Read over the assignment instructions by Thuirsday so that you can ask questions about it.
Also, have in mind by Thursday an idea for the kind of material(s) you might want to propose doing a text-analysis project about. (We’ll go around the table in class on Thursday to see what material you might be interested in.)
William Blake, “The Sick Rose”(from Songs of Innocence and of Experience, 1789)
Facsimile Reproduction “The Sick Rose”
(Songs of Innocence and of Experience, 1789, 1794 ; Copy C; The Blake Archive, object 37)
Transcription
O Rose, thou art sick!
The invisible worm,
That flies in the night,
In the howling storm,
Has found out thy bed
Of crimson joy;
And his dark secret love
Does thy life destroy.
Markup (HTML)
<div id=”blake-poem”>
<p class=”stanza” id=”stanza1″>
O Rose, thou art sick!
The invisible worm,
That flies in the night,
In the howling storm, </p>
<p class=”stanza” id=”stanza2″></span> Has found out thy bed
Of crimson joy;
And his dark secret love
Does thy life destroy. </p>
</div>
Markup (TEI, implemented as XML)William Blake, “The Sick Rose” (1794) — simplified example of text-encoding markup.
Example of Folger Shakespeare Library’s TEI texts for Shakespeare’s plays (here showing markup for Lady Macbeth’s “Out, damned spot, out” speech.
Diagram showing the transition from SGML to XML (and examples of two kinds of XML schemas for texts and music)
From instructions for previous practicum (Practicum 2): Take a look at e. e. cummings’ well-known poem “r-p-o-p-h-e-s-s-a-g-r” (1935). (If you are interested, you can read an analysis of the poem, also known as “Grasshopper,” here.) Think about what might be the best approach to encoding this in HTML; and be prepared to share your ideas in class discussion. (Note that multiple spaces entered in HTML code renders normally as a single space.)
Text Analysis
Alan’s slides on relation between text-encoding and text-anaylsis (using Yin Liu’s table of paradigms of text in “Ways of Reading, Models for Text, and the Usefulness of Dead People”)
Figure 5 (p. 14)(p. 20)Figure 15 (p. 27)Figure 18 (p. 32)Annotated quotation from Charles Dickens’ Great Expectations in Ryan Heuser and Long Le-Khac, “A Quantitative Literary History of 2,958 Nineteenth-Century British Novels: The Semantic Cohort Method” (2012) — (pp. 41-42)
The general methodological problem of the digital humanities can be bluntly stated: How do we get from numbers to meaning?… In our research we’ve found it useful to think about this problem through two central terms: signal and concept. We define a signal as the behavior of the feature actually being tracked and analyzed. The signal could be any number of things that are readily tracked computationally…. A concept, on the other hand, is the phenomenon that we take a signal to stand for, or the phenomenon we take the signal to reveal. It’s always the concept that really matters to us. (Postscript)
Historical Thesaurus of the Oxford English Dictionary (home screen of the online version)
Marc Alexander’s tree- map visualization of present-day English in the Historical Thesaurus of the Oxford English Dictionary. Each dot represents a word, and the shade of the dot corresponds to when the word entered the language (darker dots show earlier words). Words are arranged by semantic proximity as indicated in the labels. (In Alan Liu, “The Meaning of the Digital Humanities,” PMLA 128, no. 2 (2013): p. 418
Yin Liu, “Ways of Reading, Models for Text, and the Usefulness of Dead People” (2013) [see Class 4 notes]
Historical Thesaurus of the Oxford English Dictionary (home screen of the online version)
Marc Alexander’s tree- map visualization of present-day English in the Historical Thesaurus of the Oxford English Dictionary. Each dot represents a word, and the shade of the dot corresponds to when the word entered the language (darker dots show earlier words). Words are arranged by semantic proximity as indicated in the labels. (In Alan Liu, “The Meaning of the Digital Humanities,” PMLA 128, no. 2 (2013): p. 418
