APPOSITIONS: Studies in Renaissance / Early Modern Literature & Culture: James Ascher: "Diplomatic E-Transcriptions"

Tuesday, February 16, 2010

James Ascher: "Diplomatic E-Transcriptions"

James P. Ascher
University of Colorado at Boulder

The Words Must be Cousin to the Deed, or Must be a Trick of the Document: the Duty of the Diplomatic Transcription in the Ecosystem of Digital Reproduction

_____

3 comments:

Whitney said...: I really enjoyed this paper! It provides a nice way of complicating our easy assumptions about digital textuality.

On the one hand, there seems to be a distinction between *transcriptions* and *reproductions*, the latter uniquely dependent upon media technologies; on the other hand, the complex network of digital textualities seems to be blurring these boundaries by producing imagistic replications that are both aesthetic and symbolic. I've come across very similar issues in contemporary transcriptions (more like translations) of seventeenth-century shorthand, Pepys' diary being an obvious example. Media have a way of either eliding or repurposing any text, even at very basic (and seemingly unimportant) levels.; March 14, 2010 at 5:14 PM
Unknown said...: A strong paper with a smart argument. I paused at your (repeated) representation of digital reproductions as slavish. Could it be argued that transcribing and copying texts enslaved us all - readers and monks alike? Then, as I was composing a counter-question to your semiotics, I finally got the joke. Your entire argument is an enslaved digital (re)production - the text, images and paratext. Bravo.; March 18, 2010 at 8:15 PM
jeff said...: This is a brave and intelligent call for digital tools--completely wonderful! Additionally this essay made me ponder, if time is truly the great enemy, then, editing must be its most loyal consort. No wonder, then, we need diplomats! Aesthetic gaps appear over time and NOT without editors.

Again, the constant need for more literary tools in the transcription toolbox goes without saying, and yes, even for the Internet, even with linear time, even always and forever.; March 26, 2010 at 8:31 AM

Post a Comment

Subscribe to: Post Comments (Atom)

_____

EDITORIAL BOARD

EDITOR

W. SCOTT HOWARD
Department of English
University of Denver

EDITORIAL ADVISORS

CHRISTOPHER BAKER
Languages, Literature & Philosophy
Armstrong State University

RAPHAEL FALCO
Department of English
University of Maryland,
Baltimore County

ELIZABETH H. HAGEMAN
Department of English
University of New Hampshire

BRETT D. HIRSCH
Centre for Medieval &
Early Modern Studies
University of Western Australia

MATTHEW STEGGLE
Humanities Research Centre
Sheffield Hallam University

SARA J. van den BERG
Department of English
Saint Louis University

ASSOCIATE EDITORS

CHRISTINA ANGEL
Department of English
Metropolitan State College, Denver

ERIK ANKERBERG

Department of English
Wisconsin Lutheran College

CRISTELLE BASKINS
Art & Art History Department
Tufts University

GARY R. ETTARI
Department of Literature & Language
University of North Carolina, Asheville

ANNE GREENFIELD
Department of English
Valdosta State University

JUTTA SPERLING
Social Sciences, History
Hampshire College

AMY D. STACKHOUSE
Department of English
Iona College

ASSISTANT EDITORS

JENNIFER L. AILLES
Department of English
Rollins College

LOUISE DENMEAD
Department of English
University College, Cork

THOMAS J. MORETTI

Department of English

Iona College

_____

_____

EDITORIAL POLICY & PROCESS

All submissions to the journal, APPOSITIONS: Studies in Renaissance / Early Modern Literature & Culture, ISSN: 1946-1992, are evaluated via double-blind peer-review: each work is sent anonymously to two readers for independent assessments. Solicited materials, including book reviews, also undergo this procedure. In most cases, members of the journal’s Editorial Board evaluate submissions, but sometimes external reviewers contribute to our editorial process. Results following split-votes are determined by the Editor. Average time from submission to evaluation and reply: seven weeks or less.
_____

_____

CATALOGING & INDEXING

APPOSITIONS:
Studies in Renaissance / Early Modern Literature & Culture

ISSN: 1946-1992
LC Call Number: PN720
Dewey Number: 809.894 14
OCLC: 310963904

Subjects: European literature--Renaissance, 1450-1600--History and criticism--Periodicals. European literature--Early modern, 1500-1700--History and criticism--Periodicals.

Sponsoring Institution: University of Denver, Penrose Library

Indexing: Intute, MLA, WorldCat, Open J-Gate

Distribution: EBSCO

Copyright: Appositions publishes under a Creative Commons 3.0 license. Reprint permissions and other copyright permission requests beyond that scope should be sent to W. Scott Howard, showard@du.edu, Editor and Publisher, Appositions: Studies in Renaissance / Early Modern Literature & Culture, ISSN: 1946-1992.
_____

_____

APPOSITION:

1. A public disputation by scholars; a formal examination by question and answer; still applied to the ‘Speech day’ at St. Paul's School, London. [1659-60 PEPYS Diary 9 Jan., “My brother John’s speech, which he is to make the next apposition.” 1864 Press 18 June 588, “St. Paul’s School . . . celebrated its annual Apposition on Wednesday.”]

