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+
+
+
+
+
+
+
+ Paolo Bufalini’s Notebook
+
+
+ Luisa
+ Ammirati
+
+
+ Università di Bologna
+ Bologna, Italy
+
+ luisa.ammirati@studio.unibo.it
+
+
+
+ Institut für Dokumentologie und Editorik e.V.
+ December 2023
+ http://ride.i-d-e.de/issues/issue-18/bufalini
+ 10.18716/ride.a.18.3
+ https://github.com/i-d-e/ride/raw/master/issues/issue18/bufalini/bufalini.pdf
+
+
+
+
+
+ RIDE - A review journal for digital editions and resources
+ Ulrike Henny-Krahmer
+ Martina Scholger
+ Ulrike
+ Henny-Krahmer
+ Frederike
+ Neuber
+ Martina
+ Scholger
+ Christina Burgstaller
+ Digital Scholarly Editions
+ http://ride.i-d-e.de/issues/issue-18
+
+
+
+
+ Paolo Bufalini, Appunti (1981-1991) [Edizione scientifica digitale
+ semantica]
+ Daquino, Marilena, Martina Dello Buono, Francesca Giovannetti, and
+ Francesca Tomasi
+
+ Editor
+ Daquino, Marilena, Martina Dello Buono, Francesca Giovannetti, and
+ Francesca Tomasi
+
+
+ Programmer
+ Marilena Daquino
+
+
+ Contributor
+ Martina Dello Buono
+
+ 2020
+ https://doi.org/10.6092/unibo/amsacta/6415
+ 2022-01-13
+
+
+
+
+ Criteria for Reviewing
+ Scholarly Digital Editions
+
+
+
+
+
born digital
+
+
+
+
+
+
+ Documentation
+
+ Bibliographic description cf. Catalogue 1.2
+
+ Is it easily possible to describe the project bibliographically along
+ the schema "responsible editors, publishing/hosting institution, year(s) of
+ publishing"?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contributors cf. Catalogue 1.4
+
+ Are the contributors (editors, institutions, associates) of the
+ project fully documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contacts cf. Catalogue 1.5
+
+ Does the project list contact persons?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Selection cf. Catalogue 2.1
+
+ Is the selection of materials of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reasonability of the selection cf. Catalogue
+ 2.1
+
+ Is the selection by and large reasonable?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Archiving of data cf. Catalogue 4.16
+
+ Does the documentation include information about the long term
+ sustainability of the basic data (archiving of the data)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Aims cf. Catalogue 3.1
+
+ Are the aims and purposes of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Methods cf. Catalogue 3.1
+
+ Are the methods employed in the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Data model cf. Catalogue 3.7
+
+ Does the project document which data model (e.g. TEI) has been used
+ and for what reason?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Help cf. Catalogue 4.15
+
+ Does the project offer help texts concerning the use of the
+ project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Citation cf. Catalogue 4.8
+
+ Does the project supply citation guidelines (i.e. how to cite the
+ project or a part of it)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Completion cf. Catalogue 4.16
+
+ Does the editon regard itself as a completed project (i.e. not promise
+ further modifications and additions)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Institutional curation cf. Catalogue 4.16
+
+ Does the project provide information about institutional support for
+ the curation and sustainability of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+
+ Contents
+
+ Previous edition cf. Catalogue 2.2
+
+ Has the material been previously edited (in print or
+ digitally)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Materials used cf. Catalogue 2.2
+
+ Does the edition make use of these previous editions?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Introduction cf. Catalogue 4.15
+
+ Does the project offer an introduction to the subject-matter (the
+ author(s), the work, its history, the theme, etc.) of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Bibliography cf. Catalogue 2.3
+
+ Does the project offer a bibliography?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Commentary cf. Catalogue 2.3
+
+ Does the project offer a scholarly commentary (e.g. notes on unclear
+ passages, interpretation, etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contexts cf. Catalogue 2.3
+
+ Does the project include or link to external resources with contextual
+ material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Images cf. Catalogue 2.3
+
+ Does the project offer images of digitised sources?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Image quality cf. Catalogue 4.6
+
+ Does the project offer images of an acceptable quality?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Transcriptions cf. Catalogue 2.3
+
+ Is the text fully transcribed?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Text quality cf. Catalogue 4.6
+
+ Does the project offer texts of an acceptable quality (typos, errors,
+ etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Indices cf. Catalogue 4.5
+
+ Does the project feature compilations indices, registers or
+ visualisations that offer alternative ways to access the material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of documents cf. Catalogue 1.3 and
+ 2.1
+
+ Which kinds of documents are at the basis of the project?
+
+ Single manuscript
+
+
+
+
+
+ Single work
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ Collected works
+
+
+
+
+
+ Papers
+
+
+
+
+
+ Archival holding
+
+
+
+
+
+ Charters
+
+
+
+
+
+ Letters
+
+
+
+
+
+ Diary
+
+
+
+
+
+ Other
+
+
+
+
+ a personal notebook
+
+
+
+
+ Document era cf. Catalogue 1.3 and 2.1
+
+ What era(s) do the documents belong to?
+
+ Classics
+
+
+
+
+
+ Medieval
+
+
+
+
+
+ Early modern
+
+
+
+
+
+ Modern
+
+
+
+
+
+
+ Subject cf. Catalogue 1.3
+
+ Which perspective(s) do the editors take towards the edited material?
+ How can the edition be classified in general terms?
+
+ History
+
+
+
+
+
+ Philology / Literary Studies
+
+
+
+
+
+ Philosophy / Theology
+
+
+
+
+
+ History of Science
+
+
+
+
+
+ Musicology
+
+
+
+
+
+ Art History
+
+
+
+
+
+ Other
+
+
+
+
+ Connecting the edition to the Linked Open Data's environment to
+ support a data-centric view of DSEs.
+
+
+
+
+ Spin-Offs cf. Catalogue 4.11
+
+ Does the project offer any spin-offs?
+
+ App
+
+
+
+
+
+ Mobile
+
+
+
+
+
+ PDF
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+ Access modes
+
+ Browse by cf. Catalogue 4.3
+
+ By which categories does the project offer to browse the
+ contents?
+
+ Authors
+
+
+
+
+
+ Works
+
+
+
+
+
+ Versions
+
+
+
+
+
+ Structure
+
+
+
+
+
+ Pages
+
+
+
+
+
+ Documents
+
+
+
+
+
+ Type of material
+
+
+
+
+
+ Images
+
+
+
+
+
+ Dates
+
+
+
+
+
+ Persons
+
+
+
+
+
+ Places
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Simple search cf. Catalogue 4.4
+
+ Does the project offer a simple search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Advanced search cf. Catalogue 4.4
+
+ Does the project offer an advanced search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Wildcard search cf. Catalogue 4.4
+
+ Does the search support the use of wildcards?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Index cf. Catalogue 4.4
+
+ Does the search offer an index of the searched field?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Suggest functionalities cf. Catalogue 4.4
+
+ Does the search offer autocompletion or suggest
+ functionalities?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Help texts cf. Catalogue 4.4
+
+ Does the project offer help texts for the search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+
+ Aims and methods
+
+ Audience cf. Catalogue 3.3
+
+ Who is the intended audience of the project?
+
+ Scholars
+
+
+
+
+
+ Interested public
+
+
+
+
+
+
+ Typology cf. Catalogue 3.3 and 5.1
+
+ Which type fits best for the reviewed project?
+
+ Facsimile edition
+
+
+
+
+
+ Archive edition
+
+
+
+
+
+ Documentary edition
+
+
+
+
+
+ Diplomatic edition
+
+
+
+
+
+ Genetic edition
+
+
+
+
+
+ Work critical edition
+
+
+
+
+
+ Text critical edition
+
+
+
+
+
+ Enriched edition
+
+
+
+
+
+ Database edition
+
+
+
+
+
+ Digital library
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+ Semantic Scholarly Digital Edition (SSDE)
+
+
+
+
+ Critical editing cf. Catalogue 3.6
+
+ In how far is the text critically edited?
+
+ Transmission examined
+
+
+
+
+
+ Palaeographic annotations
+
+
+
+
+
+ Normalization
+
+
+
+
+
+ Variants
+
+
+
+
+
+ Emendation
+
+
+
+
+
+ Commentary notes
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ XML cf. Catalogue 3.7
+
+ Is the data encoded in XML?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Standardized data model cf. Catalogue 3.7
+
+ Is the project employing a standardized data model (e.g.
+ TEI)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of text cf. Catalogue 3.5.
+
+ Which kinds or forms of text are presented?
+
+ Facsimiles
+
+
+
+
+
+ Diplomatic transcription
+
+
+
+
+
+ Edited text
+
+
+
+
+
+ Translations
+
+
+
+
+
+ Commentaries
+
+
+
+
+
+ Semantic data
+
+
+
+
+
+
+
+ Technical accessability
+
+ Persistent identification cf. Catalogue 4.8
+
+ Are there persistent identifiers and an addressing system for the
+ edition and/or parts/objects of it and which mechanism is used to that
+ end?
+
+ DOI
+
+
+
+
+
+ ARK
+
+
+
+
+
+ URN
+
+
+
+
+
+ PURL.ORG
+
+
+
+
+
+ Persistent URLs
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Interfaces cf. Catalogue 4.9
+
+ Are there technical interfaces like OAI-PMH, REST etc., which allow
+ the reuse of the data of the project in other contexts?
+
+ OAI-PMH
+
+
+
+
+
+ REST
+
+
+
+
+
+ General API
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+ don't know
+
+
+
+
+ Open Access
+ Is the edition Open Access?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Accessability of the basic data cf. Catalogue
+ 4.12
+
+ Is the basic data (e.g. the XML) of the project accessible for each
+ part of the edition (e.g. for a page)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Download cf. Catalogue 4.9
+
+ Can the entire raw data of the project be downloaded (as a
+ whole)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reuse cf. Catalogue 4.9
+
+ Can you use the data with other tools useful for this kind of
+ content?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Declaration of rights cf. Catalogue 4.13
+
+ Are the rights to (re)use the content declared?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ License cf. Catalogue 4.13
+
+ Under what license are the contents released?
+
+ CC0
+
+
+
+
+
+ CC-BY
+
+
+
+
+
+ CC-BY-ND
+
+
+
+
+
+ CC-BY-NC
+
+
+
+
+
+ CC-BY-SA
+
+
+
+
+
+ CC-BY-NC-ND
+
+
+
+
+
+ CC-BY-NC-SA
+
+
+
+
+
+ PDM
+
+
+
+
+
+ No license
+
+
+
+
+
+ Multiple licenses
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+ notebook
+ semantic web
+ scholarly digital edition
+ rdf
+ linked open data
+
+
+
+
+
+
+
+
+
+ Paolo Bufalini’s Notebook (from here on PBN) is a critical edition of
+ the personal notebook that the Italian politician and intellectual Paolo Bufalini
+ held from 1981 to 1991. The edition offers the opportunity to plunge into the flow of
+ thoughts of a man of the twentieth century who reflects on philosophy, poetry, and
+ politics. The methodical goal of this edition, which is implemented with XML/TEI and
+ RDF graphs, is to create an encoding system using Semantic Web technologies, able to
+ emphasize the complex network of quotations and annotations that fills the pages. The
+ digital edition aims to follow a data-centric paradigm. In this light, PBN is
+ connected to authority files and external knowledge bases, such as DBpedia, VIAF, and
+ WorldCat, to harness the power of the Linked Open Data universe. This review provides
+ the reader with an overview of Paolo Bufalini’s work and the main features of the
+ semantic critical edition. Finally, PBN can be evaluated as a decent edition, which
+ responds to certain requirements of a digital edition, but not to all, and it still
+ lends itself to improvements and new developments.
+
+
+
+
+ Introduction to the author
+
Paolo Bufalini (Rome, 9 September 1915 – Rome, 19 December 2001) was an
+ Italian communist partisan, an excellent critical observer of history, and a master
+ of alliance politics. Assigned to international relations, he played the role of a
+ mediator between the Italian Communist Party (PCI) and the Vatican for many years. He
+ was a senator from 1963 to 1992. Bufalini was a Latinist and a translator of Horace.
+ He was a humanist before being a politician. His readings and his dedication to
+ literature and philosophy, as the content of the notebook shows, saved him from an
+ all-encompassing political involvement. The former president of Italy Giorgio
+ Napolitano, commemorating Bufalini, his friend and party colleague, remembers him as
+ among “le migliori energie delle generazioni dell’antifascismo, della Guerra e della
+ Resistenza”“the best energies of the generations of
+ anti-fascism, War and Resistance” translated by the author of this review.
+ (Matteoli 2002, 25). Although he
+ is considered one of the most influential personalities in Italian politics of the
+ last century, there is no significant documentary footage about him. Aside from the
+ monograph curated by Giovanni Matteoli in 2002 and published by Rubbettino Editore
+ (see Citti 2008), the PBN appears
+ currently the widest editorial project focused on the red cardinal, as
+ he was nicknamed.
+
+
+ Introduction to the digital edition
+
The digital edition of Quaderno di appunti di Paolo Bufalini
+ (1981-1991), Paolo Bufalini’s Notebook (1981-1991) in English, is available
+ at https://projects.dharc.unibo.it/bufalini-notebook/. It is identified by
+ ISBN:9788854970793 and DOI: 10.6092/unibo/amsacta/6415. The initial project was
+ designed by Francesca Tomasi, Marilena Daquino, and Francesca Giovannetti in the
+ academic environment of the Alma Mater Studiorum, University of Bologna. For the last
+ version, the team has won a new member, Martina Dello Buono. Francesca TomasiSee https://www.unibo.it/sitoweb/francesca.tomasi/en. is an
+ associate professor in Archival and Library Science at the University of Bologna and
+ Director of the International Second Cycle in Digital Humanities and Digital
+ Knowledge (DHDK). She is the supervisor of PBN. Marilena DaquinoSee https://www.unibo.it/sitoweb/marilena.daquino2/en. , a research
+ assistant at the Alma Mater, has been a specialist in metadata at the Multimedia
+ Centre at the University of Bologna. In this project, she covered the role of RDF
+ modeling and development expert. The third curator of the project is Francesca
+ GiovannettiSee https://www.unibo.it/sitoweb/francesc.giovannett6/en., doctoral
+ student and teaching tutor at the Department of Classical and Italian Philology of
+ the University of Bologna (FICLIT), who has made Paolo Bufalini’s notebook her study
+ example for both bachelor (Giovannetti
+ 2013) and master (Giovannetti
+ 2015) theses in digital humanities. Giovannetti worked on the XML/TEI
+ modeling and markup. Martina Dello BuonoSee https://www.unibo.it/sitoweb/martina.dellobuono2/en. is a PhD
+ student in DHDK at Alma Mater Studiorum, and she is currently involved in the
+ Śivadharma project in collaboration with L’Orientale University as a
+ web designer and developer expert in Digital Humanities. Her contribution to PBN
+ concerns web design and applicationThe above information about
+ the professional career path of the editors and their responsibilities in the
+ project is available in the section ‘Credits’, accessible through a hyperlink in
+ the footer of the ‘Home’ and ‘Introduction’ pages. Once the page ‘Credits’ is
+ opened, other hypertextual links enable the user to directly see their own home
+ page in the Alma Mater Studiorum official website. There is no logo of the Alma
+ Mater University, but in the footer, a brief section is devoted to giving
+ information and links to DH.arc -Digital Humanities Advanced Research
+ Centre..
+
After Bufalini’s death, his sons donated his personal notebook (kept from
+ 1981 to 1991) to FICLIT, where some scholars brought the complex textual dynamics
+ that animated the paper to light (see Citti
+ 2008, 2). This philological work has been conveyed to the digital edition in
+ question, first published in 2019, updated in April 2020, and then again in January
+ 2021 (current version). Thus, the present review is based on this latter version of
+ PBN, but the first draft had as a reference the edition of April 2020. That explains
+ why, in the following pages, you will run into some screenshots and images that I
+ took from the previous version and that are not retrievable anymore but useful to
+ enhance the improvements achieved by the current edition. Today, the original
+ manuscript is treasured in Ezio Raimondi Library in Bologna.
+
During the decade 1981–1991 (Citti 2008, 2), Paolo Bufalini kept a private journal, which is the
+ expression of an experienced man’s thoughts with a sophisticated intellectual
+ tension, who had never stopped studying and expanding his knowledge. The Latin
+ classics (including Catullus, Lucretius, Horace, Virgil, etc.), the major figures of
+ the Italian literature (Dante, Manzoni, Carducci, Croce, etc.), and the protagonists
+ of foreign cultures (Flaubert, Shakespeare, Mann, Tolstoy, etc.) came together on the
+ same sheet of paper, inside a unique stream of thought. The notebook contains notes
+ in Italian, Latin, and English, with the margins and footer filled with annotations.
