Text Encoding

The first part of this article describes the development of the encoding system originally devised for the Commedia Project, 1 and subsequently adapted for other projects. 2 The second part of the article describes the encodings used for the transcription and editorial phenomena described elsewhere in this publication.

This paper presents a project for the creation of an ontology-encoded version of the “Fontes” by Giuseppe Lugli, one of the most important collections of sources for the study of the topography of ancient Rome. Only seven volumes of the work were published by Lugli between 1952 and 1962; the publication of the remaining volumes is still in progress. The goal of the project is the creation of a semantic “ancient sources” GIS, a set of interactive maps of ancient Rome which will provide spatial information along with the descriptions recorded by ancient sources. The model chosen for the encoding is the CIDOC CRM, an international ISO standard developed to describe concepts and relationships used in cultural heritage documentation. The event-based CIDOC CRM ontology seems ideal to describe the topographic and historical layers designed by Lugli, as it will clarify the relations existing among the events recorded by the ancient sources, and the monuments and places to which they refer.

1) Le DVP (Document virtuel personnalisable) – définitions, objectifs et problèmes.
2) Deux exemples : la mise en ligne de manifestations scientifiques et la description de documentaires audiovisuels.
3) La sémiotique textuelle.
4) Le scénario sémiotique.

This research works on high symbolic Bengali text and transforms it into corresponding less symbolic English complying with the transliteration method. The Huffman-based approaches serve to compress retaining the original quality of the data. On the other hand, faster encoding and decoding is the most sophisticated sphere in data compression. We propose an adjacent distance array, a novel data structure based on the Huffman principle for encoding and decoding the character of transliterated text. The encoding and decoding algorithms have been explained for the introduced modus operandi and juxtaposed with conventional Huffman-based algorithms. Our research is outdoing than any regular Huffman-based algorithms, concentrating on the speed of the encoding and decoding manner discovered after estimating all decisions.

The widespread use of cryptography is a necessary
consequence of the information revolution. With the coming of
electronic communications on computer networks, people need a way to ensure that conversations and transactions remain
confidential. Cryptography provides a solution to this problem,
but it has spawned a heated policy debate. Some government
agencies want to restrict the use of data encryption because they fear that criminals and spies may use the technology to their own advantage. However, Encryption Techniques so far has both advantages and disadvantages to the society and issues about abuse required a formularized policy.

D. Fiormonte -V. Martiradonna, "La representación digital de la génesis del texto. Un caso de estudio", in Aurélie Arcocha-Scarcia, Javier Lluch-Prats y Mari Jose Olaziregui (eds.), En el taller del escritor: génesis textual y edición de textos, Bilbao, Servicio Editorial del País Vasco, La representación digital de la génesis del texto. Un caso de estudio 1

LaTex2TEI : de LaTex à XML-TEI en quelques clics | Florimont numérique https://digiflorimont.hypotheses.org/403 1/4 LaTex2TEI : de LaTex à XML-TEI en quelques clics Publié le 16/05/2019 Récemment, la capacité de médiation du logiciel TEI-Med.it (conçu pour l'automatisation de la production des fichiers TEI-XML à partir d'un fichier .txt) a été mise à l'épreuve dans le contexte d'une conversion de LaTex à TEI-XML : le résultat, très satisfaisant (peut-être parce que l'encodage LaTex n'était pas très complexe!), est une nouvelle version du logiciel que j'appellerai LaTex2TEI (LaTex to TEI). Le contexte de cette expérience d'adaptation était le

The paper outlines the Illuminated Dante Project and its next outcomes. In particular, it points out that the project hosts at present the world biggest archive of digital high-resolution images of Dante manuscripts, soon available online. Furthermore, it stresses the importance of the general agreement between the “Federico II” University and the Italian Ministry of Cultural Heritage for the free reuse of the material coming from the State Libraries, as well as the bilateral agreements with other Italian and Foreign Libraries. It highlights also the close co-operation with the projects "Manus online" and "Internet Culturale" coming from the Istituto Centrale per il Catalogo Unico. In the second part, it focuses on the elaboration of the iconographic database "IDP," which is integrated in the web portal of the project. The database consists of different research categories concerning the “ascription”, the “decoration typology”, the “technique”, and the “iconography”. The distinction of this latter into “theme” and “motif” is highlighted, as well as the constitution of a multi-layered description of the “text-image relationship”. Lastly, it mentions the adoption of international protocols of web interoperability for the manuscript descriptions (TEI-P5) as well as for the high-resolution images of the archive (IIIF). This latter is introduced for the very first time in an Italian web-based project.

