diff --git a/wordclouds/README.md b/wordclouds/README.md index e0b33a0..5282115 100644 --- a/wordclouds/README.md +++ b/wordclouds/README.md @@ -16,21 +16,21 @@ The script takes TEI files of RIDE reviews as input and generates a word cloud f * TEI files of the reviews ### Decisions to make (parameters for the script): -* the script needs 4 positional parameters (they have to be indicated in that order when calling the script from the command line). These are: +* the script needs 3 positional parameters (they have to be indicated in that order when calling the script from the command line). These are: * (1) which "mask" to use for the form of the word clouds. Masks are png images with a white background and e.g. a black foreground. The cloud will only be placed inside of the foregrounded form. You can use the default mask file "cloud_mask.png". Mask files are stored in the subfolder "masks". The size of the clouds is determined by the size of the mask image. The script needs the name of the mask file as a parameter. * (2) which font to use for the words in the clouds. You can use the default font file "MKorsair.ttf" which you find in the subfolder "fonts" or you can place your own font file there. The script needs the name of the font file as a parameter. -* (3) which stopword list to use. Two lists are prepared: "stopwords_en.txt" and "stopwords_de.txt". Which stopword list you use, depends on the language of the reviews. For each call of the script you can only use one stopword list. The prepared lists are in the subfolder "stopwords". You are free to edit them and remove or add words. Or you can add a new file for a new language. The script needs the name of the stopword list file as a parameter. -* (4) which colormap to use. Matplotlib colormaps are supported. See for example: https://matplotlib.org/3.1.1/gallery/color/colormap_reference.html Choose the name of the colormap and use it as the fourth parameter for the script. E.g. "summer". +* (3) which colormap to use. Matplotlib colormaps are supported. See for example: https://matplotlib.org/3.1.1/gallery/color/colormap_reference.html Choose the name of the colormap and use it as the fourth parameter for the script. E.g. "summer". * more parameters could be changed directly in the python script, if needed. ### Preparation of data: * put the TEI files into the subfolder "tei" +* the script uses predefined stopword lists, which are stored in the "stopwords" folder. Currently, two lists are prepared for English and German. The script automatically uses the list which matches the main language of the review. You can adapt the stopword lists by adding or removing words or add new lists for other languages, if needed. * observe that the script generating the word clouds cannot recognize the language of the reviews, so you will have to generate clouds for the reviews in each language separately so the right stopwords can be used ### How to call the script: * open a command line * navigate to this repository (/Git/ride-scripts/wordclouds) -* type: python3 wordclouds.py "cloud_mask.png" "MKorsair.ttf", "stopwords_en.txt", "summer" (replace the parameter values with your own choices) +* type: python3 wordclouds.py "cloud_mask.png" "MKorsair.ttf" "summer" (replace the parameter values with your own choices) ### See the results: * wait for the script to finish diff --git a/wordclouds/masks/mask_eichhoernchen.png b/wordclouds/masks/mask_eichhoernchen.png new file mode 100644 index 0000000..d68306e Binary files /dev/null and b/wordclouds/masks/mask_eichhoernchen.png differ diff --git a/wordclouds/masks/mask_eule.png b/wordclouds/masks/mask_eule.png new file mode 100644 index 0000000..1164590 Binary files /dev/null and b/wordclouds/masks/mask_eule.png differ diff --git a/wordclouds/tei/de/koeppen-jugend-tei.xml b/wordclouds/tei/de/koeppen-jugend-tei.xml deleted file mode 100644 index ff12a41..0000000 --- a/wordclouds/tei/de/koeppen-jugend-tei.xml +++ /dev/null @@ -1,1585 +0,0 @@ - - - - - - - Wolfgang Koeppen Jugend ¬– Rezension der textgenetischen Edition - - - Bastian - Politycki - - [ORCID; VIAF; - GND] - - University of Wuppertal - - - politycki@uni-wuppertal.de - - - - Institut für Dokumentologie und Editorik e.V. - November 2020 - http://ride.i-d-e.de/issues/issue-13/koeppen-jugend - 10.18716//ride.a.13.2 - https://github.com/i-d-e/ride/blob/archives/issue13/koeppen-jugend.zip?raw=true - - - - - - RIDE - A review journal for digital editions and resources - Ulrike Henny-Krahmer - Frederike Neuber - Patrick Sahle - Ulrike Henny-Krahmer - Frederike Neuber - Bernhard Assmann - Jana Klinger - Digital Scholarly Editions - http://ride.i-d-e.de/issues/issue-13 - - - - - Wolfgang Koeppen Jugend - Katharina Krüger, Elisabetta Mengaldo, Eckhard Schumacher - - Programmer - Patrick Heck - - - Editor - Eckhard Schumacher - - - Editor - Elisabetta Mengaldo - - - Editor - Katharina Krüger - - 2016 - http://koeppen-jugend.de/ - 2019-10-10 - - - - - Criteria for - Reviewing Scholarly Digital Editions - - - - -

born digital

- - - - - - - - - cf. Catalogue 1.2 - - Is it easily possible to describe the project bibliographically - along the schema "responsible editors, publishing/hosting - institution, year(s) of publishing"? - - - - - - - cf. Catalogue 1.4 - - Are the contributors (editors, institutions, associates) of the - project fully documented? - - - - - - - cf. Catalogue 1.5 - - Does the project list contact persons? - - - - - - - - cf. Catalogue 2.1 - - Is the selection of materials of the project explicitly - documented? - - - - - - - cf. Catalogue 2.1 - - Is the selection by and large reasonable? - - - - - - - - cf. Catalogue 4.16 - - Does the documentation include information about the long term - sustainability of the basic data (archiving of the data)? - - - - - - - cf. Catalogue 3.1 - - Are the aims and purposes of the project explicitly - documented? - - - - - - - cf. Catalogue 3.1 - - Are the methods employed in the project explicitly - documented? - - - - - - - cf. Catalogue 3.7 - - Does the project document which data model (e.g. TEI) has been - used and for what reason? - - - - - - - cf. Catalogue 4.15 - - Does the project offer help texts concerning the use of the - project? - - - - - - - cf. Catalogue 4.8 - - Does the project supply citation guidelines (i.e. how to cite - the project or a part of it)? - - - - - - - cf. Catalogue 4.16 - - Does the editon regard itself as a completed project (i.e. not - promise further modifications and additions)? - - - - - - - cf. Catalogue 4.13 - - Does the project provide information about institutional - support for the curation and sustainability of the - project? - - - - - - - - - cf. Catalogue 2.2 - - Has the material been previously edited (in print or - digitally)? - - - - - - - cf. Catalogue 2.2 - - Does the edition make use of these previous editions? - - - - - - - cf. Catalogue 4.15 - - Does the project offer an introduction to the subject-matter - (the author(s), the work, its history, the theme, etc.) of the - project? - - - - - - - cf. Catalogue 2.3 - - Does the project offer a bibliography? - - - - - - - cf. Catalogue 2.3 - - Does the project offer a scholarly commentary (e.g. notes on - unclear passages, interpretation, etc.)? - - - - - - - cf. Catalogue 2.3 - - Does the project include or link to external resources with - contextual material? - - - - - - - cf. Catalogue 2.3 - - Does the project offer images of digitised sources? - - - - - - - cf. Catalogue 4.6 - - Does the project offer images of an acceptable - quality? - - - - - - - cf. Catalogue 2.3 - - Is the text fully transcribed? - - - - - - - cf. Catalogue 4.6 - - Does the project offer texts of an acceptable quality (typos, - errors, etc.)? - - - - - - - cf. Catalogue 4.5 - - Does the project feature compilations indices, registers or - visualisations that offer alternative ways to access the - material? - - - - - - - - cf. Catalogue 1.3 and 2.1 - - Which kinds of documents are at the basis of the - project? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 1.3 and 2.1 - - What era(s) do the documents belong to? - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 1.3 - - Which perspective(s) do the editors take towards the edited - material? How can the edition be classified in general - terms? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.11 - - Does the project offer any spin-offs? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.3 - - By which categories does the project offer to browse the - contents? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.4 - - Does the project offer a simple search? - - - - - - - cf. Catalogue 4.4 - - Does the project offer an advanced search? - - - - - - - cf. Catalogue 4.4 - - Does the search support the use of wildcards? - - - - - - - cf. Catalogue 4.4 - - Does the search offer an index of the searched field? - - - - - - - cf. Catalogue 4.4 - - Does the search offer autocompletion or suggest - functionalities? - - - - - - - cf. Catalogue 4.4 - - Does the project offer help texts for the search? - - - - - - - - - cf. Catalogue 3.3 - - Who is the intended audience of the project? - - - - - - - - - - - - - - cf. Catalogue 3.3 and 5.1 - - Which type fits best for the reviewed project? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Method - - - cf. Catalogue 3.6 - - In how far is the text critically edited? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 3.7 - - - Is the data encoded in XML? - - - - - - - - - Is the project employing a standardized data model (e.g. - TEI)? - - - - - cf. Catalogue 3.5. - - Which kinds or forms of text are presented? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.8 - - Are there persistent identifiers and an addressing system for - the edition and/or parts/objects of it and which mechanism is used - to that end? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.9 - - Are there technical interfaces like OAI-PMH, REST etc., which - allow the reuse of the data of the project in other - contexts? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Is the edition Open Access? - - - - - - - cf. Catalogue 4.12 - - Is the basic data (e.g. the XML) of the project accessible for - each part of the edition (e.g. for a page)? - - - - - - - cf. Catalogue 4.9 - - Can the entire raw data of the project be downloaded (as a - whole)? - - - - - - - cf. Catalogue 4.9 - - Can you use the data with other tools useful for this kind of - content? - - - - - - - - cf. Catalogue 4.13 - - Are the rights to (re)use the content declared? - - - - - - - cf. Catalogue 4.13 - - Under what license are the contents released? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - digital edition - genetic edition - modern - 20th century - visualization - - - - - - -
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The Jugend Edition is a critical edition of Wolfgang Koeppen’s - Jugend, which was published in 1976. It took more than fifteen - years for Koeppen to write Jugend. The edition offers the - opportunity to dive into the work of Wolfgang Koeppen and to follow him along - during his writing process. After his death, all of the material related to - Jugend was digitized and is presented as a complex dossier - génétique. This review provides an overview of the presented documents, as well - as the main features and appearance of the edition, with a special emphasis on - its presentation of genetic relationships.

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- - - - -
- Einleitung -

Wolfgang Koeppens Prosatext Jugend erschien 1976 als - Band 500 der Suhrkamp-Bibliothek und als erste Buchveröffentlichung nach seinem - Wechsel zu jenem Verlag Anfang der 1960er Jahre.Vgl. - Schumacher (2016a), S. 1. Statt eines lang erwarteten und vielfach - angekündigten großen Romans erschien mit Jugend ein dichter und - sperrig anmutender Text, ganz ohne eine explizite Zuordnung zu einer bestimmten - Gattung, der von der Kritik jedoch begeistert aufgenommen wurde.Vgl. Schumacher (2016b), S. 112–114. Mit einem Umfang - von nur 140 Seiten lässt sich mit gutem Recht von einem äußerst schmalen Band - sprechen. Es verwundert daher kaum, dass Koeppen selbst sein Werk in einem Brief - an seinen langjährigen Förderer Marcel Reich-Ranicki im Vorfeld der eigentlichen - Veröffentlichung und kurz vor Fertigstellung als „Fragmentband“ - bezeichnete.Vgl. Schumacher (2016a)., S 2. - Dennoch steht dieser Einordnung des eigenen Werks auf der anderen Seite ein - umfassendes Konvolut an ‚Entwurfsseiten‘ gegenüber.Ich - beziehe mich hier und bei allen folgenden allgemeinen Informationen auf die - Angaben der Edition, diese finden sich im Bereich Über diese - Edition unter https://web.archive.org/web//http://koeppen-jugend.de/pages/ueber. -

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So finden sich alleine im Wolfgang-Koeppen-Archiv (WKA) an der - Universität Greifswald mehr als 1.500 Typoskript-Seiten, die vorbereitende - Skizzen, Vorstufen oder auch andere literarische Entwürfe und Überlegungen - beinhalten und deren Anordnung wohl nicht auf Koeppen selbst, sondern auf den - ersten Nachlassverwalter nach Koeppens Tod 1996, zurückgeht. Im Rahmen der - textgenetischen Edition liegt diese Materialvielfalt nun erstmals ediert vor und - wird so der Öffentlichkeit zugänglich gemacht.

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- Überblick über das Vorhaben -

Die textgenetische Edition verfolgt das Ziel, den Schaffensprozess - Koeppens zu entschlüsseln, zu präsentieren und Nutzer*innen einen - multiperspektivischen Zugang zum Werk anzubieten. Dabei wird auf komplexe, - synoptisch schichtende Apparate, wie sie zumeist in ähnlichen Editionen im Print - üblich sind, verzichtet. Stattdessen wird versucht, die Ergebnisse der - genetischen Untersuchung mithilfe interaktiver Visualisierungen und einer - Vielzahl von Verlinkungen zu präsentieren. Obwohl es in der Edition und den - begleitenden Aufsätzen der Herausgeber*innen (s.u.) nicht explizit erwähnt wird, - ist in der Gesamtanlage der Edition dennoch eine methodische Nähe zur - französischen critique génétique zu erkennen; so geht es im Kern auch hier - darum, den Blick auf den veröffentlichten Text durch den avante-texte (die - Vorarbeiten) zu ergänzen.Vgl. Grésillon (1999), S. - 26ff. Im Grundsatz verfügt die Edition sowohl über eine online - zugängliche wie auch über eine gedruckte Komponente (Hybridedition).

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Die Erschließung, Untersuchung und Erarbeitung der Edition wurde - durch die Deutsche Forschungsgemeinschaft von 2011 bis 2015 sowie durch Mittel - der Philosophischen Fakultät der Universität Greifswald ermöglicht. Als - Herausgeber*innen der Edition zeichnen Katharina Krüger, Elisabetta Mengaldo und - Eckhard Schumacher verantwortlich. Die technische Realisation wurde zudem durch - das Trier Center for Digital Humanities unterstützt.Siehe - Anmerkung 3. -

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- Zum gedruckten Teil der Edition -

Der gedruckte Teil der Edition ist zugleich der 2016 - veröffentlichte siebte Band der von Hans-Ulrich Treichel verantworteten - Werkausgabe Wolfgang Koeppens. Der Band enthält einerseits den Lesetext, der - sich an der Veröffentlichung von 1976 orientiert, sowie einen umfassenden, - von Eckhard Schumacher verfassten Kommentar.Vgl. - Schumacher (2016b), S. 187. Dieser beschreibt detailliert die - Entstehungsgeschichte anhand ausgewählter Textbeispiele und ergänzt so den - digitalen Teil der Edition. Vervollständigt wird die Hybridedition durch die - Widmung eines ganzen Bandes in den Beiheften zu editio. Band 40 - der Reihe befasst sich unter dem Titel Textgenese und digitales - Edieren umfangreich mit der Darstellung textgenetischer Prozesse - (im digitalen Medium) und stellt die Ergebnisse der Tagung Verzettelt, - verschoben, verworfen zusammen, in deren Rahmen die - textgenetische Edition erstmals öffentlich präsentiert wurde.Siehe hierzu Krüger/Mengaldo/Schumacher (2016). - Hierzu zählen auch Aufsätze der Editionsherausgeber*innen, die einzelne - textgenetische Phänomene erläutern und auf Probleme bei der Erschließung, - Ordnung sowie der letztendlichen Erarbeitung der Edition eingehen.

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Der in der Druckausgabe präsentierte Lesetext entspricht dem - Text, der in der digitalen Edition unter dem Zugang Lesetext - (Auswahl: Werke, Suhrkamp 2016) präsentiert wird. Wobei in der digitalen - Edition der Zeilenfall der Druckausgabe nicht übernommen wird – - Seitenumbrüche hingegen werden durch senkrechte Trennstriche angezeigt und - der Wechsel zwischen einzelnen Sequenzen (Kapiteln) wird ebenfalls durch - entsprechenden Weißraum präsentiert. Im Gegensatz zur digitalen Komponente - der Edition verzichtet die Druckausgabe jedoch explizit auf den Einbezug - textgenetischer Materialien sowie auf jegliche Auflistung von Varianten - zwischen den verschiedenen Ausgaben von Jugend (siehe unten). - Analoge und digitale Komponente bilden gemeinsam die Edition und ergänzen - sich dabei gegenseitig.

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- Inhalt und Ziel der digitalen Edition -

Komplementär zur Druckausgabe enthält der digitale Teil der - Edition neben dem Lesetext zudem auch die Vielzahl der Textträger des - Jugend-Konvoluts. Dieses umfasst zusätzlich zu den zuvor - bereits erwähnten rund 1.500 Seiten aus dem WKA auch die Satzvorlage aus dem - im Deutschen Literaturarchiv befindlichem Siegfried Unseld Archiv sowie ein - Manuskript aus dem Archiv des Bayerischen Rundfunks. Jene Dokumente werden - im Zuge der editorischen Arbeit erstmals der Öffentlichkeit zugänglich - gemacht.Die textgenetische Edition umfasst darüber - hinaus auch eine Reihe von Publikationen, in denen Koeppen zuvor Auszüge - aus Jugend veröffentlichte. Weitere Informationen hierzu - finden sich im Bereich Über diese Edition. Vor dem - Hintergrund einer so umfangreichen Arbeit stellt sich berechtigterweise die - Frage nach dem Ziel der editorischen Aufarbeitung. Festzuhalten ist, dass - die Edition weit mehr als eine reine Präsentation der archivalischen - Dokumente bietet. Vielmehr ist es das Ziel der Herausgeber*innen, die - komplexe Entstehungsgeschichte von Jugend und die Textgenese - direkt am Material auf Grundlage des Nachlasses nachvollziehbar zu - machen.Vgl. Schumacher (2016b), S. 122. -

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Der Kommentar im gedruckten Teil der Edition verrät mehr über - grundlegende Annahmen, die für die genetische Untersuchung des Materials und - spätere Präsentation erkenntnisleitend waren. So sei davon auszugehen, dass - Wolfgang Koeppen nicht nur zu einem bestimmten Zeitpunkt an - Jugend arbeitete, sondern fortwährend über einen Zeitraum - von mindestens fünfzehn Jahren. Dies führt wiederum zur Annahme, dass - Jugend nie als ein zusammenhängender Text entstanden ist, - sondern als eine Kompilation einzelner Bestandteile.Vgl. ebd., S. 123. Die textgenetische Edition erhebt das - Fragmentarische folgerichtig zu ihrem Leitgedanken. Als ordnende Einheit zur - Entschlüsselung der Genese wird der gesamte Text in sog. ‚Sequenzen‘ - unterteilt. Diese sind zwar im Drucktext per se nicht vorhanden, entsprechen - jedoch den durch Leerzeilen getrennten Abschnitten.Vgl. - https://web.archive.org/web//http://koeppen-jugend.de/pages/ueber. -

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Nicht unerwähnt bleiben soll auch die technische Basis der - textgenetischen Edition. Diese bildet notwendigerweise den Rahmen für die - Möglichkeiten der Darstellung einer digitalen Edition und ist daher ein - wichtiges Kriterium, um diese beurteilen zu können. Zu den Details des - technischen Hintergrunds macht die Edition jedoch leider nur einige wenige - Angaben, die sich, wie folgt, umreißen lassen: Als Basis für die - Transkription der einzelnen Textträger diente das an der Universität Trier - entwickelte Werkzeug Transcribo in Kombination mit - FuD (Forschungsnetzwerk und Datenbanksystem).Ebd. Die gewonnenen Daten wurden anschließend in - einer MySQL-Datenbank gespeichert, welche wiederum mit einer NoSQL-Datenbank - synchronisiert wird, die letztlich die Grundlage für die auf Cake-PHP - basierende Webausgabe bildet, für deren Umsetzung der Projektmitarbeiter - Patrick Heck verantwortlich zeichnet.Die digitale - Erschließung und Publikation erfolgte als solches analog zur - historisch-kritischen Schnitzler-Edition, die ebenfalls in - Zusammenarbeit mit dem Trierer Center for Digital Humanities umgesetzt - wird. Vgl. ebd. Die Rohdaten liegen in einem XML-Format vorSo vermerkt Katharina Krüger, dass die XML-Codierung - mithilfe von Transcribo erfolgte – Vgl. Krüger (2016), S. 180., - zum genauen Datenmodell macht die Edition jedoch keine weiteren Angaben. Ein - Abruf der Daten über eine entsprechende Schnittstelle sowie deren - Nachnutzung ist nicht möglich. Auf Anfrage konnten die Daten jedoch für den - Zweck dieser Rezension eingesehen werden.

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Bei den zur Verfügung gestellten Datensätzen handelt es sich um - Rohdaten, die direkt aus den verwendeten Tools Transcribo und FuD exportiert - wurden. Das hier verwendete Datenmodell orientiert sich an den Empfehlungen - der Text Encoding Initiative und ergänzt dieses durch - benutzerdefinierte Elemente. Die Transkription erfolgte offenbar streng am - Dokument orientiert und gibt daher dem Element <surface> - dem Vorzug gegenüber dem sonst häufig verwendeten Element - <text> und erfasst strukturelle Einheiten wie Zeilen - oder auch Absätze nicht inline, sondern als Stand off-Annotation. Weitere - Rückschlüsse über das konzeptuelle wie auch logische Modelle der - Transkription lassen die Rohdaten jedoch nur bedingt zu – so handelt es sich - doch hier vielmehr um eine Art Zwischenformat zum Austausch zwischen den - verschiedenen Komponenten der Edition (FuD und Transcribo sowie der - Webausgabe).

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- Präsentation und Aufbau -
- Gestaltung und Zugänge -

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- - Startseite der textgenetischen Edition. -
Die Edition präsentiert sich in ihrer digitalen Form in einem - minimalistisch gestalteten und klaren Design – welches ästhetisch anmutet - und einen funktionalen Zugang zu den verschiedenen Bereichen der Edition - ermöglicht. Insgesamt bietet die Edition auf der Startseite drei - Möglichkeiten, sich dem Werk Koeppens zu nähern (Abb. 1). Zudem besteht jederzeit die Möglichkeit, - über die Hauptnavigation mithilfe einer Suchfunktion den gesamten - Datenbestand der Edition zu durchsuchen (siehe auch Zugang - Texte).

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- - Ansicht des Lesetextes mit Variantenapparat. -
Im Bereich des ersten Zugangs Lesetext finden sich - die verschiedenen Druckausgaben von Jugend wieder – beginnend - beim Erstdruck 1976 über eine DDR-Lizenzausgabe von 1978 bis zum Text des - 2016 veröffentlichten Bandes. Die Abweichungen zwischen den verschiedenen - Druckfassungen, die zwar nur minimal sind, werden in einer Art digitalen - Einzelstellenapparat festgehalten. Mit Klick auf die farbig hinterlegten - Stellen werden die jeweiligen Varianten zwischen den verschiedenen Ausgaben - als zusätzliche Informationen eingeblendet. Die einzelnen Sequenzen des - Lesetextes sind mit den übrigen Bestandteilen der Edition bzw. Zugängen über - Links in der rechten Marginalspalte verbunden. So können bspw. für jede - Sequenz Registereinträge eingeblendet werden, die wiederum in die Ansicht - Texte integriert sind. (Abb. 2)

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- - Textansicht mit Registereinträgen. -
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- - Facettierungsmöglichkeiten der Suchfunktion. -
Hinter dem Zugang Texte verbirgt sich nicht nur die - Ansicht einzelner Dokumente, sondern zugleich auch eine archivalische - Gesamtansicht aller Dokumente, die in die Edition aufgenommen - wurden.Dies sind insgesamt 1700 Textträger – siehe - https://web.archive.org/web//http://koeppen-jugend.de/texte. - Dieses Archiv bietet dem Nutzer in der Standardperspektive zunächst eine - Übersicht und für jeden Textträger eine Vorschau des Faksimiles, sofern - vorhanden, und einige wenige wesentliche Metainformationen, wie den Titel - des Dokuments, die Sequenzzuordnung oder auch Angaben zur Datierung (Abb. 3). Auf den ersten Blick - stehen hier nur wenige Facettierungsmöglichkeiten zur Verfügung – doch dafür - bietet die ein wenig versteckte Funktion Erweiterte Suche - ungleich mehr. So kann das Korpus einerseits mithilfe verschiedener Register - (Motive/Themen, Reale Orte, Schauplätze, Figuren, Eigennamen) und - andererseits auch nach materiellen Eigenschaften der Textträger (z.B. - Papiersorte, Wasserzeichen u.v.m.) durchsucht werden. Dies zeigt - eindrucksvoll die Fülle der erfassten Metainformationen und ermöglicht es - so, eigene Verbindungen im Konvolut über die materiale Verfasstheit - herzustellen.Zur allgemeinen Bedeutung der - Materialität für die textgenetische Deutung vgl. Ries (2014), S. - 62-65. -

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- - Ansicht des Zugangs Texte. -
Im Vergleich zu den Zugängen Lesetext und - Texte ist das, was der Zugang Textgenese - bietet, deutlich komplexer. So findet sich hier letztlich die visuelle - Repräsentation der Ergebnisse der textgenetischen Untersuchung, dem - Hauptbestandteil der Edition. Die nachfolgenden Absätze widmen sich en - détail den hier vorgefundenen Optionen des Einstiegs in Jugend. -

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-
- Textgenese als visueller Pfad -

Um den Nutzer*innen der Edition die Ergebnisse möglichst - eingängig zu präsentieren, wurden von den Editor*innen je Sequenz sog. - genetische Pfade rekonstruiert, die wiederum aus verschiedenen Gruppen - bestehen. Zu einer solchen Gruppen gehören beliebig viele Dokumente, - die aufgrund ausgewiesener textueller und/oder metatextueller - Eigenschaften als zusammengehörig betrachtet werden können, da sie - vermutlich im selben Zeitraum bzw. in derselben Arbeitsphase - entstanden sind. - Vgl. https://web.archive.org/web//http://koeppen-jugend.de/pages/ueber. - -

-

Die präsentierte Ordnung ist jedoch weniger als eine definitive - Chronologie zu verstehen, sondern eher als ein Vorschlag zur Rekonstruktion - der genetischen Verhältnisse.Vgl. Krüger (2016), S. - 178. Vielmehr bildet der einzelne Pfad eine mögliche relative - Chronologie ab und versucht so die zeitlichen Abhängigkeitsverhältnisse - verschiedener Textträger zu deuten.Wolfgang Lukas - bezeichnet, in Anlehnung an Reinhold Backmann, eine absolute - Chronologie als die „eindeutige Chronologie“ einer einzelnen - Stelle, ohne Rücksicht auf umgebende Teile. Eine relative - Chronologie hingegen versucht die Beziehungen zwischen - mehreren absoluten Chronologien herzustellen. Lukas (2019), S. - 34. Wie Abbildung 4 eines beispielhaften Pfades einer Sequenz - zeigt, ist es möglich, dass zu einer Sequenz mehrere Pfade rekonstruiert - wurden. Die Pfade sind untereinander jedoch nicht chronologisch angeordnet. - Der jeweils längste rekonstruierte Pfad befindet sich in der Darstellung - links und endet in der entsprechenden Sequenz des Lesetextes bzw. der - zugehörigen Stelle der Erstveröffentlichung. Die Pfadansicht erlaubt also - nur in der Vertikalen und nicht in der Horizontalen einen Rückschluss über - das textgenetische Verhältnis der Gruppen zueinander.

-

-

- - Textgenese der 32. Sequenz. -
Fragt man nach der Nutzbarkeit der gewählten Visualisierung, so - ist festzuhalten, dass die Darstellungsweise schnell nachvollziehbar ist, - jedoch auch an ihre Grenzen stößt. So gelingt einerseits zwar die - Darstellung der angenommenen Chronologie innerhalb eines Pfades, die - Herstellung von Relationen der Pfade untereinander fehlt allerdings auf der - ‚rein visuellen‘ Ebene völlig. Dies illustrieren die abgebildeten Pfade der - 32. Sequenz besonders gut. Der linke Pfad bildet, wie beschrieben, die - weitestgehend vollständige Genese der schlussendlich in Jugend - veröffentlichten Fassung der Sequenz ab. Der rechte Pfad hingegen scheint, - bedingt durch die visuelle Darstellung, mehr oder minder losgelöst von der - übrigen Genese. Ein Blick in die Anmerkung der ersten Gruppe dieses Pfades - zeigt jedoch, dass die Dokumente der Gruppe, einem von der Redaktion des - Bayerischen Rundfunk verfassten Manuskripts, im Wortlaut der in - Jugend veröffentlichten Sequenz entsprechen. Letztlich - scheint es, dass die Herausgeber*innen der Edition im Zuge der - Visualisierung in Teilen zwischen Dokumenten trennen, die von Koeppen und - solchen, die von fremder Hand bearbeitet wurden. Insgesamt gerät die - Darstellung der Genese als Pfad hier und auch an anderen Stellen an ihre - Grenzen. Eine Alternative könnte sicherlich eine Verschachtelung der Gruppen - und eine entsprechende Kennzeichnung sein, um so die Bezüge im Netzwerk der - Dokumente deutlicher herauszustellen.

-
-
- Ansicht einzelner Textträger -

Eine grundsätzliche Herausforderung, die sich jede digitale - Edition stellen muss, ist die Frage nach der dauerhaften und möglichst - exakten Referenzierbarkeit ihrer Inhalte. Letztlich also der Frage danach, - wie zitierfähig eine Edition ist.Vgl. Sahle (2013), S. - 212. Die textgenetische Edition macht hierzu nur einige wenige - Angaben. Auf den Einsatz von Diensten wie URN oder DOI wird jedoch, wie es - scheint, verzichtet. Statt eines mittlerweile in anderen digitalen Editionen - häufig vorgefundenen Zitiervorschlags auf Seitenebene, findet sich im - Bereich Über die Edition lediglich ein allgemeiner Hinweis zur - Zitation der Edition.Siehe https://web.archive.org/web//http://koeppen-jugend.de/pages/ueber. -

-

-

- - Ansicht eines einzelnen Textträgers. -
Die Ansicht der einzelnen Textträger differiert marginal in - Abhängigkeit vom gewählten Einstieg in die Edition (Texte oder - Textgenese). Das Grundprinzip entspricht jedoch der - Darstellung in Abb. 5. Die - Einzelheiten des Aufbaus werden nachfolgend anhand des Textträgers mit der - Signatur MID355-M028-003, einer Typoskriptseite mit handschriftlichen - Korrekturen und Änderungen, die der letzten Sequenz zugeordnet ist, - vorgestellt.Vgl. http://web.archive.org/web//http://koeppen-jugend.de/texte/view/1158?group_context=2046&sequence_context=53. - Im Kopfbereich befindet sich zunächst eine sog. Brotkrümelnavigation, die - die aktuelle Position innerhalb der textgenetischen Edition anzeigt, sowie, - falls der Einstieg über den Zugang Textgenese gewählt wird, - eine Navigationsleiste, die den Wechsel zwischen Dokumenten einer Gruppe - ermöglicht. Darunter befinden sich neben dem Titel des Dokuments folgende - Metadaten: - Bezeichnung der Archivmappe - Angaben zur Datierung der Einzelseite - Zuordnung zur Genese einer Sequenz - Angaben, ob der Textträger eine Kopie oder Durchschlag einer - anderen Seite ist - Am rechten Rand findet sich neben den Metadaten zudem ein weiteres - Navigationselement, welches den Wechsel zu Dokumenten des direkten - Textzusammenhangs ermöglicht.