+ As a result, following the author’s thought process can be difficult at times.
+
Cardinal Silvestrini (1923–2019), who met Bufalini for the revision of
+ the Concordat (1984), remembers Bufalini and his notebook with these words:
+ C’è un quadernetto di scritti di sua mano, appunti del decennio ’81-’91 che
+ la figlia Jolanda mi ha gentilmente mostrato. È una specie di “calepino”
+ morale, in cui egli raccoglie i pensieri di autori e pensieri suoi, scritti
+ negli intervalli più diversi, durante una pausa di riunioni e assemblee, o
+ durante un viaggio, per esempio a Cuba, momenti estravaganti di una riflessione
+ in cui l’animo si rifugiava e si placava.A translation of
+ this passage is available in Citti
+ 2008, 66: “The Note-book is a kind of moral ‘note-book’, in which
+ he gathers together his own thoughts and those of other writers, written
+ during various moments of his free time, a break in a meeting or assembly or
+ during a journey, to Cuba for example, odd moments of reflection in which
+ his soul took refuge and was calmed.” (Matteoli 2002, 35)
+
+
+
The text shows the personal interest of Bufalini in themes of an
+ existential nature, such as death and time, but also in the Christian view of life,
+ dealing with topics like pain and faith. At the same time, there are lots of passages
+ that show Bufalini’s involvement in politics: democracy, mafia, social commitment,
+ and other political themes (Citti
+ 2008, 66).
+
+
+ General parameters of the edition
+
The website gives key information to frame the context and workflow of
+ this work. This is surely the best improvement compared to the version of 2020, in
+ which lots of data were missing, like the mention of the work done by the Institute
+ La Permanenza del Classico (involved in the first design of the
+ edition) or info about the editors. As mentioned before in the Introduction, the
+ older version is not accessible anymore, but I started reviewing this project when
+ the current one was not ready yet, and I kept track of the previous edition via notes
+ and screenshots.
+
The ‘Technical specifications’ section (whose link can be found in the
+ footer) enables the user to follow the backstage of the work step by step. He/she can
+ grasp the meaning of the adopted methodology, the RDF dataset components, the web
+ application development, and the possible filters for semantic queries. The choice to
+ include on the website technical information not strictly related to the philological
+ value of the edition, like the explanation of web application development, unveils a
+ didactic vocation, which goes well with the academic environment where the edition is
+ born. Although expanding beyond the humanities to include explanations about
+ ontologies, metadata, and web technologies is commendable, the lack of information on
+ the philological principles utilized, which deserves its own dedicated section, can
+ be perceived as a shortcoming. While it is true that different entities
+ (specifically, the study center La Permanenza del Classico) made the
+ editorial decisions, it is also true that Francesca Giovannetti, one of the
+ publishers of PBN, was involved in the project’s development from an early stage, as
+ she confirms in the passage below.
+ The development of the digital edition started with the diplomatic
+ transcription of the text, which preserved all the original characteristics of
+ the writings, such as spelling and punctuation, deletions and additions,
+ abbreviations and line breaks. Subsequently, the centre carried out the
+ encoding of the text in TEI Lite P4. […] In 2013, the centre [“La Permanenza
+ del Classico”] came to the decision of migrating from TEI Lite P4 to TEI P5 and
+ I was charged with this task. […] With the migration from TEI Lite P4 to TEI P5
+ the encoding model has substantially changed: different choices were made for
+ the representation of textual phenomena and of editorial additions. (Giovannetti 2015, 2)
+
+
+
Furthermore, since PBN is the only open-access available output of the
+ editorial and philological work done on the text by both La Permanenza del
+ Classico and the PBN publishers, as detailed in the ‘Subject and Content’
+ section, it would be appropriate to provide more comprehensive information about
+ these decisions. However, a close comparative reading between the facsimile and the
+ transcription allows an informed user to grasp the philological decisions behind the
+ text and its transcription because there are no cases of extreme philological
+ complexity, no variants, for instance.
+
Moreover, the financial resources available for the project are not
+ clarified, and the timeline is undeclared. On the other hand, as mentioned in the
+ below ‘Aim and methods’ paragraph, the goals and the embraced approach are explained.
+ The general parameters of the edition, therefore, can be considered partially
+ accessible to the final user: the overview of the context, the editors, the mission,
+ and methods are accessible, and the philological work is explained in a few sentences
+ but not accurately covered.
+
+
+ Subject and content
+
The subject of the digital edition is the autograph manuscript of Paolo
+ Bufalini’s notebook. The unpublished 143 bound pages and two loose sheets
+ (corresponding to pages 144-147 in the facsimile) represent the entire
+ research area of the project.
+
The PBN does not rely on printed editions. The project Quaderni di
+ Paolo Bufalini, curated by the Institute La Permanenza del
+ Classico, could be considered the digital archetype of this current
+ edition. As explained on the corresponding webpage
+ https://centri.unibo.it/permanenza/it/attivita-ed-eventi/quaderni-di-paolo-bufalini.
+ and in more detail in Giovannetti (2015), the backbone of the editorial project had already been formed in
+ 2008, when the diplomatic edition was completed, the dense network of references was
+ revealed, and the first encoding with the XML/TEI P4 was provided. However, the beta
+ version, which was edited by the Institute, cannot be consulted. It is not clear
+ whether it is simply not open-source software or if it is not available since the
+ release of the current edition. Everything we know about the previous edition’s
+ achievements is reported in the research paper by Citti (2008), where we can also find some archive images (Citti 2008, 78).
+
+
+ Aims and methods
+
The paper by Daquino, Giovannetti, and Tomasi (2019), added as a suggested reading
+ at the end of the ‘Introduction’ page of PBN, helps to understand the aims of the
+ edition better:
+ Molte delle ESD ad oggi disponibili online presentano una struttura
+ documento-centrica. […] Si tratta del paradigma tipico della stampa
+ tipografica, trasportato dall’ambiente analogico a quello digitale.
+ L’espansione del Web of data sollecita la ridefinizione del concetto di ESD da
+ parte della comunità accademica. L’ESD […] deve essere ripensata come insieme
+ di entità, ovvero anche risorse identificate univocamente con URI e
+ interconnesse attraverso l’uso di link tipizzati (le proprietà RDF), secondo un
+ paradigma dato-centrico.Translation by the author: “Many of
+ the EDSs available online today adopt a document-centric structure. [...]
+ This is the typical paradigm of printing, transported from the analogue to
+ the digital environment. The expansion of the Web of data calls for the
+ redefinition of the concept of ESD by the academic community. The ESD [...]
+ has to be rethought as a set of entities, that also means resources uniquely
+ identified with URIs and interconnected through the use of typed links (the
+ RDF properties), according to a data-centric paradigm.” (Daquino,
+ Giovannetti, and Tomasi 2019, 50)
+
+
+
Every working step of the project was conceived with this perspective in
+ mind. DSEs can exchange precious knowledge thanks to shared knowledge graphs on the
+ Semantic Web. The TEI encoding mediates between the ontologies and the source text,
+ and as stated in the ‘XML/TEI Encoding’ section on the PBN ‘Introduction’ page: “It
+ aims to represent the relationships between the textual fragments of the notebook
+ (citations, comments, translations, etc.) and to link the local authority files to
+ external datasets” (Daquino et al. 2020).
+
This means that the RDF dataset is populated by the extraction of the
+ TEI entities via XSLT, generating a Turtle file from the TEI document, or that it is
+ created manually (Giovannetti
+ 2015, 30-31). Furthermore, the embedded markup model of the notebook is
+ complemented with ontologies that open the door to a ‘global data space’ in which
+ URIs identify documents and data they contain (e.g., entities) that could be used in
+ many different applications (Giovannetti 2015, 15). The interoperability of the edition achieved through
+ the use of Linked Open Data (LOD) is, therefore, the main scholarly contribution.
+
The curators, however, have decided to only share the output – the
+ result of this ample reflection behind the creation of the edition – through the
+ official site of PBN. On the ‘Home’ page you can read: “The primary aims of the
+ edition are to identify, analyse and enhance the intratextual and extratextual
+ relations – otherwise implicit, given the private nature of the notebook – which
+ characterize the texts of the Appunti[...]” (Daquino et al. 2020).
+
The essence of their research project is to create a bespoke application
+ able to enhance the text. They find the answer to such information needs through the
+ Semantic Web technologies, but the brief digression on the ‘Introduction’ page about
+ the features and the functioning of the LOD implementation could be deepened and
+ explained in a more complete way. The risk, otherwise, is that the user, especially
+ if new to LOD, could lose the necessary information to enjoy the edition as a whole.
+ According to my experience, the paper by Daquino, Giovannetti, and Tomasi (2019) fills the
+ information gap about the strategy to implement the DSE with Semantic Web
+ technologies, but I would like to find the explanation of this vision, promoted as
+ the strength of the edition in the aforementioned paper, in the official webpage of
+ PBN.
+
+ Paolo Bufalini’s Notebook is classified by the editors, in the Overview
+ section of ‘Technical specifications’, as Semantic Scholarly Digital Edition (SSDE),
+ but I do not totally agree with them: the ‘Semantic’, ‘Digital’, and ‘Editing’ parts
+ are contemplated, but the ‘Scholarly’ only partially covered, because, although the
+ transcript is faithful to the text, the philological principles are not stated
+ explicitly and in detail.
+
+
+ User interface
+
The design of the site is sober and elegant. There is no discordant note
+ that disturbs the layout. The style adopted for the website seems to mirror the
+ personality of Paolo Bufalini, an intellectual with a moderate temper, not
+ ostentatious, but a man of great depth. The contents of the website are easily
+ accessible by using the navigation bar located on the top right of the page.
+
+
+
+ The navigation bar; screenshot.
+
+
+
+ Detail of the facsimile; screenshot.
+ The navigation bar shows the available sections, highlighting all the
+ required information to navigate the website: ‘Home’, ‘Introduction’, ‘Digital
+ Edition’, as well as ‘Index of Persons’ and ‘Index of Works’. On the ‘Home’ page, the
+ users have access to an overview of what they can find by browsing the website and to
+ the links for directly reaching the other main areas of the project. The
+ ‘Introduction’, instead, presents the fundamental pillars of the project. The
+ ‘Digital edition’ is the area devoted to the visualization of Bufalini’s work,
+ whereas the ‘Index of Persons’ and the ‘Index of Works’ are the Semantic indexes,
+ which are deepened in the following paragraphs. The website is available in Italian
+ and English (the language menu is circled in green in Fig. 1). However, it is worth reporting one little error,
+ which surely does not compromise the understanding of the text, but it would be
+ better to fix it: by accessing the ‘Digital Edition’ section, the box that appears
+ when moving the mouse on the facsimile is only partially translated into English
+ (detail circled in red, Fig. 2).
+
+
+
+ Example of a bug that appears reducing the screen on PC;
+ screenshot.
+ For what concerns the usability of the website, access from devices like
+ computers and tablets is granted, but only in a full-screen modality, since the
+ exploration of the edition by a reduced screen on a PC distorts the interface, which
+ undergoes a loss of information and functions (see Fig. 3). The horizontal comparison between the
+ facsimile and the transcript, for example, is totally hampered by the
+ graphic arrangement of the ‘Transcript’ box placed vertically above the ‘Facsimile’
+ box. Although a medium-sized screen is generally recommended to use a DSE, and
+ therefore, the aforementioned situation cannot be properly defined as a deficiency,
+ making the site responsive might be a valuable idea to take into account for a
+ possible future edition.
+
There is no area dedicated to listing the bibliographic sources, just a
+ suggested reading for a full technical description of the edition at the end of the
+ ‘Introduction’ page. Besides, there is a SPARQL endpoint, available through the
+ footer, where the user can enter queries and have access to data. Since there is no
+ further documentation about how to use it, this section is reserved for those who are
+ familiar with this semantic query language. Finally, as the editors claim in the
+ ‘Licences’ section (accessible from the footer), the code of the application is
+ available under a CC0 license (Daquino, Giovannetti, and Dello Bueno
+ 2021), the dataset of the notebook is available under a CC BY 4.0 license on
+ AMSActa (Tomasi,
+ Daquino, and Giovannetti 2019), whereas all rights of the notebook’s images
+ are reserved to FICLIT Digital Library.
+
+
+ Usability
+
+
+
+ Facsimile images and annotation of previous edition;
+ screenshot.
+
+
+
+ Digital Edition window – current edition – screenshot.
+ My personal experience as a user of PBN suggests that the edition is
+ presented as an easily usable product. The nav buttons, for instance, are easily
+ interpretable, and the features provided correspond to the expectations of a digital
+ edition’s user: as explained in the previous paragraph, the terminology used for
+ buttons and hyperlinks is quite unequivocal. Clicking on the ‘Digital Edition’ button
+ in the navigation bar, for instance, one can expect to access the
+ facsimile images of the notebookThe FICLIT Digital Library (https://web.archive.org/web/20231101071744/https://dl.ficlit.unibo.it/s/lib/item/198982)
+ provides some further information about the physical characteristics of the
+ manuscript codex, like details on its format and the color of the cover.,
+ and this is what happens. The user can browse through the facsimile,
+ shown in a double-page layout. The resolution of the images (taken with an i2S
+ CopiBook planetary scanner)This detail is omitted on the
+ official PBN page. Look at Citti
+ 2008
+ , 67. is excellent. You can zoom in on a little frame without
+ the quality being affected. On the facsimile, the user can discover the
+ quotations (and their origin, even if implicit), the annotations, and some life
+ memories caught in the calligraphy of the author. The current version (Fig. 5) is more complex and richer in filters
+ and features than the previous one (available in 2020) (Fig. 4).
+
The user can arrange the window by opening or closing the box of
+ ‘Filters’, ‘Transcription’, and ‘Facsimile’. It is a graphical strategy that
+ enables the user to stay focused on what he/she is interested in, keeping open the
+ possibility to switch modality of consulting the edition. Moreover, the user can set
+ the font, the size, and the background color of the transcription box (clicking on
+ the TT circled in orange, see Fig. 5). This page shows several useful links and
+ information: the question mark (‘?’) on the right (circled in light blue, Fig. 5) explains all the tools available to
+ discover the edition; the ‘Metadata’ (circled in purple, Fig. 5), instead, displays a brief table summarising the key
+ info about the PBN; the icon of IIIF (circled in pink, Fig. 5), which stands for International Image
+ Interoperability FrameworkInternational Image Interoperability
+ Framework. https://iiif.io/., is linked to the complete facsimile on the
+ FICLIT Digital Library; on the left, the symbol of the encoding (circled in blue,
+ Fig. 5) allows to download the XML/TEI
+ file of the notebook.
+
+
+
+ Example of “People” filter result; screenshot.
+ The ‘Filters’ tab, split into ‘People’ and ‘Works’, is a tool to search for
+ specific contents in the transcription. The occurrences of the selected person are
+ reported in a list of results on top, and they are highlighted in blue in the
+ transcription of the notebook. Once a ‘People’ filter is adopted, you can also
+ distinguish the results by the ‘Person role’ (‘Author’ or ‘Mentioned person’), as
+ Fig. 6 shows.
+
Concerning the text fruition, when the mouse cursor scrolls on a
+ paragraph of a page in the facsimile, a frameset containing some information about
+ that text portion (like the author of the quoted text, mentioned entities,
+ translations, etc.) shows up on the screen (red circle, Fig. 6), whereas, clicking on it, the transcript of that
+ portion appears on the left. The facsimile and the transcription box, indeed, are
+ synchronized: when the user turns over the pages, the transcription automatically
+ updates to reach the textual passage the facsimile is showing. Vice versa, by
+ scrolling up or down on the transcription tab (that offers a sequential read,
+ developed vertically), the facsimile quickly goes on or back to the point considered.
+
This elegant format makes the reading fluid and pleasant. The user does
+ not run into the discomfort of having to open other screens to fully enjoy the text
+ and its meaning. However, the page layout loses this harmony when you disable the
+ full-screen mode of the browser window.
+
+
+
+ Index of Persons window; screenshot.
+ The PBN also presents two indices, e.g., the ‘Index of Persons’ and the
+ ‘Index of Works’, related to people and works mentioned by Bufalini on his pages. The
+ indices are well organized. The user can directly search among ‘People’ and ‘Works’
+ thanks to the search bar (circled in red, Fig.
+ 7) or by browsing the list. A legend (on the bottom left, circled in green,
+ Fig. 7) clarifies the different colors
+ assigned to ‘Comments’, ‘Quotations’, and ‘Translations’. The possibility of
+ arranging the page is appreciable, as I explained before, but in this case, the
+ ‘Filters’ tab is unnecessary because it plays the same role as the ‘List’ of names.