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Il contributo propone una descrizione di Illuminated Dante Project e dei suoi prossimi sviluppi. In particolare, sottolinea come allo stato attuale il progetto dispone del più grande archivio al mondo di riproduzioni digitali ad alta risoluzione di manoscritti danteschi, presto disponibile online. Inoltre, rimarca l’importanza della convenzione tra l’Università di Napoli “Federico II” e Mibact per il riuso gratuito del materiale proveniente dalle biblioteche statali, degli accordi bilaterali con biblioteche italiane e estere e della stretta cooperazione con l’ICCU e con i progetti di Manus online e Internet Culturale. Nella seconda parte, si sofferma sulla costituzione del database iconografico IDP integrato nel portale web del progetto, che offre categorie di analisi relative all’attribuzione, alla tipologia decorativa, alla tecnica di esecuzione e all’iconografia. Di quest’ultima si sottolinea la distinzione principale in soggetto e categoria, nonché lo sviluppo di un sistema di descrizione a più livelli del rapporto testo-immagine. Infine, accenna all’adozione di protocolli internazionali di interoperabilità web per le descrizioni dei manoscritti (TEI-P5) e per le immagini ad alta risoluzione (IIIF), quest’ultimo introdotto per la prima volta in un progetto italiano.

The goal of this teaching material is to provide a better understanding of the concept of digital humanities from various viewpoints of distinguished scholars in the field, identify the characteristic features of digital humanities research, and offer examples for digital humanities projects and software.

Until recently, Arabic text representation was the exclusive domain of professional calligraphers and typographers. Today it revolves around elusive computer codes and ugly fonts. Yet, scholars are expected to be able to handle literary text, archaic text as well as contemporary Qur'anic text with so-called word processors. The industry attempts to cater for such requirements, but it must do so practically without participation or professional input of academic specialists. Consequently the potential of philological computing, in fields like database research, networking and publishing, remains largely untapped.

For the creation of a complete model for handling Arabic script with information technology, exhaustive understanding of its structure is imperative. Creating such such a model involves linguistically sound computer-aided transcription for efficient data entry on the one hand and historically correct script images as professional output on the other. This is the kind of exercise where one cannot afford to take anything for granted regarding Arabic text representation.

This approach forces one to explore the opportunities of Unicode-based information technology for Arabic philology. While addressing key issues of Arabic computing, this paper takes the requirements of Qur'anic studies as the central theme: computer-aided transcription to input a clean data structure related to graphemes and archigraphemes as well as correctly shaped typography that incorporates precise rules for allographic assimilation.

The paper is based on the results of research into two faces of Arabic text: computer-aided Latin transcription and computer-synthesized Arabic script.

The technology under scrutiny creates the conditions for contrastive analysis of digital Arabic text and computer-synthesized calligraphy. This reveals unexpected relations between calligraphy, spelling and possibly even text history.

This paper is an attempt to apply cultural semiotics to the realm of digital textuality. The first part defines what digital humanities are, and the interconnections between the translation activity and the work of the digital text encoder. The second part provides examples of how markup languages, i.e. XML-TEI, by adding semiotic layers to a document,  can both represent and manipulate the original source. In conclusion, digital encoding can be seen as a complex semiotic act that can have profound effects on the identity of our cultural artifacts.

Este capítulo trata de: Percepción e interpretación. Lenguaje y lenguas. La señal, el radical sem- y la Semiología. Mensaje y señal: indicio, icono, símbolo. El lenguaje y sus funciones. El signo lingüístico. Denotación y connotación. Las dimensiones de la significación . El código .
Incluye Bibliografía comentada y Bibliografía general.