-

Hierauf folgt der Hauptbereich der Einzelseitenansicht. In drei - Spalten wird dem Nutzer eine synoptische Ansicht aus Digitalisat und einem - zeilengetreu wiedergegebenen transkribierten Text präsentiert (Spalte 1 und - 2). Die dritte Spalte ermöglicht über verschiedene Reiter die Anpassung der - Darstellung des Textes und den Zugriff auf weitere Informationen – folgende - Auswahlmöglichkeiten stehen hier zur Verfügung: - Textzustände - Modifikationen - Kontexte - Metadaten - Register - -

-

So bieten die ersten beiden Reiter die Möglichkeit, die Anzeige - des Textes nach verschiedensten Kriterien zu modifizieren. Grundsätzlich - kann zwischen einer Ansicht des maschinenschriftlichen Grundzustandes und - des Endzustandes, inklusive aller handschriftlichen Korrekturen und - Ergänzungen, gewählt werden. Ferner ist es über den Reiter - Modifikationen zudem möglich, einzelne Änderungs- bzw. - Ergänzungsoperationen Koeppens gezielt nachzuverfolgen. Die - Änderungsoperationen Koeppens können im Text durch farbliche Hinterlegung - gezielt hervorgehoben werden. Im Falle der betrachteten Beispielseite sind - dies neben zunächst einfach zu verstehenden Sofortkorrekturen auch - komplexere Ersetzungen sowie eine Vielzahl von Anmerkungen, die Koeppen um - den Text herum platziert hat. Eine Option, die das Verständnis der Genese - einzelner Manuskripte durchaus erleichtert, jedoch wie Rüdiger Nutt-Kofoth - zurecht angemerkt hat „nur einzelstellenbezogene, nicht aber - zusammenhängende Änderungen ausweist“.Vgl. Nutt-Kofoth - (2019), S. 20. Während die Reiter Metadaten und Register - Informationen bereithalten, auf die im bisherigen Verlauf der Rezension - bereits eingegangen wurde, scheint doch ein genauerer Blick auf den Reiter - Kontexte lohnenswert.

-

Dort bietet die Edition, neben Informationen zu Vorgängern und - Nachfolgern, inklusive entsprechender Verlinkungen, in der Archivmappe auch - Hinweise zur Textgenese (ebenfalls Vor- und Nachfolger) an. Die - Herausgeber*innen der Edition weisen jedoch darauf hin, dass ein Vor- bzw. - Nachfolger im textgenetischen Zusammenhang nur dann angegeben ist, wenn eine - unmittelbare Vorstufe bzw. folgende Textstufe ermittelt werden konnte.Vgl. https://web.archive.org/web//http://koeppen-jugend.de/pages/ueber. - Im Falle des Manuskripts MID355-M028-003 wurden keine solchen Vorstufen bzw. - folgenden Textstufen identifiziert.

-

Wie genau die Grenzen einer unmittelbaren Vorstufe bzw. einer - folgenden Textstufe definiert sind, ist jedoch nicht weiter erläutert. - Festzustellen ist aber, dass sich nur einige wenige Textträger finden, bei - denen ein unmittelbarer Vorgänger bzw. Nachfolger im rekonstruierten - textgenetischen Zusammenhang angegeben ist. Hier scheint sich zumindest in - Teilen ein Widerspruch in der Methodik der textgenetischen Edition zu - offenbaren. So wird auf der Makroebene bzw. Mesoebene zwar ein - chronologischer Pfad der Genese hergestellt und visualisiert, der einen - starken Zusammenhang zwischen den Gruppen und den darin enthaltenen - Dokumenten impliziert, auf Ebene der einzelnen Dokumente werden diese Bezüge - jedoch nicht bzw. nur selten hergestellt. Dies verdeutlichen besonders auch - die letzten beiden Gruppen Vorbereitung Satzvorlage und - Satzvorlage der letzten Sequenz. Während diese beiden im - textgenetischen Pfad direkt hintereinander folgen und auch von der gewählten - Bezeichnung der Editor*innen in enger Verwandtschaft zu stehen scheinen, - fehlt eine Zuordnung im Bereich der Textgenese bei Ansicht einzelner Texte. - In der Beschreibung der Gruppe Vorbereitung Satzvorlage - vermerken die EditorInnen dazu das Folgende: „Es bestehen damit große - Analogien zur Satzvorlage. Die Änderungen finden sich jedoch nicht in der - Satzvorlage wieder.“Vgl. http://web.archive.org/web//http://koeppen-jugend.de/textgenese/sequenz/53. - Aufgrund der fehlenden Zuordnung als unmittelbarer Vorgänger/Nachfolger - stellt sich die Frage, welche Änderungen Koeppen hier zunächst erdacht - hatte, die zu so starken Unterschieden zwischen den einzelnen Texten der - Gruppen führten. Hierauf bietet die textgenetische Edition keine Antwort.

-

Der Vergleich mit anderen Textträgern des Nachlasses oder auch - den jeweiligen Teilen der veröffentlichten Fassung bleibt den Nutzer*innen - der digitalen Edition überlassen. Andere digitale Editionen bieten hier - häufig deutlich mehr Optionen, wie bspw. synoptische Ansichten - (Parzival-Edition), Einblendapparate mit verlinkten Varianten - (Faust-Edition) oder tabellenartige Präsentationen computergestützter - Kollationierung (Beckett-Archive). Eine Funktionalität die nicht nur die - Benutzung erleichtern, sondern zugleich auch Befund und Deutung der - Herausgeber*innen Nachdruck verleihen würde.

-
-
-
- Fazit -

Die Edition nimmt sich erstmals der Aufgabe an, das Nachlasskonvolut - Wolfgang Koeppens zu seinem Roman Jugend zu ergründen und der - Öffentlichkeit in Form einer digitalen textgenetischen Edition zu präsentieren. - Ein Vorhaben für welches es nur einige wenige Vorbilder gibt.Vgl. Hörnschemeyer (2017), S. 179. Das rhizomatische - Netz des Schreibens Koeppen wird in der Edition selbst als eine Art Netz - aufgearbeitet und zugänglich gemacht. Der Edition lässt sich hier ganz ohne - Bedenken ein in weiten Teilen erkennbares und die Arbeit bestimmendes digitales - Paradigma bescheinigen.

-

Die Ergebnisse der Betrachtung zeigen zudem, dass die Darstellung - der Textgenese dann besonders gut gelingt, wenn diese losgelöst vom eigentlichen - Text visualisiert wird. In der textgenetischen Edition ist dies vor allem anhand - der rekonstruierten und klar strukturierten genetischen Pfade erkennbar, die - jeder Sequenz zugeordnet sind – wenngleich auch hier die Schwächen der Edition - zutage treten. So gerät nicht nur die listenförmige Darstellung der - textgenetischen Entwicklung auf dieser (Meso-)Ebene an ihre Grenzen. Vielmehr - verbleibt auch das textgenetische Modell der Edition als solches im Wagen. Weder - der editorische Bericht des digitalen Teils noch des Drucksteil verrät mehr über - die genaue Konzeption – zwar offenbart der zuvor zitierte Ausschnitt mehr über - die Anlage einzelner Gruppen, unklar ist jedoch wie sich eine solche Gruppe zu - üblicherweise angelegten begrifflichen Modellen wie Fassung respektive Textstufe - verhält. Wünschenswert wäre es in diesem Zusammenhang auch, mehr über die - ‚Dokumentklassen‘ zu erfahren, die sich in der reichhaltigen - Nachlassüberlieferung ausmachen lassen.

-

Ferner ist hier zu fragen, inwiefern dies eine listenförmige - Darstellung von Textgenese Eigenart genuin digitaler Darstellung ist. Ähnliche - Darstellungen wären durchaus auch in gedruckten Editionen, wenn auch mit einigem - Aufwand und einem Mehr an Funktionsverlust (oder auch Komfort in der Benutzung), - vorstellbar.

-

Im Hinblick auf das selbst gesteckte Ziel der textgenetischen - Edition, die Entschlüsselung der Textgenese, kann resümierend festgehalten - werden, dass dieses durchaus erreicht wird. Gerade vor dem Hintergrund der - vergleichsweise kurzen Erarbeitungszeit von drei Jahren bietet die - textgenetische Edition eine fundierte Ausgangsbasis zur Arbeit an mit Koeppens - Spätwerk Jugend an und konnte durch die umfangreiche Erschließung - des Nachlasses bereits gewinnbringend zur Koeppen-Forschung beitragen.Ein Großteil der Sequenzen, die in Jugend als - Text arrangiert sind, waren bereits an anderer Stelle von Koeppen publiziert - worden (z.B. 1968 im Merkur). In der Koeppen-Forschung hielt sich jedoch - nachhaltig die Vermutung, dass Koeppen an der Herstellung des - Jugend-Textes gar nicht selbst beteiligt war, eine Annahme - die die Edition durch die Erschließung und Präsentation des Nachlasses in - Greifswald und Marbach widerlegt. Vgl. Krüger (2016), S. 177. Durch - den jedoch nur recht kurzen editorischen Bericht wird allerdings die Chance - verpasst, einen unmittelbar fassbaren Beitrag zur theoretischen Konzeption wie - auch praktischen Modellierung digitaler textgenetischer Editionen zu leisten, - welche noch vor einigen ungelösten Aufgaben stehen.Für - einen Überblick zu diesem Thema siehe inbesondere Lukas (2019) sowie - Nutt-Kofoth (2019, vor allem Nutt-Kofoth (2019), S. 20f.

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- - - -
- - Grésillon, Almuth. 1999. Literarische Handschriften: Einführung in - die „critique génétique“. Arbeiten zur Editionswissenschaft, Bd. - 4. Bern: P. Lang. - Hörnschemeyer, Jörg. 2017. Textgenetische Prozesse in Digitalen - Editionen. Dissertation. Köln. - Krüger, Katharina. 2016. „‚auf den jetzt modernen und unheimlichen - Maschinen, die man elektrische Gehirne heißt, da liegt die Erinnerung in - einem unordentlichen verwirrenden Netz‘. Zur Edition von Wolfgang Koeppens - Jugend“. In Textgenese und digitales Edieren. Wolfgang Koeppens - ‚Jugend‘ im Kontext der Editionsphilologie, herausgegeben von - Katharina Krüger, Elisabetta Mengaldo, und Eckhard Schumacher, Beihefte zu - Editio 40:175–86. Berlin/Boston: De Gruyter. - Krüger, Katharina, Elisabetta Mengaldo, und Eckhard Schumacher, Hrsg. - 2016. Textgenese und digitales Edieren. Wolfgang Koeppens ‚Jugend‘ im - Kontext der Editionsphilologie. Berlin/Boston: De Gruyter. - Lukas, Wolfgang. 2019. „Archiv – Text – Zeit. Überlegungen zur - Modellierung und Visualisierung von Textgenese im analogen und digitalen - Medium“. In Textgenese in der digitalen Edition, herausgegeben - von Anke Bosse und Walter Fanta, Beihefte zu Editio 45:23–50. Berlin/Boston: - De Gruyter. - Nutt-Kofoth, Rüdiger. 2019. „Textgenese analog und digital. Ziele, - Standards, Probleme“. In Textgenese in der digitalen Edition, - herausgegeben von Anke Bosse und Walter Fanta, Beihefte zu Editio 45:1–22. - Berlin/Boston: De Gruyter. - Ries, Thorsten. 2014. Verwandlung als anthropologisches Motiv in der - Lyrik Gottfried Benns. Textgenetische Edition ausgewählter Gedichte aus - den Jahren 1935 bis 1953. Exempla critica 4, Bd. 1 von 2 Bden.. - Berlin/Boston: De Gruyter. - Sahle, Patrick. 2013. Digitale Editionsformen, 2: Befunde, Theorie - und Methodik. Schriften des Instituts für Dokumentologie und - Editorik Bd. 8. Norderstedt: BoD. - Schumacher, Eckhard. 2016a. „Einleitung“. In Textgenese und - digitales Edieren. Wolfgang Koeppens ‚Jugend‘ im Kontext der - Editionsphilologie, herausgegeben von Katharina Krüger, - Elisabetta Mengaldo, und Eckhard Schumacher, Beihefte zu Editio 40:1–5.. - Berlin/Boston: De Gruyter. - ______. 2016b. „Kommentar“. In Wolfgang Koeppen: Jugend, - herausgegeben von Eckhard Schumacher, Werke Bd. 7:112–90.. Berlin: - Suhrkamp. - -
- - - diff --git a/wordclouds/tei/done/corema-tei.xml b/wordclouds/tei/done/corema-tei.xml new file mode 100644 index 0000000..99e66d8 --- /dev/null +++ b/wordclouds/tei/done/corema-tei.xml @@ -0,0 +1,2195 @@ + + + + + + + + Reviewing the bread and butter of CoReMa, Cooking Recipes of the Middle Ages + + + Helena + Bermúdez Sabel + + + Université de Neuchâtel + Neuchâtel, Switzerland + + helena.bermudez@unine.ch + + + + Institut für Dokumentologie und Editorik e.V. + September 2021 + http://ride.i-d-e.de/issues/issue-14/corema + 10.18716/ride.a.14.1 + https://github.com/i-d-e/ride/raw/master/issues/issue14/corema/corema.pdf + + + + + + RIDE - A review journal for digital editions and resources + Torsten Roeder + Martina Scholger + Ulrike Henny-Krahmer + Frederike Neuber + Digital Scholarly Editions + http://ride.i-d-e.de/issues/issue-14 + + + + + CoReMA: Cooking Recipes of the Middle Ages + Helmut W. Klug + + Editor + Klug, Helmut W. + + + Editor + Böhm, Astrid + + + Editor + Steiner, Christian + + + Editor + Eibinger, Julia + + + Contributor + Raunig, Elisabeth + + + Contributor + Ardesi, Denise + + + Contributor + Laurioux, Bruno + + + Contributor + Montaigu, Corentin Poirier + + 2020-2022 + http://gams.uni-graz.at/corema + 2021-04-31 + + + + + Criteria for + Reviewing Scholarly Digital Editions + + + + +

born digital

+ + + + + + + Documentation + + Bibliographic description cf. Catalogue + 1.2 + + Is it easily possible to describe the project bibliographically + along the schema "responsible editors, publishing/hosting + institution, year(s) of publishing"? + + Yes + + + + + + No + + + + + + + Contributors cf. Catalogue 1.4 + + Are the contributors (editors, institutions, associates) of the + project fully documented? + + Yes + + + + + + No + + + + + + + Contacts cf. Catalogue 1.5 + + Does the project list contact persons? + + Yes + + + + + + No + + + + + + + Selection cf. Catalogue 2.1 + + Is the selection of materials of the project explicitly + documented? + + Yes + + + + + + No + + + + + + + Reasonability of the selectioncf. Catalogue + 2.1 + + Is the selection by and large reasonable? + + Yes + + + + + + No + + + + + + + Archiving of data cf. Catalogue 4.16 + + Does the documentation include information about the long term + sustainability of the basic data (archiving of the data)? + + Yes + + + + + + No + + + + + + + Aims cf. Catalogue 3.1 + + Are the aims and purposes of the project explicitly + documented? + + Yes + + + + + + No + + + + + + + Methods cf. Catalogue 3.1 + + Are the methods employed in the project explicitly + documented? + + Yes + + + + + + No + + + + + + + Data model cf. Catalogue 3.7 + + Does the project document which data model (e.g. TEI) has been + used and for what reason? + + Yes + + + + + + No + + + + + + + Help cf. Catalogue 4.15 + + Does the project offer help texts concerning the use of the + project? + + Yes + + + + + + No + + + + + + + Citation cf. Catalogue 4.8 + + Does the project supply citation guidelines (i.e. how to cite + the project or a part of it)? + + Yes + + + + + + No + + + + + + + Completion cf. Catalogue 4.16 + + Does the editon regard itself as a completed project (i.e. not + promise further modifications and additions)? + + Yes + + + + + + No + + + + + + + Institutional curation cf. Catalogue + 4.16 + + Does the project provide information about institutional + support for the curation and sustainability of the + project? + + Yes + + + + + + No + + + + + + + + Contents + + Previous edition cf. Catalogue 2.2 + + Has the material been previously edited (in print or + digitally)? + + Yes + + + + + + No + + + + + + + Materials used cf. Catalogue 2.2 + + Does the edition make use of these previous editions? + + Yes + + + + + + No + + + + + + Not applicable + + + + + + + Introduction cf. Catalogue 4.15 + + Does the project offer an introduction to the subject-matter + (the author(s), the work, its history, the theme, etc.) of the + project? + + Yes + + + + + + No + + + + + + + Bibliography cf. Catalogue 2.3 + + Does the project offer a bibliography? + + Yes + + + + + + No + + + + + + + Commentary cf. Catalogue 2.3 + + Does the project offer a scholarly commentary (e.g. notes on + unclear passages, interpretation, etc.)? + + Yes + + + + + + No + + + + + + + Contexts cf. Catalogue 2.3 + + Does the project include or link to external resources with + contextual material? + + Yes + + + + + + No + + + + + + + Images cf. Catalogue 2.3 + + Does the project offer images of digitised sources? + + Yes + + + + + + No + + + + + + + Image quality cf. Catalogue 4.6 + + Does the project offer images of an acceptable + quality? + + Yes + + + + + + No + + + + + + Not applicable + + + + + + + Transcriptions cf. Catalogue 2.3 + + Is the text fully transcribed? + + Yes + + + + + + No + + + + + + + Text quality cf. Catalogue 4.6 + + Does the project offer texts of an acceptable quality (typos, + errors, etc.)? + + Yes + + + + + + No + + + + + + + Indices cf. Catalogue 4.5 + + Does the project feature compilations indices, registers or + visualisations that offer alternative ways to access the + material? + + Yes + + + + + + No + + + + + + + Types of documents cf. Catalogue 1.3 + and 2.1 + + Which kinds of documents are at the basis of the + project? + + Single manuscript + + + + + + Single work + + + + + + Collection of texts + + + + + + Collected works + + + + + + Papers + + + + + + Archival holding + + + + + + Charters + + + + + + Letters + + + + + + Diary + + + + + + Other + + + + + + + + + + Document era cf. Catalogue 1.3 and + 2.1 + + What era(s) do the documents belong to? + + Classics + + + + + + Medieval + + + + + + Early modern + + + + + + Modern + + + + + + + Subject cf. Catalogue 1.3 + + Which perspective(s) do the editors take towards the edited + material? How can the edition be classified in general + terms? + + History + + + + + + Philology / Literary Studies + + + + + + Philosophy / Theology + + + + + + History of Science + + + + + + Musicology + + + + + + Art History + + + + + + Other + + + + + + + + + + Spin-Offs cf. Catalogue 4.11 + + Does the project offer any spin-offs? + + App + + + + + + Mobile + + + + + + PDF + + + + + + None + + + + + + Other + + + + + + + + + + + Access modes + + Browse by cf. Catalogue 4.3 + + By which categories does the project offer to browse the + contents? + + Authors + + + + + + Works + + + + + + Versions + + + + + + Structure + + + + + + Pages + + + + + + Documents + + + + + + Type of material + + + + + + Images + + + + + + Dates + + + + + + Persons + + + + + + Places + + + + + + Other + + + + + Language, content-specific categories, like the ingredients + + + + + Simple search cf. Catalogue 4.4 + + Does the project offer a simple search? + + Yes + + + + + + No + + + + + + + Advanced search cf. Catalogue 4.4 + + Does the project offer an advanced search? + + Yes + + + + + + No + + + + + + + Wildcard search cf. Catalogue 4.4 + + Does the search support the use of wildcards? + + Yes + + + + + + No + + + + + + Not applicable + + + + + + + Index cf. Catalogue 4.4 + + Does the search offer an index of the searched field? + + Yes + + + + + + No + + + + + + Not applicable + + + + + + + Suggest functionalities cf. Catalogue + 4.4 + + Does the search offer autocompletion or suggest + functionalities? + + Yes + + + + + + No + + + + + + Not applicable + + + + + + + Help texts cf. Catalogue 4.4 + + Does the project offer help texts for the search? + + Yes + + + + + + No + + + + + + Not applicable + + + + + + + + Aims and methods + + Audience cf. Catalogue 3.3 + + Who is the intended audience of the project? + + Scholars + + + + + + Interested public + + + + + + + Typology cf. Catalogue 3.3 and + 5.1 + + Which type fits best for the reviewed project? + + Facsimile edition + + + + + + Archive edition + + + + + + Documentary edition + + + + + + Diplomatic edition + + + + + + Genetic edition + + + + + + Work critical edition + + + + + + Text critical edition + + + + + + Enriched edition + + + + + + Database edition + + + + + + Digital library + + + + + + Collection of texts + + + + + + None + + + + + + Other + + + + + + + + + + Critical editing cf. Catalogue 3.6 + + In how far is the text critically edited? + + Transmission examined + + + + + + Palaeographic annotations + + + + + + Normalization + + + + + + Variants + + + + + + Emendation + + + + + + Commentary notes + + + + + + None + + + + + + Other + + + + + Identification of semantic elements (there is no normalization in the transcriptions, but lemmata and concepts are identified) + + + + + XML cf. Catalogue 3.7 + + Is the data encoded in XML? + + Yes + + + + + + No + + + + + + + Standardized data model cf. Catalogue + 3.7 + + Is the project employing a standardized data model (e.g. + TEI)? + + Yes + + + + + + No + + + + + + + Types of text cf. Catalogue 3.5. + + Which kinds or forms of text are presented? + + Facsimiles + + + + + + Diplomatic transcription + + + + + + Edited text + + + + + + Translations + + + + + + Commentaries + + + + + + Semantic data + + + + + + + + Technical accessability + + Persistent identification cf. Catalogue + 4.8 + + Are there persistent identifiers and an addressing system for + the edition and/or parts/objects of it and which mechanism is used + to that end? + + DOI + + + + + + ARK + + + + + + URN + + + + + + PURL.ORG + + + + + + Persistent URLs + + + + + + None + + + + + + Other + + + + + + + + + + Interfaces cf. Catalogue 4.9 + + Are there technical interfaces like OAI-PMH, REST etc., which + allow the reuse of the data of the project in other + contexts? + + OAI-PMH + + + + + + REST + + + + + + General API + + + + + + None + + + + + + Other + + + + + + + + + + Open Access + Is the edition Open Access? + + Yes + + + + + + No + + + + + + + Accessability of the basic data cf. + Catalogue 4.12 + + Is the basic data (e.g. the XML) of the project accessible for + each part of the edition (e.g. for a page)? + + Yes + + + + + + No + + + + + + + Download cf. Catalogue 4.9 + + Can the entire raw data of the project be downloaded (as a + whole)? + + Yes + + + + + + No + + + + + + + Reuse cf. Catalogue 4.9 + + Can you use the data with other tools useful for this kind of + content? + + Yes + + + + + + No + + + + + + + Declaration of rights cf. Catalogue + 4.13 + + Are the rights to (re)use the content declared? + + Yes + + + + + + No + + + + + + + License cf. Catalogue 4.13 + + Under what license are the contents released? + + CC0 + + + + + + CC-BY + + + + + + CC-BY-ND + + + + + + CC-BY-NC + + + + + + CC-BY-SA + + + + + + CC-BY-NC-ND + + + + + + CC-BY-NC-SA + + + + + + PDM + + + + + + No license + + + + + + Multiple licenses + + + + + + Other + + + + + + + + + + + + + + + + + + + annotation + diplomatic transcription + food history + germanic varieties + german + medieval + interface + + + + + + +
+

+ CoReMa, Cooking Recipes of the Middle Ages is an ongoing + project whose method involves a semantically annotated, conservative edition of + medieval manuscripts containing cooking recipes. With a rigorous philological + approach and the aid of semantic web technologies, CoReMa’s method aims at + teasing out the textual relations between different recipe collections, even + enabling the comparison between manuscripts in different languages. Its semantic + model covers many and very heterogeneous aspects of the transmission of cooking + knowledge including, just to give an example, the treatments of a condition or + illness. CoReMa is an ambitious project and food historians will not be the only + scholars that will benefit from such a comprehensive (and intuitive) + resource.

+
+ + +
+ IntroductionThis review was updated in + April 2021 as the result of detailed peer-review that greatly + improved its contents. The reviewer is a postdoc in Historical + Linguistics and Digital Humanities at the University of Neuchâtel. + She holds a PhD in Medieval Studies and, although the framework of + her thesis project was philological, her postgraduate program was + interdisciplinary and she holds a minor specialisation in Medieval + History and Medieval Art History. + +

Collections of cooking recipes have a rich textual tradition in medieval + Europe that goes beyond the famous compilations of De re + coquinaria,See Grocock and Grainer (2006, 116–20) for an + overview of the transmission of this work showing its great + success. and CoReMa, Cooking Recipes of + the Middle Ages provides a rigorous method to tackle its + complexity. With the objective of pursuing an in-depth analysis of the + transmission and interrelation of medieval cooking recipes, CoReMa proposes + an interdisciplinary approach that produces a semantically annotated digital + scholarly edition (Klug and Laurioux + 2020).

+

At the time of writing, the project holds the edition of fifteen manuscripts + from the Late Middle Ages in several German dialects. Thus, this review + concerns the edition of the German Cooking Recipe Collections, although the + project has a much larger scope. CoReMa defends a cross-linguistic approach + as one of the defining features of this project in comparison to previous + national-based initiatives. Therefore, either the addition of other + languages or, at least, the enrichment of the German materials with the + corresponding references to other textual traditions is expected considering + the overall goals of the project.

+

There are a few resources that are of invaluable help for researchers in food + history (or food historiography). One of the resources which has received + the most attention outside specialised circlesIt has been covered in + large-circulation periodicals or news media like the BBC News (Thomas + 2017), New York Times Magazine + (Wilson 2015) or El País (Pérez + 2020). is The Sifter + (Wheaton 2020), a database of recipes, + ingredients, and cooking techniques retrieved from more than 7000 + bibliographic works. Another relevant resource is The Food + Timeline (Olver 2015). On + the one hand, this resource provides information about when foods were first + introduced (visualised, as expected, in a graphical timeline). On the other + hand, this information is complemented with historic recipes using those + foods, together with various food-related topics such as historic food + prices, historic menu collections, adaption of old recipes, and other + information about culinary research. This database provides both scholarly + sources and ‘popular’ ones from outside academia (such as famous cooking + blogs or chefs’ websites).For a more academic resource that is + exclusively focused on the compilation of bibliographic references, + scholars can consult The Food Bibliography + (‘The Food Bibliography’ + n.d.). Although all these resources somehow + cover the same historical and geographic framework as CoReMa, in the sense + that Medieval Europe is well represented in both databases, the project + being reviewed provides a philological approach not shared by the + aforementioned resources. Thanks to the scholarly edition of the recipes, + the codicological analysis of the manuscripts that contain them and the + phylogenetic study of these sources, it is possible to obtain an exhaustive + knowledge on the sociohistorical and cultural factors that brought about + those recipes. This comprehensive analysis can hardly be achieved by more + generic endeavours.

+

Considering that CoReMa’s work is still in progress, I will dedicate a + section to briefly discuss the project and its overall goals in relation to + its current status (section 2). Section 3 presents an overview of the methodology + and section 4 discusses the main functionalities + of the graphical user interface. The review ends with some final remarks + that mainly expand on the scholarly contribution of this project (section 5).

+
+
+ Presentation of the project and its + status +

+

+ + The front page of CoReMa including the menu + items that describe this project. +
The website of the project is very well organised. The menu items take the + user to the relevant pieces of information that can be consulted before + exploring a project’s contents. CoReMa provides comprehensive documentation, + both from the perspective of its conceptualisation and also its + implementation (see Fig. 1).

+

The information related to the agents and agencies behind this project is + accessible, clear and well-organised. CoReMa stems from the international + cooperation between the Centre for Information Modelling - Austrian Centre + for Digital Humanities of the University of Graz (ZIM-ACDH) and the Centre + for Advanced Renaissance Studies of the University of Tours. The principal + investigators are Helmut W. Klug, who leads the Austrian participation, and + Bruno Laurioux, who is in charge of the French team. The project is funded + by the Agence Nationale de la Recherche (ANR) and by the Austrian Science + Foundation (FWF). Project start and end dates are not explicitly mentioned + on the website. However, an online search for the grant number showed that + the project is being funded from March 2018 until October 2021.

+

The overall goal of CoReMa is to gain new knowledge on cooking traditions + from a cross-cultural perspective by studying how medieval European cooking + recipes were transmitted. To achieve it, the core of the methodology is the + scholarly digital edition of the recipes. The texts of this edition are + semantically annotated in order to tease out the answers for the overall + research question: what were the food habits in Medieval Europe. The + contents of this annotation are exploited thanks to different search + functions. At the moment, it is possible to filter the recipes according to + different criteria, like period or dialects. A search by ingredient(s) is + also enabled. These search functions make it possible to trace the + distribution of certain recipes and ingredients. Accordingly, the tool is + already a useful tool to shed light on certain gastronomical trends even at + this stage of the project, where all manuscripts have not yet been edited. + Besides its use by a specialised public, any person interested in cooking + will enjoy browsing the contents of the project and learning the + particularities of medieval cuisine.

+

At the time of writing, we can access the edition of fifteen manuscripts, all + of them pertaining to the German Cooking Recipe + Collections. For these witnesses, a curated text is provided and, + for most of them, the structural and semantic components of the texts are + also identified, like the categorisation of ingredients, instructions or + tools. A useful resource to evaluate the state of the project is the to-do + list accessible from the main menu. + https://web.archive.org/web/20210502085119/https://gams.uni-graz.at/archive/objects/context:corema/methods/sdef:Context/get?mode=todos. + This list gives us a quick overview of the state of the corpus in terms of + its development. The manuscripts whose edition is planned are listed and it + is clear which ones have already been incorporated to the website (about a + fourth of the collection). What is unclear to a user is the criteria for the + selection of sources. Considering the goals and the description of the + project provided, it is to be expected that their scope includes every + manuscript of cooking recipes inside the pertinent chronological framework. + However, no information is given about how the source compilation was + done.

+

Besides giving an overview of the state of the collection in terms of + progress, the to-do list contains tasks related to other development areas + like the graphical user interface, or aspects of the analysis that still + need to be implemented. With the complete edition of a number of witnesses + and the implementation of a faceted search, we have a fair glimpse at what + will be the final product. The most relevant functionality that it is yet to + be implemented at the moment of writing is related to intertextual relations + between recipes and the analysis of recipes migration.

+

In the goals of the project, a development of an ontology to formalise the + semantic annotation is mentioned. No information about this task is + collected in the to-do list so it can be assumed that the list was conceived + as a practical work document for the development of the portal and thus has + little use for the more general tasks.

+
+
+ CoReMa’s method: a transdisciplinary + approach +

CoReMa is presented by its creators as an interdisciplinary project, but I + argue that the final result can be described as transdisciplinary: a + cohesive unit of frameworks that surpasses the disciplinary perspectives + (Jensenius 2012). + In this sense, a scholarly digital edition is transdisciplinary by + definition, but it is worth highlighting some of the other elements that + interact to create a project as the one being reviewed. Thus, I will + decompose what so smoothly comes together to provide an overview of some of + the components of the project.

+
+ Material philology +

For each manuscript of the collection, a codicological description is + provided. The user can either access an overview of the edited + manuscripts thanks to a timeline or a more ‘traditional’ description by + selecting a specific manuscript.

+

+

+ + One of the entries of the manuscript + timeline. +
The manuscript timeline is an excellent visualisation to examine the + chronological framework of the project, especially useful when + discussing a work in progress that will be frequently updated (as + inferred by their to-do list). This timeline presents each manuscript in + chronological order with a succinct codicological description (see Fig. 2). The graphic design of the timeline + comes out below each description and each manuscript appears identified + with its sigla in the corresponding time frame. As of April 2021, the + timeline groups the different manuscripts in four different lines (see + Fig. 2). Although I could not find the + specific documentation, as a reader I understand that the different + lines represent branches of the manuscript tradition and manuscripts + sharing the same line present a filiation relation.

+

In regards to the more thorough codicological + description given for each manuscript, it should be noted that not all + descriptions present the same level of detail, thus the available + metadata varies from one artefact to the other. However, in general + terms, this physical description includes a description of the support, + containing information about the cover and binding, together with + aspects of the mise en page.

+

The codicological analysis is complemented with bibliographic references. + When possible, the link to a digital facsimile is included. The metadata + provided for all manuscripts concerns the catalogue references with a + Zotero link that enables the immediate import of any bibliographic + reference.

+

The contents of the codicological description are mostly in German: all + the available manuscripts come from libraries in German-speaking + countries and the contents of this section are likely collected with the + help of catalogues in German. Thus, the presence of German would be + understandable if the contents were generated on the fly, but it does + not seem to be the case. Nevertheless, if users can read the edition of + the text in a historical Germanic variety, the manuscript description + should not pose any problems.

+

Considering that the edition may involve just a very small portion of the + codex, the detailed description of the manuscript, with all the + references provided, renders a more accurate view of the artefact.

