Against Accumulation

This essay navigates the digital Courret Archive housed at the Biblioteca Nacional del Perú. The essay reflects on a series of photographs in which Afro-Peruvian women are depicted holding or sat next to young children. In the digital archive, these women, who presumably worked as wet nurses or nannies in Lima towards the end of the nineteenth century and the first decades of the twentieth, remain either unnamed or named homogenously by their domestic occupation. The essay asks about the screening of repeated structures of hiding in the digital archive, interrogating the ways by which these speak to us viewers about concealed forms of (racialized) care. By placing these photos in their contexts of production and digital reproduction, the essay argues, first, that the photos are the visual face of the consolidation of a very contradictory oligarchic government, which sustained the political project of the so-called República Aristocrática. Secondly, it proposes that in the digital Courret Archive, the Black maternal is visualized as both foundation and threat, yet it ultimately reaches the contemporary viewer as a trace of “abundance,” what Elizabeth Edward’s defines as the affective force that emerges from a subject’s presence in a photograph (2015).

단순히 인문학 자료를 디지털화 하거나, 연구 결과물을 디지털 형태로 간행하기보다는, 정보 기술의 환경에서 보다 창조적인 인문학 활동을 전개하는 것을 ‘디지털 인문학’이라고한다. 무엇이 ‘디지털 인문학적 연구’인가 라는 물음에 답을 줄 만한 연구 모델은 아직 명확하게 정립되어 있지 않다. 하지만, 최근 수년 사이 ‘디지털 인문학 연구’로 보고된 여러형태의 인문 분야 연구에서 가장 두드러진 공통점을 찾는다면, 그것은 종래에 인간의 언어로만 기술되었던 인문 지식의 요소들을 기계가독적(machine readable) 데이터로 전환하여, 컴퓨터가 그 정보의 해석을 도울 수 있게 하는 것이라고 할 수 있다. 필자는 이 글에서, ‘무엇이 디지털 인문학인가’하는 원론적 논의에서 한 걸음 더 나아가 인문 지식을 데이터로 전환하는 것은 어떠한 작업이며, 그것을 통해 학술적 성과를 기대 할 수 있는지를 설명하고자 한다. 이를 위해 한국학중앙연구원 장서각과 인문정보학 교실에서 수행하고 있는 데이터 기반 문중고문서 연구를 사례로 제시하였다. 디지털 인문학의 프레임워크 위에서 만들어진 새로운 형식의 고문서 디지털 아카이브는 연구자들이 직접 그 디지털화된 문서의 내용을 데이터로 취급할 수 있게 한다. 그리고 데이터의 분석, 정리, 해석을 통해 찾아낸 ‘사실’과 ‘이야기’를 확장된 데이터로 축적해 나아갈 수 있게 함으로써, ‘자료’의 아카이브에서 ‘지식’의 아카이브로의 진화를 지향한다. 고문서 내용을 데이터로 전환하여 기계적 가독성을 부여하는 것은 일차적으로 과거의 생활사에 대한 인문학적 연구에 기여하겠지만, 향후 이러한 데이터의 광범위한 축적으로 만들어질 인문학 빅데이터는 현대에 발생하는 사회과학적, 산업적 빅데이터와 엮여져서 현대사회에 대한 이해와 과거 역사의 탐구 사이의 연결고리를 만들어내는 것도 가능하게할 것이다. 인문지식이 데이터로 소통될 수 있도록 하는 노력을 통해 우리의 인문지식은 전통적인 인문학의 경계를 넘어서는 세계와도 교섭할 것이며, 인간과 사회에 대한 이해로서의 인문학의 외연을 더욱 의미 있게 확장해 갈 수 있을 것이다.Rather than simply digitizing humanities materials or providing humanities research results in a digital format, “digital humanities” encompasses ever more creative humanities endeavors in an information technology environment. There is still no research model which can clearly answer the question of what “digital humanities research” looks like. However, if we look at the similarities among humanities research which has been deemed to fall under the umbrella of “digital humanities research,” we can see the transformation of humanities knowledge elements from human-composed language to machine-readable data, which allows computers to aid in the interpretation of said information. The author will go a step beyond the fundamental discussion of “what digital humanities is,” to explain the nature of the work of transforming humanities knowledge into data, and what kind of scholarly outputs we can expect from such work. To this end, the author presents research led by the Academy of Korean Studies’ Jangseogak Archives and Cultural Informatics Lab which is based on old documents from paternalistic lineage organizations (munjung). A new form of digital archive of old documents made for a digital humanities framework allows researchers to turn the content of digitized old documents into data. In addition, through the accumulation of data which encompasses “truths” and “stories” discovered via data analysis, organization, and interpretation, an archive of “source materials” can evolve into an archive of “knowledge.” On preliminary level, transforming the content of old documents into data and making it machine readable contributes to humanities research on the lives of people of the past. However, looking forward, the widespread accumulation of such data can create big data on the humanities. And if this humanities big data is connected to big data dealing with contemporary social, academic, and business phenomena, it can serve as a link between the understanding of modern society and the history of the past. Through efforts to allow humanities knowledge to communicate as data, our humanities knowledge can go beyond the boundaries of traditional humanities and negotiate with the larger world, and it can more meaningfully expand the full realm of the humanities as an understanding of humans and society.