In the last ten years there has been a growing consensus among textual scholars that one of the main purposes of a digital edition should be the presentation of a ‘mobile text’, in which each manuscript or witness – ancient or modern – can be read, compared and manipulated by various computing tools. However, is the concept of textual movement strictly related to the use of the computer? This paper argues that, not only is the idea of mobile text much older than the computer, but current digital tools and languages often seem inadequate to the task of representing the richness and complexity of such literary artefacts. The first part of this paper tries to reconstruct and discuss the birth of a new textual paradigm from its origins in the intellectual milieu of the 1930s, up to research into the writing process carried out in the 1980s. The paper then focuses on the theory of text as a ‘system’, as outlined by the Italian editor and philologist Gianfranco Contini. It follows a concise overview of the theoretical issues raised by genetic criticism in France, showing its connections with experiments carried out into the psychology of composition. The last part of the paper presents an ongoing experiment of genetic philology developed by the Digital Variants (www.selc.ed.ac.uk/italian/digitalvariants) team: the Magrelli Genetic Machine. Variant texts and brouillons d’écriture generously made available by the Italian author Valerio Magrelli are displayed through several interactive tools realised in Flash, and their original textual mouvance is reproduced by means of a dynamic display. This experiment involved a number of practical steps, but also raised some theoretical questions: how to convert a printed text and a manuscript in digital format; how to create a dynamic text which appears as an image, simultaneously comparing different choices made by the author, etc.; and, finally, how to show the writing process. It is undeniable that writing with a computer implies a loss of knowledge about the genesis of a text, as writers do not usually save earlier versions. Digital Variants, by asking writers to save their writing-stages, can allow users to examine a variant text from the author’s as well as the reader’s perspective, and thus stimulate reflection on how the digital dimension can blur the boundaries between ‘authorial’ and ‘editorial’ practices.

La comunicación por medio del computador se traduce en una situación social en la que no cuentan tanto las ventajas de rapidez y eficacia -con ser muy importantes- como la apertura de una nueva perspectiva intelectual. El ordenador ha cambiado la naturaleza y el valor de la comunicación en dimensiones más profundas que la imprenta o el tubo de rayos catódicos. El sujeto afectado es el ser humano: un artilugio cuyo fundamento es la sencilla consecuencia de dejar pasar o no un determinado tipo de corriente por parte de un circuito meramente físico ha alterado las relaciones en el interior de la sociedad. Los estudiosos del ser humano como ser individual y, por la comunicación, social, los humanistas, no han permanecido al margen de esa innovación. Este libro mostrará muchas de las realidades en este terreno, no pocas posibilidades y tratará de dar una orientación sobre cómo poner manos a la obra, en el sentido a veces más concreto y dinámico de la expresión.

Desde 1971 nos venimos ocupando de comunicación, tecnología y sociedad y a todo ello se refiere esta obra. El humanismo al que se refiere su título tiene como centro el lenguaje o, más exactamente, la lengua natural, la lengua humana. La tecnología es la informática o computacional, que empalma en ocasiones, instrumentalmente, con las tecnologías de la comunicación, de modo más centrado en el capítulo final; pero impregnando el discurrir de todo el libro hasta llegar a él. La sociedad es la sociedad humana, si bien (desde el conocimiento directo de la informática y las humanidades en varios países, especialmente Europa, Argentina, Brasil, Canadá y Estados Unidos) dirige su mensaje más directamente a la sociedad iberoamericana, hispano- o lusohablante, aunque se escriba en español.