+
+
+ Paleography +

The last part of this section is dedicated to the ecdotic component of + the project in which the edition decisions will be further discussed. + However, at this point it is pertinent to announce that the criteria of + a digital documentary edition are already an inestimable source of + palaeographic information (Pierazzo 2011, 475). + This is even more straightforward when the transcription is always + displayed next to a facsimile rendition of the folium, as it is the case + in this project.

+

Besides the palaeographic knowledge that can be retrieved from the + edition of these manuscripts that have different provenances (and thus, + diverging writing practises), palaeographic metadata are given for each + manuscript. As with the previous codicological description, the + availability and detail of this information varies from one manuscript + to the other, but all entries include the identification of the hands + and of the script types. The most comprehensive palaeographic + descriptions include an inventory of letterforms and specific graphical + uses with their location in the manuscript.

+

Considering the particularities of the transmission of cookbooks, the + identification of hands is crucial to identify the socio-historical + context in which latter additions, comments or even modifications of the + recipes are done.

+
+
+ Linguistics +

Any scholarly edition of a medieval text requires a profound knowledge of + the historic variants of the language under analysis. However, the + semantic annotation of this project explicitly formalises part of that + knowledge. At the moment, the semantic annotation not only consists of + the description of the different parts of the recipe, like the opener, + tips or instructions, but it also contains an under-the-hood + standardisation of its contents. Certain elements like those which model + the ingredients, the dish name or the cooking instrument are given not + only the English translation in an attribute, but the Wikidata + identifier as well. The latter not only increases the interoperability + of the dataset but it could also be used to disambiguate concepts for + which English lacks specific terminology.The English translations + are provided using the corresponding Wikidata label, which might + not always be the most intuitive translation of certain terms. + See, for example, the recipe in Klug and Eibinger (2021a) where the label + ‘mus’ in English is used to translate Bavarian ‘Taig’ (not to be + confused with the standard German word for ‘dough’). Even if the + lemma ‘mus’ does not appear in English dictionaries like the + OED, the Wikidata identifier (Q1953925) provides the user with + the necessary information to interpret the term. +

+

In addition, access to historical socio-linguistic information is enabled + through an interactive map of the linguistic varieties covered in the + editions. The manuscript descriptions include the languages of the + artefact, but through the map it is easier to approach the materials + written in a particular variety.

+
+
+ Semantic Web technologies +

As presented in section 2, this part of the + project is not fully implemented. It is worth mentioning, nevertheless, + that certain steps were already taken, like the implementation of + Wikidata identifiers to unambiguously map certain concepts. Even if no + information is provided about the state of development of the ontology, + a possible approach is to use the editions themselves to elicit the + informational requirements of the ontology. In any case, even if the + ontology is not fully implemented until a considerable number of texts + is edited, it would be interesting to see how they link the different + editions to this ontology.See for instance this discussion in the TEI + Github repository: https://web.archive.org/web/20201213212835/https://github.com/TEIC/TEI/issues/1860. + It should be noted that the project is stored in the open management + system GAMS, + https://web.archive.org/web/20201214193532/https://gams.uni-graz.at/archive/objects/context:gams/methods/sdef:Context/get?locale=en. + an archive for managing, publishing and long-term archiving of digital + resources from the Humanities. It provides the project resources with + permanent identification and enriched metadata among other + functionalities that can facilitate the implementation of semantic web + technologies.

+
+
+ Textual scholarship: ecdotic model and + text encoding +

As stated in the objectives of the project, CoReMa’s goal is to provide a + philological edition of the source texts that follows a hyperdiplomatic + transcription model (Klug and Böhm + 2020). The theoretical framework of this editorial model is + found in Hofmeister-Winter (2003). This model is being implemented in other ongoing + edition projects at the University of Graz and this use backs up, in a + way, CoReMa’s choice (Klug and Laurioux + 2020).

+

The specific advantages of this model in relation to the research + questions and goals of the project are not explicitly addressed in the + documentation. Even if the objectives of the project argue the need of + providing scholarly curated texts, there is no specific discussion of + the adequacy of the hyperdiplomatic model to CoReMa’s particular goals. + Details are given, however, about the implementation of this edition + typology in the project Mittelalterlabor + + https://web.archive.org/web/20201214151226/http://gams.uni-graz.at/context:malab. + for which it is said that the moderately diplomatic criteria, with no + normalisation, pursue the representation of writer specific features in + the palaeographic dimension, together with ‘text-genetic information, + and dialectal markers that are represented on character level (e.g. + sound changes, dialect markers)’ (Klug + and Laurioux 2020). It is inferred that similar goals are + intended by the CoReMa project. Due to the conservative criteria, + CoReMa’s edition depicts a faithful representation of each of the + witnesses. It should be noted that the same recipes are preserved in + different witnesses and therefore a multi-witness critical edition of + those recipes would shed light about their transmission. However, the + comparison of recipes and the deeper analysis of recipe migration is not + yet available, thus we need to wait to see what will be CoReMa’s + strategy to formalise and visualise the witnesses’ comparison.

+

The actual implementation of the hyperdiplomatic model by CoReMa is very + detailed: From the main menu we can access a thorough documentation in + which the editorial criteria are exhaustively explained (Klug and Böhm 2020). Besides + expounding how the structural elements are encoded, and how specific + phenomena should be treated (like abbreviations or punctuation marks), + there is a detailed guide about character representation. They are + following the guidelines of the MUFI character + recommendation (Haugen 2015) + and they present a list of common allographs and how they should be + encoded. The criteria in this aspect are very conservative and the + general norm is “the text of the source is represented as detailed as + feasible” (Klug and Böhm 2020). The + documentation about the edition model ends with an explanation on how + certain encoded information will be displayed.

+

Besides the general editorial guidelines, specific criteria may apply to + certain manuscripts. In the description of each manuscript we might find + ‘encoding remarks’ where these particular criteria are explained. + Considering the heterogeneous sources (different languages, different + periods, different writing traditions) it is appropriate to present + these specific sections to reveal (and formalise) the idiosyncrasies of + a particular manuscript.

+

In addition to the criteria concerning the representation of the primary + sources, CoReMa provides their semantic annotation guide. In this + valuable piece of documentation, they propose a very fine-grained + segmentation of the recipes in semantic elements. Besides classifying + the different types of recipes and their structural parts (like the + opener or closer), it identifies the mentions to dishes, ingredients, + tools, household tips, kitchen tips, serving tips, instructions, time + spans and explicit health benefits.

+

The guide presents, on the one hand, the specific use of TEI elements and + attributes needed to convey the semantics of the textual elements, and, + on the other hand, the CoReMa-specific elements. The distinction between + one type and the other is not always explicit. Nevertheless, the + explanations are brief but clear with examples that illustrate very well + the specific uses at hand.

+

The ingredients, dishes and tools are annotated with the Wikidata + identifier, if possible. The lack of an identifier can be due to issues + when interpreting a term (see Klug and + Eibinger 2021a for an example) or because there is no + equivalent item in Wikidata. The CoReMa team might consider creating the + Wikidata entries themselves for some of the most obscure terms.See for + example the English label ‘trysenet’ used in a few recipes like + in Klug and Eibinger (2021d) but with the spelling ‘trisenet’ as the title + of a recipe in Klug and Eibinger (2021c). Even if the term + is well documented in historical and specialised dictionaries of + German (Wörterbuchnetz 2020, + ‘trisenet’), no pertinent references to ‘trysenet’ in + English were found online. +

+

There were only two minor aspects that could be reviewed in a future + version. First, the presence of the element <unclear> in the semantic model description: it should + solely belong, in my opinion, to the documentation about the editorial + criteria. Second, the use of the attribute @commodity in the CoReMa-specific elements <ingredient>, <dish>, and + <tool>. Considering the semantics of + the attribute, it only seems appropriate in the last one of them. Also, + the expected value is a Wikidata identifier, therefore, an attribute of + the TEI classes att.global.linking, att.canonical or att.identified could be a more suitable candidate.

+

As stated in the documentation, “all information relevant to the cooking + process and related spheres (e.g. conservation) can be represented” + (Eibinger and Klug 2020) + and the level of detail formalised in their encoding scheme is indeed + remarkable. The digital edition from the point of view of the graphical + user interface will be described in 4.2.

+
+
+
+ Interface +
+ Browse and search functionalities +

The German Cooking Recipe Collections is accessible from a user-friendly, + aesthetically pleasing interface (Klug et al. 2020). The + front page (Fig. 1) presents an image of each + edited manuscript (with its sigla) from which we can directly access its + transcription or the description of that manuscript (Gallery view). This + is a particularly convenient front page for recurrent visitors. + Manuscripts that have already been semantically annotated present, in + addition, the option ‘Recipes’. This presentation is very convenient + because one can access a specific manuscript immediately from the front + page without having to perform any queries first. Just above the + manuscript images, a secondary navigation bar offers five options to + browse the manuscript collection with different views: + The first one presents a map of all the archives: clicking on one + of the pinpoints displays a list of the manuscripts that are + available from that archive. + ‘View Dialect Map’ displays a map with the dialects. By clicking + on one of the dialect areas we can access the list of edited + manuscripts written in that linguistic variety. + The timeline described above (section + 3.1) is accessible from this menu. Even if its function is + not to be a chronological filter, but to explore the historical + dimension of the collection, the contents of edited manuscripts can + be accessed from here. This means that the timeline can be also used + to select a manuscript from a specific time frame. + The option ‘Indices’ takes the user to a table of the recipes with + a number of properties that can be used to filter its contents. In + addition, there is a text field that filters the complete collection + based on string match. Among the metadata fields available there is + the name of the recipe (both in English and the original one), the + witness, the archive and the provenance of the manuscript that + contains the recipe, and the language. It is possible to toggle the + different columns, to export the results, and to change the layout, + displaying the recipes as cards instead of table rows. + The last one filters the manuscripts available in the Gallery view + by archive. + +

+

At the moment of writing, the project has edited almost 25% of the + planned collection. This means that many of the archives or the dialects + presented in the maps of options 2 and 3 have no representing + manuscripts. A visual cue to differentiate the areas of both the dialect + and archive maps that have no manuscripts would improve the user + experience. + + Fuzzy full-text recipe search: A text field + (that allows wildcards) from which you can search the contents of + any of the recipes targeting specific components of the recipe: the + title, the full text, the tags or any field. The ‘fuzzy’ aspect of + this search is a good approach to deal with the scripto-linguistic + variants considering the corpus is not lemmatised. + + Manuscript description search: A text field + that allows wildcards. The search can be restricted to specific + fields: title, full text or tags. + + Advanced ingredient search: Two different + types of search to filter the recipes depending on their + ingredients. One of them is a text field that searches the English + title of the recipe. The other is a faceted search with autocomplete + function that allows you to see the possible ingredient + combinations: after selecting one ingredient in a drop-down menu, + another one that contains the ingredients with which the selection + shares a recipe appears. New drop-down menus will be presented until + no more options are available. A small inconvenient is that these + drop-down menus present the ingredients in a counter-intuitive case + sensitive order. The results, that is, the list of recipes that + match the search criteria, are exportable in CSV and PDF format and + they contain the permanent URI and the title of each recipe. + +

+

Besides the options given on the home page to browse the collection, the + ‘Analysis’ tab on the main menu provides additional search functions. + New analytical functions are expected to appear under this section in + the future. + + Fuzzy full-text recipe search: A text field + (that allows wildcards) from which you can search the contents of + any of the recipes targeting specific components of the recipe: the + title, the full text, the tags or any field. The ‘fuzzy’ aspect of + this search is a good approach to deal with the scripto-linguistic + variants considering the corpus is not lemmatised. + + Manuscript description search: A text field + that allows wildcards. The search can be restricted to specific + fields: title, full text or tags. + + Advanced ingredient search: Two different + types of search to filter the recipes depending on their + ingredients. One of them is a text field that searches the English + title of the recipe. The other is a faceted search with autocomplete + function that allows you to see the possible ingredient + combinations: after selecting one ingredient in a drop-down menu, + another one that contains the ingredients with which the selection + shares a recipe appears. New drop-down menus will be presented until + no more options are available. A small inconvenient is that these + drop-down menus present the ingredients in a counter-intuitive case + sensitive order. The results, that is, the list of recipes that + match the search criteria, are exportable in CSV and PDF format and + they contain the permanent URI and the title of each recipe. + +

+
+
+ The digital edition +

+

+ + Transcription view: hyperdiplomatic + edition. +
Once a manuscript is selected, the edited text is presented to the left + of its facsimile, so it is easy to follow the transcription of each + folio (Fig. 3). The images are of a great + quality and navigation buttons facilitate the perusing of the facsimile. + The folio number is clearly displayed each time a new page begins and + lines are numbered. The edition documents the change of colours of the + original. However, the text rendered in a brownish colour and italics + indicates an abbreviation expansion. Hovering over the expansion fires a + tooltip that informs us of the abbreviation mark that was expanded.

+

The only caveat of this edition might be the use + of colour to encode two different types of information: ink use of the + source and abbreviations. It might not be uncommon to find a decorated + initial that contains an abbreviation, for instance, so one wonders + which criterion would prevail.

+

At the bottom of the screen (Fig. 3), there is + a menu with four tabs (five, if the manuscript is semantically + annotated), that facilitates the navigation from the contents of one tab + to the other. The first tab contains the manuscript description; if + available, the tab ‘Recipes’ takes you to the results of the semantic + annotation; the tab ‘Transcription’ corresponds to the edited text; the + ‘Full-Width’ one presents a display of the edition with a vertical + layout: the facsimile appears on top and in a bigger frame than in the + ‘Transcription view’; and the last tab ‘Metadata’ provides very detailed + metadata of the edition in different standards that are available for + download.

+

+

+ + Recipes view: semantic annotation. +
+
+ + Visualisation of the semantic annotation: + kitchen tips are highlighted in blue and serving tips are highlighted in + light green. +
If the text is semantically annotated, the recipes view is available + (Fig. 4). Each one of the recipes is + clearly identified and the locus with the folio number is provided. Each + recipe has, as its heading, an English name for the recipe, and then in + the edition its original title appears in bold. The English title is + highlighted depending on the type of content of the recipe: for example, + cooking recipes appear in green and kitchen tips in red. This + categorisation is also made explicit in this heading. An icon at the end + of the heading takes the user to the single recipe view (see Fig. 6 and description below). On the right + side, we have a text field search that looks for specific contents in + the edition and below it, a list of buttons with each of the semantic + categories annotated. By clicking in one of these items, the textual + fragments corresponding to that element are highlighted in the text (see + Fig. 5 with an example).

+

A single recipe can be accessed either from the + query in the ‘Analysis’ or the recipes overview. This presentation + displays a slightly different layout than the views discussed above + although it presents most of the same functionalities. Above the text of + the recipe, we can find a text block that contains a list of the + ingredients and tools mentioned in the recipe. Note that the list + presents two types of ingredients, the base ingredients and what we + might call ‘intermediate ingredients’, that is, the results of mixing + some of the base ingredients before completing the dish. See as an + example the presence of ‘juniper berry broth’ and ‘sweet juniper berry + broth’ in the ingredient list of the recipe Klug and Eibinger (2021a). A differentiation between + both type of ingredients could be practical.

+

+

+ + Single recipe view. +
Next to the ingredients and tools card, a summary of the recipes’ + metadata is presented (see Fig. 6). This + description contains a link to both the hyperdiplomatic edition and the + recipes view so as to see the current recipe in its context. To the + right, we can see a facsimile view of the folio that contains the recipe + and the list of buttons with the semantic elements that highlight the + pertinent information.

+
+
+ Data sharing +

As mentioned in section 3.4, CoReMa is + managed via the GAMS system. Not only this guarantees the preservation + of the project, especially in terms of data safety and integrity, but it + is also an asset for data sharing strategies. From the edition of the + witnesses (both from the transcription view and the recipes view) it is + possible to access the metadata of the manuscript in different formats, + all of them downloadable. The TEI file of every released version of the + edition is provided together with the metadata in Dublin Core XML + format. The fact that they supply an individual file for each version of + the edition means that anybody interested only in the hyperdiplomatic + edition, but not in the semantic annotation, can download directly the + relevant file that matches their interest. It is possible that in the + future other formats will be available for download, like an RDF + serialisation.

+

The contents of the portal, including the edition and the facsimile + images, have an explicit Creative Commons license (BY-NC-SA 4.0). ‘How + to cite’ information is also available in each page and in every recipe, + thus the dataset (and the documentation) of the project can be reused + and easily credited.

+
+
+
+ Conclusion +

This review analyses the edition of the German Cooking + Recipe Collections of the CoReMa project. The CoReMa project has a + very ambitious goal, a comprehensive understanding of the food habits in + Medieval Europe, but the work so far done with this collection is an + excellent proof of concept and a compelling show-case of their method.

+

CoReMa defends a cross-linguistic approach to overcome the possible + deficiencies of national-based or monolingual methods that can hardly keep + track of the intertextuality relations among recipes of different manuscript + traditions. It will be interesting to see exactly the type of interrelations + between recipes that will be studied and how they are going to be formalised + and implemented. Nevertheless, considering the current use of semantic web + technologies, and the future work planned, it is expected that an extended + use of these technologies will be the preferred method to tackle this + specific challenge.

+

Guided by a research question in food history, the philological approach is + the cornerstone of the project. One of the most noteworthy features of the + project is the semantic annotation. The semantic model is a fascinating + reading in itself, and I am eager to see how it will be further put to use + by the project. Their annotation schema goes beyond the mere identification + of ingredients or dishes and it is indisputable that their annotated corpus + will be relevant for adjacent disciplines to food history, such as the + history of medicine or the philosophy of medicine.

+

Besides the current and future contribution this project to food history, + other disciplines will benefit from its corpus. Just as an example, together + with all the heterogeneous linguistic information amenable to be retrieved + from a digital documentary edition, the semantic annotation of the edition + can be further exploited from a diachronic linguistics perspective. In this + sense, I believe that the project resources could be exploited to study + semantic shifts in food-related vocabulary; in addition, the fact that the + corpus covers different linguistic varieties opens the door to historical + socio-linguistic studies.

+

With transparent policies, thorough documentation and great usability, CoReMa + is publishing a high-quality scholarly digital edition. As it is an ongoing + project, its extensive functionalities will be even further enhanced.

+
+ + +
+ + Eibinger, Julia, + and Helmut W. Klug. 2020. ‘Semantic Model’. In CoReMA - + Cooking Recipes of the Middle Ages. Corpus - Analysis - + Visualisation, edited by Helmut W. Klug. Centre for Information + Modelling (ZIM-ACDH), University of Graz. https://web.archive.org/web/20201212131944/http://gams.uni-graz.at/o:corema.semanticdec. + Grocock, C. W, + and Sally Grainger, eds. 2006. Apicius: a critical edition + with an introduction and an English translation of the Latin recipe text + Apicius. Totnes [England]: Prospect. + Haugen, Odd Einar. 2015. + MUFI Character Recommendation v. 4.0. Medieval + Unicode Font Initiative. https://bora.uib.no/bora-xmlui/handle/1956/10699. + Hofmeister-Winter, Andrea. 2003. Das Konzept einer + ‘Dynamischen Edition’ dargestellt an der Erstausgabe des ‘Brixner + Dommesnerbuches’ von Veit Feichter (Mitte 16. Jh.): Theorie und + praktische Umsetzung. Kümmerle. + Jensenius, Alexander + Refsum. 2012. ‘Disciplinarities: Intra, Cross, Multi, Inter, Trans’. 2012. + https://web.archive.org/web/20201212163539/https://www.arj.no/2012/03/12/disciplinarities-2/. + Klug, Helmut W., and + Astrid Böhm. 2020. ‘Editorial Declaration’. In CoReMA - + Cooking Recipes of the Middle Ages. Corpus - Analysis - + Visualisation, edited by Helmut W. Klug. Centre for Information + Modelling (ZIM-ACDH), University of Graz. https://web.archive.org/web/20201212190013/http://gams.uni-graz.at/o:corema.editorialdec. + Klug, Helmut W., + and Julia Eibinger. 2021a. ‘Cooking Recipe for “Drink, a healthy water” + (bs1.163)’. In CoReMA - Cooking Recipes of the Middle + Ages. Corpus - Analysis - Visualisation, edited by Helmut W. Klug. + GAMS. 562.10.657. https://web.archive.org/web/20210502091756/http://gams.uni-graz.at/o:corema.bs1.163. + Klug, Helmut W., + and Julia Eibinger. 2021b. ‘Cooking Recipe for “Electuary from quince, pear, + or apple” (h2a.10)’. In CoReMA - Cooking Recipes of the + Middle Ages. Corpus - Analysis - Visualisation, edited by Helmut W. + Klug. With the help of A. Böhm, J. Eibinger, and C. Steiner. GAMS. + 562.10.1149. https://web.archive.org/web/20210502091730/http://gams.uni-graz.at/o:corema.h2a.10. + Klug, Helmut W., + and Julia Eibinger. 2021c. ‘Cooking Recipe for “Trisenet” (h2a.1)’. In CoReMA - Cooking Recipes of the Middle Ages. Corpus - + Analysis - Visualisation, edited by Helmut W. Klug. With the help + of A. Böhm, J. Eibinger, and C. + Steiner. GAMS. + 562.10.1148. https://web.archive.org/web/20210502092842/https://gams.uni-graz.at/o:corema.h2a.1. + Klug, Helmut W., + and Julia Eibinger. 2021d. ‘Cooking Recipe for “Wine sauce” (h2a.2)’. In CoReMA - Cooking Recipes of the Middle Ages. Corpus - + Analysis - Visualisation, edited by Helmut W. Klug. With the help + of A. Böhm, J. Eibinger, and C. Steiner. GAMS. 562.10.1159. https://web.archive.org/web/20210502090227/https://gams.uni-graz.at/o:corema.h2a.2. + Klug, Helmut W., + and Bruno Laurioux. 2020. ‘About the Project’. In CoReMA - + Cooking Recipes of the Middle Ages. Corpus - Analysis - + Visualisation, edited by Helmut W. Klug. Centre for Information + Modelling (ZIM-ACDH), With A. Böhm and C. Steiner. + hdl.handle.net/11471/562.10 (GAMS. 562.10). University of Graz. https://web.archive.org/web/20210502121335/https://gams.uni-graz.at/archive/objects/context:corema/methods/sdef:Context/get?mode=about. + Klug, + Helmut W., Christian Steiner, Astrid Böhm, and Julia Eibinger. 2020. ‘CoReMA + - Cooking Recipes of the Middle Ages’. Website. Centre for Information + Modelling (ZIM-ACDH), University of Graz. 2020. https://hdl.handle.net/11471/562.10. + OED = Oxford English Dictionary Online. March 2021. Oxford University + Press. https://web.archive.org/web/20210501193952/https://www.oed.com/. + Olver, Lynne. 2015. ‘Food + Timeline: Food History Research Service’. 2015. https://web.archive.org/web/20201212133025/http://www.foodtimeline.org/. + Pérez, Montse Hidalgo. + 2020. ‘Recetarios medievales y tarjetas perforadas: la historiadora que + lleva 50 años creando el gran archivo culinario de Internet’. EL PAÍS + RETINA. 9 October 2020. https://retina.elpais.com/retina/2020/10/09/tendencias/1602249882_078647.html. + Pierazzo, Elena. 2011. + ‘A Rationale of Digital Documentary Editions’. Literary + and Linguistic Computing 26 (4): 463–77. https://doi.org/10.1093/llc/fqr033. + ‘The Food + Bibliography’. n.d. Accessed 12 December 2020. https://web.archive.org/web/20201213132009/http://www.foodbibliography.eu/index_en.asp + + Thomas, Emily. 2017. ‘The + Unlikely Power of Cookbooks, The 85-Year-Old Woman Who Wants to Collect + Every Recipe in the World’. BBC. 2017. + https://web.archive.org/web/20201213131120/https://www.bbc.co.uk/programmes/p0576bvc. + Wheaton, Barbara K. + 2020. ‘The Sifter - A Food History Research Tool’. 2020. https://web.archive.org/web/20201213131731/https://thesifter.org/Home + + Wilson, Bee. 2015. ‘The + Archive of Eating’. The New York Times, 29 October + 2015, sec. Magazine. https://web.archive.org/web/20201213131850/https://www.nytimes.com/2015/11/01/magazine/the-archive-of-eating.html. + Wörterbuchnetz. + 2020. s.v. ‘trisenet’. Version 01/21. Trier Center for Digital Humanities, + Universität Trier. https://web.archive.org/web/20210502095418/https://api.woerterbuchnetz.de/dictionaries/Meta/lemmata/lemma/trisenet/0/tei-xml. + +
+ + + diff --git a/wordclouds/tei/en/ehd-tei.xml b/wordclouds/tei/en/ehd-tei.xml deleted file mode 100644 index dac8aaa..0000000 --- a/wordclouds/tei/en/ehd-tei.xml +++ /dev/null @@ -1,1762 +0,0 @@ - - - - - - - At the intersection of sciences, humanities and technologies – A review of - the edition humboldt digital - - - Maria - Benauer - - - - - - - mbenauer@gmail.com - - - - Institut für Dokumentologie und Editorik e.V. - November 2020 - http://ride.i-d-e.de/issues/issue-13/ehd - 10.18716/ride.a.13.4 - https://github.com/i-d-e/ride/blob/archives/issue13/ehd.zip?raw=true - - - - - - RIDE - A review journal for digital editions and resources - Ulrike Henny-Krahmer - Frederike Neuber - Patrick Sahle - Ulrike Henny-Krahmer - Frederike Neuber - Bernhard Assmann - Jana Klinger - Digital Scholarly Editions - http://ride.i-d-e.de/issues/issue-13 - - - - - Edition Humboldt Digital - Ottmar Ette - - Editor - Prof. Dr. Ottmar Ette - - - Contributor - Dr. Tobias Kraft - - - Advisor - Prof. Dr. Eberhard Knobloch - - - Contributor - Stefan Dumont - - - Contributor - Dr. Carmen Götz - - - Contributor - Dr. Ulrich Päßler - - - Contributor - Florian Schnee - - - Contributor - Christian Thomas - - - Contributor - Linda Kirsten - - - Contributor - Karin Göhmann - - - Contributor - Dr. Ulrike Leitner - - - Contributor - Regina Mikosch - - - Contributor - Dr. Ingo Schwarz - - - Encoder - Alexander Czmiel - - - Encoder - Dr. Martin Fechner - - - Encoder - Susanne Haaf - - - Programmer - Frederike Neuber - - 2016 - https://edition-humboldt.de/?&l=en - 2019-06-05 - - - - - Criteria for - Reviewing Scholarly Digital Editions - - - - -

born digital

- - - - - - - - - cf. Catalogue 1.2 - - Is it easily possible to describe the project bibliographically - along the schema "responsible editors, publishing/hosting - institution, year(s) of publishing"? - - - - - - - cf. Catalogue 1.4 - - Are the contributors (editors, institutions, associates) of the - project fully documented? - - - - - - - cf. Catalogue 1.5 - - Does the project list contact persons? - - - - - - - - cf. Catalogue 2.1 - - Is the selection of materials of the project explicitly - documented? - - - - - - - cf. Catalogue 2.1 - - Is the selection by and large reasonable? - - - - - - - - cf. Catalogue 4.16 - - Does the documentation include information about the long term - sustainability of the basic data (archiving of the data)? - - - - - - - cf. Catalogue 3.1 - - Are the aims and purposes of the project explicitly - documented? - - - - - - - cf. Catalogue 3.1 - - Are the methods employed in the project explicitly - documented? - - - - - - - cf. Catalogue 3.7 - - Does the project document which data model (e.g. TEI) has been - used and for what reason? - - - - - - - cf. Catalogue 4.15 - - Does the project offer help texts concerning the use of the - project? - - - - - - - cf. Catalogue 4.8 - - Does the project supply citation guidelines (i.e. how to cite - the project or a part of it)? - - - - - - - cf. Catalogue 4.16 - - Does the editon regard itself as a completed project (i.e. not - promise further modifications and additions)? - - - - - - - cf. Catalogue 4.13 - - Does the project provide information about institutional - support for the curation and sustainability of the - project? - - - - - - - - - cf. Catalogue 2.2 - - Has the material been previously edited (in print or - digitally)? - - - - - - - cf. Catalogue 2.2 - - Does the edition make use of these previous editions? - - - - - - - cf. Catalogue 4.15 - - Does the project offer an introduction to the subject-matter - (the author(s), the work, its history, the theme, etc.) of the - project? - - - - - - - cf. Catalogue 2.3 - - Does the project offer a bibliography? - - - - - - - cf. Catalogue 2.3 - - Does the project offer a scholarly commentary (e.g. notes on - unclear passages, interpretation, etc.)? - - - - - - - cf. Catalogue 2.3 - - Does the project include or link to external resources with - contextual material? - - - - - - - cf. Catalogue 2.3 - - Does the project offer images of digitised sources? - - - - - - - cf. Catalogue 4.6 - - Does the project offer images of an acceptable - quality? - - - - - - - cf. Catalogue 2.3 - - Is the text fully transcribed? - - - - - - - cf. Catalogue 4.6 - - Does the project offer texts of an acceptable quality (typos, - errors, etc.)? - - - - - - - cf. Catalogue 4.5 - - Does the project feature compilations indices, registers or - visualisations that offer alternative ways to access the - material? - - - - - - - - cf. Catalogue 1.3 and 2.1 - - Which kinds of documents are at the basis of the - project? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 1.3 and 2.1 - - What era(s) do the documents belong to? - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 1.3 - - Which perspective(s) do the editors take towards the edited - material? How can the edition be classified in general - terms? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.11 - - Does the project offer any spin-offs? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.3 - - By which categories does the project offer to browse the - contents? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.4 - - Does the project offer a simple search? - - - - - - - cf. Catalogue 4.4 - - Does the project offer an advanced search? - - - - - - - cf. Catalogue 4.4 - - Does the search support the use of wildcards? - - - - - - - cf. Catalogue 4.4 - - Does the search offer an index of the searched field? - - - - - - - cf. Catalogue 4.4 - - Does the search offer autocompletion or suggest - functionalities? - - - - - - - cf. Catalogue 4.4 - - Does the project offer help texts for the search? - - - - - - - - - cf. Catalogue 3.3 - - Who is the intended audience of the project? - - - - - - - - - - - - - - cf. Catalogue 3.3 and 5.1 - - Which type fits best for the reviewed project? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Method - - - cf. Catalogue 3.6 - - In how far is the text critically edited? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 3.7 - - - Is the data encoded in XML? - - - - - - - - - Is the project employing a standardized data model (e.g. - TEI)? - - - - - cf. Catalogue 3.5. - - Which kinds or forms of text are presented? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.8 - - Are there persistent identifiers and an addressing system for - the edition and/or parts/objects of it and which mechanism is used - to that end? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.9 - - Are there technical interfaces like OAI-PMH, REST etc., which - allow the reuse of the data of the project in other - contexts? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Is the edition Open Access? - - - - - - - cf. Catalogue 4.12 - - Is the basic data (e.g. the XML) of the project accessible for - each part of the edition (e.g. for a page)? - - - - - - - cf. Catalogue 4.9 - - Can the entire raw data of the project be downloaded (as a - whole)? - - - - - - - cf. Catalogue 4.9 - - Can you use the data with other tools useful for this kind of - content? - - - - - - - - cf. Catalogue 4.13 - - Are the rights to (re)use the content declared? - - - - - - - cf. Catalogue 4.13 - - Under what license are the contents released? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Alexander von Humboldt - Berlin-Brandenburg Academy of Sciences and Humanities - historical critical edition - digital first - hybrid edition - history of science - interdisciplinary edition - travel journals - letters - Correspondence Metadata Interchange - linked open data - - - - - - -
-

The edition humboldt digital is a publication of the project - ‘Travelling Humboldt’ of by the Berlin-Brandenburg Academy of Sciences and - Humanities. Together with its printed supplement the edition humboldt - printed, it aims to make the scientific heritage that is relevant to - Alexander von Humboldt’s journeys accessible in its entirety based on a digital - first approach. Overall, the edition humboldt digital excels in - exploiting digital techniques and successfully positions itself at the - intersection of sciences and humanities. Therefore, it will be discussed in this - review whether it could be considered not only as a scholarly digital edition - but also as an information platform on Alexander von Humboldt and his work in - general. Additionally, by pursuing an open science strategy, the edition also - paves the way for future reuse of its data. Altogether, even though some - technical issues remain, the edition humboldt digital can serve as - a role model for other digital scholarly editions. As the edition is a - work-in-progress project, this review only takes its fourth version into - consideration.

