Frederic Clark, Anthony Grafton, Jill Kraye, Yuen-Gen Liang, Elizabeth McCahill, Nicholas Popper, Amanda Wunder

Over seventy-five million Americans listen to podcasts every month, and the average weekly listener spends over six hours tuning into podcasts from the more than thirty million podcast episodes currently available. Yet despite the excitement over podcasting, the sounds of podcasting's nascent history are vulnerable and they remain mystifyingly difficult to research and preserve. Podcast feeds end abruptly, cease to be maintained, or become housed in proprietary databases, which are difficult to search with any rigor. Podcasts might seem to be highly available everywhere, but it's necessary to preserve and analyze these resources now, or scholars will find themselves writing, researching, and thinking about a past they can't fully see or hear. This collection gathers the expertise of leading and emerging scholars in podcasting and digital audio in order to take stock of podcasting's recent history and imagine future directions for the format. Essays trace some of the less amplified histories of the format and offer discussions of some of the hurdles podcasting faces nearly twenty years into its existence. Using their experiences building and using the PodcastRE database—one of the largest publicly accessible databases for searching and researching podcasts—the volume editors and contributors reflect on how they, as media historians and cultural researchers, can best preserve podcasting's booming audio cultures and the countless voices and perspectives podcasting adds to our collective soundscape.

Introduction to Digital Humanities is designed for researchers, teachers, and learners in humanities subject areas who wish to align their work with the field of digital humanities. Many institutions are encouraging digital approaches to the humanities, and this book offers guidance for students and scholars wishing to make that move by reflecting on why and when digital humanities tools might usefully be applied to engage in the kind of inquiry that is the basis for study in humanities disciplines. In other words, this book puts the'humanities'before the'digital'and offers the reader a conceptual framework for how digital projects can advance research and study in the humanities. Both established and early career humanities scholars who wish to embrace digital possibilities in their research and teaching will find insights on current approaches to the digital humanities, as well as helpful studies of successful projects.

Die Publikation präsentiert einen diskursgrammatischen Zugriff auf die erinnerungskulturelle Musterbildung zur Kriegszerstörung der Städte Mannheim, Paderborn und Bremen und ihres Aufbaus. Ausgangspunkt der Diskursbeschreibung bilden kollokative Prägungen wie'in Schutt und Asche','wurde Opfer von Zerstörungen'oder'erfolgte der Wiederaufbau', mit denen diskurs- und städtespezifische Sichtweisen auf historische Ereignisse anders als mit Schlüssel- und Schlagwörtern unbemerkt im Rücken der Akteure entstehen. Das Themenkorpus mit 1,34 Mio. Tokens beinhaltet Passagen aus Abhandlungen und Gebrauchstexten zur Stadtgeschichte zwischen 1945 und 2016, die die Städtezerstörung durch britische und amerikanische Bombentreffer im Zweiten Weltkrieg sowie die Neugestaltung in Text und Bild thematisieren. Die über Korpusberechnungen, korpusgrammatisch motivierte Annotationen und Slotauswertungen ermittelten Kontextualisierungsprofile der Diskurse wurden jeweils in die Belege zurückgespiegelt. Als zentrales Ergebnis zeigt sich anhand der diskursgrammatischen Präferenzen die Herausbildung einer Diskursverschränkung: Zerstörung wird sprachlich so perspektiviert, dass sie aus der Sicht eines gelungenen Neu-/ Wiederaufbaus'erzählt'wird.

Since Gutenberg's time, every aspect of print has gradually changed. But the advent of computational media has exponentially increased the pace, transforming how books are composed, designed, edited, typeset, distributed, sold, and read. N. Katherine Hayles traces the emergence of what she identifies as the postprint condition, exploring how the interweaving of print and digital technologies has changed not only books but also language, authorship, and what it means to be human.Hayles considers the ways in which print has been enmeshed in literate societies and how these are changing as some of the cognitive tasks once performed exclusively by humans are now carried out by computational media. Interpretations and meaning-making practices circulate through transindividual collectivities created by interconnections between humans and computational media, which Hayles calls cognitive assemblages. Her theoretical framework conceptualizes innovations in print technology as redistributions of cognitive capabilities between humans and machines. Humanity is becoming computational, just as computational systems are edging toward processes once thought of as distinctively human. Books in all their diversity are also in the process of becoming computational, representing a crucial site of ongoing cognitive transformations.Hayles details the consequences for the humanities through interviews with scholars and university press professionals and considers the cultural implications in readings of two novels, The Silent History and The Word Exchange, that explore the postprint condition. Spanning fields including book studies, cultural theory, and media archeology, Postprint is a strikingly original consideration of the role of computational media in the ongoing evolution of humanity.