+ Besides, even if the user decides to close this box, the ‘Types of excerpts’ (the
+ legend) would be closed consequently.
+
+
+
+ Errors in DBpedia page links; screenshot.
+
+
+
+ Working DBpedia page link to Gabriel Malagrida’s page;
+ screenshot.
+ Furthermore, each author, listed alphabetically, is linked to authority
+ files from VIAF and the Italian DBpedia where available, which disambiguate the
+ identity of the person. In the same manner, each work is connected to external
+ sources, VIAF and WorldCat, two identification systems that grant authoritativeness
+ to the information shared by the digital edition. The links to DBpedia, however, are
+ incorrect and, therefore, do not link to the correct page (Fig. 8). The server it.dbpedia.org does not
+ exist. The correct one is www.dbpedia.org.
+ Therefore, to have the identifier of Vittorio Alfieri, for
+ example, the link should be https://dbpedia.org/page/VittorioAlfieri and not
+ http://it.dbpedia.org/resource/VittorioAlfieri. There are some exceptions,
+ like the links to Louise Colet’s and Gabriel Malagrida’s pages. (Fig. 9)
+
+
+ Accessibility
+
+
+
+ Reading of the button ‘Learn More’ in the Home of PBN and the
+ explanation of the suggested steps to interact with it by VoiceOver;
+ screenshot.
+ According to Jacob Nielsen, father of the ten usability heuristics, for a
+ product like a website to be considered ‘usable’, it should possess the following
+ five properties: it should have an easy-to-learn structure; be efficient to use; be
+ easy to remember, meaning that the user can easily regain proficiency when returning
+ to the site after a period of time; the site should always give the user the
+ possibility to fix an error and, finally, its design should be pleasant to use (Nielsen 2012). As I stated in the
+ previous section, my personal experience as a user of PBN was a positive one, and the
+ edition seemed to me to comply the aforementioned five points. However, I may not
+ represent the end user, who could be visually impaired or blind. Thus, I checked if
+ the edition met the required accessibility parameters to allow everyone to use the
+ website, disabled people included, and the result was quite satisfying. A screen
+ readerI used VoiceOver by Apple. An explanation about how it
+ works is available at https://support.apple.com/guide/voiceover/welcome/10#/. can
+ recognize the structure of paragraphs, their headings, and their textual bodies, the
+ role of the buttons (circled in green and red, Fig. 10), and the links in order to allow the user to know where and how it
+ is possible to interact with the system.
+
+
+
+ Inspection of the contrast value for a nav button;
+ screenshot.
+
+
+
+ Inspection of the contrast value for a button with a colored
+ background; screenshot.
+
+
+
+ Inspection of the contrast value for a piece of transcript
+ text; screenshot.
+ The color contrastFor further information about
+ contrast value, see https://www.w3schools.com/accessibility/accessibility_color_contrast.php
+ .
+ , instead, differs from text to text: in the navbar buttons, it does not reach
+ a high value (circled in green, Fig. 11),
+ whereas, in the other points, where the text has a colored background (circled in
+ green, Fig. 12) or the font has a more
+ intense color, this value increases (circled in green, Fig. 13).
+
+
+
+ Reading of the facsimile images’ box (in the red rectangle)
+ by VoiceOver; screenshot.
+ Nevertheless, in the accessibility of PNB, there is a kink: in the HTML
+ code, there are no ALT attributes to describe the images of the site, but this flaw
+ is reduced by the fact that there are few meaningful images, which deserve this care,
+ most of them are decorative images. However, this implies, for instance, that in the
+ ‘Digital Edition’ area, the blind user can listen to the transcription and browse the
+ page of the notebook (because of the correct access to the navigation button) without
+ knowing that the webpage is showing the notebook facsimile (Fig. 14) since there is no alternative ALT description,
+ which could indicate this information.
+
Except for this lack, the edition meets the accessibility requirements
+ for users with disabilities.
+
+
+ Text criticism
+
Even though PBN does not devote a deep explanation to the editing
+ principles, it is clear that the transcription made by the editors comes close to a
+ diplomatic one. Francesco Citti writes: “all characteristics concerning spelling and
+ punctuation, including any eventual errors or incorrect quotations were preserved.
+ Particular marks (such as arrows, references, boxes), were reproduced and where this
+ was not possible, were described (using notes […]” (Citti, 71). Indeed, the transcription philologically reproduces the
+ original text, trying to maintain unaltered any passage, but in the digital edition,
+ not all the symbols and signs are reproduced in the same way compared to what is
+ visible in the facsimile. Some examples are given below.
+
+
+
+ Memory of Luigi Petroselli, facsimile, page 7;
+ screenshot.
+ In Fig. 15, there is a notable
+ passage of the notebook. It is a personal comment of Bufalini, who remembers the
+ impressions and emotions felt during the funeral of his friend Luigi Petroselli on
+ 8th October 1981.
+
The handwriting thins out; it follows the stream of the thoughts and,
+ therefore, runs from the hand to the sheet, the line spacing gets smaller, and the
+ time of the story is agitated. It has been written in one go. The erasures and second
+ thoughts, indeed, have been purposefully kept by the author. The interpretation of
+ the passage is undoubtedly difficult because of the unclear handwriting; however, the
+ transcription proposed by the PBN wisely reveals the sense of those words.
+
The transcript of the notebook is, therefore, sophisticated, but, as I
+ wrote above, there is no documentation of the editing principles. In the
+ ‘Philological note’ of the ‘Introduction’ page, we can read:
+ The transcription philologically reproduces the original text. However, in
+ the digital edition we did not reproduce the exact symbols and signs used by
+ the author to separate or graphically connect excerpts. Nonetheless, along with
+ the transcription, the edition offers an interactive visualization of
+ facsimiles, so that the reader can retrieve all the details. (Daquino
+ et al. 2020)
+
+
+
A further clarification about the philological principles is, instead,
+ available in the section Digital edition: representation and encoding of the
+ ‘Note-book’ of one of the main bibliographic references (Citti 2008, 71-77). The philological
+ principles are indeed enclosed in the XML encoding, which expresses the
+ interpretation of text fragments curated by the study center La Permanenza del
+ Classico. For instance, a markup such as <div2 type="nota"
+ place="margine"> is assigned to a margin note of the notebook, and
+ <hi rend="sottolineato"> is assigned to a graphic element of
+ the underlining (Citti 2008, 77). The
+ transcription of graphical elements is quite intuitive because of their high
+ resemblance with the symbols of the original pages. However, the absence of a legend
+ of identified marks with the corresponding meaning is not admissible for a scholarly
+ edition. Especially if, like in the example below (Fig. 18 and 19),
+ there is not an evident rule applicable everywhere.
+
The following is a brief list of symbols that I detected during my study
+ of the edition:
+ ▬: erasures of unrecognizable words (e.g., pp. 1, 6, 60)
+
+ deleted: erasure of recognizable words
+
+ insertion/insertion: insertions of a word below and above the line (e.g., pp.
+ 60, 62, 135)
+
+ underlining: lines traced by Bufalini
+ ⧟: reproduces the equivalent sign designed by Bufalini in some pages
+ (e.g., pp. 24-25). It is a sort of intratextual reference.
+
+
+
+
+
+ Transcription and facsimile of pages 24-25;
+ screenshot.
+
+
+
+ A detail of the facsimile, page 25; screenshot.
+ The following example (Fig. 16)
+ shows both the black rectangle ▬ and the two connected circles ⧟. The
+ first one, however, could be replaced by another symbol because the word deleted by
+ the author is recognizable. Under the erasures, ‘Nitzsche’ can be seen (circled in
+ red in Fig. 16 and zoomed in Fig. 17). Thus, ‘Nitzsche’ could
+ be a better solution. Moreover, even if the symbol ⧟ is retraced by Bufalini
+ with a red pen both times (p. 24 and p. 25), the editors reproduce it in red only the
+ second time (circled in blue and orange, Fig.
+ 16). This choice seems to be motivated by a graphical reference to
+ interconnect two passages of the notebook.
+
+
+
+ The facsimile of page 54; screenshot.
+ By a cross-check, I noted that all discrepancies that emerged between the
+ full transcription and the facsimile in the previous version of PBN
+ (like omitted square brackets) were fixed. Only one symbol is missing from the
+ transcription (Fig. 18). It is quite
+ common in the notebook, and it seems an inversion of words, but maybe it is not
+ univocally interpreted by the editors.
+
+
+ Data modelling and ontologies
+
The encoded transcription follows the TEI standard. In 2013, the center
+ La Permanenza del Classico decided to migrate from TEI Lite P4 to TEI
+ P5, and Francesca Giovannetti was charged with this task (Giovannetti 2015).
+ The new encoding structures the notebook into logical units that follow the
+ physical pages. Each page is enclosed within a <div> element
+ and the beginning of each page is marked by the elements
+ <pb> and <milestone>, which
+ respectively carry a @n attribute expressing the page number as
+ assigned by the scribe and a @unit attribute to explicit which
+ side of folio the page corresponds to (the value is either ‘recto’ or ‘verso’).
+ Each page is further divided into subsections marked up as
+ <div>, each of which contains a fragment of text. Three
+ types of fragments have been identified: quotation, comment and translation.
+ These are distinguished by the value of the attribute @type (e.g.
+ <div type="quotation">). The relationships between
+ fragments are established using the attributes @corresp or
+ @ref. (Giovannetti 2015, 2-3)
+
+
+
+
+
+ Part of the XML code, from line 2213 to 2243;
+ screenshot.
+
+ Fig. 19 provides you with an example to
+ show you some of the features that Giovannetti explained above.
+
The XML/TEI file is downloadable on the ‘Digital Edition’ page, by
+ clicking on the encoding symbol in the transcription tab. Nonetheless, it could be
+ beneficial to provide users with an extra way of accessing the code through the
+ ‘Home’ or ‘Introduction’ pages and possibly linking it to the ‘XML/TEI Encoding’
+ paragraph to make it more easily discoverable.
+
‘The Metamodel’ and ‘The Knowledge Graph’ paragraphs on the
+ ‘Introduction’ page explain that in the PBN, the traditional hierarchical markup and
+ the semantic representation of data coexist. The conversion of the XML/TEI code to
+ RDF (Resource Description Framework), conceived by the World Wide Web Consortium
+ (W3C), results in the creation of a main knowledge graph
+ http://projects.dharc.unibo.it/bufalini-notebook/resource/edition/.
+ of 8K triples and other separated graphs (about 800 triples). The curators follow the
+ nanopublication approach, according to which each group of RDF statements is
+ accompanied by three additional graphs containing information about the assertions'
+ provenance, the digital scholarly edition, and the nanopublication itself. The three
+ graphs are interconnected, with one graph describing the nanopublication and linking
+ the other three graphs.
+
The project team opted to reuse ontologies from Linked Open Vocabularies
+ (LOV)Linked Open Vocabularies (LOV). https://lov.linkeddata.es/dataset/lov. to shape the information
+ held by the notebook. The choice of reusing existing ontologies rather than creating
+ new ones is an appreciable effort to enable and enhance the cooperability between
+ researchers who can rely on this model. The representation of the main graph was
+ designed with the Open Annotation model. The SPAR Ontologies FaBiOFaBiO, the FRBR-aligned Bibliographic Ontology. https://sparontologies.github.io/fabio/current/fabio.html. and
+ CiTOCiTO, the Citation Typing Ontology. https://sparontologies.github.io/cito/current/cito.html. are used
+ for describing bibliographic resources and citations. Indeed, through the pages of
+ his notebook, in search of confirmation for his intuitions, Bufalini records the
+ words of authors and philosophers who support his beliefs. CiTO is particularly
+ suited for reproducing these circumstances. As stated in the ‘Introduction’ page,
+ about 800 RDF triples, which make up 10% of the knowledge base, represent Bufalini's
+ notions regarding the relationships between the texts and authors in the notebook. To
+ capture these ideas, HiCO, an ontology that expands on PROV-O and enables the
+ specification of a statement's source, is employed.
+
+
+ Long term use
+
+
+
+ PBN’s description in “DH.arc projects” page;
+ screenshot.
+ The official PBN website does not provide any updates on the long-term
+ viability of the SDE. Consequently, it is unclear whether the edition is considered
+ complete or if the project's editors are still making modifications. Although the PBN
+ is listed under the ‘DH.arc projects’Projects at /DH.arc. https://centri.unibo.it/dharc/en/research/projects-at-dh-arc.,
+ linked in the footer section of the ‘Home’ page, with a description indicating
+ ‘Release: 2018 (next release 2020)’ and ‘Status: Ongoing’, this information appears
+ to be outdated since the last release was in 2020 (Fig. 20).
+
Additionally, the PBN GitHub repository
+ Daquino,
+ Giovannetti, and Dello Buono 2021. shows that the last update was
+ made precisely two years ago. It is uncertain whether there is institutional support
+ to ensure the edition's long-term sustainability and provide lasting access.
+ Therefore, it would be beneficial to inform users of the edition about these
+ details.
+
+
+ Conclusion
+
PBN fulfils some of the main requirements that a Scholarly Digital
+ Edition should meet: it offers a critical representation of the historical document
+ that is Paolo Bufalini’s notebook and it is guided by a digital paradigm. However, it
+ lacks a deep philological documentation. Indeed, a potential printed version of this
+ edition would lose contents and functionalities detained by the current one. The user
+ is invited to interact with the system and to consult its metadata, to access
+ reliable sources and a correct transcription, and its editors have the merit of
+ sharing a high-value work previously unpublished. Besides, the work done for
+ extending the reality of the edition to the Semantic Web environment is what makes
+ this digital edition innovative and different from the others available nowadays.
+ According to Patrick Sahle’s catalog of Digital Scholarly Edition
+ Sahle 2008-2023., indeed,
+ among more than 700 cases of studies, only one makes use of Semantic Web
+ technologies, and it is burckhardtsource projectburckhardtsource
+ project. https://burckhardtsource.org/., a semantic Digital Library that
+ hosts the critical and semantic edition of the letters written to Jacob
+ Burckhardt.
+
The decisions that have guided PBN are described, but the lack of
+ detailed documentation of the project represents a flaw. Conveying all the
+ information about the project (currently spread into different scholarly
+ articles
+ Citti 2008 and Daquino, Giovannetti, and Tomasi
+ 2019. , mainly written by the same editors) on the PBN page would
+ make it a self-sufficient source.
+
Moreover, the notebook also appears very suitable for a critical edition
+ with a critical commentary. Thanks to the dates noted by Bufalini at the top of some
+ pages, it could be interesting to investigate some possible connections between his
+ philosophical reflections and the coeval social and historical context, during which,
+ let me stress, Bufalini still served as senator of the Republic. This is just an idea
+ that genuinely came to me while leafing through the notebook. Alternatively, another
+ suggestion could be to conduct a technical analysis of the various pensBufalini used black, blue, red, and even green pens. He sometimes
+ took a pencil to underline pieces of text written with the pen. Page 140 of the
+ notebook shows this mixture well. used by the author over ten years, which
+ could unveil, for instance, the timing and the meaning of some comments and the
+ underlining. So why not think about extending the ambitions and aims of the edition
+ to a wider work in the future?
+
Therefore, PBN is a valuable project that achieves a good result in
+ terms of visualization of the facsimile, accessibility, and usability; it has a
+ modern style that makes the fruition of the site an enjoyable experience and provides
+ a well-done transcription of an unpublished work. In conclusion, although the editors
+ did not mention further extensions of the edition, I would suggest they deal with
+ some of the weaknesses of the edition and fully realize the high potential of
+ PBN.
+
+
+
+
+
+ Citti, Francesco. 2008. “Paolo Bufalini and the classics:
+ towards a digital edition of his ‘Note-Book’”. Conservation Science in
+ Cultural Heritage, 8(1): 65-89. https://doi.org/10.6092/issn.1973-9494/1396.
+ Daquino, Marilena, Francesca
+ Giovannetti, and Francesca Tomasi. 2019. “Linked Data per le edizioni scientifiche
+ digitali. Il workflow di pubblicazione dell’edizione semantica del quaderno di
+ appunti di Paolo Bufalini”. Umanistica Digitale, 3(7). https://doi.org/10.6092/issn.2532-8816/9091.
+ Daquino, Marilena, Francesca
+ Giovannetti, and Martina Dello Buono. 2021. “Paolo Bufalini's notebook”.
+ GitHub.com. https://github.com/marilenadaquino/bufalinis-notebook.
