When I talk to random people about what I'm doing this summer and they don't understand how such a database would be useful for anyone (and ask, instead of just giving me a blank stare), the authorship claim field is always the example I use. I don't call it the authorship claim field, but regardless, most readers are usually interested in the people who write the texts that we read, and it provides a good example of a potential faceted search with a variety of levels.
Faceted searching allows us to check correlations between certain patterns that we are interested in. Like statistical analysis, we can then maybe think about the reasons that such correlations exist. Or, alternatively, we can find a single outlier and question what makes it different and special in comparison to all other texts of that time/genre/author.
Does a given author use the work of certain poets as epigraph material? How often and where and when do the male authors of female texts represent themselves as females, and when they do, how often does a portrait of the female occur? (The reverse has -female author representing self as male with a portrait of the fictional male in question- occurred in at least one text, I think) Are male or female authors more likely to be named with a "By" or be anonymous or be referenced to by their other works? Even the subfields within the authorship claim field seem to provide uses for faceted searching.
The authorship claim field, specifically, is divided into:
‡a (Claim type - ex: Author) ‡1 (Name as it appears) ‡2 (Phrase in which the authorship claim appears) ‡3 (Location of Claim - ex: Title page) ‡4 (Authorship Claim Notes - ex:The author of the preface claims to be the author of the text to follow.) ‡5 (Gender Claim) ‡v (volume)
Subfield a has had some minor problems - sometimes the precise claim is can be ambiguous: author, translator, whatever. Perhaps most problematically is that we do not have time to go through the whole text and find authorship claims - where "I" is in a text, for example, and where that implies an authorship claim. Furthermore, authorship claims are somehow often so deeply stacked on top of each other that it's impossible to concisely convey the information in a database format. Author-translator-translator will get confused, for example, and the precise order of things won't necessarily be clearly shown. Further complicating the issue is the inclusion of both false and actual authorship claims in the database, while excluding certain types of false authorship claims (those included within the text itself).
Our solution right now is pretty haphazard - focus on the title page, try not to worry about too much about authorship claims in paratextual material, ignore authorship of paratextual material. It's a pretty knotty situation that isn't going to get resolved anytime soon.
Also, this is pretty useful, maybe, and has lead me to wonder exactly how this faceted search will become implemented, because that also has some pretty broad implications.
http://www.digital-web.com/articles/user_interface_implementations_of_faceted_browsing/
Thursday, July 2, 2009
592 FIELD
The 592 field is divided up into two main subfields. The first, $a, denotes the dominant narrative form of the text. The second subfield, $b, is what we call the "contains" field: it indicates if there are any other narrative forms within the volume that are not expressed in $a. This categorical system has proven itself useful in many cases. If there is a book that is written completely in letters, for example, but between the different letters there is third-person narration, we would categorize the book as such:
592. $a: Epistolary $b: Third-person
And then to further explain, we could include a general note field, $x:
592. $a: Epistolary $b: Third-person $x: The novel is epistolary, but third-person narration is present between each epistle.
In this situation, our dominant narrative form/contains subfield system is quite useful: $b allows and highlights narratorial exceptions, while $a honors the preeminance of the dominant narrative form.
Another useful characteristic of our categorical system is that we do not have to impose a narratorial hierarchy on the text if we do not feel that it is truly present. We can do this by either creating more than one $a (thus claiming that there is more than one dominant narrative form within the volume), or abstaining from using $a and instead only using $b (which scraps the notion of a dominant narrative form completely and instead only focuses on what narrative forms the volume contains). If there is anything that is not completely self-explanatory, we can always create a notes field ($x) and clarify in a sentence or two.
Here are some phrases we commonly use to categorize narrative forms:
$a:
Third-person
First-person
Epistolary
$b:
Third-person
First-person
Letter(s)
Poem(s)
Of course, there are inherent problems with the 592 field. The most obvious problem is that since Richard and I are not reading the full text, there are bound to be narratorial intricacies that we cannot pick up on just from flipping through or skimming the book. For example, if a novel is written in third-person, but there is an instance where the narrator slips into first-person, we might not notice it. Therefore, our system cannot be viewed as completely accurate or all-encompassing, because we are not reading the full works. Another problem with our system is that is does not necessarily make room for more unique circumstances, such as instances of narrative monologue or free indirect discourse. These are more nuanced narrative forms that are difficult to capture within our current categorical system, and even more difficult to pick up on while flipping through novels.
The solution to these problems, I suppose, is to view the 592 field as a guide to locating certain narrative forms rather than all-inclusive or exclusive evidence of their existence. I imagine that such a guide could be extremely useful to scholars and students alike, especially coupled with unconventional mapping techniques. It would be interesting, for example, to put the information from the 592 field on a timeline and see if there are any trends in narration that could not have been tracked without our quantitative work coupled with digital tools (does third-person narration in epistolary novels increase/decrease over time? Does third-person narration within the epistles in epistolary novels increase/decrease and could this lead us to broader hypotheses about the rise of the novel? and so forth).