Digital history is commonly argued to be positioned between the traditionally historical and the computational or digital. By studying digital history collaborations and the establishment of the Luxembourg Centre for Contemporary and Digital History, Kemman examines how digital history will impact historical scholarship. His analysis shows that digital history does not occupy a singular position between the digital and the historical. Instead, historians continuously move across this dimension, choosing or finding themselves in different positions as they construct different trading zones through cross-disciplinary engagement, negotiation of research goals and individual interests.

This volume provides practical, but provocative, case studies of exemplary projects that apply digital technology or methods to the study of religion. An introduction and 16 essays are organized by the kinds of sources digital humanities scholars use – texts, images, and places – with a final section on the professional and pedagogical issues digital scholarship raises for the study of religion.

In the hands of such writers as Rebecca Solnit, Claudia Rankine, David Shields, Zadie Smith and many others, the essay has re-emerged as a powerful literary form for tackling a fractious 21st-century culture. The Essay at the Limits brings together leading scholars to explore the theory, the poetics and the future of the form. The book links the formal innovations and new voices that have emerged in the 21st-century essay to the history and theory of the essay. In so doing, it surveys the essay from its origins to its relation to contemporary cultural forms, from the novel to poetry, film to music, and from political articles to intimate lyrical expressions. The book examines work by writers such as: Theodor W. Adorno, Kwame Anthony Appiah, Francis Bacon, James Baldwin, Roland Barthes, Maurice Blanchot, Ta-Nehisi Coates, Annie Dillard, Brian Dillon, Jean Genet, William Hazlitt, Samuel Johnson, Karl Ove Knaussgaard, Ben Lerner, Audre Lorde, Oscar Wilde, Michel de Montaigne, Zadie Smith, Rebecca Solnit, Wallace Stevens, Eliot Weinberger and Virginia Woolf.

Defined as a self-image made with a hand-held mobile device and shared via social media platforms, the selfie has facilitated self-imaging becoming a ubiquitous part of globally networked contemporary life. Beyond this selfies have facilitated a diversity of image making practices and enabled otherwise representationally marginalized constituencies to insert self-representations into visual culture. In the Western European and North American art-historical context, self-portraiture has been somewhat rigidly albeit obliquely defined, and selfies have facilitated a shift regarding who literally holds the power to self-image. Like self-portraits, not all selfies are inherently aesthetically or conceptually rigorous or avant-guard. But, –as this project aims to do address via a variety of interdisciplinary approaches– selfies have irreversibly impacted visual culture, contemporary art, and portraiture in particular. Selfies propose new modes of self-imaging, forward emerging aesthetics and challenge established methods, they prove that as scholars and image-makers it is necessary to adapt and innovate in order to contend with the most current form of self-representation to date. The essays gathered herein will reveal that in our current moment it is necessary and advantageous to consider the merits and interventions of selfies and self-portraiture in an expanded field of self-representations. We invite authors to take interdisciplinary global perspectives, to investigate various sub-genres, aesthetic practices, and lineages in which selfies intervene to enrich the discourse on self-representation in the expanded field today. Ace LehnerEditor

Management means getting things done. How can research on the theory and practice of management help American Studies move forward? This book offers a pragmatic approach to bridging the gap between the humanities and business studies. Based on a critical reading of the disciplinary cultures of American Studies and Business School education, the book analyses narratives of U.S. management theorists and practitioners, including Peter F. Drucker, Mary Cunningham, and John P. Kotter. The stories help readers acquire effective management and leadership tools for application-oriented humanities in the digital age.'With her outsider perspective on the discourse in management research and application, Schmidt proposes interesting questions that can turn into fruitful research issues in Business Studies and its interdisciplinary exchange with American Studies. I hope this book falls on open ears.'– Evelyn Korn'Schmidt did pioneering work by taking the risk of entering novel terrain to show new paths for the further development of American Studies.'– Carmen Birkle

A new edition of a book for anyone who wants to learn programming to explore and create, with exercises and projects to help readers learn by doing.This book introduces programming to readers involved with the arts and humanities; there are no prerequisites, and no previous knowledge of programming is assumed. Nick Montfort reveals programming to be not merely a technical exercise within given constraints but a tool for sketching, brainstorming, and inquiry. He emphasizes programming's exploratory potential--its facility to create new kinds of artworks and to probe data for new ideas. The book is designed to be read alongside the computer, allowing readers to program while making their way through the chapters. It offers practical exercises in writing and modifying code and outlines'free projects'that allow learners to pursue their own interests.