-
- - - -
- Introduction -

Alexander von Humboldt (1769 – 1859) is predominantly known as the - celebrated German natural scientist credited with the creation of modern - geography. However, characterizing him solely as a natural scientist neglects - the diversity of Humboldt’s research interests. During his lifetime, he not only - advanced fundamental research in today’s disciplines such as geography, geology, - geophysics and biology, but also made essential contributions to the fields of - national economics and ethnology. Throughout his life he undertook several - expeditions to the then unexplored parts of the world, such as Latin America and - Siberia, and returned with diverse and meticulously recorded data and travel - journals. Because of this field research, Humboldt was not only held in high - esteem by the contemporary scientific community, but also received public - attention for making foreign countries and cultures tangible for a broader - audience. Hence, from today’s perspective, Alexander von Humboldt is considered - a cosmopolitan and transdisciplinary, educated scholar.

-

The complexity of Alexander von Humboldt’s work is quite remarkable - but complicates its scientific reappraisal. Firstly, todays self-evident - differentiation among scientific disciplines forms an institutional barrier to a - holistic approach to Humboldt’s scientific heritage. Moreover, the vast extent - of Humboldt’s written output and the complexity of his notes are further - hurdles. Taking this into account, the Academy Project ‘Travelling Humboldt – - Science on the Move’ at the Berlin-Brandenburg Academy of Sciences and - Humanities is the first editorial project that attempts the enormous task of - editing Humboldt’s scientific estate from a holistic and interdisciplinary - perspective by investigating his manuscripts related to the topic of travel at - the intersection of natural and cultural science.

-
-
- Key points -

Conceived as a long-term project with a duration of 18 years and - funded by the federal state of Brandenburg and the German Federal Republic, - ‘Travelling Humboldt’ can rely on a solid financial base and currently belongs - to one of the bigger editorial projects in the German-speaking world. With - Ottmar Ette, a Professor of Romance Languages and Comparative Literature, acting - as the scholarly director and Tobias Kraft as the editorial director, the - project is led by proficient Humboldt specialists, who have been involved in - earlier Humboldt projects. They are supported by the mathematician and - scientific historian Eberhard Knobloch, who is familiar with Humboldt’s work due - to his previous position as the Director of the erstwhile Alexander von Humboldt - research center and has proven experience in the field of editing scientific - historical sources. All things considered, ‘Traveling Humboldt’ brings together - a well-chosen team consisting of scholars from diverse research backgrounds such - as history, philology, romance studies, mathematics and digital humanities, and - thus fulfills its self-imposed interdisciplinary approach.https://web.archive.org/save/https://edition-humboldt.de/about/index.xql?id=H0002928&l=en.

-

Notwithstanding the project’s solid financial and scholarly - resources, editorial focus still must be set. Thus, the project focusses on the - thematic complex of travel which is considered an integral element of Humboldt’s - work. The primary objective is to make those parts of Humboldt’s personal papers - that are relevant to his travels accessible in their entirety in the form of the - edition humboldt. In practice, this goal is achieved in three - ways: The main focus of the project lies on the publication of Humboldt’s famous - travel journals, primarily, those pertaining to his American and - Russian-Siberian voyages, which have been purchased by the ‘Berlin State Library - – Prussian Cultural Heritage’ in 2015. Secondly, the manuscripts are enhanced by - a selection of personal papers that document his travels, such as memoirs, - publications, map collections and notes. In this section, the sources come from - the ‘Berlin State Library’ and the ‘Jagiellonian Library’ in Krakow and some of - them have been previously edited. Considering this fact, the project draws - partly on the contents of existing, printed scholarly editions but rearranges - them by subtopics, such as ‘scientific travels’ or ‘earth science’. The - project’s third thematic focus lies on the correspondence Humboldt maintained - with other researchers. Just as Humboldt’s personal papers, the source materials - originate from different memory institutions and often have already been edited. - Hence, the edition includes unedited material as well as information from - preceding and third-party edition projects. However, even though borrowed - transcriptions or information are always declared as such, a systematic list of - all utilized external resources is missing.https://web.archive.org/save/http://www.bbaw.de/forschung/avh-r/uebersicht.

-

Due to its choice in source material, ‘Travelling Humboldt’ not only - has to handle the genuine complexity of Humboldt’s work, but also the diversity - of the chosen material. The project attempts to tackle these challenges by using - the possibilities that are offered through new Digital Humanities technologies. - In other words, it uses a digital first approach for its edition.

-
-
- Content and structure -

In practice, using a digital first approach means that the - edition humboldt is developed as a text corpus based on - TEI-XML. But why do they call it a ‘digital first approach’ and not simply - ‘digital approach’?cf. Kraft 2018a 387. This slight - distinction is due to the project’s form of publication: despite its digital - methodology, it pursues a hybrid way of publishing. Hence, the XML-based text - corpus serves as a basis for both, the edition humboldt digital, - which is made available to the public on a homepage, as well as the - edition humboldt print, which is published as a multivolume - printed work.

-

Although the project ‘Travelling Humboldt’ focuses on the topic of - travel, neither the edition humboldt in general, nor the - edition humboldt digital, or the edition humboldt - print have any obvious nominal relation to that theme. Instead, the - use of the adjectives ‘digital’ and ‘print’ suggests that the editions define - themselves by their chosen medium (see also the chapter “Digital – print – hybrid?”).

-

- - The edition humboldt digital as a part of - an information network.cf. Kraft 2018a - 396. -
The edition humboldt digital makes use of the advantages - of Digital Humanities technologies in order to make Humboldt’s work accessible - and exploitable in numerous ways. Both a critical text and a reading version are - offered, enabling the reader to comprehend the contextual layer in a compact way - on the one hand and conceive the complexity of the sources on the other. - Furthermore, both text editions implement intelligent usage functions of - authority file-based web services, as the edition is connected to different - linked open data platforms. For example, indexing is conducted through the - entity data service of the German National Library. In addition, services like - ‘Geonames’, ‘Wikimedia commons’ or ‘correspSearch’ are implemented.

-

Apart from edited text, the edition also provides additional - materials such as a bibliography, research contributions and commentaries on the - manuscripts. Furthermore, it contains a chronology of Humboldt’s most important - biographical data based on an out-of-stock book, which was first published in - the 1960s and reprinted in the 1980s by the Berlin-Brandenburg Academy of - Sciences and Humanities.cf. Humboldt, Alexander - von. In the chronology, detected errors are corrected by the editors, - because not only former researchers made some errors but also a genius like - Alexander von Humboldt himself were not above the possibility of occasional - confusions in his notes.https://web.archive.org/save/https://edition-humboldt.de/about/index.xql?id=H0000002&l=en. -

-

The edition is completed with a presentation of high-resolution - facsimiles (provided that the legal framework permits it). Thus, the - edition humboldt digital enables its users to explore - Humboldt’s work in three ways: source-, context-or content-based. Overall, - leaving the limitations of print editions such as scale and layout behind, the - edition serves as a multilayer information platform on Alexander von Humboldt - and his research.

-

While the edition humboldt digital focuses on the - detail, the edition humboldt print aims to serve the needs of a - general audience by offering a compact reading version of Humboldt’s travel - journals. Furthermore, it is designed to create an ‘ideal’ text by arranging - omissions and erroneous leaps in chronology in order to recreate Humboldt’s - original itineraries. However, beside this chronological function, the - edition humboldt print only serves as a supplement to its - digital counterpart.cf. Kraft 2018a 387.

-

Since the edition humboldt print is not available yet, - this review only focusses on the manifestation of its digital counterpart, the - edition humboldt digital.Meanwhile, since - the date of the submission of this review, the first volume of the print - edition has been published. A detailed description of the contents of all - volumes can be accessed on ‘Alexander von Humboldt Informationen - online’. However, as not only the digital but also the print edition - is based on a digital paradigm, it is also worth having a look at the conceptual - framework of the edition humboldt in general first, in order to - discover its self-positioning within the field of digital scholarly editing.

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- Digital – print – hybrid? -

There are several controversial issues about making a print edition - based on a digital approach, whilst simultaneously publishing a digital edition. - First, referring to Patrick Sahle, who states that a digital scholarly edition - is characterized by its underlying digital paradigm, one might ask whether a - print edition based on a digital paradigm is an antithesis in and of - itself.cf. Sahle 2017. This argument is supported - by the fact, that a conversion of a digital edition into a print edition - necessarily results in a loss of information, such as function or metadata. - Finally, considering practical issues, it is questionable whether a reproduction - of Humboldt’s itineraries (as planned for the printed edition) could not have - been realized – or are already partly prepared (e.g. through the - chronology and the usage of authority files for place names) – in a digital way - as well.

-

Regarding this digital – print controversy, it must be pointed out - that neither the decision to develop hybrid publishing, nor the design of the - digital strategy or anything else within the project in general was done - arbitrarily. In that respect, several strategic papers have been published since - the launch of the project and accurately predefine and outline the editions - mission and methods. In his article ‘Hybride Edition und analoges Erbe’ Tobias - Kraft provides an extensive and thorough self-reflection on several - controversial arguments for and against digital as well as print editions. - Overall, Kraft – who is a media scholar– emphasizes several advantages - supporting a print edition, such as better velocity and quality of reading - capacity as well as digital preservation issues. However, the latter argument - seems to be disputable. Due to the long-term duration and solid financing of the - project, the edition humboldt is in a unique situation as it could - keep up to technical innovations. In doing so, it could also make major - contributions towards the research in the field of digital preservation of - digital scholarly editions by assessing and evaluating its preservation strategy - in the long run.

-

In any case, Kraft is also aware of the aforementioned dissent. - Concerning technical matters, he argues that scholarly editions have reached a - historical turning point where methodology, technology and media are still - dynamic and future developments are not yet in sight. Therefore, he considers a - hybrid approach to be the best strategy at the present time. However, this does - not mean that the project’s hybrid approach is cast in stone until 2033, as he - states: - A project which works on a hybrid edition of historical manuscripts - in 2017, needs to remain open to the question, which requirements and - expectations will be demanded of such an edition in three, five, ten or - fifteen years. - cf. Kraft 2018a 386. -

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- The edition humboldt digital -
- Editorial decisions -

The edition humboldt digital provides an extensive - and precise documentation. From editorial guidelines and technical key - parameters to human resources – the user is informed about every detail; - however small it might be.https://web.archive.org/save/https://edition-humboldt.de/about/index.xql?id=H0016212&l=en. - Therefore, the edition humboldt digital meets the transparency - criteria as demanded of scholarly editions. Unfortunately, the documentation - is only available in German, while most of the other parts of the edition - are provided in English as well. Referring to this, consistency would be - preferable regarding an international audience. However, as most of - Humboldt’s work itself is written in German too, this issue seems to be - negligible. Nevertheless, it is worth discussing the edition’s - methodological principles in detail for an English-speaking audience at this - point.https://web.archive.org/save/https://edition-humboldt.de/richtlinien/index.html. -

-

The current guidelines of the edition humboldt - digital are a beta-version and give a brief overview of encoding - and transcription principles as well as data modelling and technical basics. - In an introductory section it is outlined that the edition relies on a - visual-, text- and content-based approach. Therefore, builds upon an - integrative understanding of text. However, the descriptions do not stop - there: The project provides a comprehensive comment not only on the - different models themselves but also on the resulting practical editorial - decisions.

-

Referring to Humboldt’s complex manner of taking notes, an - integrative approach is probably the only way in order to handle his work. - From data deriving from glaciological measurements and biodiversity studies, - to ethnological and socio-historical documentations: The edited data not - only is heterogeneous in its nature, but also has a complex structure. - Moreover, the different disciplines have different requirements to data. For - example, geographers might be satisfied with a reading text, as they only - want to analyze Humboldt’s primary data. In contrast, philologists require - annotated transcriptions for their research. By using an integrative - approach, the edition can serve all these differing scholarly needs. In - addition, the edition also achieves basic research itself by using a - content-based concept of text. Due to its well-developed content-based - indexing, information and entities as mentioned in Humboldt’s notes, are - contextualized and brought together with external web services in order to - facilitate access to the edition’s content for scholars from all - backgrounds.

-

Based on this general methodological introduction, the - documentation provides a separate section with further information on the - individual treatment of metadata, text, letters and the index.https://web.archive.org/save/https://edition-humboldt.de/richtlinien/index.html. - In each section, the practical implementation of the different models is - illustrated by using practical examples. On a technical level, the markup - system relies on the ‘Basisformat des Deutschen Textarchivs (DTABf)’, which - conforms to the TEI guidelines.https://web.archive.org/save/http://deutschestextarchiv.de/doku/basisformat/. - Therefore, the edition’s data model complies with current standards in text - markup and textual archiving. Due to some particularities of Humboldt’s - notes, a project-related adaptation and enhancement of the tag set was - necessary. For example, a specific tag set in order to describe Humboldt’s - measurement data was developed. However, individual adaptations of the - schema are well-documented and made transparent.

-

Examining the tagging and editorial guidelines as given in the - documentation more closely, each editorial decision is explained in detail - as follows: First, the ‘ediarum.BASE’ and their specific implementation in - the edition humboldt digital are outlined and practical - examples of application are used in order to illustrate issues as given in - the source and specifically designed editorial solutions. Usually, an image - of a text passage, its accompanying encoding as well as its final - representation within the edition humboldt digital is provided. - Secondly, the encoding is explained in detail and all the applied tag sets - are listed. Finally, references are made to the documentation of the - DTABf.Some examples of application in the - documentation also contain practical advices on how to apply the - encoding itself. Therefore, one might conclude that the documentation is - also designed as internal guideline for the project’s staff.

-

Overall, the project’s documentation is a powerful resource that - enables users to develop a deeper understanding of the edition. Thus, as - already discussed above, an English translation of the documentation would - be desirable.

-

Altogether, the edition humboldt digital - illustrates its complex editorial and methodological decisions in a concise - and comprehensive way. This aspect can be traced back to the fact that the - entire documentation manages to go into detail without overwhelming the user - with too many specific and technical terms. Therefore, the documentation is - also easily accessible for disciplines who have little or no connection to - digital scholarly editing and achieves to reach a wide group of users in - order to allow an interdisciplinary re-examination of Humboldt’s work. Thus, - the edition humboldt digital successfully positions itself at - the intersection of science and humanities.

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- Publication and presentation -

The edition humboldt digital was first published - online in September 2016. Since then, several versions have been launched as - a work in progress. In the following chapters, the fourth version of the - edition as released on 27th May 2018 is reviewed.

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The project is realized with the open access and digital work - and publishing environment ‘ediarum’, as developed by the ‘TELOTA’For further information on ediarum see the - project’s homepage and a review as recently published in RIDE: https://web.archive.org/save/http://www.bbaw.de/telota; cf. - Mertgens. 2019. initiative. The open source software ‘digilib’ is - used for displaying facsimiles. Considering long-term preservation issues, - this use of open access and open source tools is commendable.

-

- - The front page of the edition humboldt - digital. -
The site of the edition humboldt digital is - well-structured and easy to navigate. Based on a grid structure, main - resources are always provided at the top, while further information is - offered below. On the front page of the digital edition, the main resources - are made accessible via a navigation bar.

-

By clicking on the desired menu item, a new layer opens, and - the respective contents are also modularly presented by means of a grid - structure. Each module comprises a title, a brief teaser text, and most - often an image. However, the arrangement of the modules varies among the - different sections of the digital edition.

-

For instance, the front page of the section Topics - provides a kind of main menu, where the elaborated topics are selectable - (see figure 2). By choosing one - topic, another sub-layer with different subheadings appears.

-

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- - Presentation of the modules in the section - Topics. -
While this nested display of contents in the section - Topics is neat and easy to understand, the presentation and - accessibility of contents tend to be confusing in other parts of the - edition. For instance, the section Travel Journals is displayed - on one layer as all the journals and their editorial comments are listed one - by one. This vertical and one-level arrangement of information leads to - quite a lot of scrolling as all its modules cannot be displayed together in - an above-the-fold position. As a result, the arrangement of the journal - section rather tends to be a stringing together of various bits of - information and therefore makes it difficult for the user to visually - conceive the interrelatedness of its contents.

-

-

- - Related modules sometimes cannot be properly - displayed together in the section Travel - journals. -
This deficiency of the journal section is further aggravated by - the fact that the modules have imprecise titles. Every edited journal is - named after its original title, which sometimes leads to obscure headings - such as ‘Voyage d’Espagne aux Canaries et à Cumaná Obs. astron. de - Juin à Oct. 1799’ which labels the edition of Humboldt’s American - journal (see figure 4). This - choice of title is legitimate, as the content of the module is further - specified in the subheadings. However, processing information becomes - difficult in general, if not only the editions but also their editorial - comments do not have self-evident titles either. Referring to the example of - the American journal once again, the title ‘Ich habe es mir zur - Pflicht gemacht, alle angegebenen Beobachtungen ohne Auswahl in mein - Tagebuch einzutragen’ is a literary masterpiece. Nevertheless, a - title such as ‘Foreword’ or ‘Introduction’ would be more meaningful, as it - clearly describes the essence of the contributing module. In addition, - titles, which are based on multilingual quotations, are inconvenient for an - international audience. Even though some modules do have self-evident - titles, all in all, a standard procedure for name-assignment is missing and - makes the journal section quite confusing.

-

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- - An example of ambiguous titles in the section - Travel Journals. -
In my opinion, the implementation of this hierarchical - representation in multiple, nested layers (as in Topics) would - be suitable for the section Travel Journals as well. - Furthermore, a visual distinction between the edition and its comments - through colors, a table of contents, or a drop-down navigation chart could - provide powerful tools to intuitively guide the user through the content.

-

- - User interface of the edition humboldt - digital. -
In the following paragraph, the focus lies on the presentation of - the edited text itself. As previously described, the edition humboldt - digital offers a ‘critical text’ and a ‘reading version’ as well - as facsimiles. Even though the terminology ‘reading version’ might suggest - that it is easier to interpret than the ‘critical text’, this is usually not - the case due to the complex nature of Humboldt’s notes. Nevertheless, it - needs to be pointed out that the edition humboldt digital - accomplishes an incredible editorial feat by offering text-critical - commentary and indexing (see figure - 6).

-

However, from a user’s perspective there are still some - practical obstacles to be tackled. Due to the aforementioned complexity of - Humboldt’s notes, it is not only difficult to interpret passages, but also - to locate them within the facsimile. In other words, a link between text and - image would be a tremendous help. Here, the edition humboldt - digital could exploit further technical options to its - advantage.For example, when viewing the first - American Travel Journal f. 96r.

-

-

- - The presentation of the facsimiles still leaves - space for improvement. -
However, even if a link between text and image was provided, it - would not be effective due to another technical issue: text and image often - cannot be displayed side by side. For example, some transcriptions are too - long to display them in ‘above-the-fold position’, rendering them - out-of-sync with the facsimile, as illustrated in figure 7. Consequently, the high-resolution - facsimiles often can only be used with limitations, due to this - user-unfriendly integration of the images. As a result, they rather serve as - an illustration than as an integral component of the edition.

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- Index and search engine -

- - The edition’s index offers various possibilities to - browse Humboldt’s work. -
Regarding its content-based model, the edition humboldt - digital offers an extensive pool of secondary information. By - clicking on an editor’s note within the edition, one is directed towards the - index, where further information is provided (see figure 8). Additionally, the index section is also - directly accessible via the top-bar. At this point it needs to be - highlighted that the index entries are linked to external web services if - content has already been edited or created elsewhere. Therefore, it is not - only a collection of terms used within the source collection, but rather an - information platform providing broader knowledge. This offers the users an - extremely powerful instrument in order to accurately explore Humboldt’s work - from a holistic perspective going beyond the topic of travel.

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First and foremost, indices of people, places and institutions - are provided. They are accompanied by a bibliography which comprises - contemporary works from the eighteenth century up to current secondary - literature. Within the bibliography, each entry contains a link to a Zotero - group called ‘AvH-R’. This group is open to the public and collects - literature regarding Alexander von Humboldt on a collaborative basis. Like - the indices, the bibliography is browsable too. However, its search function - and the presentation of search results could still be further improved. As - search results are stringed together and lacking proper spacing, it is - difficult to differentiate singular entries. Referring to this, a more - user-friendly presentation would be desirable.

-

Apart from traditional services, the edition humboldt - digital also offers some exceptional features. Since Humboldt - took notes following a specific system, some parts of his manuscripts are - not self-explanatory. Therefore, the edition contains a complete breakdown - of ‘Humboldt’s Tokens’ (German: “Siglen”), including individual shorthand - symbols as well as textual abbreviations, which are essential in order to - reappraise his work. Additionally, since the realization of Version 4, the - edition also comprises a plant index which lists each plant mentioned in the - edited sources and links it to digital databases such as the Catalogue - of Life or the Biodiversity Heritage Library.https://web.archive.org/web/20200528171431/https://www.biodiversitylibrary.org/; - https://web.archive.org/save/http://www.catalogueoflife.org/. - Hence, this index is a powerful resource, particularly for those from a - biological or ecological research background.

-

- - The edition’s search engine is easy to handle - despite its complexity. -
Even though the index section provides a wide range of - information, its search function still shows some shortcomings as it might - not always deliver concrete results depending on the keywords used. To - remedy this, an additional, advanced search engine which scans the whole - edition’s text for any keywords is provided (see figure 9). However, it requires a structured - approach and is only useful if one already knows what to look for, as no - auto-suggestion function is available. Nevertheless, thanks to provided tips - on searching strategies, the search function is easily manageable.

-

For instance, one can select different parts of the edition in - order to browse them with one or more terms at the same time. Furthermore, - one can carry out flexible queries and for the letter section even a - lemma-based search is available. As previously stated, the advanced search - engine is preferable to a general search function, despite its complexity. - Therefore, it is acceptable that depending on the chosen term it - occasionally can take quite some time to retrieve the requested - information.

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- Future developments and re-usability -

Finally, it is necessary to take a brief look at the edition’s - own positioning within the scientific community. In the course of this - review, it has been outlined that the philosophy of the edition - humboldt digital can be determined by three core elements: open - standards, transparency and the cross-linking of information. These goals - are put to practice through an open science strategy. The aforementioned - openness to future technical and methodological changes as well as the - willingness to react to users’ needs by encouraging feedback further enhance - the project’s open mindset. Finally, not only the edition’s implementation - of open standards but also its willingness to share data is to emphasize.

-

As already mentioned, on the one hand the edition implements - secondary information from external services. On the other, it also makes - its data and information available to others: For each edited document, the - respective TEI-XML file is provided as a free download under an - “Attribution-ShareAlike 4.0 International”- Creative Commons license. - Therefore, the edition’s data is almost unlimitedly available for further - research, for which suggested citations and canonical references are - provided too. Even if there is currently no possibility to download the - complete data set, a harvesting function is provided through several APIs. - For all APIs, detailed descriptions and the necessary links are listed in - the documentary section. Consequently, the conditions of data reuse as well - as the download possibilities are designed in a user-friendly way.

-

As parts of the edition might also be interesting for people who - are yet unaware of its existence, the edition also collects its - correspondence datasets in the web service ‘correspSearch’. Thus, the - edition humboldt digital follows a sustainable data - management strategy from a scientific and technical perspective.

-

Overall, the project fulfills its aim to make Humboldt’s work - accessible. Moreover, it not only reaches the scientific community but also - inspires a broader, non-scientific audience to engage with Alexander von - Humboldt’s scientific heritage by running further outreach activities. As an - additional service, the edition runs a Twitter account called ‘Alex von - Humboldt’ and regularly posts entries from the chronology section.The Twitter account @AvHChrono is accessible here: https://web.archive.org/save/https://twitter.com/AvHChrono?lang=de. - As 2019 marks the 250th anniversary of Humboldt’s birth, several projects - are using the hashtag #AvH250 in order to draw attention to - their scholarly activities. The edition humboldt is - participating in the anniversary celebrations and therefore links the - hashtag, as well as other Humboldt projects of the Berlin-Brandenburg - Academy of Sciences and Humanities, to its start page. Thus, it also - promotes the presence of partner projects online and therefore pursues a - kind of scientific public relations work. Altogether, this effort already - bears fruit as evidenced by the huge number of articles about the - edition humboldt which have been published in the daily - newspapers since its launch. Additionally, the fact the edition - humboldt digital was awarded with the first Berlin DH price in - 2017 further contributed towards its public and media attention.http://web.archive.org/web/20200915135616/https://edition-humboldt.de/about/index.xql?id=H0016214&l=de.

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-
-
- Conclusion -

Despite the complexity of Humboldt’s scientific heritage, it has - been made clear in this review that the edition humboldt digital is - doing a brilliant job so far. Particularly its exceptional documentation, its - user-friendly attitude and the implementation of established technical standards - need to be emphasized once again. Referring to this, the edition can serve as a - role model for further digital scholarly editions. Due to its long-term - duration, it tends to be likely that the project might eventually shape further - methodological developments in the field of digital scholarly editions and set - new standards in the years ahead. In this respect, the development and - presentation of a convincing concept for the long term preservation and - accessibility of the digital edition could make a valuable contribution towards - the research on digital scholarly editions in general.

-

Concerning issues of digital preservation, one might question - whether a reconstruction of Humboldt’s original itineraries necessarily requires - a print medium or could also be done in a digital way. Even though Tobias Kraft - provides plausible arguments against a digital edition based on reading - comprehension and long-term preservation, he does not give any justification for - the benefit of an analogue reconstruction of the itineraries at any point. - However, as the printed edition is not published yet, its advantages and - disadvantages cannot be reviewed at this point. Notwithstanding this, it is - already now debatable, whether itineraries that integrate spatial and temporal - information can be better presented in the rather ‘static’ print medium than in - the digital medium that can render such information in a dynamic and - contextualizing manner. Especially the spatial dimension of Humboldt’s - manuscripts could be reconstructed in a digital way. For instance, a - visualization of Humboldt’s travel route in the form of a map would be an - enrichment for the edition. Moreover, such an application would not only be - consistent with the topic of travelling but also suits the project’s philosophy - of making use of the various possibilities of digital technology.

-

When comparing the edition’s objectives and guidelines with its - current condition, it can be concluded that it lives up to its promises. It - performs superbly in its self-positioning at the intersection of science and - humanities, while also enabling low-threshold access to Humboldt’s work by - offering extensive annotations and cross-linking to further material. One might - even consider the edition humboldt digital an information platform - rather than ‘just’ a scholarly edition, as it not only includes edited primary - data but also a plethora of secondary material referring to Alexander von - Humboldt and his work in general. Consequently, it can also serve other - questions of research besides the topic of travelling.

-

Perhaps, the edition humboldt digital could also pool - scholarly resources by providing a platform for future editions of Humboldt’s - work. The quite general naming of the edition itself might eventually lend - itself to future re-interpretations or shifts in focus.

-

Finally, it can be concluded that even though some – mainly - technical – deficiencies have been identified in this review one can be excited - about future versions of the edition humboldt digital. As the - edition is still in its early stage, further modifications and innovations by - 2033 are very likely. Indeed, the remarkable feature of the plant index, as - released in version four, is a promising indicator for that and gives rise to - high expectations.

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- - - -
- - Humboldt, Alexander von. 1983. ‘Chronologische Übersicht über wichtige - Daten seines Lebens‘. Bearbeitet von Kurt-R. Biermann, Ilse Jahn und Fritz - G. Lange unter Mitwirkung von Margot Faak und Peter Honigmann in zwei - Bänden. - Kraft, Tobias. 2017. ‘Die Berliner Edition Humboldt Digital’. - In Hin – International Review for Humboldt Studies 34: 3-16. - https://web.archive.org/save/http://www.hin-online.de/index.php/hin/article/view/256/462. - Kraft, Tobias. 2018a. ‘Hybride Edition und analoges Erbe. - Editionsphilologie und Alexander von Humboldt-Forschung in der digitalen - Sattelzeit’. In Informatik-Spektrum 12: 385-397. https://web.archive.org/save/https://link.springer.com/epdf/10.1007/s00287-018-01130-5?author_access_token=z9J6l0KEUFuvYJ5LQIDgn_e4RwlQNchNByi7wbcMAY6PNFM6qPFQVj_yAVMEZDhN1yzoSy0TWw-xFW37tgq5fxTtNu-cHcA6X1ug9-ltoufadj3GCh6nb68x6ayh2gyQ-yr617M1bcpJpzKF7E2Qjw%3D%3D. - Kraft, Tobias. 2018b. ‘Die Berliner edition humboldt’. In Alexander - von Humboldt, Handbuch: Leben – Werk – Wirkung, edited by Ottmar - Ette, 276-284. Stuttgart: J.B. Metzler. - Andreas Mertgens. 2019. ‘Ediarum. A toolbox for editors and developers’. - In RIDE 11. http://web.archive.org/web/20200915110631/https://ride.i-d-e.de/issues/issue-11/ediarum/. - Plewe, Ernst. 1974. ‘Humboldt, Alexander von’, In Neue Deutsche - Biographie 10: 33-43. https://web.archive.org/save/https://www.deutsche-biographie.de/pnd118554700.html#ndbcontent. - Sahle, Patrick. 2013. ‘Digitale Editionsformen, Zum Umgang mit der - Überlieferung unter den Bedienungen des Medienwandels: Befunde, Theorie und - Methodik’. In Schriften des Instituts für Dokumentologie und Editorik - 8, Norderstedt: Books of Demand GmbH. - Sahle, Patrick. 2017. ‘What is a Scholarly Digital Edition?‘. In - Digital Scholarly Editing, Theories and Practices, edited - by Matthew James Driscoll and Elena Pierazzo, 19-39. Cambridge: Open Book - Publishers. https://web.archive.org/save/https://books.openedition.org/obp/3397?lang=de. - Schnee, Florian. 2019. ‘Unveröffentlichte Schriften aus Humboldts Nachlass - in der „edition humboldt print“‘. In Alexander von Humboldt - Informationen digital. https://web.archive.org/save/https://www.avhumboldt.de/?p=15740. - -
- - - diff --git a/wordclouds/tei/en/ldm-tei.xml b/wordclouds/tei/en/ldm-tei.xml deleted file mode 100644 index 061dc67..0000000 --- a/wordclouds/tei/en/ldm-tei.xml +++ /dev/null @@ -1,1478 +0,0 @@ - - - - - - - Lyrik des deutschen Mittelalters - - - Helmut W. - Klug - - https://orcid.org/0000-0002-7461-5820 - - University of Graz - - - helmut.klug@uni-graz.at - - - - Institut für Dokumentologie und Editorik e.V. - November 2020 - http://ride.i-d-e.de/issues/issue-13/ldm - 10.18716/ride.a.13.1 - https://github.com/i-d-e/ride/blob/archives/issue13/ldm.zip?raw=true - - - - - - RIDE - A review journal for digital editions and resources - Ulrike Henny-Krahmer - Frederike Neuber - Patrick Sahle - Ulrike Henny-Krahmer - Frederike Neuber - Bernhard Assmann - Jana Klinger - Digital Scholarly Editions - http://ride.i-d-e.de/issues/issue-13 - - - - - Lyrik des deutschen Mittelalters - Manuel Braun, Sonja Glauch, Florian Kragl - - Editor - Braun, Manuel - - - Editor - Glauch, Sonja - - - Editor - Kargl, Florian - - - Contributor - Leidinger, Simone - - - Contributor - Kirchhoff, Anne - - - Contributor - Vollmann, Justin - - 2012-2020 - http://www.ldm-digital.de - 2020-07-07 - - - - - Criteria for - Reviewing Scholarly Digital Editions - - - - -