592. $a: Epistolary $b: Third-person
And then to further explain, we could include a general note field, $x:
592. $a: Epistolary $b: Third-person $x: The novel is epistolary, but third-person narration is present between each epistle.
In this situation, our dominant narrative form/contains subfield system is quite useful: $b allows and highlights narratorial exceptions, while $a honors the preeminance of the dominant narrative form.
Another useful characteristic of our categorical system is that we do not have to impose a narratorial hierarchy on the text if we do not feel that it is truly present. We can do this by either creating more than one $a (thus claiming that there is more than one dominant narrative form within the volume), or abstaining from using $a and instead only using $b (which scraps the notion of a dominant narrative form completely and instead only focuses on what narrative forms the volume contains). If there is anything that is not completely self-explanatory, we can always create a notes field ($x) and clarify in a sentence or two.
Here are some phrases we commonly use to categorize narrative forms:
$a:
Third-person
First-person
Epistolary
$b:
Third-person
First-person
Letter(s)
Poem(s)
Of course, there are inherent problems with the 592 field. The most obvious problem is that since Richard and I are not reading the full text, there are bound to be narratorial intricacies that we cannot pick up on just from flipping through or skimming the book. For example, if a novel is written in third-person, but there is an instance where the narrator slips into first-person, we might not notice it. Therefore, our system cannot be viewed as completely accurate or all-encompassing, because we are not reading the full works. Another problem with our system is that is does not necessarily make room for more unique circumstances, such as instances of narrative monologue or free indirect discourse. These are more nuanced narrative forms that are difficult to capture within our current categorical system, and even more difficult to pick up on while flipping through novels.
The solution to these problems, I suppose, is to view the 592 field as a guide to locating certain narrative forms rather than all-inclusive or exclusive evidence of their existence. I imagine that such a guide could be extremely useful to scholars and students alike, especially coupled with unconventional mapping techniques. It would be interesting, for example, to put the information from the 592 field on a timeline and see if there are any trends in narration that could not have been tracked without our quantitative work coupled with digital tools (does third-person narration in epistolary novels increase/decrease over time? Does third-person narration within the epistles in epistolary novels increase/decrease and could this lead us to broader hypotheses about the rise of the novel? and so forth).
Saturday, June 27, 2009
About the Project (for those just joining us)
The first phase of the provisionally-named Transatlantic Fiction Project (TFP) seeks to develop a web-based, open-access database of bibliographic information about the University of Pennsylvania Library's 3,000 works of fiction in English published between 1660 and 1830 (centered around the world-class, and under-utilized, Singer-Mendenhall Collection of Early Novels). (Future phases will expand the set of works of fiction to include those held in other libraries). We hope that this database will help transform the ways in which investigation into the origins and history of the novel can be conducted, enabling scholars and students to gather literary and sociological data of unparalleled sophistication from a broadly representative body of fiction.
The TFP draws on a recent exciting work in humanities computing and database construction, and therefore presents a chance to help contribute to the ongoing conversation about database design in the humanities in particular, and about the role of quantitative approaches to the humanities in general. (On this last topic, see for example Franco Moretti’s Graphs, maps, trees : abstract models for a literary history (Verso, 2005).) It presents an opportunity for groundbreaking work combining web-accessible database technology and recent approaches to literary history. Our database will track the full syntactic and generic possibilities of elements like title pages, authorship claims, illustrations and frontispieces, subscribers’ lists, introductions, dedications, tables of contents, indexes, and narrative type (to name just a few), allowing users to perform sophisticated searches across these fields using both faceted and Google-style searches in combination. This database will complements existing open-access and proprietary full-text databases by making information about the novels included in such databases searchable in a way that it currently is not. To take a simple example, the Early Novels Database would allow a researcher interested in authorship and gender to do a search for all novels published between 1770 and 1780 which claim on their title pages to be penned “by a lady” but which in fact have been since discovered to have been written by men; it could further allow the researcher to distinguish between the kinds of authorship claims made on the title page and those made in prefatory material - all before visiting the actual collection or calling the physical volumes of the novels in question.
The TFP Database seeks to privilege the internal claims of works rather than impose modern systems of categorization on them (while also acknowledging that this is an impossible project to fully accomplish). Its design combines traditional bibliographic categories with those capturing the work's own self-representation, as in the example above. Such methodologies, long a staple of historicist approaches to literature, are currently incorporated sparingly, if at all, into existing databases. By incorporating them into our database, we hope to bridge the gap between the past and the present, enabling the recovery, in part, of this lost literary tradition - one that modern habits of categorization have effectively erased from collective memory.