+ Daquino, Marilena, Martina
+ Dello Buono, Francesca Giovannetti, and Francesca Tomasi. 2020. “Paolo Bufalini,
+ Appunti (1981-1991)” [Semantic Scholarly Digital Edition]. Digital Humanities
+ Advanced Research Centre (/DH.arc), https://doi.org/10.6092/unibo/amsacta/6415.
+ DL FICLIT, “Paolo Bufalini, ‘Appunti 1981-1991’ (quaderno
+ manoscritto)” https://dl.ficlit.unibo.it/s/lib/item/198982.
+ Giovannetti, Francesca. 2013. “Paolo
+ Bufalini, Appunti (1981-1991). Una Proposta di Edizione Digitale.” Bachelor’s
+ degree thesis in Digital Humanities. Alma Mater Studiorum University of Bologna.
+ Giovannetti, Francesca. 2015. “Combining TEI and
+ Semantic Web Technologies to Annotate and Explore the Notebook of Paolo Bufalini
+ (1915-2001)”, Master Thesis. Alma Mater Studiorum University of Bologna.
+ Matteoli, Giovanni. 2002. “Paolo Bufalini. L’impegno
+ politico di un intellettuale”, Catanzaro, Rubbettino.
+ Nielsen, Jakob. 2012. “Usability 101: Introduction to
+ Usability”. Nielsen Norman Group. https://www.nngroup.com/articles/usability-101-introduction-to-usability/.
+ Sahle, Patrick. 2008–2023. A Catalog of Digital Scholarly
+ Editions, Version 3.0. https://v3.digitale-edition.de/.
+ Tomasi, Francesca, Marilena Daquino,
+ and Francesca Giovannetti. 2019 “Paolo Bufalini. Quaderno di appunti (1981-1991)”.
+ Dh.arc. https://doi.org/10.6092/unibo/amsacta/6415.
+
+
+
+
+
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+++ b/issues/issue18/catullus/catullus-tei.xml
@@ -0,0 +1,2035 @@
+
+
+
+
+
+
+
+ Catullus Online
+
+
+ Martina
+ Pensalfini
+
+
+ Università di Bologna
+ Bologna, Italy
+
+ martina.pensalfini@studio.unibo.it
+
+
+
+ Institut für Dokumentologie und Editorik e.V.
+ December 2023
+ http://ride.i-d-e.de/issues/issue-18/catullus
+ 10.18716/ride.a.18.5
+ https://github.com/i-d-e/ride/raw/master/issues/issue18/catullus/catullus.pdf
+
+
+
+
+
+ RIDE - A review journal for digital editions and resources
+ Ulrike Henny-Krahmer
+ Martina Scholger
+ Ulrike
+ Henny-Krahmer
+ Frederike
+ Neuber
+ Martina
+ Scholger
+ Digital Scholarly Editions
+ http://ride.i-d-e.de/issues/issue-18
+
+
+
+
+ Catullus Online
+ Dàniel Kiss
+
+ Editor
+ Kiss, Dàniel
+
+ 2013
+ http://www.catullusonline.org/CatullusOnline/index.php?dir=poems
+ 2022-05-14
+
+
+
+
+ Criteria for Reviewing
+ Scholarly Digital Editions
+
+
+
+
+
born digital
+
+
+
+
+
+
+ Documentation
+
+ Bibliographic description cf. Catalogue 1.2
+
+ Is it easily possible to describe the project bibliographically along
+ the schema "responsible editors, publishing/hosting institution, year(s) of
+ publishing"?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contributors cf. Catalogue 1.4
+
+ Are the contributors (editors, institutions, associates) of the
+ project fully documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contacts cf. Catalogue 1.5
+
+ Does the project list contact persons?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Selection cf. Catalogue 2.1
+
+ Is the selection of materials of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reasonability of the selection cf. Catalogue
+ 2.1
+
+ Is the selection by and large reasonable?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Archiving of data cf. Catalogue 4.16
+
+ Does the documentation include information about the long term
+ sustainability of the basic data (archiving of the data)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Aims cf. Catalogue 3.1
+
+ Are the aims and purposes of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Methods cf. Catalogue 3.1
+
+ Are the methods employed in the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Data model cf. Catalogue 3.7
+
+ Does the project document which data model (e.g. TEI) has been used
+ and for what reason?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Help cf. Catalogue 4.15
+
+ Does the project offer help texts concerning the use of the
+ project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Citation cf. Catalogue 4.8
+
+ Does the project supply citation guidelines (i.e. how to cite the
+ project or a part of it)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Completion cf. Catalogue 4.16
+
+ Does the editon regard itself as a completed project (i.e. not promise
+ further modifications and additions)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Institutional curation cf. Catalogue 4.16
+
+ Does the project provide information about institutional support for
+ the curation and sustainability of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+
+ Contents
+
+ Previous edition cf. Catalogue 2.2
+
+ Has the material been previously edited (in print or
+ digitally)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Materials used cf. Catalogue 2.2
+
+ Does the edition make use of these previous editions?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Introduction cf. Catalogue 4.15
+
+ Does the project offer an introduction to the subject-matter (the
+ author(s), the work, its history, the theme, etc.) of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Bibliography cf. Catalogue 2.3
+
+ Does the project offer a bibliography?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Commentary cf. Catalogue 2.3
+
+ Does the project offer a scholarly commentary (e.g. notes on unclear
+ passages, interpretation, etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contexts cf. Catalogue 2.3
+
+ Does the project include or link to external resources with contextual
+ material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Images cf. Catalogue 2.3
+
+ Does the project offer images of digitised sources?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Image quality cf. Catalogue 4.6
+
+ Does the project offer images of an acceptable quality?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Transcriptions cf. Catalogue 2.3
+
+ Is the text fully transcribed?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Text quality cf. Catalogue 4.6
+
+ Does the project offer texts of an acceptable quality (typos, errors,
+ etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Indices cf. Catalogue 4.5
+
+ Does the project feature compilations indices, registers or
+ visualisations that offer alternative ways to access the material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of documents cf. Catalogue 1.3 and
+ 2.1
+
+ Which kinds of documents are at the basis of the project?
+
+ Single manuscript
+
+
+
+
+
+ Single work
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ Collected works
+
+
+
+
+
+ Papers
+
+
+
+
+
+ Archival holding
+
+
+
+
+
+ Charters
+
+
+
+
+
+ Letters
+
+
+
+
+
+ Diary
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Document era cf. Catalogue 1.3 and 2.1
+
+ What era(s) do the documents belong to?
+
+ Classics
+
+
+
+
+
+ Medieval
+
+
+
+
+
+ Early modern
+
+
+
+
+
+ Modern
+
+
+
+
+
+
+ Subject cf. Catalogue 1.3
+
+ Which perspective(s) do the editors take towards the edited material?
+ How can the edition be classified in general terms?
+
+ History
+
+
+
+
+
+ Philology / Literary Studies
+
+
+
+
+
+ Philosophy / Theology
+
+
+
+
+
+ History of Science
+
+
+
+
+
+ Musicology
+
+
+
+
+
+ Art History
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Spin-Offs cf. Catalogue 4.11
+
+ Does the project offer any spin-offs?
+
+ App
+
+
+
+
+
+ Mobile
+
+
+
+
+
+ PDF
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+ Access modes
+
+ Browse by cf. Catalogue 4.3
+
+ By which categories does the project offer to browse the
+ contents?
+
+ Authors
+
+
+
+
+
+ Works
+
+
+
+
+
+ Versions
+
+
+
+
+
+ Structure
+
+
+
+
+
+ Pages
+
+
+
+
+
+ Documents
+
+
+
+
+
+ Type of material
+
+
+
+
+
+ Images
+
+
+
+
+
+ Dates
+
+
+
+
+
+ Persons
+
+
+
+
+
+ Places
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Simple search cf. Catalogue 4.4
+
+ Does the project offer a simple search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Advanced search cf. Catalogue 4.4
+
+ Does the project offer an advanced search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Wildcard search cf. Catalogue 4.4
+
+ Does the search support the use of wildcards?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Index cf. Catalogue 4.4
+
+ Does the search offer an index of the searched field?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Suggest functionalities cf. Catalogue 4.4
+
+ Does the search offer autocompletion or suggest
+ functionalities?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Help texts cf. Catalogue 4.4
+
+ Does the project offer help texts for the search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+
+ Aims and methods
+
+ Audience cf. Catalogue 3.3
+
+ Who is the intended audience of the project?
+
+ Scholars
+
+
+
+
+
+ Interested public
+
+
+
+
+
+
+ Typology cf. Catalogue 3.3 and 5.1
+
+ Which type fits best for the reviewed project?
+
+ Facsimile edition
+
+
+
+
+
+ Archive edition
+
+
+
+
+
+ Documentary edition
+
+
+
+
+
+ Diplomatic edition
+
+
+
+
+
+ Genetic edition
+
+
+
+
+
+ Work critical edition
+
+
+
+
+
+ Text critical edition
+
+
+
+
+
+ Enriched edition
+
+
+
+
+
+ Database edition
+
+
+
+
+
+ Digital library
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Critical editing cf. Catalogue 3.6
+
+ In how far is the text critically edited?
+
+ Transmission examined
+
+
+
+
+
+ Palaeographic annotations
+
+
+
+
+
+ Normalization
+
+
+
+
+
+ Variants
+
+
+
+
+
+ Emendation
+
+
+
+
+
+ Commentary notes
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ XML cf. Catalogue 3.7
+
+ Is the data encoded in XML?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Standardized data model cf. Catalogue 3.7
+
+ Is the project employing a standardized data model (e.g.
+ TEI)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of text cf. Catalogue 3.5.
+
+ Which kinds or forms of text are presented?
+
+ Facsimiles
+
+
+
+
+
+ Diplomatic transcription
+
+
+
+
+
+ Edited text
+
+
+
+
+
+ Translations
+
+
+
+
+
+ Commentaries
+
+
+
+
+
+ Semantic data
+
+
+
+
+
+
+
+ Technical accessability
+
+ Persistent identification cf. Catalogue 4.8
+
+ Are there persistent identifiers and an addressing system for the
+ edition and/or parts/objects of it and which mechanism is used to that
+ end?
+
+ DOI
+
+
+
+
+
+ ARK
+
+
+
+
+
+ URN
+
+
+
+
+
+ PURL.ORG
+
+
+
+
+
+ Persistent URLs
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Interfaces cf. Catalogue 4.9
+
+ Are there technical interfaces like OAI-PMH, REST etc., which allow
+ the reuse of the data of the project in other contexts?
+
+ OAI-PMH
+
+
+
+
+
+ REST
+
+
+
+
+
+ General API
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Open Access
+ Is the edition Open Access?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Accessability of the basic data cf. Catalogue
+ 4.12
+
+ Is the basic data (e.g. the XML) of the project accessible for each
+ part of the edition (e.g. for a page)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Download cf. Catalogue 4.9
+
+ Can the entire raw data of the project be downloaded (as a
+ whole)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reuse cf. Catalogue 4.9
+
+ Can you use the data with other tools useful for this kind of
+ content?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Declaration of rights cf. Catalogue 4.13
+
+ Are the rights to (re)use the content declared?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ License cf. Catalogue 4.13
+
+ Under what license are the contents released?
+
+ CC0
+
+
+
+
+
+ CC-BY
+
+
+
+
+
+ CC-BY-ND
+
+
+
+
+
+ CC-BY-NC
+
+
+
+
+
+ CC-BY-SA
+
+
+
+
+
+ CC-BY-NC-ND
+
+
+
+
+
+ CC-BY-NC-SA
+
+
+
+
+
+ PDM
+
+
+
+
+
+ No license
+
+
+
+
+
+ Multiple licenses
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+ anthology
+ codex
+ critical apparatus
+ critical digitization
+ critical edition
+ digital scholarly edition
+ italian
+ latin
+ literature
+ manuscripts
+ poetry
+ scholarly digital edition
+
+
+
+
+
+
+
+
+ Catullus Online, a collection of the author’s poems and a repository of
+ the conjectures collected through the centuries, was published by Dániel Kiss with
+ the support of the Abteilung für Griechische und Lateinische Philologie
+ of the Ludwig-Maximilians-Universität München, in 2013. Kiss faced many difficulties
+ in the creation of such a resource, both from a technical standpoint and from the
+ inner complexity of the philological tradition behind Catullus and his poems. He
+ still ended up creating a rather interesting Scholarly Digital Edition, which has
+ made such work more accessible, even to those that don’t typically belong in the
+ academic world, offering the possibility to access high-quality photos of the
+ manuscripts, a curated apparatus and much other information about the texts and the
+ author, with just a simple click. What is mostly missing in this project is a more
+ sophisticated digital interface, a lost opportunity to further enhance the quality of
+ such a Scholarly Digital Edition.
+
+
+
+
+ Bibliographic identification of the Scholarly Digital Edition
+
+ Catullus Online was developed thanks to the research project An
+ Online Repertory of Conjectures for Catullus (2009–2013), promoted by the
+ Center for Advanced Studies and the Abteilung für Griechische und Lateinische
+ Philologie of the Ludwig-Maximilians-Universität München, which financed
+ the project. The result of the project is now reachable as a digital resource through
+ the URL “http://www.catullusonline.org”.
+
Dániel Kiss is the editor and creator of Catullus Online,
+ and he was helped by a group composed of philologists like Giuseppe Gilberto Biondi
+ and Michael Reeve and experts in Classics like David Butterfield, Carlotta
+ Dionisotti, Julia Gaisser, Daniel Hadas, Stephen Harrison, Jeffrey Henderson,
+ Giovanni Maggiali, and John Trappes-Lomax who worked with him on tracing conjectures
+ – critical reconstructions of corrupted passages of text – and rare books. After
+ having been published in 2013, the work on Catullus Online was further
+ developed during the research project The textual transmission of
+ Catullus (2015–2017), which was realized at the Universitat de
+ Barcelona.
+
+
+ General parameters and introduction
+
The idea behind this project first appeared to Kiss during his stay at
+ Scuola Normale di Pisa in 2005, where he was confronted with the controversial
+ textual history of Catullus’ poems and their manuscripts (Kiss 2020, 101). To better understand this complex
+ history, Kiss went to the University of North Carolina at Chapel Hill in 2007, where
+ he was able to study the Halle-Ullman Papers as well as the collation and the
+ transcription of 113 manuscripts of Catullus made by William Gardner Hale, Euan T.
+ Sage, Berthold L. Ullman, and other scholars of the 20th century.From the Section ABOUT THE WEBSITE in Catullus Online: http://web.archive.org/web/20231215114144/http://www.catullusonline.org/CatullusOnline/index.php?dir=edited_pages&pageID=5.
+ By this time, he chose not to create a new edition of Catullus’ poems, and instead,
+ he focused on “mapping the manuscript tradition and drawing up conjectures”(Kiss 2020, 101).
+
+ Catullus Online was first created as a repository of conjectures and
+ later – with the development and employment of further elements – as a digital
+ critical edition. The choice of an online publication was due to the various problems
+ that came with printed editions since many were expensive and not accessible across
+ the world, whereas a digital publication instead allowed Kiss to make his project
+ more accessible and to display some additional elements (e.g., search tools, the
+ possibility to visualize the images of the manuscript and to consult more easily the
+ apparatus) that could not be used in a printed edition (Kiss 2020, 102-103).
+
It is easy to understand the general parameters of Catullus
+ Online since the titles of its various sections are very explicit, and Kiss
+ has done a good job of explaining his work and his editorial principles through the
+ two sections in the menu on the left in the lower side of the site: “ABOUT THE
+ WEBSITE”, where he explains the journey to the creation of the project and then of
+ the website, and “ABOUT THE REPOSITORY”, which instead illustrates his philological
+ attitude towards the manuscripts and conjectures. In these two sections, there are
+ many links to external web resources, which are clickable and offer the possibility
+ to explore further the sources used for Catullus Online, although a few
+ have not been updated and will lead to old or inactive pages. To know more about the
+ methods used in this project, users can read Catullus Online: A Digital
+ Critical Edition of the Poems of Catullus with a Repertory of Conjectures,
+ an essay written by Dániel Kiss, where he further explains his working process and
+ his editorial choices.
+
+
+ Subject and content of the edition
+
+ Catullus Online is composed of the full text of all 116 poems written by
+ Catullus, accompanied by a critical, diachronic, and positive apparatus – meaning
+ that both accepted and rejected readings are present (Macé and Roelli 2015) – containing the textual
+ notes and all the conjectures which have been made on the text so far and which Kiss
+ has collected through his work.