The digital humanities (DH) represent a transformative and interdisciplinary domain that integrates computational tools and methodologies with traditional humanistic inquiry. This paper examines the evolving landscape of DH, tracing its historical emergence, conceptual foundations, technological tools, and the challenges it poses to conventional academic paradigms. It interrogates the theoretical and practical implications of digitizing cultural knowledge, examining intersections with archival studies, data visualization, and ethical considerations in digital scholarship. Through a review of case studies, this study highlights how DH enables novel forms of inquiry into literature, history, media, and culture, while also revealing tensions surrounding collaboration, representation, and disciplinary fragmentation. Ultimately, the paper argues that digital humanities is not merely a methodological innovation but a conceptual rethinking of how knowledge is produced, curated, and disseminated in the digital age. Keywords: Digital Humanities, Cultural Studies, Computational Humanities, Digital Archives, Data Visualization, Interdisciplinary Research, Digital Ethics, Technocultural Literacy.

Abstract. Documentation of CH is paramount to preserve its memory and allow its study, especially when CH is meant to be dismantled, as for the architectures of World’s Fairs. Very few efforts are undertaken to achieve this goal and national and international institutions rarely adopt innovative digital technologies. Digital technologies and products like 3D digital models are successfully and largely applied in CH domains, while webGIS is less explored for CH. Nevertheless, 3D digital models are rarely adopted to accompany digital archives and Digital Humanities studies. Very few cases use 3D models for World’s Fairs’ study and documentation. WebGIS is not used for World’s Fairs, and are scarcely adopted and not fully exploited by Digital Humanities and digital archives for sharing data and information about CH. Turin 1911 is the first digital project aimed to virtually document, recreate, and study an entire World’s Fair. Combining digital technologies (geo-DB, 3D digital reconstruction, and 3D webGIS) with cataloging standards, Turin 1911 is a pioneering initiative that applies these innovations to Digital Humanities in order to share information online. In this paper, dedicated webGIS applications are developed for the Turin 1911 needs, reporting the designed procedure, challenges in the development phase, and potentialities for Digital Humanities research. Finally, BIM models are also integrated in webGIS apps, making visible no more visible architectures. The paper discusses how webGIS apps could become a way for sharing information and data, but also a working environment for Digital Humanities studies where the research takes place in 3D environments.

This article focuses on the uses of the Early English Books Online (EEBO) database as a case study for how to introduce undergraduates to archival research. I provide four cases in which working with the digital archive has allowed my students to attend to variations in typography, spelling, capitalization, punctuation, and overall design in early modern printed texts. Working with the EEBO database challenges students to reconsider how a printed text represents a series of editorial choices; it encourages them to make persuasive claims about the differences in the appearance of an early modern lyric or dramatic text when it is situated in different contexts; it enhances the students’ ability to work independently and derive pleasure from the serendipity of the archive; and perhaps most important, it can actually help students develop a clearer and more effective practice of close reading in the twenty-first century.