This blog is primarily a used for internal communication between project members, but we think it conveys a good sense of our project's day-to-day operations and overall goals.
If you have any suggestions for us or questions about the project, please email me at rbuurma1 at swarthmore dot edu.
The TFP draws on a recent exciting work in humanities computing and database construction, and therefore presents a chance to help contribute to the ongoing conversation about database design in the humanities in particular, and about the role of quantitative approaches to the humanities in general. (On this last topic, see for example Franco Moretti’s Graphs, maps, trees : abstract models for a literary history (Verso, 2005).) It presents an opportunity for groundbreaking work combining web-accessible database technology and recent approaches to literary history. Our database will track the full syntactic and generic possibilities of elements like title pages, authorship claims, illustrations and frontispieces, subscribers’ lists, introductions, dedications, tables of contents, indexes, and narrative type (to name just a few), allowing users to perform sophisticated searches across these fields using both faceted and Google-style searches in combination. This database will complements existing open-access and proprietary full-text databases by making information about the novels included in such databases searchable in a way that it currently is not. To take a simple example, the Early Novels Database would allow a researcher interested in authorship and gender to do a search for all novels published between 1770 and 1780 which claim on their title pages to be penned “by a lady” but which in fact have been since discovered to have been written by men; it could further allow the researcher to distinguish between the kinds of authorship claims made on the title page and those made in prefatory material - all before visiting the actual collection or calling the physical volumes of the novels in question.
The TFP Database seeks to privilege the internal claims of works rather than impose modern systems of categorization on them (while also acknowledging that this is an impossible project to fully accomplish). Its design combines traditional bibliographic categories with those capturing the work's own self-representation, as in the example above. Such methodologies, long a staple of historicist approaches to literature, are currently incorporated sparingly, if at all, into existing databases. By incorporating them into our database, we hope to bridge the gap between the past and the present, enabling the recovery, in part, of this lost literary tradition - one that modern habits of categorization have effectively erased from collective memory.
This blog is primarily a used for internal communication between project members, but we think it conveys a good sense of our project's day-to-day operations and overall goals.
If you have any suggestions for us or questions about the project, please email me at rbuurma1 at swarthmore dot edu.
Tuesday, June 23, 2009
Digital Humanities Manifesto 2.0
From the Stanford Humanities Lab website:
"The 2.0 version of the Digital Humanities manifesto, a collaborative project of the 2009 UCLA Mellon Seminar on the Digital Humanities, has now been released for commentary and debate. Principally authored by seminar leaders Jeffrey Schnapp and Todd Presner, with contributions by other members of the seminar, including Peter Lunenfeld and Johanna Drucker, as well as by commentators on the 1.0 release, it seeks to formulate, albeit in a ludic and polemical fashion, a mission/vision statement for the future development of the Humanities disciplines."
Useful? Silly? Interesting?
"The 2.0 version of the Digital Humanities manifesto, a collaborative project of the 2009 UCLA Mellon Seminar on the Digital Humanities, has now been released for commentary and debate. Principally authored by seminar leaders Jeffrey Schnapp and Todd Presner, with contributions by other members of the seminar, including Peter Lunenfeld and Johanna Drucker, as well as by commentators on the 1.0 release, it seeks to formulate, albeit in a ludic and polemical fashion, a mission/vision statement for the future development of the Humanities disciplines."
Useful? Silly? Interesting?
Monday, June 22, 2009
A Side of Text
I don't understand the use of epigraph materials. And of all the things that have been on my mind, this is probably one of the least academically interesting, but I can't help but think about it, seeing as how there are just so many that we are cataloguing and requoting in the database. I consistently have to wonder how epigraphs are being used in each one of these books- does the average reader understand the Latin being quoted? The significance of those particular three or four lines in that poem of Cowper's? And who are some of these people? Thomas Otway has a Wikipedia article, but it's moderately terrible, terrible enough so that scholarship on him can't be as indepth as it is on Shakespeare or Cowper or Pope, and I've never even heard of him before running through all of these epigraphs.
We requote the epigraph material in the database in the 591 field. It's one of my favorites to update because of the quotation aspect of the field (subfield a, I think), but it's also always a puzzling feeling, because its significance and meaning is somehow often distant from the perceived aim of the actual text (which is expressed, through us, by the title and a flip-through of the book).