+
The text of the poems is based on the manuscripts which stem from the
+ Codex Veronensis (V), the oldest witness of Catullus’ manuscripts,
+ and is directly accessible through “POEMS”, whereas to use the apparatus, the user
+ will have to go to the section “POEMS WITH APPARATUS”. The biggest achievement of
+ such a format is that it creates a free curated digital edition of Catullus, allowing
+ the user both to have complete access to all the conjectures found by Kiss and to
+ interact with different texts and even unpublished papers (e.g., Berthold L. Ulman’s
+ ones). The editor focused on the investigation of his sources, many of which had not
+ been verified by previous scholars. To do so, he proceeded to personally transcribe
+ half a dozen undocumented manuscripts he found at Chapel Hill and two incunables that
+ were not available in any libraries of Munich and neither online. This resulted in
+ Kiss owning a collation, a reproduction, or a transcription of all known manuscripts
+ of Catullus that were copied before 1520 and of all printed editions from the editio
+ princeps of 1472 up to the first Aldine of 1502 (Kiss 2020, 104-105). Other than Catullus
+ Online, there are many classical Latin texts already available online, but
+ unlike this case, they are just digital reproductions of the printed edition, in some
+ cases scanned with OCR, with no optional functionalities or a full apparatus (Nappa 2017).
+
Another achievement of Catullus Online is the fact that
+ users can directly visualize the images of the manuscripts, and the possibility to
+ access these helps to shed light on the complex textual schema behind Catullus’
+ tradition, allowing academics – and other interested users – to consult the
+ manuscripts behind the text of the project. More precisely, we can see images of only
+ O, G, and T since Biblioteca Apostolica Vaticana – which is currently
+ holding the manuscript R – does not allow the online publication of high-resolution
+ images of its manuscripts outside of its website (Kiss 2020, 107). The possibility to directly see the
+ images of the manuscripts employed for a critical edition is not frequent, mostly due
+ to traditional copyright restrictions. In fact, many libraries do not allow
+ high-quality reproductions of the manuscripts they store, and they are neither
+ trained nor funded to handle the incoming need for digitization other than
+ conservation. To solve this problem, new application format interfaces – e.g., IIIF,
+ the International Image Interoperability Framework – are being implemented to offer
+ the possibility to let the libraries – e.g., the Bodleian Library –
+ continue hosting their images on their home servers while allowing other sites to
+ display them, offering the possibility to easily share various cultural artifacts on
+ the web (Mastronarde 2020,
+ 116).
+
+
+
+ Screenshot of the description of manuscript T.
+
+
+
+ Screenshot of the description of manuscript 90.
+ The users can also access the section “TESTIMONIA”, where quotations of
+ Catullus found in ancient and medieval texts are stored as indirect witnesses of his
+ textual tradition, whereas through the section “BIBLIOGRAPHY”, the user will be able
+ to find the bibliography that was used to create this project. “MANUSCRIPTS” gives us
+ the full list of the manuscripts, and they are divided into two groups:
+ T, O, G, R, m, S.These manuscripts are introduced with a small
+ description of their main details, such as where and when they were copied, the
+ writing used, their measures, and other important specifics, as can be seen in
+ Figure 1.
+ Other surviving manuscripts of Catullus’ Liber. They are
+ each identified by a number and ordered alphabetically. This system is based on
+ the list of manuscripts created by D. F. S. Thompson (1997, 77-92) and further elaborated and curated
+ by Kiss in 2012. They have their main details – such as where they are now
+ stored, and where and when they were copied – next to their identifying number,
+ as can be seen in Figure 2.
+
+
+
In “ABOUT THE WEBSITE” and “ABOUT THE REPOSITORY”, all the information
+ about the methods and tools that have been used to build the repository and the
+ website is given, and in “HELP” and “CONTACT”, you can find all the useful
+ information to navigate the website and to properly contact the editor for feedback
+ or further inquiries. While the general interface, the navigation bar, and the
+ sections are given in English, the poems are available only in Latin, with no
+ translation into any other language offered. To offer a translation at least into
+ English would be very helpful since this edition is meant to reach not only scholars
+ but anybody with Internet access (Kiss
+ 2020, 103) and it might also involve people who do not have a solid base in
+ Latin in the Catullus Online project. A few other features that could be
+ implemented are sections or pages about Catullus’ life and his context, as well as to
+ encourage other kinds of studies on the poems, such as historical or linguistic
+ ones.
+
+
+ Aims and methods
+
+ Catullus Online was originally born as a repository of conjectures, but
+ later, the editor chose to transform it into a digital critical edition by adding the
+ text of the poems to the repository. The digital aspect of this edition was meant to
+ allow for searchability through an interconnected text, a user-friendly and
+ easy-to-use interface supported by all browsers, and reminiscent of the standards
+ upheld by printed editions (Kiss 2020,
+ 103). The constitution of the text is made in a rather traditional way, with an
+ apparatus and a repertory of conjectures (Nappa 2017), to avoid distracting the viewer from the focal points and
+ complicating the consultation of the website.
+
The two missions of this digital critical edition are to offer a
+ reliable text and to give students a research tool for the future (Kiss 2020, 113-114). An audience that
+ could benefit from this edition is also undergraduates or secondary school students,
+ as the easy-to-use interface would allow them to study the poems and the apparatus
+ easily to deepen their knowledge (Nappa
+ 2017). The main manuscripts are known as TOGR, and since they are all
+ independent of each other, they all have source value (Kiss 2020, 103):
+
+ Oxoniensis, copied in Northern Italy, 14th century, is currently
+ stored in Oxford, Bodleian Library (O).
+
+ Sangermanensis, copied in Verona in 1375, is currently stored in
+ Paris, Bibliothèque Nationale de France (G).
+
+ Romanus, copied in Florence 1375–1395, currently stored in Rome,
+ Biblioteca Apostolica Vaticana (R).
+
+ Thuaneus, an anthology of Latin poetry copied around 850 in
+ central France stored in Paris, Bibliothèque Nationale de France;
+ unlike the others, it does not derive directly from the Codex
+ Veronensis (T) (Kiss
+ 2020, 101-103).
+
+
+
+
+
+ Screenshot of the apparatus of verse 1 (carmen 1).
+ Another important element of a critical edition is the apparatus where all
+ the conjectures are stored alongside the critical and textual notes. In this case, we
+ can talk about a proper critical apparatus because the variant readings of the
+ various witnesses are stored alongside the conjectures. The apparatus appears on the
+ right of the poem either through clicking the option “SHOW FULL APPARATUS” or the
+ triangle icon in the section “POEMS WITH APPARATUS” next to the first line of the
+ poem. This way, you can easily visualize all the diachronic dimensions of the text
+ with one click, as shown in Figure 3.
+
The manuscripts are either recognized through their sigla or with their
+ number in the list, while the apparatus itself is ordered chronologically,
+ registering all the first instances of the conjectures stored inside of it. However,
+ there are a few exceptions and limitations due to the still unknown relationships
+ between many Renaissance manuscripts and humanistic conjectures. Not having a fully
+ developed stemma of all of Catullus’ manuscripts and having many families of codices
+ that cannot be linked to any of the parent nodes (TOGR) has made the task of fully
+ understanding the relationships between manuscripts and their dates rather difficult
+ and complex (Bertone 2017, 1). Kiss
+ distanced himself from Mynors’ theories – refusing the theory of the eight layers of
+ humanistic conjecturesR.A.B Mynors, to make sense of the
+ complexity of Catullus’ tradition, recognized eight layers of humanistic
+ corrections and named them after the Greek letters αβγδεζηθ to distinguish them
+ (Kiss 2013, 2017). According
+ to Dániel Kiss, this system proved to be highly problematic due to its
+ inconsistency. – and edition, in the aspects of presentation and editing,
+ for example, by choosing not to reproduce here the fragmentary Priapea,
+ placed by Muretus between the poems 17 and 21 (Nappa 2017).
+
+ Catullus Online does not follow the TEI Guidelines since, back in 2009,
+ when the project was planned by the editor, he was not aware of the possibility of
+ using models that were different from the digitized book and the text-only online
+ publication. By then, the TEI consortium had already developed digital guidelines for
+ digital critical editions like Catullus Online. However, these
+ guidelines would not have been compatible with the project since the apparatus had to
+ be marked up manually or semi-automatically. This would have been too time-consuming
+ for the project at hand, although the guidelines might have been useful as a starting
+ point since they offer a rather durable and robust system of tags (Kiss 2020, 103-104).
+
Nevertheless, the website employed a standard for the texts: HTML, a
+ formal recommendation by the W3C, used to showcase documents in a browser. Such a
+ standard is solid and quite easy to use, making the project further interoperable and
+ structured through an understandable setup. It can also be adapted for different
+ formats (such as mobile or desktop) and can be used in all major browsers, as was
+ Kiss’ original objective in creating his digital edition.
+
Another aspect to take into consideration, aside from the employment of
+ only a very basic but solid standard for the encoding of texts, is the fact that Kiss
+ has not allowed Catullus Online to be citable through CTS
+ (Canonical Text Services), losing a chance to allow the website to be
+ accessible and employ the tools available through such a service (Blackwell and Smith 2014).
+ This also limits the potentiality of such a project in the world of linked open data,
+ which has by now become a norm in the digital humanities environment.
+
All the information about the aims and methods of Catullus
+ Online can be found in the “ABOUT THE REPOSITORY” section on the website
+ and in the essay Catullus Online: A Digital Critical Edition of the Poems of
+ Catullus with a Repertory of Conjectures (Kiss 2020, 99-114), where all methods, theories, and
+ ideas are documented to fully explain the process behind the choices made on the text
+ constitution.
+
+
+ Publication and presentation
+
Kiss worked with Woodpecker Software to construct the website on which
+ Catullus Online is presented, and with Stalker Studio for its design.
+ To realize Catullus Online, the engineers of Woodpecker Software
+ employed the programming language PHP and the open-source database management system
+ MySQL, which has been employed mostly in the apparatus part (Kiss 2020, 105-109).
+
As mentioned before, the TEI Guidelines are not employed, and neither a
+ model like the one used by the digital project Musisque Deoque (Biondi et al. 2005) – a platform
+ where many digital critical editions of Latin literature are stored – is used. The
+ poems and the apparatus would need to be manually or semi-automatically encoded,
+ which would be a rather slow process for the huge number of conjectures stored in
+ Catullus Online. Instead, Kiss’ project seems to remain on the same
+ level as the digitized books and the simple text-only online publications (Kiss 2020, 103-104). The sole standard
+ employed by the author for the texts is, as mentioned above, HTML, offering a solid
+ basis. However, this could be improved in the future by using the TEI Guidelines.
+
+
+
+ Screenshot of the homepage.
+ The interface of Catullus Online is quite easy to understand,
+ and this format does not require any introductory readings or explanations. However,
+ if needed, the user can find a small summary of the various functions of this website
+ inside the section “HELP”. The user is directly introduced to the poems in the
+ central part of the homepage, whereas on the left part of the website, they can find
+ the first part of the navigation bar, – composed of “POEMS”, “POEMS WITH APPARATUS”,
+ “BIBLIOGRAPHY”, “TESTIMONIA” – the search tools, and the rest of the navigation bar –
+ MANUSCRIPTS”, “ABOUT THE WEBSITE”, “ABOUT THE REPOSITORY”, “CONTACTS”, and “HELP”, as
+ shown in Figure 4.
+
+
+
+ Screenshot of Show Full Apparatus detail.
+ On the right side of this section, there are only two relevant elements,
+ which are the Facebook icon – Catullus Online is very much active on
+ Facebook – and the “SHOW FULL APPARATUS” option, which will lead the user from
+ “POEMS” to “POEMS WITH APPARATUS”. There, the user can visualize the apparatus in its
+ entirety and they can fully visualize various textual phenomena which are
+ interconnected with the text (Kiss
+ 2020, 107), as shown in Figure 5.
+
As much as this interface is very easy to understand, it is not very
+ accessible and usable since reading the text of the poems and their apparatus might
+ be a rather tiring task for users. In fact, showcasing the full texts might be a bit
+ troubling to read and follow, even more so on a screen with a small font and a high
+ density of text.
+
+
+
+ Screenshot of the three main icons.
+ In the section “POEMS WITH APPARATUS”, three icons appear next to the verse
+ chosen, as shown in Figure 6. The triangle
+ icon will make the critical apparatus appear on the right beside the verse studied.
+ If the apparatus is longer than one line, the following verse is moved down, so that
+ the text can be properly aligned, and the user can fully visualize all the
+ conjectures and secondary readings for that specific line without having them overlap
+ with the following verse. The rectangle icon, instead, will lead to the visualization
+ of the images of the manuscripts at a lower quality, while clicking directly on the
+ image will open another window in the browser, showcasing it in a much higher
+ resolution and with a larger dimension. The images can also be downloaded, and they
+ are extremely precious for the user since they allow them to witness the tradition
+ behind Catullus’ poems directly. The quotation mark, on the other hand, will give the
+ user further textual and contextual information, and in some cases, it is possible to
+ also visualize a cross icon, which offers an overview of the different
+ reconstructions of that specific line, also shown in the apparatus. This way, it
+ allows a clearer layout separating the reconstructions from the other information
+ stored in the apparatus.
+
+
+
+ Screenshot Search by poems, apparatus, and testimonia
+ option.
+
+
+
+ Screenshot Go to the passage (poem and line) option.
+ It would be rather difficult and time-consuming to browse through the
+ entirety of the collection. Hence, two search tools have been added to allow the user
+ to jump directly to the part of the text they want to study.
+ A search box that allows you to search a word inside the poems, the
+ apparatus, or the testimonia (or through all three options); this is very
+ useful because it allows the user to confront various passages in the text with
+ a similar theme or use a specific keyword to see how it is differently used in
+ the text, or its popularity, as shown in Figure 7.
+ The second search tool can be employed, instead, to search a specific
+ paragraph. It will simply jump into a specific poem or line selected, and
+ obviously, in this case, it is important to point out that the user would need
+ to know which specific passage they are searching. This second search tool is a
+ bit faulty since it sometimes either does not work at all or will not jump
+ directly to the poem or line selected, as shown in Figure 8.
+
+
+
+
+
+ Screenshot of the alphabetic order of the Bibliography
+ section.
+ To also facilitate the navigation of the “BIBLIOGRAPHY” page, the author has
+ organized the bibliography through quick links to individual letters, alphabetically
+ ordered, as shown in Figure 9.
+
All the rights of this project – the author’s research, his work on the
+ text, and the website – are copyrighted by Dániel Kiss (2013, 2017). For the images, instead, all the rights
+ belong to the institution hosting the photographed manuscripts. The
+ Bibliothèque Nationale de France has given the permission to
+ reproduce digitally the images of the manuscripts T and G, whereas the Bodleian
+ Library at first requested a small fee for the publication of the images of
+ O, but now they are freely available on the Digital Bodleian (Mastronarde 2020, 116-117).
+
The website is not hosted on an institutional site, although that is
+ something that Kiss hopes to obtain in the future since it would make the site much
+ more stable and durable in time. Currently, he has been paying an annual fee to
+ Woodpecker Software for the domain rights of Catullus Online. The
+ platform is accessible from every kind of browser, although in the future,
+ technological change problems might prove to be rather intense for the website, even
+ more for mobile users since a responsive version has not been developed yet and a
+ printed edition is not available (Kiss
+ 2020, 109-112).
+
It is also important to state that the content and rendering of the
+ website are tightly linked, which appears to be quite a limitation for the project as
+ it does not allow the ordinary user to consult the project offline, and neither can
+ they store the texts and apparatus elsewhere to properly annotate them. It would be
+ good in the future to study a solution that would allow the users to access the
+ website differently, without relying entirely on its rendering, and by allowing the
+ possibility to download the apparatus and texts or even just simply mark the texts
+ with their annotations.
+
In the future, it is also important to review the content of
+ Catullus Online since, over the years, growing feedback from the
+ users has been collected. This could be useful to update the edition with newfound
+ conjectures and ideas, and this was possible thanks to the presence of Catullus
+ Online on Facebook, which has proved to be extremely useful for the first
+ years of the website since it allowed the editor to promote it in groups about
+ classics and digital humanities (Kiss
+ 2020, 109).
+
+
+ Conclusion
+
According to Patrick Sahle’s definition, Catullus Online is
+ a Scholarly Edition, a “critical representation of historic documents” (Sahle 2016, 23). The choices regarding
+ the reproduction of the text and the additional material chosen to portray the
+ historical tradition behind Catullus’ poems are explained, justified, and stated by
+ the editor through specific editorial methods and based on academic studies that are
+ respected throughout the entire edition. The historical aspect of this edition, on
+ the other hand, is visible in the apparatus and the “MANUSCRIPT” section where the
+ user can fully witness the diachronic dimension of Catullus’ tradition, being able to
+ bridge the distance in time directly. There is also a full representation of the
+ subject and all the self-stated rules – e.g., to offer a way to freely access the
+ conjectures, to collect as many conjectures as possible and to give the user some
+ extra tools to further understand the context and historical tradition – that are
+ respected throughout the entirety of the edition (Sahle 2016, 23-26).