Parte de los proyectos y actividades que se describen han recibido apoyo esencial o han tenido plasmación concreta gracias al desarrollo del Área de Industrias de la Lengua de la Sociedad Estatal del Quinto Centenario. Queremos matizar, sin perjuicio de la gratitud, que en esta referencia no hay nada de apologético o triunfalista: otros varios proyectos se han quedado sin hacer. Es satisfactorio señalar, sin embargo, que al menos una parte pudo contar con un empuje institucional que, en entornos como el hispano-americano, es todavía muy conveniente y es justo agradecer a Ángel Serrano y a Carlos Wert su entendimiento y ayuda, gratitud que, en otro terreno, es extensiva a Delfín Colomé, en su etapa en el Instituto de Cooperación con Iberoamérica, a Antonio Segura Morís y a Jordi Montserrat. Otra consecuencia que se extraerá de estas páginas, en contrapeso con lo anterior, es que el sostén oficial no garantiza la pervivencia de los productos de tecnología lingüística, ni a estas actividades como tales. La industria es quien, en definitiva, tiene una palabra, si no última, sí un paso más allá de los organismos oficiales. FUNDESCO, la Fundación para el Desarrollo de la Función Social de las Comunicaciones, de Telefónica de España, ha sido el puente entre industria e instituciones oficiales, incluidas las europeas, por el que ha discurrido parte de la carga que aquí se pesa. El agradecimiento, en este caso, no es menor por no dar nombres propios, cuya mención resultaría improcedente.

Dada la complejidad del campo al que la obra se dirige, desde el lector general, al educador, el profesional de la investigación o el de la tecnología lingüística, sin olvidarnos de los gerentes de programas técnicos en empresas de industria y servicios, no estará de más intentar orientar al lector diciéndole qué es y qué no es -desde el punto de vista del autor- este libro.

ES un libro con un fuerte componente informativo, incluso general, que recoge sistemas, programas y procedimientos, desde los sistemas operativos, el hardware o los paquetes de programación, experimentados por el autor. No hay nada realmente de fundamento o central en el libro que éste no conozca por experiencia directa. La mayoría de los ejemplos y todas las pantallas son de cosecha propia, porque se trata de mostrar cómo un profesional de las humanidades puede plantear y resolver los problemas que aquí se presentan, como indicación inequívoca al resto de sus colegas de que ellos también pueden hacerlo. No se olvida que el autor empezó a trabajar con las máquinas en 1971, es decir, probablemente antes que sus lectores, lo que obliga a una presentación gradual de los contenidos; pero también se tiene en cuenta que el desarrollo de la informática en el mundo hispánico, al que este libro se dirige en primer lugar, ha permitido la incorporación de numerosos investigadores, algunos de los cuales, con menos años de experiencia y de edad, pueden realizar trabajos de mayor enjundia que los que aquí se presentan. Si este libro contribuye a ese despegue de la informática aplicada a las humanidades en el mundo de lengua española y portuguesa, habrá cumplido buena parte de sus fines. Por otro lado, también se quiere mostrar cómo los investigadores hispanohablantes no van a la zaga, sino que se integran perfectamente en los proyectos que se desarrollan por todo el mundo, para que nadie se sienta en posición equivocada de dependencia o inferioridad. Al contrario, nos gustaría que se conocieran mejor y se valoraran con mayor justicia proyectos que son originaria o mayoritariamente españoles, si bien nos agrada no poder decir «exclusivamente», porque creemos que uno de los grandes atractivos de la computación humanística es su carácter interdisciplinar e internacional.

ES un libro para humanistas y estudiosos de las ciencias sociales. Por lo tanto está concebido y organizado como un libro para personas que quieren obtener el máximo provecho de su ordenador, en esos campos, sin ser informáticos. Como las necesidades son muy amplias y los medios al alcance del investigador, variados, por decir lo menos, es un libro que recoge sistemas y procedimientos sencillos, al alcance del usuario en su propia casa, junto con otros que requieren disponer de equipos más complejos y conexiones a redes externas, es decir, un apoyo informático que rebasa la dimensión doméstica.

NO ES un libro de lingüística computacional o de traducción automática, ni de inteligencia artificial. Tampoco es un libro sobre tecnología del habla, ni de programación, ni un manual de uso del ordenador, ni una introducción a la lingüística aplicada, en general, o un manual de enseñanza con ayuda del ordenador. Algunos de estos aspectos, sin embargo, aparecerán como consecuencia de lo que se escribe, pero nunca como núcleo o punto de partida. Con todo, no hemos podido o sabido o querido prescindir de un primer capítulo de conceptos generales, que pueden saltarse los lectores que crean que se refiere a lo que ya saben.

