9: Reading and Writing in the Digital Age
- Page ID
- 14883
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)- Examine the ways literary scholars are using new technologies to investigate literary works.
- Contrast the conventions of writing for the web with the conventions of typical research-paper writing.
- Review the process of creating a thematic research collection.
- Explore the uses of geospatial technology in understanding literary works.
- Develop a plan for a digital research project focusing on a specific literary work.
- 9.1: Literary Snapshot- "Alice’s Adventures in Wonderland"
- This page explores Lewis Carroll's "Alice's Adventures in Wonderland" and "Through the Looking-Glass," focusing on themes of childhood curiosity and imagination. It highlights Alice's question about the worth of books without pictures and connects this to contemporary literary advancements, such as electronic books and interactive apps. The text encourages reflection on how these technological changes transform reading experiences and personal interactions with literary apps.
- 9.2: Digital Literary Studies- An Overview
- This page discusses the impact of digital technologies on literature engagement and analysis, particularly through the lens of digital humanities. It highlights the importance of public scholarship and innovative computational methods for interpreting texts. The chapter also presents digital assignments for literature courses, emphasizing various methodologies and the differences in writing for the web versus traditional academic formats.
- 9.3: Writing for the Web- A Process Approach
- This page discusses the distinct nature of online writing compared to traditional papers, highlighting the need for concise, visually engaging content that enables quick information retrieval. It emphasizes the importance of clarity, skimmable text, and aesthetic elements like layout and font in enhancing user experience. Additionally, the ability to edit content after publication is noted, underscoring a focus on effective communication and reader engagement.
- 9.4: Creating a Thematic Research Collection
- This page explores thematic research collections as a digital research method defined by Carole Palmer. These collections, unlike traditional archives, contextualize primary sources with researcher commentary, similar to museum exhibits. The collaborative aspect of such projects is illustrated by the North Wind Archive. Omeka is suggested as a tool for creating diverse media collections.
- 9.5: Creating a Digital Timeline
- This page discusses the benefits of digital timelines in research, emphasizing their interactive nature for organizing historical and literary information. It highlights tools like Dipity for ease of use, despite limitations with ancient dates, and mentions MIT's SIMILE Project for more complex needs.
- 9.6: Mapping a Text
- This page explores the blend of digital humanities and literature via geospatial technologies, highlighting Franco Moretti's concept of mapping literary locations for deeper analysis. It follows Maria, a literature student, as she maps the Pequod's journey in "Moby-Dick" using Google Earth. This approach, combined with historical maps, enriches her understanding and showcases how digital tools can innovate literary scholarship.
- 9.7: Student Sample Paper- Maria Slusarek’s “’Mapping Melville’ Reflection”
- This page reflects on how mapping Ahab's journey in "Moby-Dick" enhances narrative comprehension. Maria Slusarek highlights challenges in grasping the 1850s whaling experience and the emotional strain on the crew during their lengthy voyage. The digital map clarifies distances and landmarks, making the story more engaging. Slusarek argues that visual representation aids understanding and suggests developing interactive experiences, such as games, to connect contemporary audiences with the text.
- 9.8: Student Sample Digital Project- Maria Dzurik’s St. Augustine’s Confessions
- This page highlights Maria's digital project in the "Technologies of Text" course, where she digitized rare translations of St. Augustine’s "Confessions" using college library resources. By creating high-quality scans and utilizing Omeka for publication and exhibits, her work demonstrates how digital initiatives enhance student learning and contribute to scholarly communities. It encourages other students to engage in similar projects using unique local materials for digital archiving.
- 9.9: End-of-Chapter Assessment
- This page highlights the impact of new technologies, particularly the Internet, on reader-text interactions, emphasizing concise and visually engaging web writing. It promotes collaboration through digital projects and innovative methods like textual analysis and mapping. Additionally, it suggests fostering an interactive classroom by inviting comments and incorporating peer reviews to enhance learning and writing skills.
- 9.10: Suggestions for Further Reading
- This page provides key sources in Digital Humanities and Digital Literary Studies, highlighting significant edited volumes and collaborations. It covers theoretical frameworks, critical practices, and evolving scholarship influenced by digital technologies.