I wonder how common epigraphs are now. The example that springs to mind is the one that T.S. Eliot uses one in the "Love Song of J. Alfred Prufrock", and there's something weird and allusive and problematic in the sense that you have to be familiar with the quote from the Inferno, and the Inferno, but I wonder if it's worked the same way in works in the period we're working on. There's certainly some kind of urge to quote, and link a work back to some other, "greater" work, potentially, but without reading the texts in conjunction with the epigraph, I can't say what that relationship is. There's something weird about a quote being one of the first things a reader sees. I wonder what the origins of epigraphs are to begin with - do they have something to do with advertisement? Did they just catch on magically? Does this happen with any literature that precedes our era? How do "false" epigraphs work, epigraphs that quote something fake? Where do those come from?
For my side-reading, partially to address some of these questions as well as to increase my familiarity with periods and authors with whom I'm not as familiar as I should be, I started reading some Pope, who is pretty often epigraphed, alongside Latin figures as well as Cowper and Shakespeare as some of the most common. I've liked "The Rape of the Lock" so far, but I don't understand all the allusions, and it strikes me how important some idea of the historical context is to reading this stuff, because I don't understand a lot of it. Pope's writing is situated in a pretty weird social atmosphere, where he's explicitly both writing for specific people and a broader audience. A lot of literature works to promote itself to the mass-market, with specific demographic in mind - it's not necessarily produced in these private places.
Too much to read and think about for now, though.
We requote the epigraph material in the database in the 591 field. It's one of my favorites to update because of the quotation aspect of the field (subfield a, I think), but it's also always a puzzling feeling, because its significance and meaning is somehow often distant from the perceived aim of the actual text (which is expressed, through us, by the title and a flip-through of the book).
I wonder how common epigraphs are now. The example that springs to mind is the one that T.S. Eliot uses one in the "Love Song of J. Alfred Prufrock", and there's something weird and allusive and problematic in the sense that you have to be familiar with the quote from the Inferno, and the Inferno, but I wonder if it's worked the same way in works in the period we're working on. There's certainly some kind of urge to quote, and link a work back to some other, "greater" work, potentially, but without reading the texts in conjunction with the epigraph, I can't say what that relationship is. There's something weird about a quote being one of the first things a reader sees. I wonder what the origins of epigraphs are to begin with - do they have something to do with advertisement? Did they just catch on magically? Does this happen with any literature that precedes our era? How do "false" epigraphs work, epigraphs that quote something fake? Where do those come from?
For my side-reading, partially to address some of these questions as well as to increase my familiarity with periods and authors with whom I'm not as familiar as I should be, I started reading some Pope, who is pretty often epigraphed, alongside Latin figures as well as Cowper and Shakespeare as some of the most common. I've liked "The Rape of the Lock" so far, but I don't understand all the allusions, and it strikes me how important some idea of the historical context is to reading this stuff, because I don't understand a lot of it. Pope's writing is situated in a pretty weird social atmosphere, where he's explicitly both writing for specific people and a broader audience. A lot of literature works to promote itself to the mass-market, with specific demographic in mind - it's not necessarily produced in these private places.
Too much to read and think about for now, though.
Thoughs on Facets and Searching
About a month ago I started thinking about some possible searches - faceted and otherwise - that we might want to be able to do; I also started thinking about different ways we might eventually want to be able to visualize the results of the searches. See my first thoughts, below.
Your thoughts - perhaps in the form of some individual blog posts that explore and speculate on a single or a couple of facets in detail?
A few thoughts:
Genre and geography
Search: ‘adventures’; map to discover correlation in US/UK
[q about value w/in SM collection vs with larger set]
Genre and time
Search: ‘life’ in title; show by decade
Narrative form
Search: all epistolary novels; narrow to all with “letters” in the title; narrow by date further to compare changes in understanding of genre 1660-1830
Title page authorship
Narrow entire set to books w/ no proper name on title page AND THEN
Narrow to those w/ paratexts claiming to be by the author OR
Narrow to those paratexts w/ and author’s name
Narrow to those with no proper name on tp with author’s name in paratext which is identical w/ bibliography’s author’s name (?)
More facet sample searches:
Narrow to first editions
Narrow to novels first published in N. America/UK
Narrow to novels with no other existing edition
Your thoughts - perhaps in the form of some individual blog posts that explore and speculate on a single or a couple of facets in detail?
A few thoughts:
Genre and geography
Search: ‘adventures’; map to discover correlation in US/UK
[q about value w/in SM collection vs with larger set]
Genre and time
Search: ‘life’ in title; show by decade
Narrative form
Search: all epistolary novels; narrow to all with “letters” in the title; narrow by date further to compare changes in understanding of genre 1660-1830
Title page authorship
Narrow entire set to books w/ no proper name on title page AND THEN
Narrow to those w/ paratexts claiming to be by the author OR
Narrow to those paratexts w/ and author’s name
Narrow to those with no proper name on tp with author’s name in paratext which is identical w/ bibliography’s author’s name (?)