Digital literary cartography projects can provide dynamic interactive experiences with prose narrative, poetry, and other literary forms. Recently, literary studies have begun to incorporate maps to reveal the geographic imagination at play in literature. As metaphor, maps furnish a conceptual model to understand literary texts through characters’ proximity to each other and events and relationships between “fictional” and “real” places. The transition to digital historical maps and digital literary cartography projects continues to inform the intersection of cartographic and literary studies in that such maps and projects incorporate labels and layers to identify social and cultural contexts. Finally, these maps and projects involve users’ imaginations to read maps as narratives through the map as metaphor. Cognitive mapping, implicit in this relationship, connects cartography and literature to inform spatial and perceptual conceptions. Libraries and archives contribute to digital humanities and digital literary cartographies through digitization, preservation, and metadata of digital historical maps. Scholars, librarians, and archivists can collaborate to contribute metadata for cartographic and literary materials to create digital literary cartographies within online public access catalogs (OPACs) and digital object management systems.

 Reviews pretty bad fit for the subject matter. ere are not only a great many places to make a start—with Aristotle, with Augustine, with the beginning of the known universe—but these ‘origins’ do not develop in a linear or successive fashion. In many ways there is little difference in the kinds of work done by the essays in the first and second sections of the volume; essays from Part , such as Mark Currie’s delicate, Ricœur-inflected commentary on reading and Tobias Menely’s expansive account of time in ecocriticism, could just as easily have found a place in the ‘Development’ section. ere are other volumes in the Critical Concepts series in which this structure is more natural: Trauma and Literature, edited by J. Roger Kurtz (), is one example that seems to have a more obvious developmental narrative underpinning its narrower critical concept. While I recognize the need for unity across the series and give credit to Allen for bringing creativity to the constraint, the structure does not add much to a collection which could perhaps have developed ideas more usefully between its essays in another order. L H U A B Cyberformalism: Histories of Linguistic Forms in the Digital Archive. By D S. Baltimore: Johns Hopkins University Press. . xxii+ pp. $.. ISBN ––––. e central idea of Daniel Shore’s Cyberformalism is that there exist unified or transferable idea-units called ‘linguistic forms’, and that their discovery and study, using advanced search techniques, can bring us to new understandings of literary history. Linguistic forms can, specifically, help to rewrite the history of textual influence. e ‘linguistic form’, explains Shore, is a type of sign-unit: it is an unfilled or partially filled construction. A linguistic form is not empty syntax, nor is it a Saussurean sign, but rather it exists somewhere in between. ese forms persist through time and space but, as with words, they change, adapt, and take on new meaning according to local context. ‘What Would Jesus Do?’ is an example of a filled-in form: Shore explains that while the specific phrase originated in the nineteenth century, it can be traced back to the earliest Christian theology, and he argues that one can detect, in the eighteenth and nineteenth centuries, a shi from ‘Imitatio Christi’ to the conditional phrase which eventually became the form we know and use today. Digital archives offer opportunities for the study of the linguistic form, but finding them requires smart tools and researchers. Searching for words or sequences of words does not help to find instances of a linguistic form, because by definition they are lexicographically distinct. To combat this Shore uses advanced search techniques , which he outlines throughout the text. Two underlying technologies allow him to produce results from complex queries: ‘Part of Speech’ tagging and Regular Expressions (computer code developed specifically for matching complicated patterns in text). Using these in tandem enables the detection of forms even through extensive syntactic variation. is is exciting work: Shore’s process of discovery reads, in part, as detective fiction. e forms, we discover, take on multiple roles MLR, .,   and change in meaning depending on context: in further case studies Shore traces a network of poetic influence through the phrase ‘Was it for this’, and shows how the form version of ‘act as if [x]’ was used by early advocates in the establishment of a nineteenth-century ‘technology of the self’, and also by Kant to ‘preserve a practical role for the metaphysical ideas that his epistemology places beyond the bounds of knowledge’ (p. ). Perhaps the most important contribution made by this book is to the study of style: Shore’s fascinating work on Milton’s ‘depictives’ (adjectives which form part of the predicate but modify the subject, as in ‘Death | Grinned horrible’ (Paradise Lost, . –)) is followed by a wonderful examination of the ways in which advanced search can move forward our understanding of style, iterability, and the evolution or repurposing of work or ideas. rough the ambiguity inherent in a depictive form we gain a greater understanding of Milton’s work: through detective work Shore discovered from whom Milton appropriated...