born digital

- - - - - - - - - cf. Catalogue 1.2 - - Is it easily possible to describe the project bibliographically - along the schema "responsible editors, publishing/hosting - institution, year(s) of publishing"? - - - - - - - cf. Catalogue 1.4 - - Are the contributors (editors, institutions, associates) of the - project fully documented? - - - - - - - cf. Catalogue 1.5 - - Does the project list contact persons? - - - - - - - - cf. Catalogue 2.1 - - Is the selection of materials of the project explicitly - documented? - - - - - - - cf. Catalogue 2.1 - - Is the selection by and large reasonable? - - - - - - - - cf. Catalogue 4.16 - - Does the documentation include information about the long term - sustainability of the basic data (archiving of the data)? - - - - - - - cf. Catalogue 3.1 - - Are the aims and purposes of the project explicitly - documented? - - - - - - - cf. Catalogue 3.1 - - Are the methods employed in the project explicitly - documented? - - - - - - - cf. Catalogue 3.7 - - Does the project document which data model (e.g. TEI) has been - used and for what reason? - - - - - - - cf. Catalogue 4.15 - - Does the project offer help texts concerning the use of the - project? - - - - - - - cf. Catalogue 4.8 - - Does the project supply citation guidelines (i.e. how to cite - the project or a part of it)? - - - - - - - cf. Catalogue 4.16 - - Does the editon regard itself as a completed project (i.e. not - promise further modifications and additions)? - - - - - - - cf. Catalogue 4.13 - - Does the project provide information about institutional - support for the curation and sustainability of the - project? - - - - - - - - - cf. Catalogue 2.2 - - Has the material been previously edited (in print or - digitally)? - - - - - - - cf. Catalogue 2.2 - - Does the edition make use of these previous editions? - - - - - - - cf. Catalogue 4.15 - - Does the project offer an introduction to the subject-matter - (the author(s), the work, its history, the theme, etc.) of the - project? - - - - - - - cf. Catalogue 2.3 - - Does the project offer a bibliography? - - - - - - - cf. Catalogue 2.3 - - Does the project offer a scholarly commentary (e.g. notes on - unclear passages, interpretation, etc.)? - - - - - - - cf. Catalogue 2.3 - - Does the project include or link to external resources with - contextual material? - - - - - - - cf. Catalogue 2.3 - - Does the project offer images of digitised sources? - - - - - - - cf. Catalogue 4.6 - - Does the project offer images of an acceptable - quality? - - - - - - - cf. Catalogue 2.3 - - Is the text fully transcribed? - - - - - - - cf. Catalogue 4.6 - - Does the project offer texts of an acceptable quality (typos, - errors, etc.)? - - - - - - - cf. Catalogue 4.5 - - Does the project feature compilations indices, registers or - visualisations that offer alternative ways to access the - material? - - - - - - - - cf. Catalogue 1.3 and 2.1 - - Which kinds of documents are at the basis of the - project? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 1.3 and 2.1 - - What era(s) do the documents belong to? - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 1.3 - - Which perspective(s) do the editors take towards the edited - material? How can the edition be classified in general - terms? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.11 - - Does the project offer any spin-offs? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.3 - - By which categories does the project offer to browse the - contents? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.4 - - Does the project offer a simple search? - - - - - - - cf. Catalogue 4.4 - - Does the project offer an advanced search? - - - - - - - cf. Catalogue 4.4 - - Does the search support the use of wildcards? - - - - - - - cf. Catalogue 4.4 - - Does the search offer an index of the searched field? - - - - - - - cf. Catalogue 4.4 - - Does the search offer autocompletion or suggest - functionalities? - - - - - - - cf. Catalogue 4.4 - - Does the project offer help texts for the search? - - - - - - - - - cf. Catalogue 3.3 - - Who is the intended audience of the project? - - - - - - - - - - - - - - cf. Catalogue 3.3 and 5.1 - - Which type fits best for the reviewed project? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Method - - - cf. Catalogue 3.6 - - In how far is the text critically edited? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 3.7 - - - Is the data encoded in XML? - - - - - - - - - Is the project employing a standardized data model (e.g. - TEI)? - - - - - cf. Catalogue 3.5. - - Which kinds or forms of text are presented? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.8 - - Are there persistent identifiers and an addressing system for - the edition and/or parts/objects of it and which mechanism is used - to that end? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.9 - - Are there technical interfaces like OAI-PMH, REST etc., which - allow the reuse of the data of the project in other - contexts? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Is the edition Open Access? - - - - - - - cf. Catalogue 4.12 - - Is the basic data (e.g. the XML) of the project accessible for - each part of the edition (e.g. for a page)? - - - - - - - cf. Catalogue 4.9 - - Can the entire raw data of the project be downloaded (as a - whole)? - - - - - - - cf. Catalogue 4.9 - - Can you use the data with other tools useful for this kind of - content? - - - - - - - - cf. Catalogue 4.13 - - Are the rights to (re)use the content declared? - - - - - - - cf. Catalogue 4.13 - - Under what license are the contents released? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - minnesong - poetry - medieval - anthology - middle high german - - - - - - -
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The online anthology Lyrik des deutschen Mittelalters aims at - bringing Middle High German poetry into the digital medium. In respect to - editorial practice the text collection can without difficulty be matched to the - old-established minnesong anthologies of German medieval studies. In its digital - approach the project provides a sound text presentation which surpasses that of - the print medium by far but often fails to embrace the more interesting aspects - of the digital paradigm and digital humanities research as receiving the project - data through reading remains the only access possible.

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- Introduction -

In German medieval studies text collections have a long tradition. The - introduction of the major anthologies like Minnesinger and - Des Minnesangs Frühling dates back as far as the middle of the - 19th century and earlier. The editors of these collections aimed at providing - scholars as well as students with the best source text edition possible, - continuously adapting the editorial standards over time. The editors of the - Lyrik des deutschen Mittelalters (LDM for short) describe this - development very aptly: - Der Glaube an die Möglichkeit, den Autortext oder - wenigstens den Archetypus wiedergewinnen zu können, ist der Mediävistik in dem - Maße abhanden gekommen, wie ihr Respekt für die Materialität der Handschrift - gestiegen ist. - Introduction This statement also summarizes the editorial aim of the LDM, - which puts its focus on both tradition and materiality but nonetheless - concentrates on the two core editorial activities textual criticism in the scope - of historic editions, and providing textual commentary for better access to the - text itself. The scope of the text collection is as simple as challenging: to - newly edit all poetic texts of the German High Middle Ages from its sources and - provide them as an open access online edition (cf. home page) – in the introduction to - the edition the editors describe their aim even more boldly: - […] - sämtliche lyrische Texte des deutschsprachigen Mittelalters neu aus den Quellen - herauszugeben […].Introduction

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- Background -

The imprint lists Manuel Braun (University of Stuttgart), Sonja Glauch, Florian - Kragl (both Friedrich-Alexander University Erlangen-Nürnberg) as project lead - responsible for the LDM. The contact page names active as well as past staff - members at both institutions with links to their professional webpages. - Unfortunately, the web site provides only little information on the time scope, - or the financing of the project: the icons in the footer of the web site suggest - DFG-funding (unfortunately the footer disappears when clicking any other menu - link), the author page lists two project terms. Florian Kragl’s institutional website (A side note: all the links to the personal - websites of the editors in the ‘Kontakt’ section of the website are invalid – a - reminder why a permalink system should be used more frequently.) holds the - information that the LDM text collection initiated in the DFG financed project - Lyrik des hohen Mittelalters. Eine exemplarische elektronische - Edition, 2013-15, and is now (2017-20) continued in the DFG project - Lyrik des deutschen Mittelalters: Eine elektronische Edition des - Minnesangs (cf. section ‚Projekte‘).

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- - The LDM Website provides a thorough user - documentation. -
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- - The LDM Website provides different text versions. -
Fortunately, the documentation for the web site (editorial concept, - user manual) is a lot easier to access than the project details as there are - links to the relevant information even on the homepage, there is also a - corresponding menu item. On the respective documentation pages (cf. fig. 1) the whole set of information is - also provided in PDF - format via a printer icon. Especially for people interested in the use - of the web site this might be a little bit misleading though, as the PDF - includes both user manual and editorial concept and starts with the latter. - Nonetheless, both pieces of information are comprehensive and comprehensible as - is the ‘Projekthandbuch’, which provides detailed scholarly documentation - and discussion of the methods used in the project. The documentation also - provides suggestions for citing the texts as well as information on version - control and how to link to older versions. In an online context, where data is - not always as stable as in printed books this is a very important and handy - feature. Working with older versions, though, does raise some questions: the - date of the first version differs from the first publication. This is not - unusual but it is confusing that here seems to be no dated version of the first - published text. The list of versions doesn’t list all items available when - clicking through the different versions (cf. fig. 2). Is this a bug or some kind of quality rating? Is the older - version dated to the 13th of June 2019 a different - version than the current version? The website suggests that it is but the - citation remains the same for both versions. The documentation warns that not - all versions provide different texts, which is then highlighted on the website, - because even changes in the markup (etc.) constitute new versions. Recording - these changes is important, though, but for the user it would be helpful to get - some kind of information on the character of the change.

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The LDM dares to take the edition of medieval German minnesong into a new medium. - For this kind of anthologies there are only few preceding incidents: the most - memorable probably is the electronic version of Minnesangs Frühling - which provided the poems as utf-8 coded plain text files stored on a 3,5” floppy - disk. The focus of the LDM therefore is primarily the editorial work, the aims - of the project are clear cut: The aim of the project is to transfer this level - of understanding [the text-theoretical and media-historical discussion - concerning the transmission of minnesong] consequently into editorial practice. - The means to achieve this is to replace the printed book with the electronic - edition. Only the electronic edition allows for the processing of texts in their - different transmissions in such a way that every user can be provided with - exactly the synopsis that is currently needed.FAU - CRIS (Translation by reviewer) When finished, the project will definitely provide a sound text - basis of German medieval poetry, access will be furthered by the provision of - the texts under a CC BY-SA license. To find out if the project data is also - suitable for reusing will have to be seen once all results of the project are - online.

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- Technical Aspects -

The PHP driven website suggested, and the handbook confirms that all the data is - stored annotated with proprietary markup in a mySQL database. The data is - delivered via PHP to the user’s browser and can there be manipulated through - javascript into different text versions. The handbook, which is part of a quite - elaborate user documentation of the website and rather aimed at the project - staff than the user, provides no details why this setup was chosen. In quite - detail it discusses general and editorial decisions, outlines the transcription - aims and the use of the proprietary markup, and more than once assures that the - data can be provided in a TEI-XML compliant way. In the handbook the editors - emphasize (p.39) that the proprietary markup and the working environment is only - an internal means to publish TEI-XML data ready for digital preservation. How - and based on which technologies this will be implemented, though, is not - specified anywhere.

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- - A closer look at the documentation (screenshot taken in - early 2018). -
This review has been conducted in two phases: initially in early 2018 - and a second time in fall 2019. In the first draft of the review a major point - of criticism was that the user documentation is problematic as it leads the user - to believe that the texts are modeled in TEI-XML and provided for download in - this format (cf. fig. 3). - Unfortunately, this seemed not to be the case as the TEI download icon was - missing in the text view (cf. fig. 5). - There was neither a discussion of the data model, and consequently there were no - technical interfaces available. The only data export feature was the generation - of a PDF that contained both text (single and synoptic view), apparatus, and - commentary. All in all, the documentation was promising features and suggesting - technology that were not available.

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I personally support the idea of having a public project page with (sample) data - online as soon as possible. But when following this course of project - presentation (in contrast to having all the data and results online not until - the end of the project) this process has to be thoroughly coordinated and - explicitly communicated to the users. This could be done by either labelling the - site ‘beta’ or rather by, and this is my personal preference, directly - addressing the users, explaining the approach of step-by-step publication and - only publishing content and interface elements that are really finished. The - advantage is that the user has access to published and citable data and not to a - scholarly dubious perpetual beta version. All this takes is a little interaction - with the user and project management.

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Since the beginning of 2018 the project team has been industriously working on - both data and web presentation. The number of stanzas nearly quadrupled, there - is the ‘Handbuch’ detailing the editorial work and supporting the project - staff, and there finally is a TEI-XML button providing XML code for each song. - According to the handbook (p.8f.) the database design centers around the song as - central unit. On an upper level songs are collected into author corpora, on a - lower level songs consist of stanzas which consist of lines which consist of - words and punctuation. The TEI-model follows this hierarchy by providing a - <div>-element for the song, - <lg>-elements for the stanza, and so on. Each element is - identified through an @xml:id-attribute value which probably is the basis for - the text synopsis and parallel transmission (This is most likely analyzed with - the help of the database and not the XML.). Variants of characters or character - combinations or editorial changes below word or punctuation level - (<w>, <pc>) are encoded with the - <choice>-Element, providing the form of the manuscript - (<orig>) or some kind of modified form - (<reg>: character normalization vs. editorial changes). - Text revisions are modelled with the elements from the TEI class model.pPart.transcriptional.

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- - Special characters are named differently in the XML file - and in the project database. -
Characters special for medieval scripts like the long-s, ligatures or - certain text structuring symbols, and modern combined characters like umlaut or - vowels with circumflex indicating long vowels are represented by Unicode decimal - numeric character references (although using hexadecimal Unicode codepoints, - which are referenced in hexadecimal notation, would be more consistent with the - standard). An XML-editor like Oxygen can, of course, display these characters in - author mode or provide mouse over character information in text mode but the - code/text itself is rendered nonreadable for humans by using this encoding. The - proprietary text of the database, which can be found in the source code of the - page displayed in the web browser (cf. fig. - 4), in contrast, uses named character references for the encoding, - which in turn is far more readable. Since the character information provided is - standardized, the data is OK. To keep in line with the modelling of characters - in the TEI as well as contemporary scholarly resources, I personally prefer the - modelling of special characters with the <g>-Element and a - reference to a detailed character declaration based on community standards, e.g. - the Medieval Unicode Font - Initiative character recommendation. With this approach the project - data is encoded more transparently. The overall gain for the domain would be a - common resource base (character description, fonts, etc.) as well as a common - ground for discussion with neighboring fields of research.

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The downloaded TEI-XML is not valid, by the way, as the code is not TEI compliant - in the header. When using detailed markup (here: <publisher>) - in the various statements (here: <publicationStm>) it is not - possible to use general elements like <p>. Either one uses - general elements (<p>, <ab>) with running - text or provides data that is modelled to detail. This has to be fixed, of - course, but the underlying rules are rather something that has to be discussed - with the TEI community at large than with the project staff.

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Presenting the edited texts on a web site sure makes up an online resource (cf. - project aims above) – Digital Scholarly Editions, though, should convey more of - the digital paradigm and consider sustainability in form of re-usable data, - persistent identifiers, and digital preservation scenarios. This is a serious - shortcoming for a present-day digital edition project. Freely accessible - research, meta data, and project data is not only increasingly called for by - funding organizations, it improves any digitally oriented humanities project in - many ways: it adds transparency and verifiability, improves data life span, - allows for reuse of data – for both humans and machines –, in short, today it - should be the common approach (cf. e.g. DFG 2015; Pierazzo 2016,195; Andorfer - 2015; Rubow et al., 2015,28; Birnbaum et al. 2017,12). At the moment the project - orientation is clearly towards reception through reading, this includes also the - text collation views. Digital resources are limited to the XML-download of - individual songs. To really provide data reusable in different settings there - has to be more. Data downloads should provide at least the whole online corpus, - and text collections for the individual authors, not just the individual songs. - For different kinds of visualization (eg. chronological visualization of sources - for songs according to dialect areas) it would also be useful to have access to - the metadata on the texts and the historical manuscripts. Looking at the - developments since early 2018 to the present day there is hope that more sources - will be available at the end of the project term.

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- Using the LDM -

All project data can be accessed via the main menu bar that not only opens - different ways into the text collection (authors, texts, manuscripts, search) - but also links to the project documentation. The core of the web site are, of - course, the edited texts, which are accompanied by several pieces of additional - information: diplomatic transcription, several apparatuses, text commentary, - author information. The web site also links to and/or includes several external - resources like manuscript images, manuscript description, research literature - (Handschriftencensus - and complementing literature collected in the course of the project). The texts - and the additional data are presented through an intelligently designed user - interface.

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The available texts – presently the home page lists a count of 2754 stanzas - edited from 39 manuscripts – are subdivided into author corpora (61 authors plus - one section of texts handed down anonymously). The selection of the authors - relates to the stages in the projects, where in the first term the complete opus - of select authors (Dietmar von Aist, Friedrich der Knecht, Heinrich von Breslau, - Leuthold von Seven, Regenbogen (early work), Reinmar von Brennenberg, Rubin, - Walther von Mezze, Wilder Alexander) has been edited. The second term focuses on - authors edited in the anthology Deutsche Liederdichter des 13. - Jahrhunderts plus Konrad von Würzburg, Tannhäuser, and Heinrich von - Veldeke. Select other authors were included to cover parallel transmission or - were used as sample editions in the early project stages. (cf. ‘Autoren’) While the - choice in selection for the second term can be reasonably followed, the - selection process for the first remains unclear. There might be profound reasons - for this selection, the web site itself does not provide further information. - This lack of project documentation (also see above) is a major point of - criticism, not only because the user is left in the dark concerning project - status, development and plans but also because public funded projects should - meet their obligations to provide information on progress, failures, and/or - success. Models for successful project descriptions would for example be the - respective web pages of the Alfred Escher Briefedition, the Codex Sinaiticus - project, the Burckhardt Source project. As some of these projects have a larger - volume than the LDM, simply providing the grant proposal would also be a - suitable way to present the project in its overall scope.

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The interface of the LDM is strikingly simple, intelligently designed, useful and - user-friendly. The texts can be accessed in four different ways: author, text, - and manuscript indices as well as a simple search form. While the indices - provide alphabetically sorted lists of names, incipits and manuscript sigla - (which in this context is a sound decision), the search function provides a full - text search with truncation and manuscript restriction. Each index provides - additional information: the author index shows the number of stanzas edited per - author; the text index holds information on the source manuscript, the author - corpus, and the (canonical) print edition; the manuscript index provides sigle, - shelf mark, and number of edited stanzas for each manuscript.

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Starting from the author index the names lead to an alphabetical list of incipits - with information on manuscript, position of the stanza within the manuscript - (provided in form of a manuscript specific stanza number instead of the folio - specification, which would be the classical and probably more significant - information in regard to the source), print edition and icons informing the user - on the state of processing, ie. if digital images, transcription, edition, or - commentary are available. The author page also provides an essay on the author - and the transmission of his work, and parallel transmission. The user can modify - the displayed list of entries via different selection boxes in regard to text - type and manuscripts. The entries consequently lead to the text presentation. - The manuscript page presents a core manuscript description as well as links to - external sources. A very handy selector at the top of the page allows easy - browsing through the manuscripts. A table holds the contents of the manuscript - (folio, author and number of edited stanzas) as far as they are relevant for the - project; the hyperlinks lead on to the author page. Irrespective of a user’s way - into the depths of the text collection she can access the single texts once she - has reached the list of incipits – the most direct way would be through the - ‘Texte’ menu item.

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- - The non-responsive web design counteracts editorial - intentions. The screenshot from early 2018 also documents the missing - TEI download icon. -
The text presentation page is the heart of the web site and it shows - that much thought has been spent on text presentation: with great success! It - presents all relevant information (text, literary commentary, meta data) on a - condensed space with putting the focus clearly on the text itself as well as a - tidy page layout. When loading the page, a preference menu pops up in the top - left corner alerting the user on its presence before it slides out of sight. It - can be activated via click on the part of the frame that remains visible. Here - the user chooses her text presentation preferences to minute detail: - transcription (resolve abbreviations or not, manuscript line break), edition - (punctuation yes/no, normalized Middle High German with some fine tuning), and - apparatus. In some cases, the non-responsive web design seems to counteract the - good intentions of the editors, for example when the verse lines of the - transcription should be displayed as in the manuscript but are wrapped - automatically (cf. fig. 5).

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Revisiting users can even store selected preferences (as cookies). A print icon - opens a new page that allows some manipulation of the edited text and features a - drop-out menu where the user can select the printing format. The PDF page is - beautifully composed with a header providing the bibliographic information, - columns holding the (synoptic) text representation, commentary, and a footer - providing the licensing information. All in all, the PDF could well be a model - of how a printer’s copy of an online edition should look like. All data is - presented in color coded blocks, text blocks have additional sliders that either - add information (e.g. manuscript viewer), lead to a new text display (stanza vs. - text synopsis), or invite the user to participate (mail form for e.g. reporting - errors). On the synopsis pages the user can re-order or delete the text blocks - available and tweak the text presentation with the aforementioned preference - menu. Unfortunately, the web design is not responsive, so that the reading - experience on handheld devices is not acceptable. Since the web presentation - conveys the impression that texts are primarily meant to be received this way, - it is a general shortcoming.

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- - Text presentation in Des Minnesangs - Frühling (Heinrich von Veldeke, p. 134). -
The layout of the text presentation and the information presented - reminds of the page layout in the Minnesangs Frühling anthology - (cf. fig. 6) with its three-part - apparatus, information on parallel transmission, and (canonical) reference. But - the online presentation allows for greater comfort, for example, when a user can - decide on the use of cursives, or the location of the apparatus at the end of a - stanza or at the end of a song.) This way of text presentation might even be - suited to encourage an old-established clientele of minnesong recipients to move - from the book to the digital medium. The web presentation has been - premeditatedly designed in other contexts, too: question marks and mouse over - text provide helpful hints throughout the web site, and each text display is - complemented with citation suggestions. Slightly confusing, though, is the - greyed-out menu item ‘Register’ which can lead the absent-minded user to wonder - about future indices, or indices that are only accessible when logged in … and - the web site helpfully provides a register form when clicking this link. It is, - of course, the registration page. However, it might be more consistent to - provide a German language menu item for registration within a row of other - German menu items.

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- Conclusion -

The Lyrik des deutschen Mittelalters online text collection can - without difficulty be matched to the old-established minnesong anthologies of - German medieval studies. The web site provides a thoroughly thought out concept - and a consistent as well as considerate design, comprehensible and scholarly - sound edition principles, and core functions for textual criticism. In the scope - of two project terms it is on the way to provide a substantial amount of - digitally presented minnesong. The texts are available on an open access basis - (CC-BY-SA).

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Unfortunately, there are shortcomings concerning up-to-date digital scholarly - research: sporting the label ‘Digital Edition’ in the header of the web site - might be somewhat premature. Many core elements of digital editions are missing - (cf. e.g. Pierazzo 2016). To really embrace the advancements a digital editing - project has to offer I expect to find comprehensive information on the overall - project plan, the workflows, the technical infrastructure, the data model. The - use of persistent identifiers is essential, as are institutionalized digital - preservation strategies. A modern digital edition project should also provide - reusable data, following the FAIR principles (cf. Wilkinson et al. 2016), which - goes beyond the download of single XML files. Consequently the RIDE - Criteria for Reviewing Scholarly Digital Editions should be - applied: Scholarly digital editions are not merely publications in digital - form; rather, they are information systems which follow a methodology determined - by a digital paradigm, just as traditional print editions follow a methodology - determined by the paradigms of print culture.Sahle 2014

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The LDM in its present state is a respectable edition project that excels in - visual data presentation and provides German medieval scholars and students with - a sound text collection of digital minnesong. If the project implemented some of - the aspects outlined above, it soon could be a show-case project for digital - German medieval studies.

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- - -
- - Andorfer, Peter. 2015. Forschungsdaten in den (digitalen) - Geisteswissenschaften: Versuch einer Konkretisierung. DARIAH-DE - Working Papers 14. Accessed July 7 2020. <http://webdoc.sub.gwdg.de/pub/mon/dariah-de/dwp-2015-14.pdf>. - Birnbaum, David J., Sheila Bonde, and Mike Kestemont. 2017. The - Digital Middle Ages: An Introduction. In: Speculum, Supplement - 2017, S. 1-38. - - DFG Guidelines on the Handling of Research Data. 2015. Accessed - July 7 2020. <http://www.dfg.de/download/pdf/foerderung/antragstellung/forschungsdaten/guidelines_research_data.pdf> - Lachmann, Karl, and Moritz Haupt, ed. 1857. Des Minnesangs - Frühling. Leipzig: Hierzel. - Mittelalterlabor. Transkription der Handschrift Graz, UB, Ms. 1609. Unter - Mitarb. v. Astrid Böhm u. Elisabeth Raunig hrsg. v. Helmut W. Klug. April - 2019. hdl.handle.net/11471/521.60 (GAMS. 521.60.) - Pierazzo, Elena, and Matthew James Driscoll. 2016. Digital Scholarly - Editing. Theories and Practices. OpenBooks Publishers. Accessed - July 7 2020. <https://www.openbookpublishers.com/product/483> - Putmans, Jean L., ed. 1993. EDV-Text von - "Des Minnesangs Frühling". Göppingen: Kümmerle. - Rubow, Lexi, Rachael Shen, and Brianna Schofield. 2015. - Understanding Open Access: When, Why, & How to Make Your Work - Openly Accessible. Authors Alliance Guides 2. Authors Alliance. - Accessed July 7 2020. <https://authorsalliance.org/wp-content/uploads/Documents/Guides/Authors%20Alliance%20-%20Understanding%20Open%20Access.pdf>. - Sahle, Patrick. 2014. Criteria for Reviewing Scholarly Digital Editions, - version 1.1. Accessed July 7 2020 <https://www.i-d-e.de/publikationen/weitereschriften/criteria-version-1-1/> - von der Hagen, Friedrich Heinrich. 1838. Minnesinger. Deutsche - Liederdichter des zwölften, dreizehnten und vierzehnten Jahrhunderts aus - allen bekannten Handschriften und frühen Drucken. Leipzig: - Barth. - von Kraus, Carl, ed. 1978. Deutsche Liederdichter des 13. - Jahrhunderts. 2. reviewed ed. by Gisela Kornrumpf. Tübingen: - Niemeyer. - Wilkinson, M., Dumontier, M., Aalbersberg, I. et al. 2016. - The FAIR Guiding Principles for scientific data management and - stewardship. In: Sci Data 3, 160018. - <https://doi.org/10.1038/sdata.2016.18>. - - - All web pages (besides the pages from the University of Erlangen-Nürnberg) - have been archived with archive.org - as of April 6 2018 and October 3 2019. -
- - - diff --git a/wordclouds/tei/en/patrick-confessio-tei.xml b/wordclouds/tei/en/patrick-confessio-tei.xml deleted file mode 100644 index ca0c2ca..0000000 --- a/wordclouds/tei/en/patrick-confessio-tei.xml +++ /dev/null @@ -1,1753 +0,0 @@ - - - - - - - A Review of confessio.ie, or Practical Thoughts on Digital Editing in Classics - - - Yannick - Brandenburg - - [ORCID; VIAF; - GND] - - University of Cologne - - - yannick.brandenburg@uni-koeln.de - - - - Institut für Dokumentologie und Editorik e.V. - November 2020 - http://ride.i-d-e.de/issues/issue-13/patrick-confessio - 10.18716/ride.a.13.5 - https://github.com/i-d-e/ride/blob/archives/issue13/patrick-confessio.zip?raw=true - - - - - - RIDE - A review journal for digital editions and resources - Ulrike Henny-Krahmer - Frederike Neuber - Patrick Sahle - Ulrike Henny-Krahmer - Frederike Neuber - Bernhard Assmann - Jana Klinger - Digital Scholarly Editions - http://ride.i-d-e.de/issues/issue-13 - - - - - The Saint Patrick’s Confessio Hypertext Stack Project - Anthony Harvey, Jane Conroy, Franz Fischer - - Editor - Anthony Harvey - - - Editor - Jane Conroy - - - Editor - Franz Fischer - - - Contributor - Hayley Humphrey - - - Contributor - Alessio Frenda - - - Contributor - Roman Bleier - - - Contributor - Daniela Schulz - - - Programmer - Niall O’Leary - - 2011 - https://www.confessio.ie/# - 2020-09-02 - - - - - Criteria for Reviewing Scholarly - Digital Editions - - - - -

born digital

- - - - - - - - - cf. Catalogue 1.2 - - Is it easily possible to describe the project bibliographically along the - schema "responsible editors, publishing/hosting institution, year(s) of - publishing"? - - - - - - - cf. Catalogue 1.4 - - Are the contributors (editors, institutions, associates) of the project fully - documented? - - - - - - - cf. Catalogue 1.5 - - Does the project list contact persons? - - - - - - - - cf. Catalogue 2.1 - - Is the selection of materials of the project explicitly - documented? - - - - - - - cf. Catalogue 2.1 - - Is the selection by and large reasonable? - - - - - - - - cf. Catalogue 4.16 - - Does the documentation include information about the long term sustainability - of the basic data (archiving of the data)? - - - - - - - cf. Catalogue 3.1 - - Are the aims and purposes of the project explicitly documented? - - - - - - - cf. Catalogue 3.1 - - Are the methods employed in the project explicitly documented? - - - - - - - cf. Catalogue 3.7 - - Does the project document which data model (e.g. TEI) has been used and for - what reason? - - - - - - - cf. Catalogue 4.15 - - Does the project offer help texts concerning the use of the - project? - - - - - - - cf. Catalogue 4.8 - - Does the project supply citation guidelines (i.e. how to cite the project or - a part of it)? - - - - - - - cf. Catalogue 4.16 - - Does the editon regard itself as a completed project (i.e. not promise - further modifications and additions)? - - - - - - - cf. Catalogue 4.13 - - Does the project provide information about institutional support for the - curation and sustainability of the project? - - - - - - - - - cf. Catalogue 2.2 - - Has the material been previously edited (in print or digitally)? - - - - - - - cf. Catalogue 2.2 - - Does the edition make use of these previous editions? - - - - - - - cf. Catalogue 4.15 - - Does the project offer an introduction to the subject-matter (the author(s), - the work, its history, the theme, etc.) of the project? - - - - - - - cf. Catalogue 2.3 - - Does the project offer a bibliography? - - - - - - - cf. Catalogue 2.3 - - Does the project offer a scholarly commentary (e.g. notes on unclear - passages, interpretation, etc.)? - - - - - - - cf. Catalogue 2.3 - - Does the project include or link to external resources with contextual - material? - - - - - - - cf. Catalogue 2.3 - - Does the project offer images of digitised sources? - - - - - - - cf. Catalogue 4.6 - - Does the project offer images of an acceptable quality? - - - - - - - cf. Catalogue 2.3 - - Is the text fully transcribed? - - - - - - - cf. Catalogue 4.6 - - Does the project offer texts of an acceptable quality (typos, errors, - etc.)? - - - - - - - cf. Catalogue 4.5 - - Does the project feature compilations indices, registers or visualisations - that offer alternative ways to access the material? - - - - - - - - cf. Catalogue 1.3 and 2.1 - - Which kinds of documents are at the basis of the project? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - manuscripts - - - - - - cf. Catalogue 1.3 and 2.1 - - What era(s) do the documents belong to? - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 1.3 - - Which perspective(s) do the editors take towards the edited material? How can - the edition be classified in general terms? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.11 - - Does the project offer any spin-offs? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.3 - - By which categories does the project offer to browse the contents? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.4 - - Does the project offer a simple search? - - - - - - - cf. Catalogue 4.4 - - Does the project offer an advanced search? - - - - - - - cf. Catalogue 4.4 - - Does the search support the use of wildcards? - - - - - - - cf. Catalogue 4.4 - - Does the search offer an index of the searched field? - - - - - - - cf. Catalogue 4.4 - - Does the search offer autocompletion or suggest functionalities? - - - - - - - cf. Catalogue 4.4 - - Does the project offer help texts for the search? - - - - - - - - - cf. Catalogue 3.3 - - Who is the intended audience of the project? - - - - - - - - - - - - - - cf. Catalogue 3.3 and 5.1 - - Which type fits best for the reviewed project? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Method - - - cf. Catalogue 3.6 - - In how far is the text critically edited? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 3.7 - - - Is the data encoded in XML? - - - - - - - - - Is the project employing a standardized data model (e.g. TEI)? - - - - - cf. Catalogue 3.5. - - Which kinds or forms of text are presented? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.8 - - Are there persistent identifiers and an addressing system for the edition - and/or parts/objects of it and which mechanism is used to that end? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.9 - - Are there technical interfaces like OAI-PMH, REST etc., which allow the reuse - of the data of the project in other contexts? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Is the edition Open Access? - - - - - - - cf. Catalogue 4.12 - - Is the basic data (e.g. the XML) of the project accessible for each part of - the edition (e.g. for a page)? - - - - - - - cf. Catalogue 4.9 - - Can the entire raw data of the project be downloaded (as a whole)? - - - - - - - cf. Catalogue 4.9 - - Can you use the data with other tools useful for this kind of - content? - - - - - - - - cf. Catalogue 4.13 - - Are the rights to (re)use the content declared? - - - - - - - cf. Catalogue 4.13 - - Under what license are the contents released? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - classics - critical apparatus - medieval latin - critical edition - digitization - - - - - - -
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The Hypertext Stack Project (confessio.ie), which digitizes Bieler’s 1950/51 print - edition of Patrick of Ireland’s letters, is one of few critical digital editions in - classical scholarship. Hence, besides supplying much supporting material such as - translations or images of manuscripts, it aims to serve as a model for digitally editing - (late) ancient texts. Confessio.ie succeeds at showing that TEI can be applied to - classical texts as well, which has been doubted, and paves the way for a more hypertextual - understanding of a textual tradition. The project has worked out a by and large suitable - layout for a digital edition of a text with a medieval manuscript tradition. However, - future editors will need to give deeper thought to matters such as accurately encoding and - presenting an apparatus criticus and improving the user friendliness of the interface. - Further, because of inaccuracies in the digital apparatus users will want to exploit - confessio.ie’s rich resources not instead of, but only next to Bieler’s print edition.