More facet sample searches:
Narrow to first editions
Narrow to novels first published in N. America/UK
Narrow to novels with no other existing edition
A Treatise on Title-Pages
Take a look at Theodore Low De Vinne's book on one of our favorite topics!
Sunday, June 14, 2009
Il n'y a pas de hors-texte
Take a look at the Johns Hopkins Guide to Literary Criticism entry on "book history".
See also the 2006 PMLA Special Issue on "The History of the Book and the Idea of Literature" edited by Leah Price and Seth Lerer. Especially important for us - given the fact that we have embarked on a bibliographic project focused on a particular literary genre - is the Seth Lerer asks in the conclusion to this issue: "What is the relation between the book as artifact and the aesthetics of the literary imagination?" (230).
In the PMLA special issue also take a look at Peter McDonald's essay "Ideas of the Book and Histories of Literature: After Theory?," especially ot pages 222-223, where he offers a re-translation of Derrida's famous statement "Il n'y a pas de hors-texte" (usually translated as "there is no outside the text," this phrase from "Of Grammatology" became a shorthand for deconstruction's attitude towards matters of literariness and textuality). McDonald's reading points out the pun on hors-texte(in McDonald's words, "a technical bookmaking term roughly translated as "plate") and hors texte("outside of the text), and uses this reading to draw some important connections between theory and the history of the book.
See also the 2006 PMLA Special Issue on "The History of the Book and the Idea of Literature" edited by Leah Price and Seth Lerer. Especially important for us - given the fact that we have embarked on a bibliographic project focused on a particular literary genre - is the Seth Lerer asks in the conclusion to this issue: "What is the relation between the book as artifact and the aesthetics of the literary imagination?" (230).
In the PMLA special issue also take a look at Peter McDonald's essay "Ideas of the Book and Histories of Literature: After Theory?," especially ot pages 222-223, where he offers a re-translation of Derrida's famous statement "Il n'y a pas de hors-texte" (usually translated as "there is no outside the text," this phrase from "Of Grammatology" became a shorthand for deconstruction's attitude towards matters of literariness and textuality). McDonald's reading points out the pun on hors-texte(in McDonald's words, "a technical bookmaking term roughly translated as "plate") and hors texte("outside of the text), and uses this reading to draw some important connections between theory and the history of the book.
Sunday, June 7, 2009
Renaming
On Friday we discussed the fact that we would like to change the name of the database and project from the increasingly inappropriate "Transatlantic Fiction Project" to something more accurate (and perhaps with a better acronym into the bargain). Suggestions so far:
END: The Early Novels Database
ENDO: The Early Novels Database Online
EFNO: Early Fictional Narratives Online
NEO: Novels in English Online
Important considerations include the fact that our project includes a wide range of fictional narrative genres but focuses on the novel and the fact that we include works in English no matter where written or published.
Further suggestions?
On June 10, 2009:
END: The Early Novels Database
FIN: Fiction in Narrative
REAL:
SWIFT: Early Fictional Narratives
FIND: Fiction in Narrative, um….
The 246 Project
The subfield 4 project
The 5xx Project
FACET: Fiction and C English T
BAMP: The British and American Fiction Project
END: The Early Novels Database
ENDO: The Early Novels Database Online
EFNO: Early Fictional Narratives Online
NEO: Novels in English Online
Important considerations include the fact that our project includes a wide range of fictional narrative genres but focuses on the novel and the fact that we include works in English no matter where written or published.
Further suggestions?
On June 10, 2009:
END: The Early Novels Database
FIN: Fiction in Narrative
REAL:
SWIFT: Early Fictional Narratives
FIND: Fiction in Narrative, um….
The 246 Project
The subfield 4 project
The 5xx Project
FACET: Fiction and C English T
BAMP: The British and American Fiction Project
Ian Watt's "Point of View" Bibliography
Here's a transcription of an handout I came across last week in the Ian Watt Papers; it's an interesting snapshot of what one important novel critic was reading in the mid-twentieth-century.
Point of View and Its Application to Eighteen Century Fiction: A Selective Bibliography, by Ian Watt*
1.History
Richard Stang, The Theory of the Novel in England
Norman Friedman, “Point of View in Fiction – The Development of a Critical Concept” PMLA LXX Dec 1855, 1160-84
II. Idea
Henry James, The Art of the Novel, Blackmur ed
Percy Lubbock, The Craft of Fiction
E. M. Forster, Aspects of the Novel
Wayne Booth, The Rhetoric of Fiction
Peter Swiggart, “Mr. Booth’s Quarrel with Fiction,” Sewanee Review,
LXXI (Jan-March 1963), pp 142-59
III. Application
H.K. Russell, “Tristram Shandy and the Technique of the Novel,” Studies
in Philology, XLII (July 1945), pp 581-591.