Provo (Utah) - Madrid, 1993

Un caracter e o figură abstractă, fără legătură cu detalii de aspect, a unui semn cu înțeles. De exemplu, caracterul A e ceea ce ne rămâne în minte după ce am uitat cum arăta litera A din abecedar. Principala calitate a caracterelor e că pot fi recunoscute după reprezentări, și astfel putem citi. Pe hârtie, un caracter se reprezintă prin trăsături de cerneală, rezultatul fiind un "desen" care e una dintre imaginile posibie ale caracterului. În calculatoare, un caracter se reprezintă (nicio surpriză!) printr-un număr. Aici începe povestea...

The essay briefly examines the opportunities and the problems that the critical digital edition of historical sources presents, as well as its wider implications in the Humanities. The purpose is to highlight the technological innovations available for digital editions, and the changes that these tools have brought to the methodology of all the disciplines involved in the edition of a source and to the figure of the scholar itself.

Rjabchikov, Sergei V., 2018. The Bird-man Cult in the Rapanui Rock Art and Oral Literature. Polynesia Newsletter, 16, pp. 2-32.

Keywords: writing, rongorongo, folklore, rock art, Rapanui, Rapa Nui, Easter Island, Polynesia, Quechua, Andean, Old Peruvian, Incan, petroglyph, archaeoastronomy, mythology

""As map-based visualizations of documents become more ubiquitous, there is a greater need for them to support intellectual and creative high-level cognitive activities with collections of non-cartographic materials — documents. This dissertation concerns the conceptualization of map-based visualizations as tools for sensemaking and collection understanding. As such, map-based visualizations would help people use georeferenced documents to develop understanding, gain insight, discover knowledge, and construct meaning.

This dissertation explores the role of graphical representations (such as maps, Kohonen maps, pie charts, and other) and interactions with them for developing map-based visualizations capable of facilitating sensemaking activities such as collection understanding. While graphical representations make document collections more perceptually and cognitively accessible, interactions allow users to adapt representations to users’ contextual needs. By interacting with representations of documents or collections and being able to construct representations of their own, people are better able to make sense of information, comprehend complex structures, and integrate new information into their existing mental models. In sum, representations and interactions may reduce cognitive load and consequently expedite the overall time necessary for completion of sensemaking activities, which typically take much time to accomplish.

The dissertation proceeds in three phases. The first phase develops a conceptual framework for translating ontological properties of collections to representations and for supporting visual tasks by means of graphical representations. The second phase concerns the cognitive benefits of interaction. It conceptualizes how interactions can help people during complex sensemaking activities. Although the interactions are explained on the example of a prototype built with Google Maps, they are independent of Google Maps and can be applicable to various other technologies. The third phase evaluates the utility, analytical capabilities and usability of the additional representations when users interact with a visualization prototype – VIsual COLlection EXplorer. The findings suggest that additional representations can enhance understanding of map-based visualizations of library collections: specifically, they can allow users to see trends, gaps, and patterns in ontological properties of collections.""

The newer version of VICOLEX is available at: http://abuchel.physics.uwo.ca/~obuchel/VICOLEX/map4.php

By means of the enigmatic writings of the titles and names of Ramesses II. the multilevel dimension of the deeper meaning of these pictorial respectively cryptographic writings will be revealed and its role pertaining to the deification of Ramesses II. and at last identification of Pharaoh with the sun god discussed. Annotated Version of my master thesis from 2008.

Words appear in music scores with a variety of roles; they can be used as music notation themselves, or spell text to be sung, or be part of paratexts such as forewords and critical commentaries in printed score publications. This article explores the relationships between music and words in the context of digital editing, particularly with a focus on operatic libretti, which carry the spoken and sung words of operas. How can the hypertextual nature of the digital medium be exploited to model and publish these complex and important relationships?