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- - - -
- Introduction -

Patrick of Ireland, who in the fifth century evangelized the Irish, in - modern-day popular culture arguably counts among the most well-known, certainly among the - most influential Christian saints. About his life and deeds legends circulate, many of - which find their origin in a seventh-century Life of Patrick written by the Irish monk, - Muirchú. Two Latin texts have come down to us from Late Antiquity that can undoubtedly be - attributed to Patrick himself: the so-called Confessio and the - Epistola. Both of them are written in epistolary form and are united in the - tradition as the first and second books, respectively, of the Libri Epistolarum - Sancti Patricii Episcopi. These letters have been edited in one of the few - editions of ancient texts that come close to being definitive, by Ludwig Bieler (Bieler - 1950; Bieler 1951).Collectively and under the same title, this work - has been re-issued by the Irish Manuscripts Commission (Dublin 1952) and – together with - Bieler 1966 – re-published by the Royal Irish Academy (Bieler 1993). -

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The project under review here, called ‘Saint Patrick’s Confessio - Hypertext Stack Project’ (in short: confessio.ie, or ‘HyperStack’), aims at enabling - everyone, not least those not to form part of the scholarly community, to ‘read what St - Patrick actually wrote in his own words’ (italics original). It is Bieler’s - edition which is at its core. Both Bieler’s work and confessio.ie are related to the same - larger project, the Dictionary of Medieval Latin from Celtic Sources (DMLCS)Cf. the website of the DMLCS, <https://web.archive.org/save/http://journals.eecs.qub.ac.uk/DMLCS/>. Besides - numerous spin-offs and ancillary papers, the first volume of the dictionary has been - published, in form of an index (Harvey and Power 2005). of the Royal Irish - Academy: Bieler’s reprint of 1993 has been published as Ancillary Publications IV of the - DMLCS.

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Confessio.ie came into being as an initiative by the DMLCS and its editor, - Anthony Harvey, who acted as the principal investigator. Most of the work has been carried - out by the post-doctoral researcher, Franz Fischer, between 2008 and 2011. They have been - supported by a number of short- to mid-term-interns. For the technical realization, the - project relied on the Digital Humanities Observatory of the Royal Irish Academy.<https://web.archive.org/web/20191104161426/https://www.ria.ie/research-projects/archive/digital-humanities-observatory>. - The Royal Irish Academy has funded the project and is now responsible for its curation and - long-term sustainment. As the ongoing DMLCS project has been put in charge of that, the - long-term availability of confessio.ie is reasonably safe. However, there is no guidance - how to cite the digital edition.

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Confessio.ie was launched already in September 2011.Only - one review, to my knowledge, has been published (Ó Dochartaigh 2012); a more user - centered approach is taken by Caria and Mathiak 2018. There are a number of - reasons why it still appears worthwhile to review this resource after almost a decade has - passed. First, confessio.ie is to date the most comprehensive venture to produce a digital - critical edition within classical philology, and one of only a handful of by and large - successful editions in this field.One may think of, e.g., Daniel Kiss’ - Catullus Online, which however rightfully presents itself as a repertory rather than an - edition (https://web.archive.org/web/20200818110425/http://www.catullusonline.org/CatullusOnline/index.php), - or the test edition of Galen in the Corpus Medicorum Graecorum project (https://web.archive.org/web/20191114230638/http://pom.bbaw.de/cmg/). The - numerous projects within, e.g., digital epigraphy or papyrology, do not bear on this - matter because they edit documents rather than texts transmitted in, at least - potentially, more than one document. The same holds for scholia, which are extremely - hard to transfer into a print edition (cf., e.g., Mastronarde 2010ff. or the Munich - based project to edit glosses on Persius and Martianus Capella <https://web.archive.org/web/20191021140937/https://www.mueze.uni-muenchen.de/editing_glosses/index.html>). - Useful tools for finding (one’s way through) digital editions not only of classical - texts are two on line catalogues (Sahle 2008ff.; Franzini 2012ff.), and, with a scope - far more narrow, that is encompassing only editions that are both critical and of Greek - or Latin texts, <https://web.archive.org/web/20191021080038/https://wiki.digitalclassicist.org/Digital_Critical_Editions_of_Texts_in_Greek_and_Latin>. - Confessio.ie may thus be approached as a model by anyone who considers producing a digital - scholarly edition of a classical text. Second, it stands out among digital scholarly - editions due to its outreach focus. Third, within Classics and apart from discussions of - digital editions as such (e.g., Monella 2018, 143), confessio.ie still tends to be largely - neglected as a critical edition.

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- Aims -

The ‘HyperStack’ aims to serve both the scholarly community and the wider - public. For the former, it strives to be a prime digital tool for textual research on - Patrick. For the latter, it aims to disseminate information about the historical Patrick - as he emerges from his writings. This two-fold objective led the project to assemble a - vast number of different, if mostly textual documents that bear on Patrick and his - writings.

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Confessio.ie centers around a ‘hypertextual’ approach to its text(s) - (Lavagnino 1997). This means, the text is not just regarded as one Latin text transmitted - in different forms, but as a multi-layered entity consisting of many other things besides - it (which still forms the core): Manuscripts, translations, earlier and recent editions - and the like all form part of the same hypertext (van Zundert 2016, 103). Confessio.ie has - been set up with this uniquely digital approach in mind (Fischer 2013, 82–84).

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In terms of academic outreach, the prime goal of the project is ‘to give - Irish society as direct access as possible to the historical Patrick’.<https://web.archive.org/web/20191024172507/https://www.confessio.ie/about/hyperstack#>. - Apart from providing translations into various languages, the project group therefore have - intended to provide the reader with much supporting material. Articles und other texts on - the website address issues such as the context in which Patrick wrote<https://web.archive.org/web/20191009105909/https://confessio.ie/more/article_kelly#>. - and, perhaps even more importantly, where the widespread legends about the Irish patron - come from (see below on supplements).

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When it comes to confessio.ie as a research tool, the project aims on the - one hand to make the information contained in Bieler’s editions digitally available.Using the most up-to-date, most reliable edition in digital and - digitization projects is, contrary to what one might reasonably expect, rather the - exception than the rule, cf. e.g. the Library of Latin Texts (<https://web.archive.org/web/20190215000000*/https://about.brepolis.net/library-of-latin-texts/>), - the Thesaurus Linguae Graecae (<https://web.archive.org/web/20190924081450/http://stephanus.tlg.uci.edu/Iris/inst/csearch.jsp>) - or the database of the Packhard Humanities Institute (<https://web.archive.org/web/20190804110250/https://latin.packhum.org/index>). - On the other hand, it enables researchers to directly access images of all eight extant - manuscripts and a number of relevant publications. Confessio.ie wants to be the one place - where all the important (textual) information on Patrick’s works is collected. But the - project has yet another, farther reaching aim, as it aims to be a ‘case study of how to - deal with text transmission and how to deal with the academic heritage of the print - era’.<https://web.archive.org/save/https://www.confessio.ie/about/hyperstack>, section 5.2. -

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- Scope and Contents -

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- - The start page of confessio.ie. -
Confessio.ie features an enormous, and mostly well chosen, range of material - that is of interest to scholars and non-scholars alike. The project’s website is well - structured and particularly strong in guiding the visitor straight to the textual version - she needs. The focus of the home page’s presentation is the text of Patrick’s - Confessio: There, the user immediately encounters the text’s first - paragraph in an English translation and is at the same time invited to read on in a - language of her choice (see fig. 1). By this - means, confessio.ie strongly signals that the text of Patrick’s work is the - centerpiece of the project.

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If the user does not follow the suggestion to immediately read on, she can - approach the self-explaining, well laid out top menu. This will lead her to - ‘confessio/epistola’, ‘manuscripts/prints’, ‘special features’, and an ‘about’ section. - Less highlighted are a useful introductory videoAvailable from - <https://web.archive.org/save/https://www.youtube.com/watch?v=tBuXnQr4ZSM> - and embedded into <https://web.archive.org/save/https://www.confessio.ie/about/videointroduction#>. - Unfortunately there is no link to this video on the website apart from the subpage - referred to on the home page. and a link to the publishing house’s offer to - purchase confessio.ie’s original English translation of the Confessio - (McCarthy 2011).

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Much material is downloadable in the ‘downloads’ subsection of the ‘special - features’ section. One finds (1) XML files of the critical edition of the Confessio and of - the draft of the Epistola, (2) of all translations, (3) of the manuscript descriptions, - and (4) pdf files of the editions, transcriptions and facsimiles used in setting up - confessio.ie.

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- Confessio.ie as a digital scholarly edition -

The heart of the project is the digital edition of Patrick’s - Confessio, somewhat less so of his Epistola (I will come to - this point). The digital edition, as indicated above, is principally a digitization of - Bieler’s edition and commentary from 1950/51.Bieler’s text (only) - had already at an earlier point been included into the Archive of Celtic-Latin - Literature (ACLL) published by Brepols on behalf of DMCLS. I have not been able to - access ACLL. In the download section users can access a pdf of this edition - (Bieler 1993), which is helpful for those who want to compare the digital to the printed - version and to access all its material that does not feature on confessio.ie, such as - indices or an introduction.

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For years now, and already when confessio.ie came into being, the - well-known TEI P5 guidelines have been the standard rules for encoding a digital - scholarly edition (TEI Consortium 2019). The project team adhere to the principles laid - out therein and have written their files in XML. Most philologists and historians, - however, are likely to be more interested in the user interface of this digital edition. - The main question they will ask is: Does confessio.ie address what a scholar (reasonably - or not) expects from an edition of a classical text?

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- - The layout of the digital edition. -
The layout of the digital edition is as straightforward as it is helpful (see fig. 2). The main text, including the - critical sigla known from printed editionsAgainst the custom, but - as quite common on the web and elsewhere these days, for additions confessio.ie does - not use pointed brackets ⟨ ⟩, but greater/less-than-signs < >. and bible - quotations in italics, is on the center-right. The Confessio is split into - the 62 paragraphs of Bieler’s edition, each of which is presented on a separate page. - The resulting text length per page is easily digestible. Most paragraphs are, on today’s - ordinary desktop screens, easily presented in whole. Above the text, one finds the title - of the respective work (‘I. CONFESSIO’), the number of the paragraph, and a search - function. The search is explained in the FAQ (see below); it will search the main text - and each of the apparatuses/commentaries. Nothing more advanced than the search for - strings is supported.

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Additional and commendable features can be found below the text. Here, - users can immediately access other versions of the same text they are reading in Latin: - introductory sections and images of each of the manuscripts and earlier editions; and - the relevant passage in each of the translations available on confessio.ie. Regrettably - though, except for the manuscripts (only via the apparatus criticus!), confessio.ie is - unable to display text/edition and image/translation at the same time; and manuscripts - are not aligned on any level below page/column (see below).

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Although all of this is useful in its own right, scholars will find the - left-hand column the most important one. Here, all three apparatuses from Bieler’s - edition are presented: an apparatus criticus, an apparatus fontium, and an apparatus - biblicus (in this order, which by reasonably deviating from Bieler’s order (sources, - critical, bible) gives the critical apparatus the prominence it deserves). Bieler’s - commentary is to be found here too; technically, it has been treated just like the - apparatuses.

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In the default view, none of the apparatuses is opened. As all of them are - displayed next to each paragraph page – whether they contain information or not –, users - have to open them individually (or keep them open from the start when navigating through - the text) in order to find out if there is any information stored in the respective - apparatus in the respective paragraph. Especially the apparatus fontium is not present - on many of Bieler’s pages and thus in the digital version it is oftentimes empty. At - times I find it a bit distracting to still have it on display all the time.

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- - Alignment. -
The alignment of apparatuses and text are well done. In writing the XML files, - each word of Patrick’s text has been automatically given a unique ID. This ID is named - after the page, line, and word-in-line numbers of White’s edition (White 1905), which - are also used by Bieler. This allows for an impressively reliable, detailed alignment of - text and apparatus. When hovering over an apparatus entry, the corresponding text is - highlighted (see fig. 3). All apparatuses and - the commentary are highlighted in the same visual way.

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However, when the mouse hovers over the text, the corresponding sections - of the apparatuses are not highlighted. It is not clear if the project team have - consciously decided against this (and if they have, why). I for one would have preferred - to have also the text direct me to the apparatuses, which would facilitate work when - compared to the printed book (Caria and Mathiak 2018, 274).

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- - Ms Paris lat. 17626 in the text view. -
How the critical apparatus is set up to deal with manuscripts, sigla, and other - abbreviations, is a great help.For most traditional classicists, - the opportunity to get (links to) manuscripts is probably the foremost advantage when - it comes to digital editions. This is achieved by two means. First, in the - apparatuses, it is easy to identify all kinds of abbreviations, including sigla of - manuscripts and even sigla of groups of manuscripts. All manuscript group sigla are - resolved when hovering over them. Abbreviations of modern literature and ancient works - are hyperlinked to the respective bibliography or abbreviation list entries. Second, all - manuscript sigla, when clicked, will load an image of the relevant page of the - manuscript just above the main text of the Confessio (see fig. 4), and thus allow direct access to the sources.

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- - The apparatus criticus. -
Yet there is a major disadvantage in how the apparatuses are visualized, which - makes them appear to lack structure and makes them hard to follow: They fail to signal - where an entry starts and where it ends. For example, in Confessio 52 the - fourth entry in Bieler runs: ‘nihilominus: nihilhominum P. nihil δ’. Fig. 5 shows how this is visualized in the - digital edition. It is not intuitively clear that nihil belongs to the - entry in the line above (esp. when compared to the first, not indented line, which - exhibits three – actually four, because ‘mercedem dabam V’ belongs here, too – - individual entries). Neither is it intuitively understandable, why some lines (or - entries) are indented and some are not, or indeed where an entry starts (how to tell - from the layout where, e.g., the entry ‘auidisse V. audissime P.’ starts and ends?).

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The reason for this easily avoidable shortcoming is a decision the - project team have made about the details of their XML files. They have transformed - Bieler’s apparatus into XML as follows, by using the paragraph tag - <p> (simplified): - <note><p>nihilominus: nihilhominum <ref - type="witness">P</ref>.</p><p>nihil <ref - type="witness">δ I. e., - δ.</ref>.</p></note>. But those entries which exhibit only a single variant transmitted in a single - manuscript or family of manuscripts lack a <p> tag: e.g., - <note>cupiebam <ref type="witness">δ</ref>.</note> - - . Now, when it comes to representation on screen, this use of - <p> has the unfortunate consequences that the entry ‘nihilominus … - nihil δ’ has a line break in between and thus lacks the appearance of a continuous - entry. Nor is it, e.g., clear that ‘me cum’ starts a new entry which runs until ‘mecum - et P’ in the next line.

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- - The commentary. -
In the same vein, the commentary looks crowded, although contentwise it isn’t. - Technically the commentary is not treated differently from any of the apparatuses. Each - entry is identified by a <note> tag. Each commentary entry is - separated by an <ab> tag (in the print edition, they are not aligned - to the text on any sub-paragraph level either). This is only rendered by a dash (—) - which is hard to make out within the text of the commentary (see fig. 6). This visualization makes the commentary quite - difficult to read, at least for my eye. Other options, e.g., beginning a new paragraph - or highlighting the lemma, would certainly find more appreciation.

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By and large, the digital edition of confessio.ie is a digitization of - Bieler’s print edition. As text editions are the foundation of all further research in - any philology, accuracy in informing readers about manuscript readings is indispensable - (Reeve 2000, 200–201). In the case of confessio.ie, one will not ask for an accurate - representation of the manuscript evidence, but of Bieler’s edition.

-

In order to judge the reliability of the work, I have taken random - samples. The main text has been well proofread and is, as far as I am aware, free of - errors. It accurately reproduces even interpunction and italicization. This claim cannot - unfortunately be held for the critical apparatus. The apparatus criticus is the - centerpiece of a scholarly edition und its quality therefore can’t be neglected (Tarrant - 2016, 128–40; Fischer 2019). In my samples, I have come across the following deviations - from Bieler’s edition (I give Bieler’s reading first):I have not - regularly checked if the deviations tacitly emend an error made by Bieler, but where I - have, I found his readings confirmed. 17 (239,22 White) quidam C] quidam G; 17 - (239,26) notam C] notam G; 20 (241,15) quandiu D] quamdiu D; 20 (241,16) mēbrorumThe XML files are encoded in UTF-8, so there should not have been - technical constraints that prevented the project from using special characters of this - kind. And cf., e.g., 41 (248,8) sc̄orum, 59 (252,13) - illū. C] mebrorum C; 28 (244,7) hiberionē G] hiberione G; 46 - (249,24) postᵗergū G] postᵗergu G.

-

Confessio.ie further fails to inform the reader that D omits 20–21 - (242,1–3) qui loquimini … annos and that R is corrupt there (qui loquitur … iterum). - There are also some rather minor errors of other types: 2 (236,2) et is - aligned with me instead of et in the text (the error is in the - XML file: @target=“#W.236.02.04” should read @target=“#W.236.02.05”). 17 (240,1–2) - Bieler writes ‘R mut’, which is resolved on confessio.ie to ‘R mutitlus’ [sic]. Despite - all its merits in other fields, because of these errors and inaccuracies collectively, - the digital edition of confessio.ie stays short of being reliable.

-
-
- The Epistola -

While Patrick’s Confessio is the centerpiece of the ‘Saint - Patrick’s Confessio Hypertext Stack Project’, they do not altogether - neglect the second of his extant writings, the Epistola, also edited by - Bieler and transmitted together with the Confessio in most manuscripts. In - fact, confessio.ie offers almost as many translations of the as of the - Confessio (although there is no German translation of the - Epistola, but the Confessio was translated into German - specifically for this project).

-

There is no full digital edition of the Epistola on - confessio.ie. There is a page which obviously was prepared for encompassing a full-grown - edition of this text as taken from Bieler.<https://web.archive.org/web/20191010185003/https://www.confessio.ie/etexts/epistola_latin>. - But the XML file for the Epistola, which too is downloadable (see above), - is hardly more than a draft from which to go on (just compare the roughly 22,000 - characters of the TEI header of the Confessio XML file to the mere 540 - characters of the Epistola file!). It features only the whole text of the - letter, all the words given their specific IDs, and the apparatus fontium has fully been - encoded, thus arriving at being (as yet) no more than another uncritical edition on the - web.

-
-
- Editorial Principles and Transmission -

This is one of the weakest points in the digital edition. For any - critical edition is reasonably expected to lay out their principles in terms of, e.g., - method, orthography, normalization. It is equally necessary to say a word about the - manuscript tradition, or at least where to find such information. In spite of the - extensive information given in the ‘About the HyperStack project’ section, there is - hardly a word about any of this – and if it is, users have to collect the information - from different parts of the web site by themselves.

-

I will give two examples which I consider especially unfortunate. The - first one is the stemma. Bieler was a philologist, and like most classicists a - ‘Lachmannian’. This means, he went to quite some lengths in order to come up with a - stemma, which in his case allows him, he claims, to go back to Patrick’s autograph, - called Σ (Bieler 1950, 7–39). He comes up with an indirect tradition, Ψ, and three - manuscript families of the direct tradition: D, V, and Φ comprising all remaining six - witnesses. All of this is hardly remarked, let alone discussed, on confessio.ie. But can - a critical edition, whether digital or not, really dispense with it? True, there is a - short note saying ‘Bieler’s edition is an excellent attempt to reconstruct an - approximate original of the Confessio, the archetype Σ’ (‘About the - HyperStack’, 4.1). And in the ‘Special Features/Key to Symbols and Abbreviations’ - section there are scans of Bieler’s pedigrees, without being explained: Why there, and - how is one looking for the relationships of the manuscripts supposed to find them? This - necessary information is first too little and second too scattered. It would have - sufficed, though, to explicitly refer the user to Bieler’s introduction for this kind of - information.

-

My second example concerns the alterations the confessio.ie team has made - to Bieler’s edition. The text they use comes from the Archive of Celtic-Latin - Literature, as documented in ‘About the HyperStack’ 4.2 (see note 10). A user will however have to recur to the XML file - of the Latin text (where she is not directed) in order to find out about the - consequences. Only there (in the header, <notesStmt>), there is a - detailed discussion, for example, about the use of u and v, stating: Bieler uses capital - V and small capital u. Confessio.ie writes all consonants as v, all vowels as u. In the - commentary then, the capitals are all written V. This is not a significant point in - itself, but it is at the least not user friendly to hide this kind of information in an - XML file without even directing there, especially when considering that many users will - probably be either not ready or not able to open and read an XML file.

-
-
- Manuscripts and Editions -

-

- - Description and digital representation of the Book of - Armagh. -
The project team must be congratulated for succeeding in being granted the - rights to digitally reproduce images of all eight manuscripts. Noteworthily, for the - first time they have made digitally available images of the pertaining sections of the - famous ‘Book of Armagh’ (Dublin, TCD 52, see fig. - 7).There is a facsimile edition (Gwynn, J. 1913). - Except for the two Salisbury manuscripts (221 and 223), which had to be digitized from - microfilms, all of them are high-resolution colour images.

-

All manuscripts have been described by the project researcher, Franz - Fischer. The descriptions and images of the manuscripts are easily accessible in a - seperate ‘manuscripts/prints’ section. Their XML files are available for download from - the downloads section. After an introduction containing information about the location, - provenance, sigla (it is missing for Rouen 1391, which should be R), available images, - and a copyright notice, there are useful sections of various detail on each manuscript’s - content, physical description, history, and a bibliography.

-

From the manuscripts pages, it is not possible to be directed to the - pertinent sections of Patrick’s text. Although it is immensely useful to have the - manuscripts at hand when reading the critical edition, users will find it less - convenient that manuscripts are aligned to the text on page/column level only, rather - than on the level of paragraphs or even words (see above). This forces them to spend a - lot of time on searching the respective manuscript folium for the passage they want to - see in the original manuscript. It is especially unfortunate, as confessio.ie claims - that readers ‘are invited to find their way through the dense net of textual layers’ and - in this respect explicitly mentions the manuscript reproductions (‘About’, 2.2).

-

-

- - Description and digital representation of Ware’s edition. -
The same holds, mutatis mutandis, for earlier editions. PDFs of all earlier - editions are available for download (Ware 1656; Papebroch 1668; White 1905; Bieler - 1950/51), and, additionally, of a diplomatic transcription (Gwynn, E. 1937) and a - facsimile print (Gwynn, J. 1913) of the Book of Armagh. Interestingly, the copy of - White’s edition used is the very one that Bieler used and annotated when he prepared his - edition. The descriptions of the editions are far shorter and less structured than those - of the manuscripts (see fig. 8).

-
-
- Translations -

One of the most notable features of the project is the translations. The - project team have included translations of the Confessio into English - (McCarthy 2011), Irish (Mac Philibín 1961), Italian (Malaspina 1985), Brazilian - Portuguese (dos Santos 2007), German (newly translated by project’s researcher, Franz - Fischer), and English (Blank) Verse (Ferguson 1877–1886). There are translations of the - Epistola into all of these languages but German. To have translations of - Patrick’s texts in many languages accessibly available is obviously very useful. XML - files of all the translations are available for download, which allows users to - transform them into a format of their choice.

-

As McCarthy’s new translation has been reviewed before (Ó Dochartaigh - 2012, 32) and the other ones have been published before, I can confine myself to - Fischer’s German rendering of the Confessio. This is only the second - translation into German; the first (and to-date only one of the Epistola) - being Wotke 1940. Fischer has succeeded in writing a vivid, readable German translation. - He is exceptionally strong at rendering the colloquial, paratactic, often anacoluthic - style (cf., e.g., 12, 43). Misrepresentations and inaccuracies are few: e.g., 4 ut - didicimus is rather ‘wie wir erkannt haben’ than ‘so ward es uns gelehrt’ (to - say nothing of the form ‘ward’ in a 21ˢᵗ century translation), 11 (epistola) non - deserta is hardly rendered appropriately by ‘nicht wohlfeil verfasst’.

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-
- Supplements -

As this review primarily focuses on the edition proper, I will here but - list the impressive quantity of the secondary material, mostly aimed at non-experts in - the field. There are (1) an introduction to Patrick’s writings (by David Kelly), (2) an - uncritical Latin text and an English translation of Muirchú’s Life of - Patrick, (3) the same of Tírechán’s Collections, (4) articles on - how Muirchú and Tírechán cope with Patrick’s conversion (by Elizabeth Dawson), (5) on - Tírechán (by Terry O’Hagan), (6) on Patrick’s representation in art (by Rachel Moss), - (7) a novel ‘Seeking Patrick’ (by Derick Mockler), including an audio book, (8) an audio - recording of the English translation of the Confessio. In addition, we are - promised on line dictionary entries from the parent project, DMLCS, which have never - been added.

-

The project team have further set up an extensive bibliography on - Patrick, which covers contributions until 2011.<https://web.archive.org/web/20191021082412/https://www.confessio.ie/more/bibliography_full#>. - Most usefully, numerous entries (especially those that do not betray what they are - concerned with in their titles) are furnished with notes indicating the topic, - summarizing their main points of argument or relating them to other pertinent - literature. If available, there are hyperlinks to any digital version of each entry. -

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-
-
- Usability -

In terms of usability, confessio.ie has several shortcomings, of which the - following are the most severe:Similarly, participants in a recent - study on the usability of digital scholarly editions repeatedly signalled they had - experienced difficulties in navigating confessio.ie (Caria and Mathiak 2018). - first, the availability and accessibility of information. Often it is not easy to spot the - information one looks for. For example, few will suspect to find Bieler’s pedigree, on - which the edition is based, in the subsection ‘key to symbols and abbreviations’ (as - pointed out above, detailed discussion on how the manuscripts relate to each other is - altogether lacking). Second, the search function is too limited to be of any help. Third, - images of manuscripts, older editions and the text of confessio.ie are not closely - aligned.

-

This shortcoming is not remedied by the FAQ. There are only two questions: - “How to use the electronic version of Bieler's Latin edition?” and “How to use the - manuscript viewer?”. They give only the most basic information and neither of them - addresses any details.

-
-
- Technology and Applying TEI - -

The project team, thankfully, have made it easy to follow their major - technological paths and explained in detail which tools they used and why.<https://web.archive.org/web/20191022093209/https://www.confessio.ie/about/technologies>. - Much of this has no bearing on the digital edition as it is, but only on the supplementary - material and can thus be neglected here. The project has used the fairly common content - management system, Drupal, for organizing their data. The high resolution images of the - manuscripts are run by a specifically built browser-based viewing application. This - application, about which little information is available, allows for sending ‘only a - subset of the enormous image files to the browser’. As a result, the images, despite their - size, load very quickly and zooming works impressively smooth.

-

Perhaps more importantly, the digital edition is based on an XML file that - follows the TEI P5 standards, for obvious reasons not in the latest version (TEI - Consortium 2019). The XML file is easily downloadable (see above). The schema they use, as - appears from the XML file, is the then-standard TEI one (tei_all.rng, version 1.7.0),Available from <https://web.archive.org/web/20191021151220/https://tei-c.org/Vault/P5/1.7.0/xml/tei/custom/schema/relaxng/tei_all.rng>. - which allows for using all TEI tags.

-

Encoding the apparatus criticus is in theory and practice the most - difficult, but arguably the most important part of a digital editor’s work. For the TEI P5 - guidelines expect such an apparatus to be more or less a repository of variants (chapter - 12). In classical philology, at least, the critical apparatus serves many more purposes - which philologists reasonably expect to be adequately represented in a digital edition too - (Damon 2016; Keeline 2017; Olson 2019). Thus, the set-up of the apparatus criticus has - been identified as the main (and in the view of some, insurmountable) obstacle in applying - TEI to classical texts (Damon 2016; Fischer 2019, 213).A different - approach is taken by the Digital Latin project, cf. <https://web.archive.org/web/20191022092921/https://digitallatin.github.io/guidelines/LDLT-Guidelines.html>.

-

The HyperStack project has found a practical solution for coping with this - problem. Within the apparatus they use a <note> tag for each apparatus - entry (but no <app>, <lem>, or - <rdg>). Whatever Bieler wrote as his own comments in the apparatus, - is rendered by an <emph> tag. This choice serves the needs of humans - quite well, for example in 4 (236,10–13), simplified: <note>omnia — principium <emph>deest</emph> - <ref>V</ref>; <emph>quae leguntur in</emph> - <ref>v</ref>, <emph>coniecturae - debentur</emph>.</note> - - . This procedure has the advantage that trained humans can easily identify that V - has a lacuna, which has been filled in v by way of conjecturing. It has the severe - disadvantage that this way of encoding differs greatly from the actual standards set by - TEI P5, which thus cannot be exploited in its entirety.

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-
- Conclusion: Confessio.ie As A Pioneer -

Confessio.ie is a pioneering project in the field of digital editions of - classical texts. As such, the project must be thanked for opening paths which will - ultimately lead to native digital, critical editions also of ancient and late ancient - texts.In this regard, much is to be expected from the Library of - Digital Latin Texts (LDLT) project, which appears to approach a state where it can - actually be used as a proper editing tool: <https://web.archive.org/web/20191022093057/https://digitallatin.org/library-digital-latin-texts>. - This is all the more important as research in classical philology, too, is turning more - and more digital. In this regard, it was a wise decision to take the philological - information from another source (Bieler’s edition) and to focus on its digital - implementation. The Royal Irish Academy is in charge of the long-term sustainment of the - project; hence its long-term availability is guaranteed.

-

There are many commendable features of confessio.ie. The approach to think - of a transmitted text as a hypertext consisting of text, manuscripts, images, editions, - translations etc. is one of the major strengths of confessio.ie: There, “[t]he relations - between the texts and the contextualising information is described, but not expressed - through the ‘hyper fabric’ of e.g. HTTP links. Even so, the Confessio is rather an - exception to the rule—very few of today’s digital editions seem to be particularly - concerned with the core ideal of hypertext as an expression of linked information, of - process and context” (van Zundert 2016, 103). This is something only a digital edition can - do – although it will not be feasible to use every hypertextual layer in each and every - edition (Fischer 2017, 281). In an impressive manner, confessio.ie has collected and - provided any kind of textual information one may ask for about Patrick’s writings.

-

Confessio.ie has also shown that using TEI is indeed an apt method for - creating digital editions of classical texts. Hence, there is no need to look for - something else: Classics can cope with the de facto standard, although the details of how - to encode an apparatus still are in need of a long-term solution (I doubt this will be - settled any time soon). Even more: They have given a very useful example of how an edition - and a digital apparatus criticus can be visualized.

-

However, there are some points that future editors should give even more - attention to. First and foremost, and this holds for any edition, be it digital or not, - accuracy in representing text and manuscripts readings is indispensable. This demand is - self-evident, but it must be stressed again. As the apparatus of Bieler’s edition is not - always adequately represented, this is a major shortcoming of confessio.ie and the reason - why confessio.ie cannot be used instead of, but only in comparison with, Bieler’s - edition.

-

For a critical edition to be recognized as such, it is likewise necessary to - include all relevant information about the textual transmission and editorial principles. - If this edition is digital, it will be helpful for all users to have this information - easily available on the website. As for user friendliness, confessio.ie provides some - obstacles for their users, especially in the alignment of images, older editions and - translations, and user guidance around the website. With regard to these topics, future - editors will be well advised to find out for themselves how to do better.