The paradigm relevance analysis of digital humanitarianism 2.0 today arouses great interest from all sides, so today, in combination with computer technologies, an original innovative paradigm, aptly named Digital Humanitie, appeared. Central to this combination is the connection between the humanities and digital or computer technologies. The computer technology use in their research is nothing new for researchers in the humanities or social sciences. Today, the changes brought about in the teaching of the humanities by new communication technologies, including web-based media forms, technology, digital archives, social networks, mixed realities, and cloud computing, are so vast in scale and reach that they can be measured by comparison with the print revolution. The purpose of the research is a systematic philosophical problematic analysis of scientific knowledge in digital humanities 2.0 paradigm. The aim is to move beyond these critical positions and understand the nature of the relationship between the humanities and the digital. The research is based on the hypothesis that digital humanities are approaches to knowledge that build theories, which are aimed at explaining and understanding the complexity of certain semiotic objects, which help to implement “digital” processing of semiotic objects. We hope to show that HNs unfold in a context between the scientific approach of pragmatic influence and the scientific approach of hermeneutic influence related to the interpretation required by the semiotic objects of scientific research. Research objectives: 1) to provide a conceptual analysis of “humanism” in an evolution context of humanitarian knowledge; 2) reveal the humanitarian scientific concept and its transdisciplinary nature; 3) characterize the scientific humanity concept: from theory to practice; 4) to investigate the applied role of digital humanitarianism in the new scientific paradigm context. – to form a digital city model as a creative sustainable development factor. The basis of the research is the axiological method as a learning value method of digital humanitarianism, the method systemic analysis and synthesis, aimed at uniting the disparate system of knowledge into a single coherent scientific system – theory, Agile methodology method, which analyze principles and approaches system, based on which adaptive human adaptation mechanisms to the “knowledge society”, digital society, which uses the entire digital humanitarianism system to learn objective reality. The richness and ambiguity of the terms “humanities” and “humanism” make their use both difficult and inevitable. The applied digital humanitarianism value is that it has an applied value, and is often used as a humanitarian mission to help populations that are in a digital inequality or live situation in hard-to-reach regions of the planet, as needing humanitarian assistance in the humanitarian mission context.