Mark Schorer, “Technique as Discovery,” Hudson review, I (1948), 67-87.
Dorothy Van Ghent, The English Novel
Walter Allen, The English Novel: A Short Critical History
Ian Watt, The Rise of the Novel
*SC 401 (Ian Watt Papers), ACCN 1990-131 box 49, Folder 2 – English 340 Notes. Stanford University Special Collections and University Archives.
Point of View and Its Application to Eighteen Century Fiction: A Selective Bibliography, by Ian Watt*
1.History
Richard Stang, The Theory of the Novel in England
Norman Friedman, “Point of View in Fiction – The Development of a Critical Concept” PMLA LXX Dec 1855, 1160-84
II. Idea
Henry James, The Art of the Novel, Blackmur ed
Percy Lubbock, The Craft of Fiction
E. M. Forster, Aspects of the Novel
Wayne Booth, The Rhetoric of Fiction
Peter Swiggart, “Mr. Booth’s Quarrel with Fiction,” Sewanee Review,
LXXI (Jan-March 1963), pp 142-59
III. Application
H.K. Russell, “Tristram Shandy and the Technique of the Novel,” Studies
in Philology, XLII (July 1945), pp 581-591.
Mark Schorer, “Technique as Discovery,” Hudson review, I (1948), 67-87.
Dorothy Van Ghent, The English Novel
Walter Allen, The English Novel: A Short Critical History
Ian Watt, The Rise of the Novel
*SC 401 (Ian Watt Papers), ACCN 1990-131 box 49, Folder 2 – English 340 Notes. Stanford University Special Collections and University Archives.
Thursday, June 4, 2009
Through the looking-glass
Something really interesting happened today: as I was paging through v.2 of Pamela, I noticed that there was ink residue on the verso of the title page. Upon taking a second look, I saw that the ink had not come off of the proceeding page, but rather came off of a preface that was not/no longer in the volume. Since the writing was backwards, the only way to read the ghost-like marks was with a mirror, which Lynn provided. Richard demonstrates our reading method in the following photo:
It's hard to tell since I took this picture with my cell phone, but you can kind of see the words in this photo as viewed through the mirror:
Anyway, it was quite hard to read since there also was ink residue from the first page of the text, but we were able to decipher what most of it said. Here is what we got:
So it's pretty rough. But it's a start! Now we have to check online PDFs of Pamela to see if it appeared in similar editions of the novel. Doing so will hopefully answer some questions, such as: Was this preface ever included in the text, or was the ink residue left over from something else? Was this preface meant for Pamela, or was it meant for another novel? What is the full text of this preface? and so on. To be continued...
It's hard to tell since I took this picture with my cell phone, but you can kind of see the words in this photo as viewed through the mirror:
Anyway, it was quite hard to read since there also was ink residue from the first page of the text, but we were able to decipher what most of it said. Here is what we got:
Preface. If to give practical examples ... to be followed in the most critical and affecting cases by the modest virgin, the chaste bride, and the obliging wife: If to effect all these good ends so probable, so natural, so lively a manner, as shall engage the passions of every sensible reader, and strongly ... in the edifying story : and all without raising a single idea throughout the whole, that shall ... the [exactest?] ... instances where the [exactest?] purity would be most apprehensive: if these (embellished with a great variety of entertaining incidents) laudable of worthy recommendations of any work, the editor of the following letters which have their foundation in nature venture to offer-
So it's pretty rough. But it's a start! Now we have to check online PDFs of Pamela to see if it appeared in similar editions of the novel. Doing so will hopefully answer some questions, such as: Was this preface ever included in the text, or was the ink residue left over from something else? Was this preface meant for Pamela, or was it meant for another novel? What is the full text of this preface? and so on. To be continued...
Tuesday, June 2, 2009
A Red-Letter Day for Jargon and Shtuff
The site posted below on narratology, by Jahn, and the mind-bending journey across the internet that ensued has filled my head with an immovable, solid mass of various interconnected terminologies. My father would approve. He, the first-generation immigrant, claims that any pursuit of any discipline revolves around the internalization of the language of that discipline, and that of its practitioners. But the cataloguer's discipline is not the discipline of the narratologist, and the wild intersection of our narratologist lives and our cataloguer lives is resulting in a mild MARCatastrophe.
The challenge is to come up with a way to simply catalogue "narrative form", the infamous 592 field. In dreams, I reach out to all the unreachable mass of literary works in the decade of 1740-1749 and flip through those pages, unable to come up with a conveniently small number of narratological classifications for these particular works. As I attempt to list some classifications, the books endlessly expand, their 200+ year old bindings bulging, falling apart, until the texts transform into nightmarish Rolodexes of nigh-infinite possibilities. But I digress.