-

All in all, the ‘HyperStack project’ has impressively paved a route to a - more multi-layered understanding of a ‘classical text’. It has set a first usable point of - departure for digital editions of classical texts, and successfully provided a first idea - of how such texts can be transferred to the digital era.

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- - - -
- - Bieler, Ludwig. 1950. “Libri Epistolarum Sancti Patricii Episcopi: - Introduction, Text and Commentary. Part I.” Classica et Mediaevalia 11: - 1–150. - Bieler, Ludwig. 1951. “Libri Epistolarum Sancti Patricii Episcopi: - Introduction, Text and Commentary. Part II.” Classica et Mediaevalia 12: - 79–214. - Bieler, Ludwig. 1966. “Libri Epistolarum Sancti Patricii Episcopi. - Addenda.” Analecta Hibernica 23: 313–15. - Bieler, Ludwig. 1993. Libri Epistolarum Sancti Patricii Episcopi. - Introduction, Text and Commentary. Dublin. - Caria, Federico, and Brigitte Mathiak. 2018. “A Hybrid Focus Group for the - Evaluation of Digital Scholarly Editions of Literary Authors.” In Digital - Scholarly Editions as Interfaces, edited by Roman Bleier, Martina - Bürgermeister, Helmut W. Klug, Frederike Neuber, and Gerlinde Schneider, 267–85. - Norderstedt: BoD. - Damon, Cynthia. 2016. “Beyond Variants: Some Digital Desiderata for the Critical - Apparatus of Ancient Greek and Latin Texts.” In Driscoll and Pierazzo 2016, - 201–18. - dos Santos, Dominique Vieira Coelho. 2007. “Tradução Os Livros Das Cartas Do Bispo - São Patrício.” Brathair 7 (1): 107–36. - Driscoll, Matthew James, and Elena Pierazzo, eds. 2016. Digital Scholarly - Editing: Theories and Practices. Cambridge: Open Book Publishers. http://www.doabooks.org/doab?func=fulltext&rid=19695. - Ferguson, Samuel. 1877–1886. “On the Patrician Documents.” The Transactions of - the Royal Irish Academy 27: 67–134. - Fischer, Franz. 2013. “All Texts Are Equal, but…: Textual Plurality and - the Critical Text in Digital Scholarly Editions.” Variants 10: - 77–92. - Fischer, Franz. 2017. “Digital Corpora and Scholarly Editions of Latin Texts: - Features and Requirements of Textual Criticism.” Speculum 92: - S266–S288. - Fischer, Franz. 2019. “Digital Classical Philology and the Critical Apparatus.” In - Digital Classical Philology: Ancient Greek and Latin in the Digital - Revolution, edited by Monica Berti, 203–19. Age of Access? Grundfragen der - Informationsgesellschaft 10. Berlin, Boston: De Gruyter Saur. - Franzini, Greta. 2012ff. “A Catalogue of Digital Editions.” https://web.archive.org/web/20191021072342/https://dig-ed-cat.acdh.oeaw.ac.at/. - Gwynn, Edward. 1937. Book of Armagh: The Patrician Documents. - Dublin. - Gwynn, John. 1913. Liber Ardmachanus. The Book of Armagh. Dublin, - London. - Harvey, Anthony, and Jane Power. 2005. The Non-Classical Lexicon of Celtic - Latinity. Volume I: Letters A–H. Turnhout: Brepols. - Keeline, Tom. 2017. “The Apparatus Criticus in the Digital Age.” The Classical - Journal 112 (3): 342–63. - Lavagnino, John. 1997. “Excerpted: Reading, Scholarship, and Hypertext Editions.” - The Journal of Electronic Publishing 3 (1). https://doi.org/10.3998/3336451.0003.112. - Mac Philibín, Liam. 1961. Mise Pádraig: Nua-Aistriú Gaeilge Ar Scríbhinní - Naomh Pádraig. Dublin. - Malaspina, Elena. 1985. Gli Scritti Di San Patrizio: Alle Origini Del - Cristianesimo Irlandese. Roma. - Mastronarde, Donald J. 2010ff. “Euripides Scholia.” https://web.archive.org/web/20191024172104/https://euripidesscholia.org/EurSchHome.html. - McCarthy, Padraig. 2011. My Name Is Patrick. St Patrick’s Confessio. - Dublin: Royal Irish Academy. http://gbv.eblib.com/patron/FullRecord.aspx?p=4698561. - Monella, Paolino Onofrio. 2018. “Why Are There No Comprehensively Digital Scholarly - Editions of Classical Texts?” In Digital Philology: New Thoughts on Old - Questions, edited by Adele Cipolla, 141–59. Padova: libreriauniversitaria.it. - https://iris.unipa.it/retrieve/handle/10447/294132/580748/monella2018why.pdf. - Ó Dochartaigh, Caitríona. 2012. “Review of Anthony Harvey and Franz Fischer (Eds), - the St Patrick’s Confessio Hypertext Stack. Dublin: Royal Irish Academy, 2011. Pádraig - McCarthy (Transl.), My Name Is Patrick. Dublin: Royal Irish Academy, 2011.” - Óenach: FMRSI Reviews 4 (1): 31–36. - Olson, S. Douglas. 2019. “Further Notes on the Apparatus Criticus.” The - Classical Journal 114 (3): 330–44. - Papebroch, Daniel. 1668. “De Sancto Patricio Episcopo Apostolo Et Primate - Hiberniae.” In Acta Sanctorum, Martii II, edited by Daniel Papebroch, - 517–92. Antwerp. - Reeve, Michael D. 2000. “Cuius in Usum? Recent and Future Editing.” The - Journal of Roman Studies 90: 196–206. - Sahle, Patrick. 2008ff. “A Catalog of Digital Scholarly Editions, Version 3.0.” https://web.archive.org/web/20191021074341/http://www.digitale-edition.de/. - Tarrant, Richard John. 2016. Texts, Editors, and Readers: Methods and Problems - in Latin Textual Criticism. Roman literatures and its contexts. Cambridge: - Cambridge University Press. - TEI Consortium. 2019. “TEI P5: Guidelines for Electronic Text Encoding and - Interchange. Version 3.6.0. Last Updated on 16th July 2019, Revision Daa3cc0b9.” http://www.tei-c.org/Guidelines/P5/. - van Zundert, Joris. 2016. “Barely Beyond the Book?” In Driscoll and Pierazzo 2016, - 83–106. - Ware, James, ed. 1656. S. Patricio, Qui Hibernos Ad Fidem Christi Convertit, - Adscripta Opuscula, Quorum Aliqua Nunc Primum Ex Antiquis Mss. Codicibus in Lucem - Emissa Sunt, Reliqua Recognita; Omnia Notis Ad Rem Historicam Et Antiquariam - Spectantibus Illustrata. London. - White, Newport J.D. 1905. “Libri Sancti Patricii: The Latin Writings of Saint - Patrick.” Proceedings of the Royal Irish Academy 25: 201–326. https://www.archive.org/details/MN5141ucmf_2. - Wotke, Friedrich. 1940. Das Bekenntnis Des Heiligen Patrick Und Sein Brief an - Die Gefolgsleute Des Coroticus. Freiburg: Herder. - -
- - - diff --git a/wordclouds/tei/en/victorians-tei.xml b/wordclouds/tei/en/victorians-tei.xml deleted file mode 100644 index d50d3c7..0000000 --- a/wordclouds/tei/en/victorians-tei.xml +++ /dev/null @@ -1,1243 +0,0 @@ - - - - - - - Songs of the Victorians - - - Eva - Moreda Rodriguez - - - - University of Glasgow - Glasgow - - Eva.MoredaRodriguez@glasgow.ac.uk - - - - Institut für Dokumentologie und Editorik e.V. - November 2020 - http://ride.i-d-e.de/issues/issue-13/victorians - 10.18716//ride.a.13.3 - https://github.com/i-d-e/ride/blob/archives/issue13/victorians.zip?raw=true - - - - - - RIDE - A review journal for digital editions and resources - Ulrike Henny-Krahmer - Frederike Neuber - Patrick Sahle - Ulrike Henny-Krahmer - Frederike Neuber - Bernhard Assmann - Jana Klinger - Digital Scholarly Editions - http://ride.i-d-e.de/issues/issue-13 - - - - - Songs of the Victorians - Joanna Swafford - - Editor - Joanna Swafford - - 2013-2020 - http://www.songsofthevictorians.com/index.html - 2020-09-14 - - - - - Criteria for - Reviewing Scholarly Digital Editions - - - - -

born digital

- - - - - - - - - cf. Catalogue 1.2 - - Is it easily possible to describe the project bibliographically - along the schema "responsible editors, publishing/hosting - institution, year(s) of publishing"? - - - - - - - cf. Catalogue 1.4 - - Are the contributors (editors, institutions, associates) of the - project fully documented? - - - - - - - cf. Catalogue 1.5 - - Does the project list contact persons? - - - - - - - - cf. Catalogue 2.1 - - Is the selection of materials of the project explicitly - documented? - - - - - - - cf. Catalogue 2.1 - - Is the selection by and large reasonable? - - - - - - - - cf. Catalogue 4.16 - - Does the documentation include information about the long term - sustainability of the basic data (archiving of the data)? - - - - - - - cf. Catalogue 3.1 - - Are the aims and purposes of the project explicitly - documented? - - - - - - - cf. Catalogue 3.1 - - Are the methods employed in the project explicitly - documented? - - - - - - - cf. Catalogue 3.7 - - Does the project document which data model (e.g. TEI) has been - used and for what reason? - - - - - - - cf. Catalogue 4.15 - - Does the project offer help texts concerning the use of the - project? - - - - - - - cf. Catalogue 4.8 - - Does the project supply citation guidelines (i.e. how to cite - the project or a part of it)? - - - - - - - cf. Catalogue 4.16 - - Does the editon regard itself as a completed project (i.e. not - promise further modifications and additions)? - - - - - - - cf. Catalogue 4.13 - - Does the project provide information about institutional - support for the curation and sustainability of the - project? - - - - - - - - - cf. Catalogue 2.2 - - Has the material been previously edited (in print or - digitally)? - - - - - - - cf. Catalogue 2.2 - - Does the edition make use of these previous editions? - - - - - - - cf. Catalogue 4.15 - - Does the project offer an introduction to the subject-matter - (the author(s), the work, its history, the theme, etc.) of the - project? - - - - - - - cf. Catalogue 2.3 - - Does the project offer a bibliography? - - - - - - - cf. Catalogue 2.3 - - Does the project offer a scholarly commentary (e.g. notes on - unclear passages, interpretation, etc.)? - - - - - - - cf. Catalogue 2.3 - - Does the project include or link to external resources with - contextual material? - - - - - - - cf. Catalogue 2.3 - - Does the project offer images of digitised sources? - - - - - - - cf. Catalogue 4.6 - - Does the project offer images of an acceptable - quality? - - - - - - - cf. Catalogue 2.3 - - Is the text fully transcribed? - - - - - - - cf. Catalogue 4.6 - - Does the project offer texts of an acceptable quality (typos, - errors, etc.)? - - - - - - - cf. Catalogue 4.5 - - Does the project feature compilations indices, registers or - visualisations that offer alternative ways to access the - material? - - - - - - - - cf. Catalogue 1.3 and 2.1 - - Which kinds of documents are at the basis of the - project? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 1.3 and 2.1 - - What era(s) do the documents belong to? - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 1.3 - - Which perspective(s) do the editors take towards the edited - material? How can the edition be classified in general - terms? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.11 - - Does the project offer any spin-offs? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.3 - - By which categories does the project offer to browse the - contents? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.4 - - Does the project offer a simple search? - - - - - - - cf. Catalogue 4.4 - - Does the project offer an advanced search? - - - - - - - cf. Catalogue 4.4 - - Does the search support the use of wildcards? - - - - - - - cf. Catalogue 4.4 - - Does the search offer an index of the searched field? - - - - - - - cf. Catalogue 4.4 - - Does the search offer autocompletion or suggest - functionalities? - - - - - - - cf. Catalogue 4.4 - - Does the project offer help texts for the search? - - - - - - - - - cf. Catalogue 3.3 - - Who is the intended audience of the project? - - - - - - - - - - - - - - cf. Catalogue 3.3 and 5.1 - - Which type fits best for the reviewed project? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Method - - - cf. Catalogue 3.6 - - In how far is the text critically edited? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 3.7 - - - Is the data encoded in XML? - - - - - - - - - Is the project employing a standardized data model (e.g. - TEI)? - - - - - cf. Catalogue 3.5. - - Which kinds or forms of text are presented? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.8 - - Are there persistent identifiers and an addressing system for - the edition and/or parts/objects of it and which mechanism is used - to that end? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - cf. Catalogue 4.9 - - Are there technical interfaces like OAI-PMH, REST etc., which - allow the reuse of the data of the project in other - contexts? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Is the edition Open Access? - - - - - - - cf. Catalogue 4.12 - - Is the basic data (e.g. the XML) of the project accessible for - each part of the edition (e.g. for a page)? - - - - - - - cf. Catalogue 4.9 - - Can the entire raw data of the project be downloaded (as a - whole)? - - - - - - - cf. Catalogue 4.9 - - Can you use the data with other tools useful for this kind of - content? - - - - - - - - cf. Catalogue 4.13 - - Are the rights to (re)use the content declared? - - - - - - - cf. Catalogue 4.13 - - Under what license are the contents released? - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - music history - music analysis - Victorian era - archive - music score visualization - - - - - - -
-

The present review occupies itself with the project Songs of the Victorians, - developed by Joanna Swafford, which intends to provide both an archive (of - reduced size as of yet) of parlor and art sort settings of Victorian poems, and - an analytical tool for the study of the relationship between music and poetry in - this neglected repertoire. The project partly delivers on its objectives, namely - through its hierarchical but intuitive interface and through the use of the - Augmented Notes software (developed by Swafford herself) to provide - synchronizations of the original scores with performances of the songs (some of - them recorded specifically for the project). The main limitation to the project, - however, comes from the fact that it contains only four examples of the - repertoire, which makes large-scale comparisons and analysis difficult.

-
- - -
-

- Songs of the Victorians intends to provide both an archive (of - reduced size as of yet) of parlor and art sort settings of Victorian poems, and - an analytical tool for the study of the relationship between music and poetry in - this neglected repertoire (and, potentially, elsewhere). Indeed, the resource’s - sole editor, Joanna Swafford, writes in the ‘About’ section of the site that the - archive’s aim is to challenge the assumption that the composers of such songs – - intended to be performed by women, with piano accompaniment and in domestic - settings – were lacking in the sophisticated text-setting skills normally - associated with the ‘high’ art song repertoire. The site thus inserts itself - within a by now well-established current in musicology that, in looking at music - as part of the cultural fabric of its time and not simply as a series of - composers and works, aims to question the notion that rigid barriers have always - existed between ‘high’ and ‘low music’; an obvious precedent to Swafford’s work - is Derek Scott’s The Singing Bourgeois: Songs of the Victorian Drawing - Room and Parlour (Milton Keynes: The Open University Press, - 1989).

-

Although not recognized as such in the ‘About’ section, a further aim - of the project appears to be to provide a testing ground for Augmented Notes, a - tool developed by Swafford itself which allows the visualization of scores for - research, teaching and dissemination purposes. Songs of the - Victorians was developed under the aegis of the University of - Virginia’s Scholars’ Lab, with primary sources coming from The British Library, - The National Library of Australia, San Francisco Public Library and others, as - indicated in the ‘Special thanks’ section of the site.

-

-

- - View of ‘Songs’, with the complete list of pieces - currently included in the project. -
The site’s interface is rather hierarchical but, generally speaking, - very intuitive, with the main menu consisting of only four links; a - Victorian-inspired design theme makes the site very distinctive. The section - ‘Songs’ lists each of the pieces presented with the corresponding links to - further three sub-sections for each: ‘Archive’, ‘Music Analysis’, and (in the - case of the two settings of ‘Maud’) ‘Poem Analysis’.

-

As might have been inferred from the image above, the main limitation - at present of Songs of the Victorians , and the main obstacle to ascertain - whether its scholarly aims have been met or will be met in the near-future, is - the fact that the archive includes only four songs. ‘Juanita’, by Caroline Norton (1853); ‘Come into the Garden Maud’, by - Michael William Balfe (1857); ‘Come into the Garden Maud’, by Arthur - Somervell (1898); ‘The Lost Chord’, by Arthur Sullivan (1877). - Nevertheless, the selection of songs has certainly been made with great - scholarly expertise: the sample covers almost half a century, key composers of - the era (Sullivan, Somervell, Balfe) are represented, the two settings of Alfred - Lord Tennyson’s poem ‘Maud’ facilitate comparison, and the inclusion of Caroline - Norton provides a much-welcome gender perspective (which is one of Swafford’s - research interests). Moreover, due to the generally ephemeral nature of this - corpus, no modern editions of these songs exist, with scholars generally needing - to travel to libraries and archives to consult the hard-copy original editions, - so the project also marks a step towards facilitating access to thus-far - neglected repertoires, in the vein of Juilliard’s Ruth Dana Collection - Liszt editions - - https://archive.is/6ycPI. - and Biblioteca Digital Hisp á nica’s ‘Teatro lírico’ collection - https://archive.is/nYIW9. - (just to limit myself to music of the nineteenth century).

-

The ‘Archive’ section contains images of the original editions of the - songs synchronised with sound recordings (some of which are professional ones - provided by permission of their respective recording label, and others were made - specifically for the project employing non-professional performers). Clicking on - the title of each of the songs, the user is presented with one page at a time, - in .jpg format (and not the best resolution), as well as an audio player - interface. The user can click on ‘Play’ to start playing the recording, and a - box is superimposed on the score highlighting the measure that is being played - at any given time, allowing the user to follow the music easily. It is plausible - to imagine that this section of the site will appeal to musicians, music - students and the general public who might be interested in approaching this - repertoire, but would perhaps rather skip the scholarly analysis contained in - the sections ‘Music Analysis’ and ‘Poem Analysis’. The synchronization between - music and score is enabled by Augmented Notes , a tool developed by Swafford - itself.

-

-

- - - Augmented Notes visualization in action. -
Although not strictly part of the Songs of the Victorians - site but hosted on a separate site - https://archive.is/82YfZ. - (a link to which is provided in the main page of Songs of the - Victorians), Augmented Notes is clearly one of the most - valuable aspects of this project. It is innovative in that it allows other - scholars to easily create synchronizations of their own musical examples. In - order to do so, they need to upload, through the Augmented Notes - site, .mp3 and .ogg versions of their audio files, as - well as an image file of the score (and, optionally, a MEI file of - the same). The site then prompts the user to manually synchronize the sound with - the score; at the end of the process, a .zip file is provided with - the synchronized examples that the user can then upload for free to her own - webpage or resource. The process is simple and step-by-step instructions are - provided, although it will surely be time-consuming for longer pieces of music. - Nevertheless, this is a tool that might greatly assist other projects concerned - with the visualization of scores, and for which no comparable alternative, to my - knowledge, exists.

-

- Augmented Notes, however, remains a visualization tool – and one - aimed at providing one specific type of visualization, as described above –, and - its computational and analytical capabilities are otherwise limited. - Possibilities for navigating and analysing the scores and audio files other than - through the synchronisations provided by Swafford are extremely scarce. For - example, the editions cannot be downloaded easily: the user would have to listen - to the song from the beginning and download the pages successively as separate - .jpg files as they appear on the screen. Similarly, it is not - possible to annotate, extract or download the synchronisations or the audio, and - so, even though the site is provided under a CC-BY-license and the materials - provided can therefore be adapted, it is difficult to imagine how this might - work in practice.

-

The more scholarly content of Songs of the Victorians is - contained in the ‘Music Analysis’ and ‘Poem Analysis’ sections. We should not - expect to engage here with the advanced computational, analytical and - visualization tools that we find, for example, in the more ambitious Josquin - Research Project, - http://archive.is/ngcV3. - which makes use of the possibilities afforded by the Music Encoding Initiative - (MEI) to encode musical notation in a way that allows a range of scholarly uses - and re-uses. Here, this scholarly content is presented in a more traditional - format: through short essays written by Swafford herself, very much along the - lines of what one would find printed in a journal article or book chapter, - complete with a bibliography and footnotes. Augmented Notes is used here to - great effect, too: references to specific moments of the song are followed - through with a link which both displays and plays the passage under discussion. - This is, again, a simple but effective use of digital tools to enhance what is - really rather traditional analysis.

-

Even though Songs of the Victorians does indeed take - some steps in both illuminating the repertoire it focuses on and opening up - avenues of enquiry for the application of digital tools to the analysis of music - that falls outside the Western canon, its potential remains limited because of - the small size of the archive. It would indeed be transformative to scholars of - Victorian music and culture to have access to a large archive of digitized - parlor songs, in a multiplicity of formats, and complete with exhaustive - metadata. Similarly, the broader critical questions raised by the project and - concerning text-setting techniques and musical form necessitate from more - extensive comparison than is provided here: one can easily imagine how many - possibilities would be opened up by comparisons between settings of poems with - the same type of metre, or between musical passages which intended to express - the same types of rhetorical emotions. Perhaps the addition of further songs - could also accommodate the use of advanced analytical and visualization tools: - at present, the user must make any connections and comparisons herself, or use - the existing analyses as invitations to undertake her own research, rather than - the project enabling research in a more involved, practical way.

-

Swafford indicates in the ‘About’ section that the resource will - continue adding new songs and it may even accept submissions from external - contributors, but no timeline is given and no guidelines are provided as to how - the crowdsourcing aspect will be managed. It is indeed reasonable to harbour - concerns as to whether the site will indeed be further developed, considering - that a long time has lapsed since it was last updated. The site itself is - dateless, but the Internet Wayback Archive reveals that the earliest archived - version is from May 2013 - https://web.archive.org/web/20130516030210/http://www.songsofthevictorians.com/ - ), containing two songs. By October 2013 two more songs had been added - ( - https://web.archive.org/web/20131026214323/http://www.songsofthevictorians.com/ - , and as of September 2019, no changes or updates had been made with - respect to the October 2013 version of the site. The University of Virginia - Scholars’ Lab has not announced any plans either to further expand the archive - (Swafford, who set up the resource as a graduate student at the University of - Virginia, has since moved institutions).

-

- Songs of the Victorians cannot be considered as a traditional - scholarly digital edition: indeed, the site does not allow the user to navigate, - download or annotate the scores; these can only be visualized in synchrony with - the music, and there is no engagement with the manuscript or editorial tradition - behind a given work, following the classical examples provided by the - Online Chopin Variorum Edition - - http://archive.is/IfUXy. - and Beethovens Werkstatt - - - http://archive.is/ULQ5S. - – both of which provide several versions, both printed and manuscript, of the - same work, allow the user to navigate between them and provide other tools to - help in the forming of the research conclusions. Perhaps this predominantly - philological approach is not suitable to a repertoire like the one at hand, - where such a rich and controversial tradition of manuscripts and editions is - unlikely to have existed, or to have engaged the interest of scholars and - performers as Chopin and Beethoven had. Nevertheless, this is perhaps not what a - site like this sets itself to do or should be expected to do: indeed, it is more - directly related to digital initiatives concerning the visualization, archiving - and analysis of material and data. In this regard, and while we wait for the - archive to be expanded, the site provides a glimpse of what such initiatives - might do for lesser known or lesser appreciated musical repertoires. Swafford - has made examples from one such repertoire accessible through a user-friendly - synchronization of high-quality scores and professional recordings, and provides - scholarly research which effectively uses (although in a somewhat limited way at - present) of the possibilities of visualizations.

-
- - - - diff --git a/wordclouds/tei/galileo-tei.xml b/wordclouds/tei/galileo-tei.xml new file mode 100644 index 0000000..3a2ceed --- /dev/null +++ b/wordclouds/tei/galileo-tei.xml @@ -0,0 +1,1964 @@ + + + + + + + + Galileo Galilei’s Notes on Motion + + + Anna Sofia + Lippolis + + + University of Bologna + Bologna, Italy + + annasofia.lippolis@studio.unibo.it + + + + Institut für Dokumentologie und Editorik e.V. + September 2021 + http://ride.i-d-e.de/issues/issue-14/galileo + 10.18716/ride.a.14.2 + https://github.com/i-d-e/ride/raw/master/issues/issue14/galileo/galileo.pdf + + + + + + RIDE - A review journal for digital editions and resources + Torsten Roeder + Martina Scholger + Ulrike Henny-Krahmer + Frederike Neuber + Digital Scholarly Editions + http://ride.i-d-e.de/issues/issue-14 + + + + + Galileo Galilei’s Notes on Motion + Paolo Galluzzi, Jürgen Renn, Isabella Truci + + Editor + Galluzzi, Paolo + + + Editor + Renn, Jürgen + + + Editor + Truci, Isabella. + + 1998 + http://www.imss.fi.it/ms72/INDEX.HTM + 2021-01-17 + + + + + Criteria for + Reviewing Scholarly Digital Editions + + + + +

born digital

+ + + + + + + Documentation + + Bibliographic description cf. Catalogue + 1.2 + + Is it easily possible to describe the project bibliographically + along the schema "responsible editors, publishing/hosting + institution, year(s) of publishing"? + + Yes + + + + + + No + + + + + + + Contributors cf. Catalogue 1.4 + + Are the contributors (editors, institutions, associates) of the + project fully documented? + + Yes + + + + + + No + + + + + + + Contacts cf. Catalogue 1.5 + + Does the project list contact persons? + + Yes + + + + + + No + + + + + + + Selection cf. Catalogue 2.1 + + Is the selection of materials of the project explicitly + documented? + + Yes + + + + + + No + + + + + + + Reasonability of the selectioncf. Catalogue + 2.1 + + Is the selection by and large reasonable? + + Yes + + + + + + No + + + + + + + Archiving of data cf. Catalogue 4.16 + + Does the documentation include information about the long term + sustainability of the basic data (archiving of the data)? + + Yes + + + + + + No + + + + + + + Aims cf. Catalogue 3.1 + + Are the aims and purposes of the project explicitly + documented? + + Yes + + + + + + No + + + + + + + Methods cf. Catalogue 3.1 + + Are the methods employed in the project explicitly + documented? + + Yes + + + + + + No + + + + + + + Data model cf. Catalogue 3.7 + + Does the project document which data model (e.g. TEI) has been + used and for what reason? + + Yes + + + + + + No + + + + + + + Help cf. Catalogue 4.15 + + Does the project offer help texts concerning the use of the + project? + + Yes + + + + + + No + + + + + + + Citation cf. Catalogue 4.8 + + Does the project supply citation guidelines (i.e. how to cite + the project or a part of it)? + + Yes + + + + + + No + + + + + + + Completion cf. Catalogue 4.16 + + Does the editon regard itself as a completed project (i.e. not + promise further modifications and additions)? + + Yes + + + + + + No + + + + + + + Institutional curation cf. Catalogue + 4.16 + + Does the project provide information about institutional + support for the curation and sustainability of the + project? + + Yes + + + + + + No + + + + + + + + Contents + + Previous edition cf. Catalogue 2.2 + + Has the material been previously edited (in print or + digitally)? + + Yes + + + + + + No + + + + + + + Materials used cf. Catalogue 2.2 + + Does the edition make use of these previous editions? + + Yes + + + + + + No + + + + + + Not applicable + + + + + + + Introduction cf. Catalogue 4.15 + + Does the project offer an introduction to the subject-matter + (the author(s), the work, its history, the theme, etc.) of the + project? + + Yes + + + + + + No + + + + + + + Bibliography cf. Catalogue 2.3 + + Does the project offer a bibliography? + + Yes + + + + + + No + + + + + + + Commentary cf. Catalogue 2.3 + + Does the project offer a scholarly commentary (e.g. notes on + unclear passages, interpretation, etc.)? + + Yes + + + + + + No + + + + + + + Contexts cf. Catalogue 2.3 + + Does the project include or link to external resources with + contextual material? + + Yes + + + + + + No + + + + + + + Images cf. Catalogue 2.3 + + Does the project offer images of digitised sources? + + Yes + + + + + + No + + + + + + + Image quality cf. Catalogue 4.6 + + Does the project offer images of an acceptable + quality? + + Yes + + + + + + No + + + + + + Not applicable + + + + + + + Transcriptions cf. Catalogue 2.3 + + Is the text fully transcribed? + + Yes + + + + + + No + + + + + + + Text quality cf. Catalogue 4.6 + + Does the project offer texts of an acceptable quality (typos, + errors, etc.)? + + Yes + + + + + + No + + + + + + + Indices cf. Catalogue 4.5 + + Does the project feature compilations indices, registers or + visualisations that offer alternative ways to access the + material? + + Yes + + + + + + No + + + + + + + Types of documents cf. Catalogue 1.3 + and 2.1 + + Which kinds of documents are at the basis of the + project? + + Single manuscript + + + + + + Single work + + + + + + Collection of texts + + + + + + Collected works + + + + + + Papers + + + + + + Archival holding + + + + + + Charters + + + + + + Letters + + + + + + Diary + + + + + + Other + + + + + + + + + + Document era cf. Catalogue 1.3 and + 2.1 + + What era(s) do the documents belong to? + + Classics + + + + + + Medieval + + + + + + Early modern + + + + + + Modern + + + + + + + Subject cf. Catalogue 1.3 + + Which perspective(s) do the editors take towards the edited + material? How can the edition be classified in general + terms? + + History + + + + + + Philology / Literary Studies + + + + + + Philosophy / Theology + + + + + + History of Science + + + + + + Musicology + + + + + + Art History + + + + + + Other + + + + + + + + + + Spin-Offs cf. Catalogue 4.11 + + Does the project offer any spin-offs? + + App + + + + + + Mobile + + + + + + PDF + + + + + + None + + + + + + Other + + + + + + + + + + + Access modes + + Browse by cf. Catalogue 4.3 + + By which categories does the project offer to browse the + contents? + + Authors + + + + + + Works + + + + + + Versions + + + + + + Structure + + + + + + Pages + + + + + + Documents + + + + + + Type of material + + + + + + Images + + + + + + Dates + + + + + + Persons + + + + + + Places + + + + + + Other + + + + + Language, calculation, list of propositions + + + + + Simple search cf. Catalogue 4.4 + + Does the project offer a simple search? + + Yes + + + + + + No + + + + + + + Advanced search cf. Catalogue 4.4 + + Does the project offer an advanced search? + + Yes + + + + + + No + + + + + + + Wildcard search cf. Catalogue 4.4 + + Does the search support the use of wildcards? + + Yes + + + + + + No + + + + + + Not applicable + + + + + + + Index cf. Catalogue 4.4 + + Does the search offer an index of the searched field? + + Yes + + + + + + No + + + + + + Not applicable + + + + + + + Suggest functionalities cf. Catalogue + 4.4 + + Does the search offer autocompletion or suggest + functionalities? + + Yes + + + + + + No + + + + + + Not applicable + + + + + + + Help texts cf. Catalogue 4.4 + + Does the project offer help texts for the search? + + Yes + + + + + + No + + + + + + Not applicable + + + + + + + + Aims and methods + + Audience cf. Catalogue 3.3 + + Who is the intended audience of the project? + + Scholars + + + + + + Interested public + + + + + + + Typology cf. Catalogue 3.3 and + 5.1 + + Which type fits best for the reviewed project? + + Facsimile edition + + + + + + Archive edition + + + + + + Documentary edition + + + + + + Diplomatic edition + + + + + + Genetic edition + + + + + + Work critical edition + + + + + + Text critical edition + + + + + + Enriched edition + + + + + + Database edition + + + + + + Digital library + + + + + + Collection of texts + + + + + + None + + + + + + Other + + + + + + + + + + Critical editing cf. Catalogue 3.6 + + In how far is the text critically edited? + + Transmission examined + + + + + + Palaeographic annotations + + + + + + Normalization + + + + + + Variants + + + + + + Emendation + + + + + + Commentary notes + + + + + + None + + + + + + Other + + + + + + + + + + XML cf. Catalogue 3.7 + + Is the data encoded in XML? + + Yes + + + + + + No + + + + + + + Standardized data model cf. Catalogue + 3.7 + + Is the project employing a standardized data model (e.g. + TEI)? + + Yes + + + + + + No + + + + + + + Types of text cf. Catalogue 3.5. + + Which kinds or forms of text are presented? + + Facsimiles + + + + + + Diplomatic transcription + + + + + + Edited text + + + + + + Translations + + + + + + Commentaries + + + + + + Semantic data + + + + + + + + Technical accessability + + Persistent identification cf. Catalogue + 4.8 + + Are there persistent identifiers and an addressing system for + the edition and/or parts/objects of it and which mechanism is used + to that end? + + DOI + + + + + + ARK + + + + + + URN + + + + + + PURL.ORG + + + + + + Persistent URLs + + + + + + None + + + + + + Other + + + + + + + + + + Interfaces cf. Catalogue 4.9 + + Are there technical interfaces like OAI-PMH, REST etc., which + allow the reuse of the data of the project in other + contexts? + + OAI-PMH + + + + + + REST + + + + + + General API + + + + + + None + + + + + + Other + + + + + + + + + + Open Access + Is the edition Open Access? + + Yes + + + + + + No + + + + + + + Accessability of the basic data cf. + Catalogue 4.12 + + Is the basic data (e.g. the XML) of the project accessible for + each part of the edition (e.g. for a page)? + + Yes + + + + + + No + + + + + + + Download cf. Catalogue 4.9 + + Can the entire raw data of the project be downloaded (as a + whole)? + + Yes + + + + + + No + + + + + + + Reuse cf. Catalogue 4.9 + + Can you use the data with other tools useful for this kind of + content? + + Yes + + + + + + No + + + + + + + Declaration of rights cf. Catalogue + 4.13 + + Are the rights to (re)use the content declared? + + Yes + + + + + + No + + + + + + + License cf. Catalogue 4.13 + + Under what license are the contents released? + + CC0 + + + + + + CC-BY + + + + + + CC-BY-ND + + + + + + CC-BY-NC + + + + + + CC-BY-SA + + + + + + CC-BY-NC-ND + + + + + + CC-BY-NC-SA + + + + + + PDM + + + + + + No license + + + + + + Multiple licenses + + + + + + Other + + + + + No explicit license, but explicitly stated that +the work may not be used for publication or for commercial purposes +without explicit and written permission by the Biblioteca Nazionale +Centrale, Florence + + + + + + + + + + + + + + manuscript + galileo galilei + scholarly digital edition + early editions + early modern + + + + + + +
+

+ Galileo Galilei’s Notes on Motion is a diplomatic digital + edition most recently updated in 1999 that results from a joint collaboration + between the Biblioteca Nazionale Centrale and the Istituto e Museo di Storia + della Scienza, both in Florence, and the Max Planck Institute for the History of + Science in Berlin. It provides the digital edition of Galilei’s Codex + Ms. Gal. 72, displaying + folios 33 to 196, along with relevant propositions from Discorsi e dimostrazioni matematiche intorno a due nuove scienze + (1638) related to the manuscript. The aim of this review is to evaluate the + presentation and the contents of the edition, along with its effectiveness + related to the academic purpose. In this essay, different assessment measures + will be taken into account, all relating to the date in which the edition was + published, along with the possible implementations that were not addressed at + the time to provide a long-lasting scholarly work on the manuscript. As a + result, the review considers the edition groundbreaking both for the + functionalities and contents available at the time it was published, but the + interface seems too outdated to be used in the modern digital world.