The Spell and the Scalpel:Scientific Sight in Early 3D Photography Cheryl Spinner (bio) Literary studies has entered what might be called an enchanted turn as scholars seek to recuperate magic as a valid mode of reading. The first issue of this journal devoted an entire forum, “In the Spirit of the Thing: Critique as Enchantment,” to the current “mood” [End Page 436] of critique in the academy, one characterized by disillusionment with the scholar as heroic disenchanter.1 Critics have also begun to account for the ways in which paranoid reading practices have historically participated in a larger project of demystification. Rita Felski, literary critic and contemporary theorist of enchantment, articulates how “critics pride themselves in their power to disenchant, to mercilessly direct laser-sharp beams of critique at every imaginable object”; she notes that in literary studies “enchantment is bad magic, and the role of criticism is to break its spell by providing rational explanations for seemingly rational phenomena.”2 Felski’s use of “laser-sharp beams” targets the sterile scientism of surgical precision that appears to be incompatible with enchanted, spellbound modes of reading. Simply put, the spell and the scalpel cannot coexist. Felski correctly uncloaks the distrust of magic as a method in literary scholarship that trains critics into surgeons of the word with lancets in hand, not analytic necromancers. This essay, however, argues that enchantment does not preclude precision or critical reading practices; rather, enchanted modes of reading can actually enable such sustained and critical attention. I return to the nineteenth century—specifically, to the invention of stereoscopic imaging—to show how even the most distinctly hypnotic visual technology of the 3D photograph enables at once enchantment and incisive critical attention. Mass consumer culture, as exemplified by still and motion pictures, has historically been diagnosed as containing mediums that mystify the masses.3 By such a diagnosis, 3D visual culture is the ultimate mystifier, lulling the passive masses into trances as 3D glasses construct illusory realities before their eyes. Yet, viewed through a different critical lens, the mesmerizing power of the stereograph’s ocular illusions can actually promote close and attentive looking that sustains critical engagement. Excavating a history of stereoscopic sight, I argue, will help retrain the way we think, see, and read in both the humanities and the sciences, particularly as scholars begin to question Max Weber’s story of modernity, which pivots on the progressive disenchantment of the world.4 Oliver Wendell Holmes—the noted nineteenth-century physician, writer, and inventor of the Holmesian stereoscope, the most popular handheld 3D viewing device of the century—is a crucial player in the early history of three-dimensional photography and, by extension, an important theorist of enchantment. Holmes’s midcentury work on stereography showcases how enchanted modes of sight could actually engender more immersive powers of analysis. Braiding the nineteenth and twenty-first [End Page 437] centuries together, I read Holmes’s theories of enchantment alongside and with Felski’s to argue that enchanted modes of reading can actually enable more enveloping powers of analysis. A warning, however, as we shall see: when stereographic sight is hyperfeminized in Holmes’s novel, Elsie Venner: A Romance of Destiny (1861), scientific and supernatural sight unravel into separate and competing strains. Isolating the enchanted from the scientific reinstates gendered divisions of knowledge, wherein mystical reading practices are aligned with the feminine and precise scientism is aligned with the masculine. The Nineteenth Century, in 3D Three-dimensional phantom images inhabit the ocular field of nineteenth-century visual technologies. Visual landscapes of this kind were made possible by the theoretical work of the inventor and scientist Charles Wheatstone.5 In his experiments with two-dimensional geometric shapes Wheatstone successfully simulated three-dimensionality by inventing the stereoscope, a device that artificially merged twin two-dimensional line drawings into one three- dimensional geometric shape. In doing so, Wheatstone discovered what I call the “binocular trick”—namely, that the mind could be deceived into believing it is receiving a fictive three-dimensional image. Wheatstone published his discovery in 1838, one year before Daguerre revealed his method for fixing images on mirror plates. By the midcentury, stereoscopy would enter the realm of the...


 
 
 The full-text digitisation of literary works can have some unexpected benefits for researchers in and outside of the field of literary studies. While the broader availability and easier distribution of the text is a clear and intended result of digitisation, the preservation of extra-textual material—such as bookplates, inscriptions, advertisements, and marginal notes—is an unintended result that can help to expand our knowledge of literary networks, reading practices, and cultural history. This kind of material was preserved by the Children’s Literature Digital Resources Project (CLDR), whichdigitised nearly 600 works of early Australian children’s literature—including poetry, short stories, novels, and picture books—that were first published during the period 1851-1945. The CLDR resources are available online through AustLit: The Australian Literature Resource (austlit.edu.au)1. This article will look closely at some of the material found in the CLDR texts, including evidence of the books’ provenance (found in bookplates, book labels, inscriptions, and a handwritten letter), a newspaper clipping, and advertisements. Describing these discoveries can never be as informative as actually showing them, and for this reason, this essay has a companion online resource trail, ‘Digital Traces of Past Lives: Bookplates, Inscriptions, and Ephemera Discovered in Digitised Books,’ that guides readers through the digitised texts2. The discoveries are often surprising, moving, and unexpectedly informative. They remind us of the books’ material lives, their previous owners, and their status as physical and cultural artefacts. They can also tell us a little about historical literary and artistic networks in Australia, and the position of children’s book authors and illustrators within those networks. However, in order to make best use of these kinds of serendipitous discoveries, the infrastructure housing digital archives must be able to facilitate the search for this kind of material, as this article will go on to discuss.
 
 

The subjectivities that shape data collection and management have received extensive criticism, especially with regards to the digitization projects and digital archives of galleries, libraries, archives and museums (GLAM institutions). The role of digital methods for recovering data absences is increasingly receiving attention too. Conceptualizing the absence of non-hegemonic individuals from the catalogues of Sir Hans Sloane as an instance of textual haunting, this article will ask: to what extent do data-driven approaches further entrench archival absences and silences? Can digital approaches be used to highlight or recover absent data? This article will give a decisive overview of relevant literature and projects so as to examine how digital tools are being realigned to recover, or more modestly acknowledge, the vast, undocumented network of individuals who have been omitted from canonical histories. Drawing on the example of Sloane, this article will reiterate the importance of a more rigorous ethics of digital practice, and propose recommendations for the management and representation of historical data, so cultural heritage institutions and digital humanists may better inform users of the absences and subjectivities that shape digital datasets and archives. This article is built on a comprehensive survey of digital humanities’ current algorithmic approaches to absence and bias. It also presents reflections on how we, the authors, grappled with unforeseen questions of absence and bias during a Leverhulme-funded collaboration between the British Museum and University College London (UCL), entitled ‘Enlightenment Architectures: Sir Hans Sloane’s Catalogues of his collections’.