Two thoughts about the field-
1) We must generate a finite list of labels that consistently describe predictable variations of certain parts of narration, if our aim is to classify and make searchable narratological occurrences. We cannot label one thing "heterodiegetic" and the other "figural narration", so we are restricted to a specific set of ideas. If we had four fields, one for "presence of certain specific characterization techniques", "presence of certain specific modes of focalization", "overt or covert narrator" and "heterodiegetic v. homodiegetic narrator", we could split our classifications. As it is, we have one field, and therefore we are limited to comparing apples to apples, without bringing in the entire aisle of narratological fruit.
Our current list of labels/labeling system consists of "third-person, first-person, and epistolary"
2) Each work of prose fiction needs to be labeled in under a reasonable amount of time. This disqualifies narratological classifications that are very specific, rely on close reading, or aren't representative of a text - the detailed tree of characterization, for example, while universal, is potentially too specific for us to use. For example, "figural characterization" may not representative of an entire work's characterization, and ""public explicit figural autocharacterization". In this way, "epistolary" is actually a nice categorization, because despite the fact that we might worry about how epistolary a given novel is, we have a sense that if letters permeate through an entire work, it's epistolary, hands-down, without question, just by the presence of many epistles.
The de facto current practice for the 592 field is a simple process, and one that actually makes a lot of sense for its simplicity and minimal profit-gained-to-time-expended ratio.
Subfield A:
1) Open the book. Page through it.
2) Look for letters (epistles). If there are letters, proceed to 2a. If not, proceed to 3.
2a) Does the book have a lot of letters? If so, the book is now epistolary! Proceed to step 4.
3) Look for pronouns. Are these mostly first or third-person? If the former, the book is now first-person! If the latter, the book is now third-person! Proceed to step 4.
Subfield B:
4) Put anything that isn't included in subfield b.
While we are labeling the presence of letters, first-person pronouns, and third-person pronouns, we're saying virtually nothing about what the 592 field actually has been theoretically designed to mean. The 592 is labeled as the field for "narrative form", but narrative form isn't necessarily dependent on pronouns. The closest thing which pronouns-as-evidence approximates is homodiegetic narration vs. heterodiegetic narration. While all books can be said to possibly have homodiegetic or heterodiegetic narrators, while at least having one, resolving our cataloguer's needs, classifying narration as simply homodiegetic or heterodiegetic, while easy, might not satisfy us.
In fact, our current practice already suggests the limitation and insufficiency of classification via that convenient binarism. Labeling things as first-person, third-person, as well as "epistolary" might seem less advanced in a jargonistic kind of way, but it actually reflects our concern with greater, more generic conventions, not necessarily narrative. As a result, I feel sort of torn between labeling things from the bottom-up narratologically (suggested by subfield B, the labels third-person, and first-person) and labeling things from the top-down (suggested by subfield A, and the label of "epistolary").
I've been thinking about the 592 field for awhile now, and reading the Jahn article sort of crystallized a suspicion that I just don't understand our objective of the 592 field, which is why we keep running into snags regarding relative magnitude like "How much of the book is epistolary and does it matter?" These books are pretty idiosyncratic, it seems, and the confusion of texts makes me take cautious baby-steps with the 592 field, just noting down third and first-person. And while this is satisfactory to some degree for now, every time I run into a novel with mostly mixed narration, it's going to induce some kind of fugue state where I can't simplify things from these two different fields.
The challenge is to come up with a way to simply catalogue "narrative form", the infamous 592 field. In dreams, I reach out to all the unreachable mass of literary works in the decade of 1740-1749 and flip through those pages, unable to come up with a conveniently small number of narratological classifications for these particular works. As I attempt to list some classifications, the books endlessly expand, their 200+ year old bindings bulging, falling apart, until the texts transform into nightmarish Rolodexes of nigh-infinite possibilities. But I digress.
Two thoughts about the field-
1) We must generate a finite list of labels that consistently describe predictable variations of certain parts of narration, if our aim is to classify and make searchable narratological occurrences. We cannot label one thing "heterodiegetic" and the other "figural narration", so we are restricted to a specific set of ideas. If we had four fields, one for "presence of certain specific characterization techniques", "presence of certain specific modes of focalization", "overt or covert narrator" and "heterodiegetic v. homodiegetic narrator", we could split our classifications. As it is, we have one field, and therefore we are limited to comparing apples to apples, without bringing in the entire aisle of narratological fruit.
Our current list of labels/labeling system consists of "third-person, first-person, and epistolary"
2) Each work of prose fiction needs to be labeled in under a reasonable amount of time. This disqualifies narratological classifications that are very specific, rely on close reading, or aren't representative of a text - the detailed tree of characterization, for example, while universal, is potentially too specific for us to use. For example, "figural characterization" may not representative of an entire work's characterization, and ""public explicit figural autocharacterization". In this way, "epistolary" is actually a nice categorization, because despite the fact that we might worry about how epistolary a given novel is, we have a sense that if letters permeate through an entire work, it's epistolary, hands-down, without question, just by the presence of many epistles.