+
+ + +
+ Introduction +

The coincidence of the birth of modern science with Galileo Galilei’s + discoveries and rigorous method of research has been noted by many scholars + of the Twentieth Century (Renn 2020, 86). As + a matter of fact, the Italian scientist’s contributions ranged from + astronomy to studies of motion that influenced, among others, Isaac Newton + and Leonhard Euler. In this regard, the Discorsi e + dimostrazioni matematiche intorno a due nuove scienze (Galilei [1630] 1950) is a groundbreaking + work that witnesses a change of approach towards natural phenomena, from an + antique and medieval conceptual background, grounded in Aristotelian natural + philosophy and Archimedean mechanics, to new considerations based on the + practical knowledge of the time and at the foundation of classical + mechanics.

+

According to Jürgen Renn, though, there is no such thing as a scientific + revolution. Every new conceptual system arises out of preexisting ones, + through a progressive accumulation of notions that deviate from traditional + assumptions, so that ‘under appropriate circumstance, an originally marginal + concept within a given system may eventually find itself at the center of a + new conceptual system’ (2020, 28). As a + natural consequence, new core principles of scientific theory can only be + secured through a disruptive reorganization of knowledge. It comes as no + surprise that in this operation Galileo saved the drafts of the Discorsi, Codex Ms. Gal. 72, as they were more + representative of the conceptual shift than the published version, due to a + detailed study supported by propositions, geometric drawings and + calculations (Renn 1998, 193).

+

+ Galileo Galilei’s Notes on Motion had the primary + purpose of innovatively displaying and analyzing the over 300 pages long + codex, physically kept in the archives of the Biblioteca Nazionale Centrale + of Florence (hereafter BNF). As such, it is believed to be the first + significant scholarly digital edition (hereafter SDE) of the history of + science (Abbott 1998). The project is the + outcome of a joint team effort between different institutions—the BNF + provided the digital images of the manuscript’s pages, while the Istituto e + Museo di Storia della Scienza, based in Florence as well, along with the Max + Planck Institute for the History of Science in Berlin, embedded the codex in + an appropriate electronic environment, free and easy to use, in accordance + with the scholarly work that had to be carried out.Cf. https://web.archive.org/web/19990424094058/http://www.imss.fi.it/ms72/MAIN/STAFF.HTM. + Unfortunately, contact information of the project representatives has not + been made public. The homepage of the website also mentions the edition + winning the Pirelli International Award in 1998, an annual prize assigned to + the best works of genius on the Web.Cf. https://web.archive.org/web/20010418185357/http://www.pirelliaward.com/. +

+
+
+ The project and its goals +

+ Galileo Galilei’s Notes on Motion can be considered a + forerunner in the field of digital editions. Although it is 23 years old, it + explicitly carries the fundamental message that traditional editorial + techniques may not be sufficient to convey an exhaustive interpretation of a + text. Because of both its fragmentary nature and the difficulty to access + the original folder of manuscripts before it was digitized, Ms. Gal. 72 was + academically neglected for centuries, as it was accessible exclusively at + the BNF (Renn 1998, 194). + Furthermore, previous works on the codex such as the National Edition by Antonio Favaro (Galilei 1909) and the article published by Stillman Drake in Annali di Storia della Scienza (Drake 1980) were reductive when compared to + their academic scope, in that they deliberately omitted or corrected parts + of the document (Renn 1998, 193). + Because these scholars did not have the possibility to see what an integral + folio looked like and could not draw conclusions on the date of the + manuscripts through physical elements like watermarks, ink or type of paper, + their approach overlooked the chronological order of the pages. Such a + problem should not be underestimated, as the actual placement of the notes + points to the conceptual evolution of Galileo’s thinking process over + time.

+

The re-evaluation of the codex through an online edition shed light on its + complexity of content, chaotic and extremely varied, and on the possible + ways to address it properly on a brand-new platform. Galileo Galilei’s Notes on Motion was, in fact, a pilot project + connected to the endeavor of BNF to make the entire Florentine Galileo + collection digitally accessible. With that approach in mind, such diverse + material clearly needed a thorough work on, so that it could be represented + in its entirety as a new tool for further research.The feasibility study, + initially the ‘Galileo Einstein Electronic Archives’ was funded by + the US National Science Foundation (NSF). However, the project + related to Einstein failed due to copyright issues and the NSF + decided to interrupt all research on the matter, as the project was + thought to be ‘unrealistic’. At that time, the institutions involved + in the SDE did not even exist, but the scholars involved kept on + working on the project and made it possible to publish it ten years + later. The concept of an ‘electronic representation’ + opens Ms. Gal. 72 to many interpretative perspectives, becoming so + successful that it is still used as a metric for the very definition of + digital edition as something that ‘cannot be given in print without + significant loss of content and functionality’ (Sahle 2016, 27).

+

Another strength of the digital edition concerns hyperlinks, which make it + easy to navigate through internal and external references of the manuscript. + This feature gives to the user an enhanced insight into Galileo’s mindset, + as opposed to the previous printed editions of the document. In fact, such a + modularized structure offers a ‘fluid publication’, a process defined as the + possibility to ‘connect various forms of representation with editorial + knowledge and contextual material’ (29).

+

Apart from interactivity, the main characteristics of Galileo Galilei’s Notes on Motion are ease of access and + open-endedness. In fact, as Peter Damerow and Jürgen Renn write: + [...] Since the manuscript is accessible through the Internet, + no scholar is forced anymore to first apply for a travel grant to go to + Florence in order to study it. The second element is, however, really new + […]. Once the book is printed, there is no longer any possibility of + improving the edition except by starting all over again and producing a new + edition.Cf. https://web.archive.org/web/20210125030801/https://www.mpiwg-berlin.mpg.de/texts/Galileo.Nuncius.html. + + +

+

Indeed, Galileo Galilei’s Notes on Motion is a ‘tool + for the future’,Ibid. as it would facilitate the + creation of a new version of the edition. That being said, the most recent + update dates back to 1999,Cf. https://web.archive.org/web/19990128203948/http://www.imss.fi.it/ms72/INDEX.HTM. + so the SDE cannot be considered representative of this view. Another + noteworthy aspect is that this project was meant to be a starting point for + further research through an open call invitation on the website, in order to + develop a joint collaboration among Galileo’s scholars. In fact, two of the + founders claim: ‘The aim was not only to provide easy access to the codex, + but also to support further research on it’.Cf. https://web.archive.org/web/19990209174712/https://www.mpiwgberlin.mpg.de/texts/Galileo.Nuncius.html. +

+

As a result, the target audience is made of scholars who may deepen their + interest in Galileo’s works, but also, and most importantly, of researchers + needing a complete understanding of the codex—a consequence of making the + document easily accessible and searchable. This democratic character has + been fundamental for the definition of an SDE from the beginning: + We all know that in the print world, few + of us have been able to afford the full-scale scholarly edition of all the works we study. Even our + libraries have trouble supplying a whole intellectual community with all + the full-scale scholarly editions they should have purchased. + Shillingsburg + 1993. + + +

+
+
+ The importance of reviewing an ‘early SDE’ edition +

The transformations of the Web since the 1990s, which have turned it from an + environment of passive use of content where production was reserved to + professionals to a space of active involvement, have led to an + infrastructure that allowed users to take advantage of the many + computational possibilities of the machine. Digital Humanities have played a + fundamental role in the acquisition and dissemination of the possibilities + opened by this model, contributing to spread a new epistemological paradigm + of culture production and use through new access systems and models of + document representation and manipulation.

+

While digital edition technology and terminology have changed over time + according to new technical advances, for instance undergoing a shift of + focus from the affirmation of hypertext in 1996-2005 to interoperability and + the semantic web (Mancinelli and Pierazzo 2020), + scholarly requirements have remained the same. This is clear when looking at + the principles for the evaluation of Electronic Scholarly Editions provided + in 1993 by the Modern Language Association (Shillingsburg 1993), which + apart from the technical requirements of usability, platform independency, + security, design and expandability that have become common for SDEs, already + discuss the need for interoperability between systems, like in the case of + the choice of an encoding standard.

+

As it is possible to see from the current RIDE criteria for reviewing what + are now called digital editions,Cf. https://web.archive.org/web/20201127222034/https://ride.i-d-e.de/reviewers/catalogue-criteria-for-reviewing-digital-editions-and-resources/. + these principles have not changed per se. However, + SDEs are often perceived as mere tools whose importance is tied to + technological progress, rather than to their status of authoritative + information resources.

+

According to Pierazzo (2015, 75), it is the + inherent ‘Heraclitean’, unstable nature of a digital edition, as it + challenges the traditional principle of reductio at + unum at the core of scholarly editing, that is mainly responsible + for the distrust of the scholarly community. The consequent lack of common + assessment methods led Fotis Jannidis to state in 1999 that digital editions + are as variable as the criteria used to evaluate them (Jannidis 1999), + but still, 18 years later, Peter Shillingsburg (2017, VII) highlighted the need for + knowledge production to be primarily driven by evidence—shared standards among scholars to verify + sources, authoritativeness of the institution, editorial declarations on the + principles adopted for digital editions, and the absence of errors.

+

As a result, ‘the challenges ahead are more scholarly than they are + technical, since technical solutions and infrastructures already exist in + practice; what is missing is a cultural shift capable of making these + initiatives scholarly sound’ (Pierazzo 2019, 220). + In the same way as Galileo’s operation of progressive knowledge + reorganization was misunderstood for a sudden scientific revolution, the + affirmation of SDEs in the scholarly community should not be made to + coincide with the concept of a brand-new approach derived from the + outstanding advent of the digital environment, but rather with a + progressively redesigned shared basis of evaluation. Only in consequence of + this cultural shift editions like Galileo Galilei’s Notes + on Motion will be considered reliable thanks to their age, rather + than in spite of it.

+
+
+ Content and structure +

Codex Ms. Gal. 72 includes 241 folios, numbered from 1 to 196Cf. http://web.archive.org/web/20200205020359/http://www.imss.fi.it/ms72/MAIN/NUMFOL.HTM., + written by Galileo or his disciples Mario Guiducci and Niccolò Arrighetti. + On the website, the sections concerning the documents are immediately clear. + The most prominent link of the homepage provides information on how to use + the electronic representation of the manuscript. Beneath it, it is possible + to access Ms. Gal. 72 on different levels: (1) as a list of folio + pages,Cf. https://web.archive.org/web/20200205015656/http://www.imss.fi.it/ms72/MAIN/LIST.HTM. + (2) through an index of Italian and Latin words, calculations, drawings and + propositions,Cf. https://web.archive.org/web/20200216120114/http://www.imss.fi.it/ms72/MAIN/INDECE.HTM. + and (3) through a record of propositionsCf. http://www.imss.fi.it/ms72/MAIN/PROP.HTM. that + links the archival references of the mathematical elaborations in the + manuscripts to those published in the Discorsi.

+
+ List of folio pages +

+

+ + Menu bar on the top + and on the bottom of the page. +
From the list of folio pages, the user can choose between either an + individual or a ‘survey view’ of all the folios except the first 32, + which are not displayed for unknown reasons. In the ‘survey view’, an + overview of folio pages is given, briefly described and displayed in a + small preview. Each manuscript is then visible on four levels of + representation: ‘Overview level’, ‘Working level’, ‘High resolution + level’, and an additional level with full transcriptions of text blocks + and reproductions of drawings and calculations accessible via links from + the first two levels, navigable thanks to top and bottom page bars (Fig. 1).

+

At the ‘Overview level’, the user accesses a facsimile of the folio, + below a table with variable contextual information: a summary of its + contents, information on paper size, watermarks, handwriting, relevant + references and, where possible, links to pages of the Discorsi the text refers to. For instance, for folio 43r are + specified size, watermark (and who has it identified it), a brief + description of its content and a bibliographic reference for further + information. The right side displays the transcription of the ‘final + text’.

+

+

+ + ‘Working level’ for + text, with different text versions, final text and editorial + markup. +
The ‘Working level’ takes users to a higher resolution display of the + folio page, allowing also to flip it, as well as the text versions that + have been worked on. Furthermore, the page is interactive—there are + hyperlinks for each text block or drawing visible on the facsimile, so + that the clicked section will appear in another window. If a written + part is selected, the page will display the ‘final text’ whose accurate + reconstruction of orthography makes Galileo Galilei’s + Notes on Motion a diplomatic edition, as well as its previous + versions and the related editorial markup. Here, additions and deletions + of the folio pages are included, when present, with variants highlighted + in different colors to facilitate the comparison between the final + version of the text and the preceding ones (Fig. + 2). The editorial markup is explained in another section.

+

The last working level for Ms. Gal. 72 is the best facsimile among all + the other levels, displayed in what was considered high resolution back + in 1999. Although the images are still well usable for today’s + standards, the quality of the reproduction is still not high enough and + it is therefore quite difficult to properly decipher the text, + especially because the transcription is referred to as a ‘reading + aid’.Cf. https://web.archive.org/web/2020*/http://www.imss.fi.it/ms72/MAIN/EDITOR.HTM. + A necessary improvement should concern the inclusion of magnifying + functionality on the folio page, and a feature that would allow to + search through the text word-by-word.

+
+
+ Editorial and technical principles +

‘Editorial and technical principles’ presents a selection of general + bullet points explaining how the digital edition is different from a + traditional printed one. However, while the source for the scholarly + work is clear—the codex—, it is not explicit here what the editorial + principles and the underlying model are. The only textual edits taken + into consideration are additions and deletions, it seems that no TEI + encoding principles have been used in this regard. Instead, it reads: + ‘text characteristics are converted in a suggestive way into the + standard features of the HTML format. Thus, for instance, Galileo's + underlinings of text are represented by bold face text. Colored text is + used to indicate intended and realized corrections’.Cf. https://web.archive.org/web/2020*/http://www.imss.fi.it/ms72/MAIN/EDITOR.HTM. + This last remark is also ambiguous, as every version of the text + inherently portrays a realized intention of the author. A TEI encoding + of the text would clarify equivocal statements and improve both + usability and interoperability, as unlike HTML, it provides sets of tags + and attributes specifically designed for different documents and textual + phenomena.Cf. https://web.archive.org/web/20210118130845/https://tei-c.org/. +

+

On the other hand, drawings and geometric calculations are represented in + box drawings and transcriptions. A very interesting aspect of the SDE + is, therefore, its effort towards transparency, which allows the user to + make positive considerations on its reliability.

+
+
+ Indices and list of propositions +

The ‘Indices’ are divided into the categories of words, numbers and + variables. These are further separated into ‘Latin’, ‘Italian’, + ‘Calculations’, ‘Drawings’, and ‘Propositions’ (both of the Discorsi and other propositions). When clicking + on the selected area of research, an alphabetical list of occurrences + appears along with the number of references found for each word, number + or variable name. This tool is very helpful, but could be further + extended adding a choice based on the topics dealt with by Galileo (e.g. + investigations about acceleration and free fall).

+

As part of the index, Ms. Gal. 72 is directly linked to Discorsi through the essay on motion De motu + locali contained in the book. As a result, Galileo Galilei’s Notes on Motion provides a list of the + propositions of the treatise, which set the foundation of the ‘two new + sciences’ in the Discorsi, theoretical mechanics + and resistance of material. The propositions of the codex are linked to + both their full text contained in the Discorsi + and other theories that are useful to understand the deductive structure + of the theorems without needing external sources.

+
+
+ Other sections of the website +

There are other three sections to browse through on the website: ‘About + the Manuscript 72 of Galileo Galilei’, ‘About the Electronic Archive + Project’ and ‘About the Present Version of the Electronic + Representation’.Cf. https://web.archive.org/web/20201127015451/http://www.imss.fi.it/ms72/INDEX.HTM. + The first one includes links to a detailed but concise summary of the + manuscript (‘Contents of the Manuscript’); its relationships to Discorsi (‘Relation of the Manuscript to the Discorsi’); its history for each century from the + 17th to the 19th century and changes that have been made on the document by + the different collectors over time (‘History of the Manuscript’); a + short list of biographies relevant to the study of the manuscript + (‘Biographies relevant to the Manuscript’) and, most importantly, the + bibliography used. The second section examines the project in more + detail both in its structure and the technical principles adopted, as + well as its history and the staff involved. Finally, the last section + ‘About the Present Version of the Electronic Representation’, includes + links to system requirement specifications and a call for scholarly + participation. This is the only place where a contact of some kind can + be found—the project’s email address. All webpages are interlinked with + other relevant sections and references.

+
+
+
+ User interface of the digital edition +

+ Galileo Galilei’s Notes on Motion struggles to find an + identity since the very first glance: when the user searches the SDE, the + results are confusing. Among the two webpages that are referring to the + electronic representation,Cf. https://web.archive.org/web/20201127015451/http://www.imss.fi.it/ms72/INDEX.HTM + and https://web.archive.org/web/20201007180344/https://www.mpiwg-berlin.mpg.de/Galileo_Prototype/MAIN.HTM. + only the first one directly accesses the website. Büttner et al. (2004, 140) state that the choice + of the double access point was deliberate, but it is misleading as, by + definition, a URL uniquely identifies one single resource.Cf. https://web.archive.org/web/20210114184940/https://url.spec.whatwg.org/. +

+

+

+ + Example of missing + white spaces. +
The design is functional but lacks decorative elements other than the logo. + In fact, the data format was kept simple because of the constant development + of markup languages and their relationship with the ever-growing number of + different browsers and related updates. However, especially when in the + navigation bar small images are used for hyperlinks, simple effects like + hover for links and text blocks, would not have been difficult to implement, + and they could have highly improved the SDE’s usability. A test on the + Google Search ConsoleCf. https://search.google.com/search-console/welcome?hl=it. + confirms that the website is decently displayed on mobile, although it + cannot be considered responsive in modern terms. Furthermore, throughout the + website, occasional missing white spaces between words are an immediately + noticeable issue (Fig. 3).

+

Finally, although the division into three working levels mirrors the various + degrees a scholar can explore the manuscripts, it would be interesting to + add a function that makes it possible to compare two pages and the related + markup on the same webpage. This way, the user would not have to go back and + forth between different links and pages. Moreover, the possibility to + download both search results of the ‘Indices’ and the editorial markup for + selected folio pages would encourage further research on the text.

+
+
+ Sustainability of the edition +

+

+ + Number of works that + cite Galileo Galilei’s Notes on Motion (domain of + Istituto e Museo di Storia della + Scienza). +
+
+ + Number of works that + cite Galileo Galilei’s Notes on Motion (domain of Max + Planck Institute for History of Science). +
The main issue with the edition is that it has not been updated since 1999. A + possible explanation is that Galileo Galilei’s Notes on + Motion remained a pilot project, but the maintenance has become of + secondary importance after the website of the Istituto e Museo di Storia + della Scienza of Florence changed its domain. This is clearly a loss, since + the new website, which does not mention Gaileo Galilei’s + Notes on Motion, has the stated goal to make the Florentine Galileo + collection an online database accessible to anyone having an Internet + connection.Cf. https://web.archive.org/web/20190607090234/https://www.museogalileo.it/en/library-and-research-institute/projects/databases-and-bibliographies.html. + It is possible to witness the extent of such problem in Fig. 4 and Fig. 5: the project has very + few mentions by other researchers.

+

‘While the electronic representation may appear odd compared with the + sophisticated transcription systems of traditional critical editions, its + unprecedented opportunities for further scholarly work justify the deviation + from traditional editorial standards. The new medium combines a powerful + intelligent working environment for scholarly work with a flexible and + open-ended account of its results.’Cf. http://web.archive.org/web/2018*/http://www.imss.fi.it/ms72/INDEX.HTM. +

+

This claim is now true to some extent. In fact, not only does the user have + access to indices that are + fundamental tools to the scholarly work, but they can also consult the list + of propositions of Galileo’s Discorsi for further + possibilities of comparison between the two documents. At the same time, + however, the design is so austere that it is visually difficult to browse + through all the pages for a long working session, especially when it comes + to reproductions of drawings and formulas.

+

Furthermore, real open-ended access should mean at least consistency with the + languages of the edition: English and vernacular. In fact, the propositions + of the Discorsi have been translated into English, + but as the authors state on the website,Cf. https://web.archive.org/web/20200216153230/http://www.imss.fi.it/ms72/MAIN/CONTENTS.HTM. + it has not been the same for Ms. Gal. 72. In this way, scholars who do not + know vernacular can only partially benefit from the edition. For what + concerns copyright status, the reusability of the edition is still very + similar to the classical print edition: only for scientific use, no copies + allowed. Lastly, what is missing in this SDE is a mention of the results of + the call for scholarly participation, as a proof of its open-endedness.

+
+
+ Conclusion +

+ Galileo Galilei’s Notes on Motion is a groundbreaking + scholarly digital edition whose editorial principles and aims highly overlap + with contemporary ones. The study of Codex 72 is ‘fluid’ in a sense that it + can be updated at any given moment, while the connections among its contents + are modelled by a well-designed, but complex network of hyperlinks. From the + start, the digital edition allowed its target audience to benefit from easy + access and open-endedness while encouraging users to contact the staff for + any kind of personal contribution.

+

The SDE presents, however, many issues—it lacks + interoperability, graphics are outdated, there is no mention of the outcome + of the call for scholarly participation. There is also too little + information about contacts, the SDE is not included in the institutions’ + collection of scientific projects, and, most importantly, it has not been + updated since 1999. Despite these problems, it is fundamental to keep in + mind the initial purposes and methods of the institutions involved, in order + to compare them to what we are familiar with today. The potential for + improvement of Galileo Galilei’s Notes on Motion is + clear from its survival for such a long time. If the SDE was translated into + a modernized interface, it would certainly reach a wider audience through + the ever-present principles of open access and open-endedness.

+
+ + +
+ + Abbott, Isabel. 1998. + ‘Galileo’s manuscripts go on the internet.’ Nature + (11 June 1998). http://web.archive.org/web/20180615000000*/https://www.nature.com/articles/31049. + Büttner, + Jochen, Peter Damerow, and Jürgen Renn. 2004. ‘Galileo’s unpublished + treatises.’ In The Reception of the Galilean Science of + Motion in Seventeenth-Century Europe, edited by C.R. Palmerino and + J.M.M.H. Thijssen. Boston Studies in the Philosophy of Science, vol 239. + Dordrecht: Springer. https://doi.org/10.1007/978-1-4020-2455-9_6. + Damerow, Peter, and + Jürgen Renn, n.d. ‘Galileo at Work: His Complete Notes on Motion in an + Electronic Representation.’ https://web.archive.org/web/19990209174712/https://www.mpiwgberlin.mpg.de/texts/Galileo.Nuncius.html. + Drake, Stillman. 1980. + ‘Galileo`s notes on motion’. + Supplemento agli annali dell’Istituto e Museo di + Storia della Scienza, no. 2. Firenze: Istituto e museo di storia + della scienza. + Galilei, Galileo. 1950. + Opere. Edited by Franz Brunetti. Torino: + Utet. + Galilei, Galileo. 1909. + Le opere di Galileo Galilei: edizione nazionale sotto gli auspicii di sua + maestà il re d’Italia, Vol. 17. Edited by Antonio Favaro. Firenze: + Tipografia Barbera. + Istituto e Museo di + Storia della Scienza, n.d. ‘Museo Galileo Digital Library’. http://web.archive.org/web/20190609090111/https://www.museogalileo.it/en/library-and-research-institute/digital-library/information-digital-library.html. + Jannidis, Fotis. 1999. + ‘Bewertungskriterien für elektronische Editionen’. https://web.archive.org/web/20200219004005/http://www.iasl.uni-muenchen.de/discuss/lisforen/jannidis.htm. + Mancinelli, + Tiziana, and Elena Pierazzo. 2020. Che cos’è un’edizione + scientifica digitale. Roma: Carocci. + Pierazzo, Elena. 2015. + Digital Scholarly Editing: Theories, Models and Methods. Farnham, Surrey: + Ashgate. + Pierazzo, Elena. 2019. + What future for digital scholarly editions? From Haute Couture to + Prêt-à-Porter. International Journal of Digital + Humanities 1 : 209-220. https://doi.org/10.1007/s42803-019-00019-3. + Renn, Jürgen. 1998. + ‘Galileo’s manuscript on mechanics. The project of an edition with full + critical apparatus of Mss. Gal. Codex 72’. Nuncius, + no. 3: 193-241. Firenze: Istituto e museo di storia della scienza. + Renn, Jürgen. 2020. The + Evolution of Knowledge. Rethinking science for the Anthropocene. Princeton: + Princeton University. + Sahle, Patrick. 2016. + ‘What is a Scholarly Digital Edition?’. In + Digital Scholarly Editing. Theories and practices, + edited by James Driscoll and Elena Pierazzo, 19-41. Cambridge: Open Book + Publishers. + Shillingsburg, + Peter. 1993. ‘General principles for Electronic Scholarly Editions’. https://web.archive.org/web/20200923010129/http://sunsite.berkeley.edu/MLA/principles.html. + Shillingsburg, + Peter. 2017. Textuality and knowledge. University + Park: Pennsylvania State University Press. + +
+ + + diff --git a/wordclouds/wc_out/corema-wc.png b/wordclouds/wc_out/corema-wc.png new file mode 100644 index 0000000..65060ae Binary files /dev/null and b/wordclouds/wc_out/corema-wc.png differ diff --git a/wordclouds/wc_out/ehd-wc.png b/wordclouds/wc_out/ehd-wc.png deleted file mode 100644 index 67f6747..0000000 Binary files a/wordclouds/wc_out/ehd-wc.png and /dev/null differ diff --git a/wordclouds/wc_out/galileo-wc.png b/wordclouds/wc_out/galileo-wc.png new file mode 100644 index 0000000..98ecef1 Binary files /dev/null and b/wordclouds/wc_out/galileo-wc.png differ diff --git a/wordclouds/wc_out/koeppen-jugend-wc.png b/wordclouds/wc_out/koeppen-jugend-wc.png deleted file mode 100644 index 45ee552..0000000 Binary files a/wordclouds/wc_out/koeppen-jugend-wc.png and /dev/null differ diff --git a/wordclouds/wc_out/ldm-wc.png b/wordclouds/wc_out/ldm-wc.png deleted file mode 100644 index 4484f07..0000000 Binary files a/wordclouds/wc_out/ldm-wc.png and /dev/null differ diff --git a/wordclouds/wc_out/patrick-confessio-wc.png b/wordclouds/wc_out/patrick-confessio-wc.png deleted file mode 100644 index c8268a5..0000000 Binary files a/wordclouds/wc_out/patrick-confessio-wc.png and /dev/null differ diff --git a/wordclouds/wc_out/victorians-wc.png b/wordclouds/wc_out/victorians-wc.png deleted file mode 100644 index f38f3b4..0000000 Binary files a/wordclouds/wc_out/victorians-wc.png and /dev/null differ diff --git a/wordclouds/wordclouds.py b/wordclouds/wordclouds.py index a57b80b..b8e59ae 100644 --- a/wordclouds/wordclouds.py +++ b/wordclouds/wordclouds.py @@ -1,4 +1,4 @@ -#!/usr/bin/env python +#!/usr/bin/env python3 # -*- coding: utf-8 -*- """ wordclouds.py @@ -28,7 +28,7 @@ from lxml import etree -def create_wordclouds(mask_file, font_file, stopwords_file, colormap): +def create_wordclouds(mask_file, font_file, colormap): """ Create wordclouds for RIDE reviews. @@ -36,14 +36,10 @@ def create_wordclouds(mask_file, font_file, stopwords_file, colormap): mask_file (str): filename of the mask image to use font_file (str): filename of the font file to use - stopwords_file (str): filename of the stopword list to use colormap (str): name of the matplotlib colormap to use - TO DO: once the language of the review is included in the TEI, use that information to choose the right - stopword list. Right now it is necessary to generate the wordclouds for the different languages separately. - - Example call: create_wordclouds("cloud_mask.png", "MKorsair.ttf", "stopwords_en.txt", "summer") - From the command line: wordclouds.py "cloud_mask.png", "MKorsair.ttf", "stopwords_en.txt", "summer" + Example call: create_wordclouds("cloud_mask.png", "MKorsair.ttf", "summer") + From the command line: python3 wordclouds.py "cloud_mask.png" "MKorsair.ttf" "summer" """ # read TEI input files, generate a cloud for each one @@ -93,7 +89,9 @@ def create_wordclouds(mask_file, font_file, stopwords_file, colormap): # read the mask image which determines the form of the wordcloud mask = np.array(Image.open(join("masks", mask_file))) - # read the stopword list + # read the stopword list, depending on the language of the review + review_lang = xml.xpath("//tei:language/@ident", namespaces=namespace)[0] + stopwords_file = "stopwords_" + review_lang + ".txt" with open(join("stopwords", stopwords_file), encoding="UTF-8") as infile: lines = infile.read().splitlines() stopwords = set(lines) @@ -122,4 +120,4 @@ def create_wordclouds(mask_file, font_file, stopwords_file, colormap): if __name__ == "__main__": - create_wordclouds(sys.argv[1], sys.argv[2], sys.argv[3], sys.argv[4]) + create_wordclouds(sys.argv[1], sys.argv[2], sys.argv[3])