In humanities, new methodological search in the area of historical research oriented at culture and its different manifestations, also those of the library sense, are often characterized by the interdisciplinarity of research and openness to new research models. They are currently backed up with modern tools and methods based on information technologies. They have also gained an institutional backing of many institutions promoting digital humanities (DH), created mainly in university circles. Improvement in the range of DH is clearly noticeable in the range of research concentrated on the historical aspect of Christianity and its cultural meaning, preserving in the social life practice the cultural goods and religious values. The autopresentations of orders and monasteries in the web - internet websites, blogs, projects devoted to the architectonic reconstruction are supplemented by such tools as digital archives and libraries, personal and geographic databases, bibliographic databases or projects devoted to provenience research - they are becoming a basis for building new Net 3.0 tools necessary for bibliographic and historical research.

Digital Humanities remains a contested, umbrella term covering many types of work in numerous disciplines, including literature, history, linguistics, classics, theater, performance studies, film, media studies, computer science, and information science. In Traces of the Old, Uses of the New: The Emergence of Digital Literary Studies , Amy Earhart stakes a claim for discipline-specific history of digital study as a necessary prelude to true progress in defining Digital Humanities as a clear, shared set of interdisciplinary practices and interests. Traces of the Old, Uses of the New focuses on twenty-five years of developments, including digital editions, digital archives, e-texts, text mining, and visualization, to situate emergent products and processes in relation to historical trends of disciplinary interest in literary study. By reexamining the roil of theoretical debates and applied practices from the last generation of work in juxtaposition with applied digital work of the same period, Earhart also seeks to expose limitations in need of alternative methods--methods that might begin to deliver on the early (but thus far unfulfilled) promise that digitizing texts allows literature scholars to ask and answer questions in new and compelling ways. In mapping the history of digital literary scholarship, Earhart also seeks to chart viable paths to its future, and in doing this work in one discipline, this book aims to inspire similar work in others.

In the course of my teaching career, I have used the Anne Finch Digital Archive in two different classes in the English major at my university: the gateway and capstone courses. In the gateway course, it functions as one of several sites in a module on the Digital Humanities, and as a required text in the capstone course. The essay investigates the Digital Archive’s strengths both as an example of a high-quality digital humanities project and as a rich site for the investigation and analysis of Finch’s poetry. Assignment guidelines for the gateway module and the reading list for the capstone courses are included, as are illustrative screen shots from the site itself.

Participating in scholarly conversations about feminism, digital archival praxis, and collaborative labour dynamics, this chapter begins by rehearsing the dominant critical account in contemporary periodical studies of transition ’s significance in interwar print culture. Harnessing her work as Project Manager of the Modernist Archives Publishing Project (MAPP)—a critical digital archive of 20th century publishing—Mukamal takes the gendered dynamics of interwar publishing as point of entry to highlight the underacknowledged roles played by American expatriate Maria McDonald Jolas (1893-1987) in transition . Crucially, Mukamal identifies the potential slippage between her feminist recuperative ethos and Jolas’s own self-descriptions as itself a feminist problem, a problem for feminist historiography, and a problem for contemporary feminist scholarship. Examining the relationship between the discoverability of an archival object and ensuing scholarly narratives, Mukamal demonstrates that recovering Jolas’s contributions to transition requires both an expansion of objects of analysis and a methodological praxis that understands history relationally. Elaborating a methodological alliance between feminist modernist praxis and the affordances of the digital humanities (DH), the chapter concludes with Mukamal’s critical biography and bibliography of Jolas for MAPP—a case study of how feminist modernist digital critical archives constitute, encode, and enable relational narratives of what modernism is/was.