+
It is also a Scholarly Digital Edition but with some
+ reservations: it imposes a specific digital paradigm – an algorithm creates a
+ specific way to visualize the text (Sahle
+ 2016, 26-27) – and a specific standard for the texts – HTML. These two
+ elements are followed in the entirety of the edition’s creation, but many aspects
+ (e.g., “accessibility, usability, and computability”) remain truly underdeveloped.
+ Regarding this, I do believe that the lack of models and examples at the time the
+ author started working on Catullus Online brought Kiss to have a very
+ basic digital model for his project: there is no employment of shared practices such
+ as TEI or CTS, and the interface of the website struggles to be responsive and
+ accessible.
+
As stated in the paragraphs above, Catullus Online does certainly offer
+ the user a scholarly edition in a digital format, and even though it solves many of
+ the problems that come with a printed edition (e.g., the possibility to access the
+ texts and the apparatus freely), it still retains some of the typical characteristics
+ of printed editions, such as the impossibility to view the edition in different
+ formats or the limited responsivity, due to the absence, for example, of an
+ infrastructure that adapts to the device the user is employing.
+
There is certainly a discussion about the digital development of the
+ edition, alongside an explanation of all the choices of the author around it,
+ furthermore, reinstating a paradigm. However, as Kiss was not the one who worked on
+ the technological side – instead, it was a private studio (Woodpecker Software) –
+ there is little to no knowledge about the infrastructure hosting the website, hence
+ limiting the reusability of such a model for other editions.
+
This brings the project to be, indeed, digital but at a basic level and
+ with many sectors that could be further improved by all the new standards, models,
+ and practices developed over the years. Although Catullus Online is not
+ digitally perfect, it hopes to be a starting point for the development of further
+ studies on Catullus’ tradition (Kiss
+ 2020, 112-114).
+
+ Suggested Future Implementations
+
Here are a few suggestions that could help Catullus
+ Online broaden its horizons in the digital realm:
+ Kiss would do well to adapt the edition to the TEI Guidelines to offer a
+ more durable service over time.
+ It would also be an improvement for the edition to allow Catullus
+ Online to be citable through the CTS protocol. It could employ an
+ implementation similar to the one in the Perseus Digital Library, which
+ combines both the CTS system and linked data, starting from an HTML basis
+ (Almas, Babeu, and
+ Krohn, 2014).
+
+
+
Both the implementation of the TEI Guidelines and the CTS protocol
+ would allow Catullus Online to become further syntactically and
+ semantically interoperable (Kalvemaski 2014), which is something that the project is in part
+ lacking.
+ It would also be a good idea to offer a translation of the poems
+ alongside their text so that this website could be truly employed and
+ consulted by people other than academics (e.g., secondary school students
+ who have yet to form themselves on Latin texts and could use this website to
+ train in such a subject).
+ On this same topic, I would also suggest offering information on
+ Catullus’ life and the history of the manuscripts used. This would be
+ helpful to give a full portrait of the author and the manuscripts used in
+ the section “ABOUT THE REPOSITORY”, which explains the editorial methods
+ behind the choices applied to the text and apparatus, but not the story of
+ the manuscripts.
+ The paper that Dániel Kiss wrote – Catullus Online: A Digital
+ Critical Edition of the Poems of Catullus with a Repertory of
+ Conjectures – could be linked in the above-mentioned section to
+ explain the story behind Catullus’ tradition further.
+
+
+
A clearer interface would also offer a more accessible tool:
+ The website and the apparatus might benefit from showing one poem at a
+ time instead of all of them at once, allowing the user to zoom in on the
+ specific part of the texts, they are interested in. For this, a drop-down
+ menu where the user could select just the poem they are looking for and its
+ apparatus could be implemented.
+ Another aspect that could be improved is the second search tool, which
+ has been noted to be faulty in the previous paragraph. If fixed, it would
+ prove to be a very helpful and useful tool to observe further unnoticed
+ details in the poems.
+ Aside from a clearer interface, it would also be good to further work on
+ creating a solution for the website not to rely so heavily on its rendering,
+ allowing different methods of consultation that would involve a broader
+ audience. It would, for example, be helpful to create different methods of
+ visualization and allow the users to consult the website offline, as
+ well.
+
+
+
Finally, I think that Catullus Online could benefit from
+ further working on its responsive design, starting by offering a mobile version of
+ the website that could be more easily accessible to everyday users and not
+ strictly academics, allowing the website to be able to be consulted at any
+ moment.
+
+
+
+
+
+
+ Almas, Bridget, Alison Babeu, and Anna Krohn.
+ 2014. “Linked Data in the Perseus Digital Library.” ISAW Papers, 7.3.
+ https://web.archive.org/web/20230731161944/http://dlib.nyu.edu/awdl/isaw/isaw-papers/7/almas-babeu-krohn/.
+ Bertone, Susanna. 2017. Tradizione di Catullo e
+ critica del paratesto Divisiones, titoli e facies del Liber [doctoral
+ thesis], Università di Parma.
+ https://hdl.handle.net/1889/3606.
+ Biondi, Gilberto, Paolo Mastrandea, Raffaele Perelli,
+ Valeria Viparelli, and Loriano Zurli. 2005. Musisque Deoque. A Digital
+ Archive of Latin Poetry. Accessed December 18, 2023. https://mizar.unive.it/mqdq/public/.
+ Blackwell, Christoper and Neel Smith, eds. 2014.
+ “The Canonical Text Services protocol, version 5.0.rc.2.” Canonical Text Services
+ protocol specification. https://web.archive.org/web/20230731161428/http://cite-architecture.github.io/cts_spec/.
+ Kalvesmaki, Joel. 2014. “Canonical References in
+ Electronic Texts: Rationale and Best Practices Issue.” Digital Humanities
+ Quarterly, 8(2). https://web.archive.org/web/20230731161221/http://www.digitalhumanities.org/dhq/vol/8/2/000181/000181.html.
+ Kiss, Dàniel. 2020. “Catullus Online: A Digital Critical
+ Edition of the Poems of Catullus with a Repertory of Conjectures.” In
+ Digitale Altertumswissenschaften: Thesen und Debatten zu Methoden und
+ Anwendungen, edited by Stylianos Chronopoulos, Felix K. Maier, and Anna
+ Novokhatko, 99-114. Digital Classics Books, 4., Heidelberg: Propylaeum. https://katalog.ub.uni-heidelberg.de/titel/68575399.
+ Kiss, Dàniel. 2013, 2017. Catullus Online. An
+ Online Repertory of Conjectures on Catullus. Accessed December 18, 2023.
+ https://web.archive.org/web/20230613133050/http://www.catullusonline.org/CatullusOnline/index.php.
+ Macé, Caroline and Philipp Roelli. 2015. “Apparatus.”
+ Parvum Lexicon Stemmatologicum. https://web.archive.org/web/20220830162314/https://wiki.helsinki.fi/display/stemmatology/Apparatus.
+ Mastronarde, Donald J. 2020. “Curated Data for Textual
+ History: Review of Catullus Online.” In Digitale Altertumswissenschaften:
+ Thesen und Debatten zu Methoden und Anwendungen, edited by Stylianos
+ Chronopoulos, Felix K. Maier, and Anna Novokhatko, 115-118. Digital Classics
+ Books, 4., Heidelberg: Propylaeum. https://katalog.ub.uni-heidelberg.de/titel/68575399.
+ Nappa, Christopher. 2017. “Review: Catullus Online.” Society
+ for Classical Studies. https://web.archive.org/web/20220502185159/https://classicalstudies.org/scs-blog/christopher-nappa/review-catullus-online.
+ Sahle, Patrick. 2016. “What is a Scholarly Digital Edition?”
+ In Digital Scholarly Editing: Theories and Practices, edited by
+ Matthew James Driscoll and Elena Pierazzo, 19-39. Cambridge: Open Book Publishers.
+ http://dx.doi.org/10.11647/OBP.0095.02.
+ Thompson, Douglas F. S. 1997. Catullus.
+ Toronto: University of Toronto Press.
+
+
+
+
+
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@@ -0,0 +1,3025 @@
+
+
+
+
+
+
+
+ Furnace and Fugue. A multimedia edition of Michael Maier’s Atalanta
+ fugiens
+
+
+ Sarah
+ Lang
+
+
+ University of Graz
+ Graz, Austria
+
+ sarah.lang@uni-graz.at
+
+
+
+ Institut für Dokumentologie und Editorik e.V.
+ December 2023
+ http://ride.i-d-e.de/issues/issue-18/furnace-fugue
+ 10.18716/ride.a.18.4
+ https://github.com/i-d-e/ride/raw/master/issues/issue18/furnace-fugue/furnace-fugue.pdf
+
+
+
+
+
+ RIDE - A review journal for digital editions and resources
+ Ulrike Henny-Krahmer
+ Martina Scholger
+ Ulrike
+ Henny-Krahmer
+ Frederike
+ Neuber
+ Martina
+ Scholger
+ Christina Burgstaller
+ Digital Scholarly Editions
+ http://ride.i-d-e.de/issues/issue-18
+
+
+
+
+ Furnace and Fugue. A Digital Edition of Michael Maier’s Atalanta Fugiens
+ (1618) with Scholarly Commentary
+ Tara Nummedal and Donna Bilak
+
+ Editor
+ Nummedal, Tara
+
+
+ Editor
+ Bilak, Donna
+
+
+ Programmer
+ Levy, Allison
+
+
+ Programmer
+ Wasserman, Dashiell
+
+
+ Programmer
+ Krasner, Rebecca
+
+
+ Programmer
+ Sappenfield, Fiona
+
+
+ Programmer
+ Arceneaux, Amanda
+
+
+ Programmer
+ Brusch, Crystal
+
+
+ Programmer
+ Tyler, Ben
+
+
+ Programmer
+ Bradley, Adam
+
+
+ Programmer
+ Rainwater, Jean
+
+
+ Programmer
+ Birkin, Diana
+
+
+ Programmer
+ Mylonas, Elli
+
+
+ Programmer
+ DiGiulio, Scott
+
+
+ Programmer
+ Elliott, George
+
+
+ Programmer
+ Rashleigh, Patrick
+
+
+ Contributor
+ Bier, Robin
+
+
+ Contributor
+ Bier, Graham
+
+
+ Contributor
+ Ludwig, Loren
+
+
+ Contributor
+ Barnett, Michael, Brackett, Luthien
+
+
+ Contributor
+ Cahn-Lipman, Kivie
+
+
+ Contributor
+ Jodry, Fred
+
+
+ Contributor
+ Meinecke, Donald
+
+
+ Contributor
+ Mundy, Charlotte
+
+
+ Contributor
+ Quinn, Molly
+
+
+ Contributor
+ Sutherland, Elisa
+
+
+ Contributor
+ Taylor, James
+
+
+ Contributor
+ Weiss, Zoe
+
+
+ Contributor
+ Woody, Jonathan
+
+
+ Contributor
+ Elgin, Lindsay
+
+
+ Contributor
+ Mishra, Sashi
+
+ 2020
+ https://furnaceandfugue.org/
+ 2022-06-13
+
+
+
+
+ Criteria for Reviewing
+ Scholarly Digital Editions
+
+
+
+
+
born digital
+
+
+
+
+
+
+ Documentation
+
+ Bibliographic description cf. Catalogue 1.2
+
+ Is it easily possible to describe the project bibliographically along
+ the schema "responsible editors, publishing/hosting institution, year(s) of
+ publishing"?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contributors cf. Catalogue 1.4
+
+ Are the contributors (editors, institutions, associates) of the
+ project fully documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contacts cf. Catalogue 1.5
+
+ Does the project list contact persons?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Selection cf. Catalogue 2.1
+
+ Is the selection of materials of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reasonability of the selection cf. Catalogue
+ 2.1
+
+ Is the selection by and large reasonable?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Archiving of data cf. Catalogue 4.16
+
+ Does the documentation include information about the long term
+ sustainability of the basic data (archiving of the data)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Aims cf. Catalogue 3.1
+
+ Are the aims and purposes of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Methods cf. Catalogue 3.1
+
+ Are the methods employed in the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Data model cf. Catalogue 3.7
+
+ Does the project document which data model (e.g. TEI) has been used
+ and for what reason?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Help cf. Catalogue 4.15
+
+ Does the project offer help texts concerning the use of the
+ project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Citation cf. Catalogue 4.8
+
+ Does the project supply citation guidelines (i.e. how to cite the
+ project or a part of it)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Completion cf. Catalogue 4.16
+
+ Does the editon regard itself as a completed project (i.e. not promise
+ further modifications and additions)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Institutional curation cf. Catalogue 4.16
+
+ Does the project provide information about institutional support for
+ the curation and sustainability of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+
+ Contents
+
+ Previous edition cf. Catalogue 2.2
+
+ Has the material been previously edited (in print or
+ digitally)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Materials used cf. Catalogue 2.2
+
+ Does the edition make use of these previous editions?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Introduction cf. Catalogue 4.15
+
+ Does the project offer an introduction to the subject-matter (the
+ author(s), the work, its history, the theme, etc.) of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Bibliography cf. Catalogue 2.3
+
+ Does the project offer a bibliography?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Commentary cf. Catalogue 2.3
+
+ Does the project offer a scholarly commentary (e.g. notes on unclear
+ passages, interpretation, etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contexts cf. Catalogue 2.3
+
+ Does the project include or link to external resources with contextual
+ material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Images cf. Catalogue 2.3
+
+ Does the project offer images of digitised sources?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Image quality cf. Catalogue 4.6
+
+ Does the project offer images of an acceptable quality?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Transcriptions cf. Catalogue 2.3
+
+ Is the text fully transcribed?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Text quality cf. Catalogue 4.6
+
+ Does the project offer texts of an acceptable quality (typos, errors,
+ etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Indices cf. Catalogue 4.5
+
+ Does the project feature compilations indices, registers or
+ visualisations that offer alternative ways to access the material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of documents cf. Catalogue 1.3 and
+ 2.1
+
+ Which kinds of documents are at the basis of the project?
+
+ Single manuscript
+
+
+
+
+
+ Single work
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ Collected works
+
+
+
+
+
+ Papers
+
+
+
+
+
+ Archival holding
+
+
+
+
+
+ Charters
+
+
+
+
+
+ Letters
+
+
+
+
+
+ Diary
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Document era cf. Catalogue 1.3 and 2.1
+
+ What era(s) do the documents belong to?
+
+ Classics
+
+
+
+
+
+ Medieval
+
+
+
+
+
+ Early modern
+
+
+
+
+
+ Modern
+
+
+
+
+
+
+ Subject cf. Catalogue 1.3
+
+ Which perspective(s) do the editors take towards the edited material?
+ How can the edition be classified in general terms?
+
+ History
+
+
+
+
+
+ Philology / Literary Studies
+
+
+
+
+
+ Philosophy / Theology
+
+
+
+
+
+ History of Science
+
+
+
+
+
+ Musicology
+
+
+
+
+
+ Art History
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Spin-Offs cf. Catalogue 4.11
+
+ Does the project offer any spin-offs?
+
+ App
+
+
+
+
+
+ Mobile
+
+
+
+
+
+ PDF
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+ Access modes
+
+ Browse by cf. Catalogue 4.3
+
+ By which categories does the project offer to browse the
+ contents?
+
+ Authors
+
+
+
+
+
+ Works
+
+
+
+
+
+ Versions
+
+
+
+
+
+ Structure
+
+
+
+
+
+ Pages
+
+
+
+
+
+ Documents
+
+
+
+
+
+ Type of material
+
+
+
+
+
+ Images
+
+
+
+
+
+ Dates
+
+
+
+
+
+ Persons
+
+
+
+
+
+ Places
+
+
+
+
+
+ Other
+
+
+
+
+ Concepts
+
+
+
+
+ Simple search cf. Catalogue 4.4
+
+ Does the project offer a simple search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Advanced search cf. Catalogue 4.4
+
+ Does the project offer an advanced search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Wildcard search cf. Catalogue 4.4
+
+ Does the search support the use of wildcards?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Index cf. Catalogue 4.4
+
+ Does the search offer an index of the searched field?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Suggest functionalities cf. Catalogue 4.4
+
+ Does the search offer autocompletion or suggest
+ functionalities?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Help texts cf. Catalogue 4.4
+
+ Does the project offer help texts for the search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+
+ Aims and methods
+
+ Audience cf. Catalogue 3.3
+
+ Who is the intended audience of the project?