The de facto current practice for the 592 field is a simple process, and one that actually makes a lot of sense for its simplicity and minimal profit-gained-to-time-expended ratio.
Subfield A:
1) Open the book. Page through it.
2) Look for letters (epistles). If there are letters, proceed to 2a. If not, proceed to 3.
2a) Does the book have a lot of letters? If so, the book is now epistolary! Proceed to step 4.
3) Look for pronouns. Are these mostly first or third-person? If the former, the book is now first-person! If the latter, the book is now third-person! Proceed to step 4.
Subfield B:
4) Put anything that isn't included in subfield b.
While we are labeling the presence of letters, first-person pronouns, and third-person pronouns, we're saying virtually nothing about what the 592 field actually has been theoretically designed to mean. The 592 is labeled as the field for "narrative form", but narrative form isn't necessarily dependent on pronouns. The closest thing which pronouns-as-evidence approximates is homodiegetic narration vs. heterodiegetic narration. While all books can be said to possibly have homodiegetic or heterodiegetic narrators, while at least having one, resolving our cataloguer's needs, classifying narration as simply homodiegetic or heterodiegetic, while easy, might not satisfy us.
In fact, our current practice already suggests the limitation and insufficiency of classification via that convenient binarism. Labeling things as first-person, third-person, as well as "epistolary" might seem less advanced in a jargonistic kind of way, but it actually reflects our concern with greater, more generic conventions, not necessarily narrative. As a result, I feel sort of torn between labeling things from the bottom-up narratologically (suggested by subfield B, the labels third-person, and first-person) and labeling things from the top-down (suggested by subfield A, and the label of "epistolary").
I've been thinking about the 592 field for awhile now, and reading the Jahn article sort of crystallized a suspicion that I just don't understand our objective of the 592 field, which is why we keep running into snags regarding relative magnitude like "How much of the book is epistolary and does it matter?" These books are pretty idiosyncratic, it seems, and the confusion of texts makes me take cautious baby-steps with the 592 field, just noting down third and first-person. And while this is satisfactory to some degree for now, every time I run into a novel with mostly mixed narration, it's going to induce some kind of fugue state where I can't simplify things from these two different fields.
Works that are not-so-Swift
I am prepping myself for work on this monster of a book, Miscellaneous Works by Jonathan Swift, published in 1720. I picked it off of the cart because it was a tiny single volume and those usually go pretty fast. Well, I was completely wrong-- this book may take me the better half of the workday to catalog. Not only is the book in two parts-- one containing A tale of a tub (first time using the object tag! yes!) and the other containing "miscellanies in prose and verse" (read: complications in defining the dominant narrative form, not to mention the "contains" subfield)--, there is also an advertisement from the bookseller, an errata, a table of contents, a "catalogue of treatises" (?), a second title page for Tub, a dedication, a To the reader, an "epistle dedicatory" to a "Prince Posterity," a preface, an introduction, many "digressions" and "dissertations" interspersed throughout Tub (including my favorite, "A digression, in praise of digressions." Finally! My habit of procrastinating is validated!), a third title page, another advertisement, a fourth title page, another To the reader, another preface, something labeled "a table, or index, or key" (hey, thanks for being specific...not), an "abstract" (possibly part of the table-- I'll look closely once I get to it), a fifth title page, and tons of marginalia, all in different mediums, including a really nice doodle of a hand.
Well, it will clearly be a long afternoon (although secretly, I am really looking forward to cataloging this book). Richard and I met with Lynn in the morning to further discuss the uses of OCLC and 700/710 fields, or two current stumbling blocks. Then I fixed some tricky 700/710 fields that I had overlooked before while Richard worked on cataloging new books. And now I am ready to work on this book... after I eat lunch and finish with this Anna
Monday, June 1, 2009
Why we hate ourselves on Occasion
Or, why our Labeling System needs Work. A Novel. In three Bookes. MMIX.
Friday, May 29, 2009
Narratology/Narrative Theory/Novelistic Narrative Links (add your own!)
Manfred Jahn's Narratology: A Guide to the Theory of Narrative
Jay Clayton Narrative Theory Blog
Look especially at the reading list for this class.
Jay Clayton Narrative Theory Blog
Look especially at the reading list for this class.
Thursday, May 28, 2009
Wednesday, May 27, 2009
Bibliographic Terms: Colophon, Device, Imprint
Three terms relating to how printer and publisher information is represented in a book; look them up in the now-familiar ABC of Book Collecting.
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