This thesis discusses how folk music changes as it is passed down over time and transmitted through different cultures. These changes, wherein older cultural material is re-worked into a new artefact is sometimes referred to as the ‘Folk Process’. This project explores how existing digital tools can be used to both identify and map these changes in such a way that is demonstrative of how folk songs that might sound musically different can be linked through their narrative or origin. This research seeks to identify cultural motifs and tropes within an existing cycle of folk songs that are essentially versions or descendants of an older cycle of songs. In charting the genesis and evolution of this case study, it is hoped that this research will be indicative of how the folk process is instrumental in the shaping of cultural identity. Through encoding, analysing, and mapping this information, this thesis seeks to create a pedagogical tool that, it is hoped, may lead to new discussions on how musicological and folkloristic research can be enhanced through Digital Humanities methodologies.

The TEI Guidelines represent today an essential standard in the world of textual encoding for digital editions. However, some problems concerning TEI encoding, both theoretical and practical, are far from being definitively resolved. In this context we firstly discuss a theoretical question: what is the nature of the encoding? Are we interested in the Text or in its documentary image? What is the difference between a descriptive encoding and an editorial one? Secondly, we analyse the specific case of the TEI Guidelines application to the Medieval textual and writing reality: indeed, this application risks being anything but automatic, as TEI tags were set in the context of contemporary printed books.

This article is divided into three sections: the first focuses on some analogies and historical parallels that shape digital technology, the hypertext and interactivity, such as the book and the printing press. My aim in the second section is to map the development of the creation of digital environments for archives, corpus, libraries and scholarly editions of medieval and Golden Age literary works by the Spanish-speaking academic community from 1986 to 2005. Of course my account cannot be comprehensive but, it aims to be representative, nevertheless. The last section traces the evolution of the relationship between the literary studies and information technology from 2006 until 2013 when the first official Digital Humanities conference took place in Spain.

We present in this paper a new coding method for lossless gray-scale image compression. Our method is based on rnodifications of LZ77-based compression and estimation of prediction errors of pixels. Our met hod gives compression comparable to JPEG loss-less mode and its speed is about twice that of J P E G lossless mode with arithmetic coding.

Письменные источники - это документы, с которыми связана история как наука. Документы истории и история документов тесно переплетены. Автоматический контент-анализ и компьютерная обработка исторических текстов обрели свое собственное место в мире методов источниковедения и конкретно-исторического анализа.

Please contact me, if this article is not available in your library.

Ordinals, in latin called libri ordinarii or similar, are medieval codices containing the liturgical rules of sacral communities. In recent years they have been found to be very valuable sources for local church history as well as art, music and urban history. The article discusses the editorial techniques employed on such books, referring to numerous editions prepared all over Europe within the last decades. It argues that ordinals should be understood as « unstable texts » (H. Fromm). As a general strategy to reveal the fluidity of an ordinal’s wording the author formulates three editorial maxims and demonstrates their pertinence by means of a late medieval codex of the chapter Saints Simon and Jude in Goslar (Northern Germany), written in 1435 and revised at least until the second decade of the 16th century.

Im hohen und späten Mittelalter wurden die liturgischen Regeln sakraler Gemeinschaften in Codices fixiert, die man libri ordinarii oder ähnlich nannte. In den letzten Jahren sind solche Handschriften als wertvolle Quellen sowohl der lokalen Kirchengeschichte als auch der Kunst-, Musik- und Stadtgeschichte entdeckt worden. Dieser Aufsatz diskutiert unter Bezug auf zahlreiche neuere Textausgaben die methodischen Herausforderungen, die mit der Edition eines liber ordinarius verbunden sind. Ausgehend von der These, dass mittelalterliche Ordinarien « unfeste Texte » (H. Fromm) waren, formuliert der Verfasser drei editorische Maximen, deren Umsetzung anhand eines Codex aus demKollegiatstift St. Simon und Judas in Goslar exemplifiziert wird, der 1435 niedergeschrieben und bis in die 1520er Jahre hinein überarbeitet wurde.