+
+ Scholars
+
+
+
+
+
+ Interested public
+
+
+
+
+
+
+ Typology cf. Catalogue 3.3 and 5.1
+
+ Which type fits best for the reviewed project?
+
+ Facsimile edition
+
+
+
+
+
+ Archive edition
+
+
+
+
+
+ Documentary edition
+
+
+
+
+
+ Diplomatic edition
+
+
+
+
+
+ Genetic edition
+
+
+
+
+
+ Work critical edition
+
+
+
+
+
+ Text critical edition
+
+
+
+
+
+ Enriched edition
+
+
+
+
+
+ Database edition
+
+
+
+
+
+ Digital library
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Critical editing cf. Catalogue 3.6
+
+ In how far is the text critically edited?
+
+ Transmission examined
+
+
+
+
+
+ Palaeographic annotations
+
+
+
+
+
+ Normalization
+
+
+
+
+
+ Variants
+
+
+
+
+
+ Emendation
+
+
+
+
+
+ Commentary notes
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ XML cf. Catalogue 3.7
+
+ Is the data encoded in XML?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Standardized data model cf. Catalogue 3.7
+
+ Is the project employing a standardized data model (e.g.
+ TEI)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of text cf. Catalogue 3.5.
+
+ Which kinds or forms of text are presented?
+
+ Facsimiles
+
+
+
+
+
+ Diplomatic transcription
+
+
+
+
+
+ Edited text
+
+
+
+
+
+ Translations
+
+
+
+
+
+ Commentaries
+
+
+
+
+
+ Semantic data
+
+
+
+
+
+
+
+ Technical accessability
+
+ Persistent identification cf. Catalogue 4.8
+
+ Are there persistent identifiers and an addressing system for the
+ edition and/or parts/objects of it and which mechanism is used to that
+ end?
+
+ DOI
+
+
+
+
+
+ ARK
+
+
+
+
+
+ URN
+
+
+
+
+
+ PURL.ORG
+
+
+
+
+
+ Persistent URLs
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Interfaces cf. Catalogue 4.9
+
+ Are there technical interfaces like OAI-PMH, REST etc., which allow
+ the reuse of the data of the project in other contexts?
+
+ OAI-PMH
+
+
+
+
+
+ REST
+
+
+
+
+
+ General API
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Open Access
+ Is the edition Open Access?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Accessability of the basic data cf. Catalogue
+ 4.12
+
+ Is the basic data (e.g. the XML) of the project accessible for each
+ part of the edition (e.g. for a page)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Download cf. Catalogue 4.9
+
+ Can the entire raw data of the project be downloaded (as a
+ whole)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reuse cf. Catalogue 4.9
+
+ Can you use the data with other tools useful for this kind of
+ content?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Declaration of rights cf. Catalogue 4.13
+
+ Are the rights to (re)use the content declared?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ License cf. Catalogue 4.13
+
+ Under what license are the contents released?
+
+ CC0
+
+
+
+
+
+ CC-BY
+
+
+
+
+
+ CC-BY-ND
+
+
+
+
+
+ CC-BY-NC
+
+
+
+
+
+ CC-BY-SA
+
+
+
+
+
+ CC-BY-NC-ND
+
+
+
+
+
+ CC-BY-NC-SA
+
+
+
+
+
+ PDM
+
+
+
+
+
+ No license
+
+
+
+
+
+ Multiple licenses
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+ mei viewer
+ history of science
+ history of alchemy
+ multimedia edition
+ translation
+
+
+
+
+
+
+
+
+ Furnace and Fugue is a digital edition of Michael Maier’s (1568-1622)
+ opus magnum, the emblem book Atalanta fugiens (1617/18)
+ in which Latin and German texts are paired with images and musical fugues in an
+ enigmatic way to engage users of the book in deep meditation on alchemical subjects.
+ The digital edition of the text itself, including an English translation based on a
+ 17th century manuscript, is accompanied by a number of scholarly essays. A main
+ feature is the MEI player, which includes a piano roll visualisation that allows
+ users to experience the musicological makeup of Atalanta fugiens even
+ without a background in music theory. The edition is a beautifully designed “haute
+ couture” edition, intended to provide an example for the future of digital scholarly
+ publishing. The project has used digital editing effectively to enable the multimedia
+ experience that Michael Maier had likely envisioned for Atalanta
+ fugiens. but which was previously inaccessible to most users of the
+ book.
+
+
+
+
+ Introduction
+
+ Furnace and Fugue is a digital edition of the multimedia emblem book
+ Atalanta fugiens (1618a), authored by alchemist Michael Maier (1569-1622). In addition to
+ customary text, this alchemical emblem book also contains a fugue to accompany each
+ image. The narrative frame for the collection of fifty emblems is the ancient myth of
+ Atalanta and Hippomenes’ race (Wels
+ 2010, 150). Early modern emblematics tend to be meant as food for thought,
+ whereby readers (or maybe rather, users) of the emblem book meditate upon the often
+ obscure symbolism to get a moral message. Maier’s Atalanta fugiens is
+ innovative in its adaptation of emblematics for alchemy and in its addition of a
+ third layer (music) to the already multi-medial emblematics (consisting of text and
+ image). Since both alchemy and emblematics on their own have a reputation of being
+ somewhat hard to unriddle, the combination thereof supplies as an ideal source for a
+ digital edition, offering lots of opportunities for including additional information,
+ data enrichment, or other explanatory resources. More information about
+ Atalanta fugiens can be found in Furnace and Fugue as
+ well as all the other many publications on Atalanta fugiens and thus,
+ shall not be repeated here in detail.Almost all research articles
+ on Atalanta fugiens repeat the same information describing how the book is set up,
+ so this information can easily be gathered from those sources. This
+ reviewThe reviewer’s academic background is in Classics
+ (Neo-Latin), history of science (esp. alchemy) as well as the Digital Humanities.
+ Having written a PhD thesis on a use case for digital methods on the work of
+ Michael Maier, I have a background in relevant aspects of the project under review
+ (digital editing, history of alchemy, and Neo-Latin) and am deeply familiar with
+ the research tradition. will discuss Furnace and Fugue in the
+ context of digital scholarly editing, describe the project website and its features
+ as well as provide a short review of the scholarly essays included in the digital
+ publication.
+
+
+
+ Landing page.
+
+
+
+ Landing page.
+
+ Furnace and Fugue is a project providing “A Digital Edition of Michael
+ Maier’s Atalanta fugiens (1618) with Scholarly Commentary” (Nummedal and Bilak 2020a), the first
+ born-digital monograph by Brown University Digital Publications (fig. 1 and 2).
+ Eight interdisciplinary interpretative essays (Bianchi 2020; Bilak 2020; Forshaw 2020;
+ Gaudio 2020; Ludwig 2020; Nummedal 2020; Oosterhoff 2020), including the introduction and
+ essays by the editors (Nummedal and Bilak
+ 2020b), along with three short introductory texts on Michael Maier, alchemy
+ and printing (Rampling 2020; Tabor 2020; Tilton 2020), complement the edition of the emblem book
+ Atalanta fugiens. Not only is this project unique because
+ Atalanta fugiens is such a unique book and there has never been a
+ multimedia edition for it before, but realising the author’s likely intentions, it is
+ also still one of the first major digital editions in the context of alchemy
+ research. Digital scholarly editing is not yet a common practice in the
+ historiography of alchemy (Martinón-Torres
+ 2011, 233), but minimal editions of TEI-encoded transcriptions of alchemical
+ texts and their image facsimiles do exist.Examples are: Maier 1617a, 1617b, 2009. First digital edition projects have already been realised
+ in the context of alchemy research, such as The Chymistry of Isaac
+ Newton (Newman 2009) or the
+ Making and Knowing project (Smith 2020).The 2009 Newton digital edition is
+ currently being updated but beyond a number of tweets, no definitive information
+ with more details has yet been published about it: https://twitter.com/alextheknitter/status/12555713769934397452020-04-29).
+ However, digital editions have not yet become a standard in alchemy research despite
+ their unique suitedness for complex alchemical texts (Martinón-Torres 2011, 233).
+
+ Furnace and Fugue originated in co-editor Donna Bilak’s postdoctoral
+ research at the Chemical Heritage Foundation (now Science History Institute,
+ Philadelphia/PA) in 2013-2014, where it was further developed in a 2015 workshop and
+ at a later 2016 Brown University workshop.
+ https://dbilakpraxis.com/project-atalanta/ further testify the creation
+ process of Furnace and Fugue, such as: Nummedal and Bilak 2016. The project
+ was finally launched in 2020 in a YouTube event.
+ https://www.youtube.com/watch?v=pa2xtPmXBvc (“Furnace and Fugue Launch –
+ August 25, 2020”, University of Virginia Press YouTube Channel).
+ Besides the two co-editors, Tara Nummedal and Donna Bilak, a large team
+ contributed to Furnace and Fugue over the years.Those contributors are listed in the backmatter/about page where acknowledgements
+ also declare more informal contributions by a list of other individuals. The TEI
+ data contains metadata making responsibilities explicit, however in other parts of
+ the website, the declaration of individual responsibilities, especially on the
+ Digital Humanities side of the project, remains somewhat vague. However, the
+ ‘Credits’ section in the backmatter of the website gives a good overview of
+ individual responsibilities. As part of the project, a Furnace and
+ Fugue Instagram account (@furnaceandfugue) was set up which hosted a series
+ of posts for the 400th anniversary of Atalanta fugiens where different
+ people (scholars and lay people alike) were invited to express their thoughts about
+ one of the emblem images each.
+ instagram.com/furnaceandfugue The project was awarded the Roy Rosenzweig
+ Prize for Creativity in Digital History, the funds of which are intended for the
+ creation of a pedagogical companion website to promote public engagement with the
+ digital edition.
+ https://library.brown.edu/create/libnews/rosenzweig-prize/.Furnace
+ and Fugue was published by the University of Virginia Press (in the series
+ Studies in Early Modern German History, edited by Erik Midelfort) as
+ a born-digital publication.
+
+
+ Atalanta Fugiens, 1617/18
+
Michael Maier (1568-1622) was a German iatrochymist (‘alchemist and
+ doctor’) recognized for a number of alchemical publications in the early 17th
+ century. Among his works, the alchemical emblem book Atalanta fugiens
+ (1618a) stands out, as it is
+ described as “one of the most beautiful books of alchemical literature of all time”
+ (Figala and Neumann 1989,
+ 49-50). Since the seminal 1969 study by Helena M. E. De Jong, Atalanta
+ fugiens is considered the masterpiece of Maier’s oeuvre, probably because
+ of its unusual multimedia combination of text, image, and music (Leibenguth 2002, 5-6).De Jong
+ provided an overview of the sources for the mottos in Maier’s emblems in Jong 2002, 330-33.
+
Despite the fact that the whole range of possible interpretations of
+ Maier’s multimedia masterpiece will probably never run out,As
+ Principe argues: “Although the original sources of the imagery lie in earlier
+ texts, Maier augments them with further connections, allusions, and meanings of
+ his own. The epigrams are so intricate that it seems unlikely that any one reader
+ would ever ‘get’ all the references, allusions, connections, and puns.” In: Principe 2013, 174. there
+ is consensus that Maier intended to promote alchemy in the context of courtly
+ education and entertainment, for which emblems surely were an ideal medium.Figala and Neumann write: “In general, Maier pursued the aim in his
+ published books of raising and maintaining alchemy in the opinion of the educated
+ public. He strove expressly to give it the rank in the contemporary hierarchy of
+ sciences that he thought it deserved. It should stand, as the noblest of the
+ scholarly disciplines, directly after theology, for its subject-matter is the
+ investigation of the greatest secrets of God’s creation. [...] A way the poeta
+ laureatus Maier found to bring Chymia nearer to the educated public was by
+ glorifying it in poetry. With this purpose he wrote not only three Latin poetic
+ cycles, but also his best-known work and certainly one of the most beautiful books
+ of alchemical literature of all time, the Atalanta fugiens, first printed in
+ 1617.” In: Figala and Neumann
+ 1989, 49-50. Also, Principe: “In contrast to Basil Valentine’s organised
+ sequence of ‘keys’ that expound a single text and encode a single process, Maier’s
+ Atalanta fugiens is a florilegium of images. It collects imagery and expressions
+ from an array of earlier authors – Hermes, Morienus, Valentine, and others – and
+ assembles them into one of the most intricate and rich layerings of meaning to be
+ found in chymistry. Even though Maier probably did perform some laboratory work,
+ his Atalanta fugiens lies much further from the world of laboratory practice than
+ do the books of Valentine or George Starkey. (Some readers, including Sir Isaac
+ Newton, nevertheless mined it for practical information about making the
+ Philosophers’ Stone.)” In: Principe
+ 2013, 174. In their introduction to Furnace and
+ Fugue, Nummedal and Bilak state:
+ Maier [...] sought to elevate alchemy above its grubby artisanal roots,
+ establishing it as a humanist, philosophical, emblematic, courtly art with the
+ potential to access nature’s arcana. On this count Atalanta
+ fugiens certainly succeeds, demonstrating that alchemy offered not
+ just precious medicines or metals but also fodder for mathematical games,
+ musical riddles, artistic virtuosity, and classical erudition. (Nummedal and Bilak 2020b)
+
+
+
Some have even interpreted Maier’s Atalanta fugiens as a
+ turn away from alchemical practice to the use of alchemical symbolism for poetic
+ ends, merely repurposing existing material from earlier alchemical compendia as his
+ poetic material (Wels 2010, 2013).
+ While claims have been made that Atalanta fugiens lacks practical
+ chemistry, no detailed explanations are provided to support these assertions.Figala and Neumann conclude: “It has been said that this book
+ contains ‘no instructions at all for alchemical practice’. This is certainly true,
+ and much the same might be said about all Maier’s published works.” In: Figala and Neumann 1989, 50.
+ See also Principe 2013,
+ 174-79. In fact, Rainer Werthmann has offered chemical explanations for
+ several emblems within the book.
+ Werthmann 2011, 214-26 covers
+ emblems 24, 28, 34, 37, and 44. Another article by Rainer Werthmann on chemical
+ interpretations of Atalanta fugiens will appear in the proceedings Michael Maier
+ und die Formen (al)chemischen Wissens um 1600 (Volkhard Wels & Simon Brandl,
+ eds.) titled Chemisches Wissen in Michael Maiers Atalanta fugiens. Lawrence
+ Principe characterises the work as follows:
+ It can thus be seen as part of the wider tradition of apologies of alchemy
+ in which Maier uses the poetry, music, learned play, and beautiful images of
+ his book to link chymistry to the liberal and the fine arts. His purpose, then,
+ is not simply to entertain readers but rather to ennoble a practice generally
+ considered dirty and laborious by making it attractive to humanist
+ contemporaries. [...] Atalanta fugiens is one instance of
+ continuing attempts to address chymistry’s shaky cultural and intellectual
+ position – an issue that plagued chymists from the Middle Ages through the
+ eighteenth century. (Principe
+ 2013, 176-78)On the general topic see: Principe 2013,
+ 174-79.
+
+
+
+
Undoubtedly, Atalanta fugiens stands as Maier’s most
+ extensively researched work, attracting numerous re-editions and articles written
+ about it.On Atalanta fugiens (choice): Jong 2002; Szönyi 2003; Hlaváček
+ 2006; Hofmeier 2007;
+ Purš 2007; Wels 2010; Nummedal and Bilak 2020a, 2020b. While some of
+ these publications primarily admire the uniqueness and peculiarity of Maier’s emblems
+ without adding new insights, others provide valuable contributions to emblem studies
+ (Rola 1988; Gaudio 2020; Wagner 2021). Furthermore, a number of publications revolving around the
+ topic of ‘alchemy and music’ exist, most of which at least mention Maier’s
+ Atalanta fugiens.For example: Sleeper 1938; Sawyer 1966; Rebotier 1972; Meinel 1986; Kelkel 1987; Streich 1989; Godwin 1989; Eijkelboom 1990; Raasveld 1994; Hasler 2011; Limbeck 2019.
+ Furnace and Fugue could build on the source critical work of De Jong,
+ her English translation and contextual information as well as the Hofmeier edition
+ with its abundant indices (Jong 2002;
+ Hofmeier 2007; rez. Smith 2009; Tilton 2011). Beyond its multimedia
+ aspects, Atalanta fugiens’ enduring popularity was probably the
+ primary motivation for creating an edition of this book of Maier’s rather than
+ another. And, as the various contributions in Furnace and Fugue testify,
+ there is still much left to be said about it.From a
+ historiographical standpoint, one may question the editors’ decision to re-edit
+ Maier’s most well-famous work when there would have been a large number of less
+ well researched works of Maier’s left that might have benefited more from in-depth
+ study. Especially as it seems likely that better knowledge of those works would be
+ critical for the interpretation of Atalanta fugiens, which – due to its highly
+ unusual nature – remains challenging to contextualise without deeper knowledge of
+ Maier’s other works.
