Bøger i Stanford Text Technologies serien

This coursebook examines the material history of human communication, allowing students and teachers to examine how communication's production, form, materiality, and reception are crucial to our interpretations of culture, history, and society.

"Medieval manuscripts are our shared inheritance, and today they are more accessible than ever thanks to digital copies online. Yet for all that widespread digitization has fundamentally transformed how we connect with the medieval past, we understand very little about what these digital objects really are. We rarely consider how they are made or who makes them. This case-study rich book demystifies digitization, revealing what it's like to remake medieval books online and connecting modern digital manuscripts to their much longer media history, from print, to photography, to the rise of the internet. Examining classic late-1990s projects like "Digital Scriptorium 1.0" alongside late-2010s initiatives like "Bibliotheca Philadelphiensis," and world-famous projects created by the British Library, Corpus Christi College Cambridge, Stanford University, and the Walters Art Museum against in-house digitizations performed in lesser-studied libraries, Whearty tells never-before-published narratives about globally important digital manuscript archives. Drawing together medieval literature, manuscript studies, digital humanities, and imaging sciences, Whearty shines a spotlight on the hidden expert labor responsible for today's revolutionary digital access to medieval culture. Ultimately, this book argues that centering the modern labor and laborers at the heart of digital cultural heritage fosters a more just and more rigorous future for medieval, manuscript, and media studies"--

"Digital spaces are saturated with metaphor: we have pages, sites, mice, and windows. Yet, in the world of digital textuality, these metaphors no longer function as we might expect. Martin Paul Eve calls attention to the digital-textual metaphors that condition our experience of digital space, and traces their history as they interact with physical cultures. Eve posits that digital-textual metaphors move through three life phases. Initially they are descriptive. Then they encounter a moment of fracture or rupture. Finally, they go on to have a prescriptive life of their own that conditions future possibilities for our text environments - even when the metaphors have become untethered from their original intent. Why is "whitespace" white? Was the digital page always a foregone conclusion? Over a series of theses, Eve addresses these and other questions in order to understand the moments when digital-textual metaphors break and to show us how it is that our textual softwares become locked into paradigms that no longer make sense. Contributing to book history, literary studies, new media studies, and material textual studies, Theses on the Metaphors of Digital-Textual History provides generative insights into the metaphors that define our digital worlds"--

"Anxieties about the fate of reading in the digital age reveal how deeply our views of the moral and intellectual benefits of reading are tied to print. These views take root in a conception of reading as an immersive activity, exemplified by the experience of "losing oneself in a book." Against the backdrop of digital distraction and fragmentation, such immersion leads readers to become more focused, collected, and empathetic. How did we come to see the printed book as especially suited to deliver this experience? Print-based reading practices have historically included a wide range of modes, not least the disjointed scanning we associate today with electronic text. In the context of religious practice, literacy's benefits were presumed to lie in such random-access retrieval, facilitated by indexical tools like the numbering of Biblical chapters and verses. It was this didactic, hunt-and-peck reading that bound readers to communities. Exploring key evolutions in print in 17th- and 18th-century France, from typeface, print runs, and format to editorial organization and punctuation, this book argues that typographic developments upholding the transparency of the printed medium were decisive for the ascendancy of immersive reading as a dominant paradigm that shaped modern perspectives on reading and literacy"--

"In this ambitious work, Collin Jennings applies computational methods to eighteenth-century fiction, history, and poetry to reveal the nonlinear courses of reading they produce. Hallmark genres of the British Enlightenment, such as the novel and the stadial history, are typically viewed as narratives of linear progress, emerging from Britain's imperial growth and scientific advancement. Jennings foregrounds Enlightenment links: the paratextual devices, including cross-references, footnotes, and epigraphs, that make words work differently by pointing the reader to places inside and outside the text. Writers and printers combined text and paratext to produce nonlinear paths of reading and polysemous forms of reference that resist simple, causal structures of experience or theories of mind. Alexander Pope, Adam Smith, Ann Radcliffe, and other writers developed genres that operate diagrammatically, with different points of entry and varied relationships between the language and format of books. Revealing the eighteenth-century genealogy of the digital hyperlinks of today, Enlightenment Links argues that emergent print genres combined language and links to bring forward the associative, circular, and multi-sequential ways in which literature makes language work"--