A nice clean set of 80 full-text novels published between 1770 and 1915 (current set spans 1786-1847). A good model and potential collaborator for our full-text work.
A series of responses to Jameson's recent book (related to realism, novel theory, etc...)
I just stumbled on this website, and I don't know much about the artist it belongs too, but I thought it would be interesting for us in terms of a "digital book" type experience - from the first page, you click on the moving book, and from there, on other things that all lead you to different pages, unfolding in a way that reminds me of the digital novels Gabby has been talking about. But in another way it's also an online alternative to the traditional artist's portfolio, allowing the artist control over presentation of the work while also responding to the viewer, who here becomes a user/participant in an experience that the artist curates.
Useful for various ones of you building exhibits. See also http://
A bit late for our time frame, but Victorian scholars are buzzing with the recent identification of Charles Dickens's copy of All the Year Round, the journal he ran. Most of the articles were published anonymously, but Dickens's edition is annotated with every author's name--apparently in his own handwriting.
I found this a really powerful example of how copy-specific information matters!
Review of 2010 Visual Edition of Tristram Shandy, which "highlight[s] and exaggerate[s] what Laurence Sterne intended when he first wrote Shandy."
Reading through feeling...In our cataloging, we recognize books as objects in complex, but significant, relationship with their narrative content. The Library Company of Philadelphia's upcoming exhibit on printed materials for the blind and visually impaired brings that physicality of books to the fore. It's an especially interesting exhibit because it combines historic pieces from LCP's collection with works by contemporary artist Teresa Jaynes.
Mitch is speaking about his work on the global circulation of eighteenth-century books tonight at Penn, and you should all go if you can!
More great infographics from The Guardian
Related to previous link - this is the description of the revised-for-fall-15 class. I have some work to do.
I'm working on revising the syllabus for a class I teach called *The Rise of the Novel*. The various version of the class I've taught so far are often partly inspired by and conceptually related to END, but there's never been any direct tie. As I revise, I'm thinking about a few things: 1) Is there some more direct tie-in to END? 2) How can I shoehorn in Tristram Shandy? What would have to go? 3) Are there other texts I want to change? (Gaby's data about other 18th c novel/rise of the novel classes might help me here.) Since I go through the 1860s, I don't have as much space for the 18th c as a traditional r of the n class does. 4) I know I want to integrate some computational text analysis exercises, likely in different forms throughout the semester - but how many and when and how?
Useful information about ECCO from the Beyond Citation project.
And Folger/JSTOR's Folger edition of Lear, with lines linked to scholarly articles that cite those lines. (Maybe I've linked to this already? Many people at Folger/JSTOR worked to create it, among them END alum Anna Levine.)
A visualization of revisions Charles Darwin made to The Origin of Species in its seven major editions. (I mentioned this to Yumi, since she is beginning to think about visualizing revisions to Pamela between the three major editions during the eighteenth century, and thought others might be interested as well.)