Rooted in the day-to-day experience of teaching and written for those without specialist technical knowledge, this is a new edition of the go-to guide to using digital tools and resources in the humanities classroom. In response to the rapidly changing nature of the field, this new edition has been updated throughout and now features:- A brand-new Preface accounting for new developments in the broader field of DH pedagogy- New chapters on'Collaborating'and on'Teaching in a Digital Classroom'- New sections on collaborating with other teachers; teaching students with learning differences; explaining the benefits of digital pedagogy to your students; and advising graduate students about the technologies they need to master- New'advanced activities'and'advanced assignment'sections (including bots, vlogging, crowd-sourcing, digital storytelling, web scraping, critical making, automatic text generation, and digital media art)- Expanded chapter bibliographies and over two dozen tables offering practical advice on choosing software programsAccompanied by a streamlined companion website, which has been entirely redesigned to answer commonly asked questions quickly and clearly, this is essential reading for anyone looking to incorporate digital tools and resources into their daily teaching.

An illuminating volume of critical essays charting the diverse territory of digital humanities scholarship The digital humanities have traditionally been considered to be the domain of only a small number of prominent and well-funded institutions. However, through a diverse range of critical essays, this volume serves to challenge and enlarge existing notions of how digital humanities research is being undertaken while also serving as a kind of alternative guide for how it can thrive within a wide variety of institutional spaces. Focusing on the complex infrastructure that undergirds the field of digital humanities, People, Practice, Power examines the various economic, social, and political factors that shape such academic endeavors. The multitude of perspectives comprising this collection offers both a much-needed critique of the existing structures for digital scholarship and the means to generate broader representation within the field. This collection provides a vital contribution to the realm of digital scholarly research and pedagogy in acknowledging the role that small liberal arts colleges, community colleges, historically black colleges and universities, and other underresourced institutions play in its advancement. Gathering together a range of voices both established and emergent, People, Practice, Power offers practitioners a self-reflexive examination of the current conditions under which the digital humanities are evolving, while helping to open up new sustainable pathways for its future. Contributors: Matthew Applegate, Molloy College; Taylor Arnold, U of Richmond; Eduard Arriaga, U of Indianapolis; Lydia Bello, Seattle U; Kathi Inman Berens, Portland State U; Christina Boyles, Michigan State U; Laura R. Braunstein, Dartmouth College; Abby R. Broughton; Maria Sachiko Cecire, Bard College; Brennan Collins, Georgia State U; Kelsey Corlett-Rivera, U of Maryland; Brittany de Gail, U of Maryland; Madelynn Dickerson, UC Irvine Libraries; Nathan H. Dize, Vanderbilt U; Quinn Dombrowski, Stanford U; Ashley Sanders Garcia, UCLA; Laura Gerlitz; Erin Rose Glass; Kaitlyn Grant; Margaret Hogarth, Claremont Colleges; Maryse Ndilu Kiese, U of Alberta; Pamella R. Lach, San Diego State U; James Malazita, Rensselaer Polytechnic Institute; Susan Merriam, Bard College; Chelsea Miya, U of Alberta; Jamila Moore Pewu, California State U, Fullerton; Urszula Pawlicka-Deger, Aalto U, Finland; Jessica Pressman, San Diego State U; Jana Remy, Chapman U; Roopika Risam, Salem State U; Elizabeth Rodrigues, Grinnell College; Dylan Ruediger, American Historical Association; Rachel Schnepper, Wesleyan U; Anelise Hanson Shrout, Bates College; Margaret Simon, North Carolina State U; Mengchi Sun, U of Alberta; Lauren Tilton, U of Richmond; Michelle R. Warren, Dartmouth College.