2. The action of putting or placing one thing to another; application. [1541 R. COPLAND Guydon’s Quest. Cyrurg., “Yf after the fyrste apposycyon . . . it blede nat wel.” 1559 MORWYNG Evon. 367, “All suche thinges as . . . fomentacions, apposicions, embroches, etc.” 1650 FULLER Pisgah IV. vi. 117, “By apposition, or putting of sweet odours to the dead body.” 1726 AYLIFFE Parergon 308, “By the Apposition of a Publick Seal.” 1875 POSTE Gaius II. 220, “The apposition of the seals of seven attesting witnesses.”]

3. That which is put to or added; an addition. [1610 J. GUILLIM Heraldry §1. i. (1660) 10, “For distinction sake, to annex some apposition over and above their paternall Coat.” 1655 FULLER Ch. Hist. II. 67, “The Place is plainly written Cern, without any paragogical apposition.”]

4. The placing of things in close superficial contact; the putting of distinct things side by side in close proximity. [1660 STANLEY Hist. Philos. 64/2, “The mistion of the Elements is by apposition.” 1669 GALE Crt. Gentiles I. I. vi. 35, “[The word] according to the various apposition of the leters, may signifie either a foot, or a river.” 1830 LYELL Princ. Geol. (1875) I. II. xix. 488, “These layers must have accumulated one on the other by lateral apposition.” 1850 DAUBENY Atom. The. iv. 121, “The result of the apposition of an assemblage of smaller crystals.”]

5. The fact or condition of being in close contact, juxtaposition, parallelism. [1606 G. CARLETON Tithes Exam. iv. 21b, “There is an apposition betweene things of the same kinde.” a1. 652 J. SMITH Sel. Disc. v. 160, “A mere kind of apposition or contiguity of our natures with the divine.” 1801 FUSELI Lect. Art. (1848), “The true medium between dry apposition and exuberant contrast.” 1824-8 LANDOR Imag. Conv. (1846) 159, “He places strange and discordant ideas in close apposition.” 1878 T. BRYANT Pract. Surg. I. 145, “The cut surfaces and edges of the wounds are to be brought into apposition.”]

6. Rhet. The addition of a parallel word or phrase by way of explanation or illustration of another. Obs. [1561 T. [ORTON] Calvin’s Inst. III. 187, “Calling faith the worke of God, and geuing it that title for a name of addition, and calling it by figure of apposition Gods good pleasure.” a1. 638 MEDE Wks. I. xxiv. 93, “It is an Apposition, or παράθεση, and ειρήνη στη γη, the latter words declaring the meaning of the former; ‘Peace on earth,’ that is, ‘Good will towards men.’”]

7. Gram. The placing of a word beside, or in syntactic parallelism with, another; spec. the addition of one substantive to another, or to a noun clause, as an attribute or complement; the position of the substantive so added. [c. 1440 Gesta Rom. (1879) 416, “Yonge childryn that gone to the scole haue in here Donete this question, how many thinges fallen to apposicion?” 1591 PERCIVALL Span. Dict., “A Preposition . . . either in Composition, as, Contrahecho . . . or in Apposition, as, En la casa.” 1657 J. SMITH Myst. Rhet. 191, “Apposition is a figure . . . whereby one Noune Substantive is for Declaration and distinction sake added unto another in the same case.” 1860 JOWETT Ess. & Rev. 398, “In the failure of syntactical power . . . in various forms of apposition, especially that of the word to the sentence.”]

--OED

WYSIWYG: 1982 Byte Apr. 264/2, "‘What you see is what you get’ (or WYSIWYG) refers to the situation in which the display screen portrays an accurate rendition of the printed page." 1982 Economist 1 May 8, "If he wishes to converse with computer buffs, he will have to cope with neologisms such as ‘wysiwyg’ (what you see is what you get), pronounced ‘whizziwig’." 1984 Sci. Amer. Sept. 54/3, "Perhaps the most important principle is WYSIWYG (‘What you see is what you get’): the image on the screen is always a faithful representation of the user's illusion." --OED
_____

APPOSITIONS: Studies in Renaissance / Early Modern Literature & Culture

VOLUME TEN (2017): ARTEFACTS

Tuesday, February 16, 2010

James Ascher: "Diplomatic E-Transcriptions"

3 comments:

ISSN: 1946-1992

CURATOR, DESIGNER & PUBLISHER

Hartmann Schoppers, "Panopleia" (1568)

Atmel Diopsis 740 (c. 2007)

BBC News | News Front Page | World Edition

E-JOURNALS in the Field

LIBRARIES

Kilby Circuit (1958)

E-RESOURCES

APPOSITIONS noted: