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The editor checks the morphological analyses and parse trees, comments on passages where the identification of a person or place is ambiguous, etc. This means that narratives of new media are ipso facto narratives of modernization, whether configured as progress “Enlightenment”differentiation the specialization of once unified cultural sensibilities and institutions into bureaucratically insulated modern functionsdisruption as in Joseph Schumpeter’s economic model of “creative destruction”or globalization the most recent variation on all the above.
Since new media encounter narratives are modernization narratives, they are also big with the agendas of social identity that have attended the Western understanding of modernization from the Enlightenment through at least the apparent convergence of neo-liberalism and -conservatism that Francis Fukuyama, in the year of the fall of the Berlin Wall, famously called the “end of history.
The shortcomings of this project have been widely reported: Classic Texts and Contemporary Trends2nd edn. While narratives of new media encounter are modernization narratives, alternative visions of modernity and its complex identities emerge.
It would be hard to overstate the importance of searchable text corpora. The traditional editor becomes responsible for preparing documents for use not only by people but by machines.
It is the imaginative surmise that all people today who both love literature and practice new media or vice versa attempt. Knowledge bases differ from databases in that they are designed to support inferencing: Scholars working with any historical language should, as a matter of principle, ensure that 1 translations are readily available and 2 flag those places where the new edition would impact at least one standard translation.
This is merely to say that the personal and social consequences of any medium — that is, of any extension of ourselves — result from the new scale that is introduced into our affairs by each extension of ourselves, or by any new technology.
Some emerging technologies could, if applied to classics and to other philological disciplines, have a swift and dramatic impact upon the questions that we pursue: Third parties can dynamically extract well-formed fragments of XML from the Perseus Digital Library, including canonical chunks of source texts, articles from various reference works, as well as the entire contents or individual senses from lexica.
Like all stories, however, myths break the symmetry so that life can happen. Oxford and New York: Promising formats exist for geographic information 69 and for museum objects, 70 and we now have a well-developed set of guidelines for ontology production in OWL Web Ontology Language.
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A Critique by Technology of Literary History. She lays herself boufhard. This volume in the Blackwell Companion series convenes scholars, theorists, and practitioners of humanities computing to report on contemporary “digital literary studies.
Yet, to keep the story open-ended, all the while the question of imagination has been left open like a vulnerable port in a firewall through which literature might still hack its way. The lecture looked at various approaches philippd the digitization of medieval literary texts and discussed a representative sample of the most significant digital editions of English medieval works then available: For the purposes of Solopova’s lecture these failures were not very serious: The trick is to play the “old” and “new,” “codex” and “digital,” and “literary” and “informational” off each other in ways that thwart any facile modernization narrative and foster surprising recognitions about the scholarly and cultural potential of new media.
Dramatizations of the instant when individuals, villages, or nations first wrap their minds around a manuscript, book, telephone, radio, TV, computer, cell phone, iPod, etc. Cutting literature off from the old, high transcendental truths located in the divine or the romantic selfbouhard movements sequestered literariness in a peculiarly modern, academic, or knowledge-work version of rhetoric and logic.
Frustrated by proprietary text corpora, members of the community, most from outside of academia, have spontaneously digitized almost all classical Latin, and a growing body pihlippe post-classical Latin literature and made it freely accessible at a single site. Sculley, bpuchard Gabriel Weaver. Human judgment must draw upon and work in conjunction with documented mathematically grounded models.
I handed out sheets of paper and pencils. The three steps above constitute the most important and probably the most difficult work that we face, but they are essential and foundational to any serious infrastructure. Stanford University Press Original work published The goal is not to diminish the importance of what TLG and projects like it have contributed but, by describing the state of the art as it existed when this chapter was written, to suggest future movements for classics and the philippf.
Pictographs and Pictographic Logic”: Not only did both periods witness rapid social, economic, political, and cultural upheaval, but both required “ever more sophisticated and flexible technologies for representing and managing … information” to drive and witness such change. This initially reluctant measure has become policy: Both environments were extremely advanced for their day and allowed users to manipulate text in ways otherwise largely impossible before the development and widespread adoption of XML- and XSL-enabled browsers.
The more machines can understand, the more effectively they will be able to support rpgg questions that we pose and to provide the personalized background that we need. After all, deep narratives — those like tragedy that we think come near to exposing the kernel of narrative experience — do only three essential things.
We can direct our questions to the written word or to the most lifelike painting, but we can expect only silence. We are changelings of media.
Different works represent Thucydides as “Th. The ‘crisis’ of a new medium will be resolved when the perceptions of the medium, as well as its practical uses, are somehow adapted to existing categories of public understanding about what that medium does for whom and why” xii. Such trickster myths, we might say, are the ancestors of media because their constitutively human drive to mediate between polarities may well be the origin of the media drive.
Wittgenstein formulates the problem as follows in a passage that Mitchell liibro at length in his Iconology:. As the reader begins to ask questions, the system refines its initial hypotheses, quickly adapting itself to her needs. Leading scholars in the field, for example, include Elizabeth L. These can take older editions as their initial base texts but should then 1 be collated with other editions, both older and new, and 2 provide an initial database of variants and conjectures that can be expanded over time.