English Studies Online: Programs, Practices, Possibilities represents a collection of essays by established teacher-scholars across English Studies who offer critical commentary on how they have worked to create and sustain high-impact online programs (majors, minors, certificates) and courses in the field. Ultimately, these chapters explore the programs and classroom practices that can help faculty across English Studies to think carefully and critically about the changes that online education affords us, the rich possibilities such courses and programs bring, and some potential problems they can introduce into our department and college ecologies. By highlighting both innovative pedagogies and hybrid methods, the authors in our collection demonstrate how we might engage these changes more productively. Divided into three interrelated conversations — practices, programs, and possibilities — the essays in this collection demonstrate some of the innovative pedagogical work going on in English departments around the United States in order to highlight how both hybrid and fully online programs in English Studies can help us to more meaningfully and purposefully enact the values of a liberal arts education. This collection serves as both a cautionary history of teaching practices and programs that have developed in English Studies and a space to support faculty and administrators in making the case for why and how humanities disciplines can be important contributors to digital teaching and learning. Contributors include Joanne Addison, William P. Banks, Lisa Beckelhimer, Dev K. Bose, Elizabeth Burrows, Amy Cicchino, Erin A. Frost, Heidi Skurat Harris, John Havard, Marcela Hebbard, Stephanie Hedge, Ashley J. Holmes, George Jensen, Karen Kuralt, Michele Griegel-McCord, Samantha McNeilly, Lilian Mina, Catrina Mitchum, Janine Morris, Michael Neal, Cynthia Nitz Ris, Rochelle Rodrigo, Cecilia Shelton, Susan Spangler, Katelyn Stark, Eric Sterling, and Richard C. Taylor.

Digital Humanities is a transformational endeavor that not only changes the perception, storage, and interpretation of information but also of research processes and questions. It also prompts new ways of interdisciplinary communication between humanities scholars and computer scientists. This volume offers a unique perspective on digital methods for and in the humanities. It comprises case studies from various fields to illustrate the challenge of matching existing textual research practices and digital tools. Problems and solutions with and for training tools as well as the adjustment of research practices are presented and discussed with an interdisciplinary focus.

This book brings together two different discussions on the value of the humanities and a broader debate on interdisciplinary scholarship in order to propose a new way beyond current threats to the humanities. Petar Ramadanovic offers nothing short of a drastic rehaul of our approaches to literary scholarship, the humanities, and university systems.Beginning with an analysis of what is often referred to as the'crises'in the humanities, the author looks at the specifics of literary studies, but also issues around working conditions for academics. From precarity and pay conditions to peer review, the book has practical as well as theoretical implications that will resonate throughout the humanities. While most books defending the humanities emphasize the uniqueness of the subject or area, Ramadanovic does the opposite, emphasizing the need for interdisciplinarity and combined knowledge. This proposal is then fully explored through literary studies, and its potential throughout the humanities and beyond, into the sciences.Interdiscipline is not just a defense of literature and the humanities; it offers a clear and inspiring pathway forwards, drawing on all disciplines to show their cultural and social significance. The book is important reading for all scholars of literary studies, and also throughout the humanities.

In this comprehensive and highly interdisciplinary companion, contributors reflect on remix across the broad spectrum of media and culture, with each chapter offering in-depth reflections on the relationship between remix studies and the digital humanities. The anthology is organized into sections that explore remix studies and digital humanities in relation to topics such as archives, artificial intelligence, cinema, epistemology, gaming, generative art, hacking, pedagogy, sound, and VR, among other subjects of study. Selected chapters focus on practice-based projects produced by artists, designers, remix studies scholars, and digital humanists. With this mix of practical and theoretical chapters, editors Navas, Gallagher, and burrough offer a tapestry of critical reflection on the contemporary cultural and political implications of remix studies and the digital humanities, functioning as an ideal reference manual to these evolving areas of study across the arts, humanities, and social sciences. This book will be of particular interest to students and scholars of digital humanities, remix studies, media arts, information studies, interactive arts and technology, and digital media studies.

This Open Access book explores the concept of digital epistemology. In this context, the digital will not be understood as merely something that is linked to specific tools and objects, but rather as different modes of thought. For example, the digital within the humanities is not just databases and big data, topic modelling and speculative visualizations; nor are the objects limited to computer games, other electronic works, or to literature and art that explicitly relate to computerization or other digital aspects. In what way do digital tools and expressions in the 1960s differ to the ubiquitous systems of our time? What kind of artistic effects does this generate? Is the present theoretical fascination for materiality an effect or a reaction to a digitization? Above all: how can early modern forms such as the cabinets of curiosity, emblem books and the archival principleof pertinence contribute to the analyses of contemporary digital forms?