Les ordinaires (en latin libri ordinarii, ou d’autres expressions équivalentes), sont des manuscrits médiévaux contenant les règles de la célébration liturgique propres aux communautés qui les détiennent. Les travaux qui en ont traité dans les dernières années démontrent leur intérêt documentaire pour l’histoire des églises locales, et aussi pour l’histoire de l’art, l’histoire de la musique, l’histoire urbaine. L’article examine les techniques éditoriales appliquées à ces livres, à partir d’exemples d’éditions faites en Europe dans les dernières décennies. Il propose de voir dans ces manuscrits des « textes instables » (H. Fromm). Afin de mettre en évidence la fluidité de la rédaction d’un Ordinaire, l’auteur formule trois règles éditoriales et en démontre la pertinence en s’appuyant sur un manuscrit du chapitre Saint-Simon et Saint-Jude de Goslar (Allemagne du Nord) écrit en 1435 et révisé au moins jusque dans la deuxième décennie du xvie siècle.

[PT]

Este projecto apresenta uma edição crítica do romance "Um buraco na boca", de António Aragão, elaborada a partir dos testemunhos disponíveis na tradição impressa. É feita uma súmula do percurso e obra do autor, com destaque para as suas criações no campo da ficção. Associado a esse trabalho, apresenta-se uma proposta de definição do conceito de romance experimental e respectivo mapeamento das produções que encaixam no modelo proposto. Faz-se ainda um comentário sobre os actuais desafios da Crítica Textual na era digital, tendo em vista o planeamento de uma edição electrónica de "Um buraco na boca".

Palavras-chave: Edição crítca, Edição electrónica, Crítca Textual, Literatura Experimental,
António Aragão, Século XX

[EN]

This project introduces a critcal editon of the novel "Um buraco na boca", by António
Aragão, an edition drawn upon available witnesses in the printed tradition. The report
also covers an overview of author's trajectory and work, with special focus on his
creations in the fictional field. Related to this, we suggest a definition of the concept of
experimental novel and respective mapping of productions that fits the proposed
model. There is also a comment on the actual challenges of Textual Criticism in the
digital era, having in mind the planning of an electronic edition of "Um buraco na boca".
Keywords: Critical edition, Electronic edition, Textual Criticism, Experimental Literature,
António Aragão, 20th Century

É possível visualizar e descarregar a edição e correspondente relatório a partir do Arquivo Digital da Literatura Experimental Portuguesa:
<http://po-ex.net/taxonomia/transtextualidades/metatextualidades-alografas/bruno-ministro-um-buraco-na-boca-edicao-critica-do-romance-experimental-de-antonio-aragao>

'In Publishing Scholarly Editions, Christopher Ohge cogently argues for approaching editing in pragmatic terms, explicitly invoking the ideas of William James and John Dewey. Such an approach emphasizes the complexities of writerly acts, publishing exigencies, and readerly interpretations and charts the networks of actions and practices that constitute literary experience. Through a lucid contribution to editorial theory and deftly articulated case studies, Ohge shows the opportunities that scholarly editing and especially digital editing provide for displaying these complexities and networks and opening up, rather than closing down, meaning.'

–– Professor Samuel Otter, Slusser Chair in English, University of California, Berkeley, and author of Melville’s Anatomies (1999).

'This is an EXCELLENT book! Useful and timely'.
–– Peter Robinson, Bateman Professor of English at the University of Saskatchewan and founder of Inkless Editions

Publishing Scholarly Editions offers new intellectual tools for publishing digital editions that bring readers closer to the experimental practices of literature, editing, and reading. After the Introduction (Section 1), Sections 2 and 3 frame intentionality and data analysis as intersubjective, interrelated, and illustrative of experience-as-experimentation. These ideas are demonstrated in two editorial exhibitions of nineteenth-century works: Herman Melville's Billy Budd, Sailor, and the anti-slavery anthology The Bow in the Cloud, edited by Mary Anne Rawson. Section 4 uses pragmatism to rethink editorial principles and data modelling, arguing for a broader conception of the edition rooted in data collections and multimedia experience. The Conclusion (Section 5) draws attention to the challenges of publishing digital editions, and why digital editions have failed to be supported by the publishing industry. If publications are conceived as pragmatic inventions based on reliable, open-access data collections, then editing can embrace the critical, aesthetic, and experimental affordances of editions of experience.