+
+
+
+ Digital edition overview
+
With its gorgeous design, Furnace and Fugue
+ The bibliographic citation of the edition is: Nummedal and Bilak
+ 2020a. exemplifies what Elena Pierazzo refers to as an ‘haute
+ couture’ digital edition (Pierazzo
+ 2019), a term to describe editions “which are tailored to the specific needs
+ of specific scholars” (Pierazzo
+ 2019, 209) using significant amounts of funding. The editors assert in their
+ introduction that Atalanta fugiens had never before been discussed in
+ such a multidisciplinary manner (Nummedal and Bilak
+ 2020b). Furnace and Fugue allows modern audiences, perhaps for
+ the first time, to experience Atalanta fugiens in the way it may have
+ been intended by the author. The editors state that De Jong’s fundamental 1969 study,
+ which focused on source criticism, deflected attention from the unique multimedia
+ combination that is Atalanta fugiens, reducing it to a traditionally
+ text-centered approach. Furnace and Fugue aims fill this gap and explore
+ neglected aspects, such as the relationships between images, texts, and music, in an
+ interdisciplinary context (). Additionally, the edition seeks to bridge the gap in
+ knowledge between Maier’s intended audience, erudite Humanistic polymaths, and modern
+ users. Furnace and Fugue makes Michael Maier’s unique multimedia emblem
+ book more accessible in multiple ways: On the one hand, the scholarly articles
+ addressing open questions of Maier research make this edition relevant for a
+ scholarly audience (Bianchi 2020;
+ Bilak 2020; Forshaw 2020; Gaudio 2020; Ludwig 2020; Nummedal
+ and Bilak 2020b; Nummedal
+ 2020; Oosterhoff 2020).
+ On the other hand, three introductory essays on alchemy, Maier, and letter-press
+ printing provide just enough background to let an interested public partake in the
+ exploration of this unique remnant of early modern culture (Rampling 2020; Tilton 2020; Tabor 2020).
+
In the following, we will proceed to explore the project website in the
+ order of the different options in the navigation bar (‘Digital Edition’, ‘Essays’,
+ ‘Images’, and ‘Contents’). Clicking on ‘Digital Edition’
+ Nummedal and Bilak 2020a:
+ https://furnaceandfugue.org/atalanta-fugiens/. leads the user to
+ a list of images, from which they can select an emblem to start with. Within the
+ emblem overview, there is a ‘DOI’ button that copies the DOI (https://doi.org/10.26300/bdp.ff.maier) to the user’s clipboard.
+
+
+
+ Edition View of the title page.
+ Above the emblem images, there are text links to the parts of Atalanta
+ fugiens that do not have accompanying images, such as the title page,
+ author’s epigram, dedication, and preface. However, from a usability standpoint, this
+ design is not ideal as it may cause readers to overlook other parts of Maier’s text.
+ It also hinders accessing the book in a traditional manner, where one would start
+ from the beginning and navigate through the pages (which Nummedal terms the
+ ‘horizontal mode’ in Nummedal
+ 2020). Even if one clicks on the title page (fig. 3), there is no option to traverse the book in a linear
+ fashion from the beginning.Clicking ‘Begin Atalanta fugiens’ on
+ the contents overview (https://furnaceandfugue.org/search/) does lead to the title page but
+ traditional ‘leafing through’ still is possible only through the unfolded emblem
+ navigation. In order to continue to the Author’s Epigram, one must either
+ backtrack to the overview or unfold the ‘Emblem’ navigation and skip to the right
+ until reaching the appropriate section.
+
+
+ Emblem/Edition view
+
+
+
+ Edition View of Emblem I with facsimile, text, emblem and the
+ MEI music player.
+ Upon selecting an emblem, users are presented with a comparative view of the
+ digital facsimile and its transcription (fig.
+ 4). This view includes the emblem image, an MEI viewer for the accompanying
+ fugue (Rashleigh and Brusch 2020), as
+ well as the normalised English text of the epigram and discourse.The digital edition is based on this facsimile: https://repository.library.brown.edu/studio/item/bdr:698524/ = Maier 1618a. The Music Encoding
+ Initiative (MEI) is an XML standard for encoding musical documents. More
+ information on the MEI Viewer will be given below. Users can toggle between
+ different viewing options, such as this side-by-side view (Comparative
+ View), the facsimile (Original) only view, or the digital
+ edition only (Digital Edition) view. To maintain orientation within the
+ digital edition, users can click on the ‘emblems’ navigation at the top centre of the
+ view, revealing a scrollbar that enables easy navigation between emblems using their
+ respective images. Thus, users can check their position within the overall context of
+ the book. While there is no recommended citation format for individual emblems, the
+ URL structure is relatively straightforward.It looks like this:
+ https://furnaceandfugue.org/atalanta-fugiens/emblem18.html.
+
+
+ Personalised image collections
+
+
+
+ Personalized image collections.
+
+
+
+ Personalized image collections.
+ At the bottom of the window, users have the option to expand a
+ customizable emblem collection that allows them to focus on their specific areas
+ of interest (fig. 5 and 6). The collection can be saved or cited
+ via a collection URL.Which looks something like this for a
+ collection named ‘test’ containing the emblems 12, 13, and 14: https://furnaceandfugue.org/atalanta-fugiens/emblem18.html#collection_name=test&emblems=12,13,14.
+ Thus, they are not actually saved but rather, when a user creates a collection,
+ it really is just a custom URL which contains a name and the numbers of the
+ emblems which are part of the custom collection. From a Digital
+ Humanities perspective, these user-customizable collections are particularly
+ noteworthy. Donna Bilak’s essay demonstrates their added value well, where one can
+ see customised emblem collections in use (Bilak 2020).
+
+
+ MEI viewer/player and piano roll visualisation
+
+
+
+ Piano Roll Visualization of Emblem II.
+
+
+
+ Edition View of Emblem II.
+ The music notation present in Atalanta fugiens was encoded
+ using the Music Encoding Initiative (MEI), an XML standard for representing
+ musical documents. There likely must have been a music-historical interpretation
+ of the original scores as part of creating the edition, since the notes of the
+ digital edition are not the same as in the historical book. The Verovio-based MEI
+ viewer (fig. 7) enables readers to play
+ and manipulate the music of the fugue by isolating certain voices (Rashleigh and Brusch 2020). The web MEI
+ player aims to engage musicologists and non-musicians alike, providing visual note
+ highlighting synchronised with the music playback. Users can isolate different
+ voices and utilise a piano roll visualisation to grasp the melodic and imitative
+ structures that constitute the fugues, which hold significance in relation to
+ Maier’s alchemical interpretation of his multimedia book. This approach allows
+ users who are less familiar with music notation and theory to comprehend the
+ ‘message’ and visual flow of the fugues, including the interrelationships between
+ different voices, as intended by Maier, who designed the music to add a layer of
+ dimension to his text so that readers could meditate on the musical theory in
+ conjunction with the text and emblematic images (fig. 8).
+
The music notation was transcribed using the Sibelius software and
+ converted to MEI using the Sibelius-to-MEI plugin. Subsequently, the resulting
+ MEI/XML required adjustments for timing extraction using XSLT, which generated a
+ table of MEI elements and their respective timings using the Verovio JSNode
+ script. This step was necessary due to the inherent imprecision in human
+ musicians’ performances compared to the exactness of the music notation in
+ MEI/XML. To achieve smooth synchronisation between a viewer and a recording of
+ human voices based on ideal durations from the sheet music, data had to be adapted
+ to account for these discrepancies. Common Music Notation (CMN), an open-source
+ format for hierarchically describing and rendering musical scores as images, was
+ also created using Verovio on the command line. The Common Music Notation in SVG
+ and the MEI table with timings were then assembled and inserted into the HTML
+ template. Thus, “the project modernised the polyphonic fugues into animated
+ notation that is playable in a web browser” (Rashleigh and Brusch 2020).
+
+
+ Image view
+
+
+
+ Image Search.
+
+
+
+ Image Search.
+ By clicking on ‘Images’ in the navigation bar, users are directed to the
+ image search functionality (fig. 9 and
+ 10).
+ https://furnaceandfugue.org/search/image-search.html. This
+ feature provides a faceted search with categories such as ‘People’, ‘Nature’,
+ ‘Traits’, ‘Architecture’, ‘Creatures’, ‘Actions’, and ‘Things’.
+
Each category provides corresponding options for selecting emblems.
+ Once the search results are displayed, users can choose to display the emblem tags
+ or to jump to the emblem view.The emblem tags appear to have
+ been assigned within the project. I was able to trace them back to a JSON file
+ being processed in JavaScript code, but they do not seem to be included in
+ TEI/XML and also do not correspond to IconClass or similar standards. This
+ seems like an interesting, yet underdeveloped feature. The tags become visible
+ when one clicks on ‘Tags’ under the ‘Images’ section of the website. They then
+ expand to reveal keywords with hyperlinks, and clicking on one of the tags
+ displays all images tagged with that particular keyword. Essentially, the
+ emblem image tags serve as a semantic image search. To effectively use this
+ feature, one would need to initially discern which terms can be entered,
+ meaning the functionality, while innovative, may go undiscovered except by
+ happenstance or not at all with cursory engagement. Additionally, there
+ is a shortcut to add emblems to personal collections. Notably, the emblems of
+ Furnace and Fugue do not seem to be included in existing emblem
+ repositories or research engines such as Emblematica Online. Integrating them into such a resource would allow
+ for a broader comparison of motives beyond Atalanta fugiens. In a
+ project by the Herzog August Bibliothek Wolfenbüttel, IconClass tags were created
+ specifically for alchemy (IconClass 49E39) which could have been reused here to
+ enhance interoperability between alchemy projects.
+ Frietsch 2017, discussed in
+ Frietsch 2021, 117.
+ IconClass tags for alchemy: https://iconclass.org/en/49E39.
+
+
+
+ The text
+
+ Furnace and Fugue includes a transcription of a 1618 edition of
+ Atalanta fugiens as well as an anonymous 17th century English
+ translation (Mellon MS 48, which will be discussed later).A
+ list of editions and translations, both modern and historical, can be found in
+ Leibenguth 2002,
+ 497-502. The translation from Mellon MS 48 seems to have been created soon
+ after the publication of Atalanta fugiens in 1617/18, as the watermarks
+ indicate the year 1625. The manuscript may have been intended as a draft for an
+ English edition, as indicated by corrections from an editor (Leibenguth 2002, 498). Sloane
+ Ms. 3645 from the British Library contains another English translation titled
+ The flying Atalanta. An alchemical treatise dated in the late 1670s. There are
+ at least two French translations, a 17th century exemplar at the Getty Research
+ Institute, Box 27, as well as an 18th century exemplar at Muséum d’histoire
+ naturelle (Paris), Ms. 360. A shortened version of Atalanta fugiens was
+ published under the title Scrutinium Chymicum in 1687. Furthermore, a 1708
+ edition called Chymisches Cabinet is the basis for Hofmeier 2007 (with detailed indices). Jong 2002 also features an English
+ translation with commentary. Perrot
+ 1982 contains a French translation and commentary. The fact that so
+ many translations and resources on Atalanta fugiens already existed may
+ indicate a missed opportunity to consolidate this material into one
+ comprehensive edition in Furnace and Fugue. The TEI files contain
+ detailed metadata, transcriptions, and the markup of personal names but no
+ editorial interventions in the stricter sense.
+
+
+
+ Text from Emblem II (diplomatic German).
+ On the right-hand side, users can choose between different text versions,
+ including Diplomatic English, Normalized English, Diplomatic Latin, Normalized
+ Latin, and Diplomatic German (fig. 11).
+ This makes the edition very user-friendly, intuitive, and ‘non-threatening’ to
+ users unfamiliar with edition practices and conventions. However, it has the
+ serious drawback of silently presenting the reader with a historical translation
+ without explicitly declaring it as such and which is made unrecognisable as such
+ at first glance because the normalised view is served to the readers by
+ default.Due to the choice of providing only historical
+ translations, there is, for example, no German view of the preface. In the
+ other cases where the ‘Diplomatic German’ version can be selected, only the
+ ‘Epigram’ is in German whereas the ‘Discourse’ remains in Latin, hinting at the
+ fact that ‘Diplomatic German’ means ‘diplomatic transcription of the German
+ edition’ (which happens to be bilingual) and does not necessarily describe the
+ language of the text itself. This is one of the other confusions caused by not
+ having included explanations on the translation in the edition view
+ itself.
+
+
Thanks to the availability of normalised Latin, which can be
+ generated from the TEI/XML downloadable via GitHub, one can easily feed the text
+ into Natural Language Processing Pipelines, thereby offering data that can be
+ reused in future Digital Humanities research. Named entities are marked up in the
+ TEI data as well as in the image search JSON, which powers the semantic search.
+ However, many entities (such as <persName>) marked up in the
+ detailed TEI encoding, which also references the images, are not accessible to
+ users within the edition itself. The TEI files are of high quality and could be
+ reused in future projects to create a critical edition with word-level
+ commentary.
+
+
+ The historical translation provided in Furnace and Fugue
+
+
Due to its beautiful design, accessibility, and the lasting
+ pop-cultural fascination of Atalanta fugiens, Furnace and
+ Fugue is likely to attract a non-scholarly audience, who may not be
+ aware of the potential pitfalls of re-using historical translations uncritically.
+ The way the anonymous 17th century English translation from Mellon MS 48 is
+ presented at this time, the historical translation is mostly in disguise: users
+ need to actively look for information on the provenance of the translation in
+ order to learn more about it. Most non-scholarly users of the edition are unlikely
+ to undertake this investigation. The fact that the translation is a historical
+ text of its own, requiring contextualisation, may even escape audiences who are
+ theoretically aware of these issues because it is disguised behind the normalised
+ reading version which appears as a default.
+
Early modern translations are liberal renderings rather than
+ trustworthy translations in our sense of the word. Translators are known to alter
+ meanings or details to accommodate their own interpretation of the source text or
+ alchemical theory – as Maier himself has done in his own vernacular-to-Latin
+ translation of Basil Valentine’s Twelve Keys (Maier 1618b; Principe 2013, 153). Translations can be
+ influenced not only by the limitations of expressing certain concepts in exactly
+ the same way in multiple languages, but they can also be heavily influenced by the
+ authors’ own views, their time, cultural contexts, and their own interpretations
+ of the subject matter. Moreover, when historical translations are used without
+ extensive editing or commentary, readers who are not well-versed in the target
+ languages may overlook deficiencies in the translation. This is apparent, for
+ instance, in a 17th century English translation of Michael Maier’s
+ Viatorium (1618), where the translator evidently glossed over
+ portions they did not fully comprehend, without acknowledging their likely
+ uncertainty regarding the translation’s accuracy (McLean 2005). It is plausible that such a
+ translation represents an initial or rough draft, where the translator did not
+ invest significant time, effort, or care. Assessing the quality of such a
+ translation in detail is challenging without conducting a word-by-word translation
+ oneself. While a vague translation can offer readers an overview of the content of
+ a Latin work, it is important to recognise that it is likely to contain errors or
+ inaccuracies in the finer details. Many times, such historical translations,
+ instead of making the meaning easier to grasp for a modern reader, obscure it even
+ more, introducing additional room for misunderstandings of the message intended by
+ the original author. Even if the translation of Atalanta fugiens used
+ in Furnace and Fugue were substantially better than the
+ aforementioned example, it would still not be an ideal choice from a scholarly
+ standpoint and one would expect more critical engagement with this fact. In a
+ field like the historiography of alchemy, where details can be crucial, the use of
+ a potentially flawed 17th century translation is debatable to say the least,
+ particularly if it is not clearly declared as such.The
+ recommendations for editing early modern texts emphasise the importance of
+ carefully contextualising historical translations as independent historical
+ sources. While reusing historical translations may appear as a convenient
+ shortcut, it can be misleading. Editing historical translations requires
+ substantial effort when done correctly. The Neo-Latin community is divided on
+ whether to use historical translations at all, as their benefits may not
+ outweigh the potential challenges they present (Mundt 1992). After all, interpreting and
+ translating alchemical texts is and has always been a significant exegetical
+ endeavour, not only due to their specialist terms and ‘Decknamen’ but also
+ because certain words are generally hard to render in other languages without a
+ partial loss in meaning. Furthermore, the translator might not have understood
+ the original Latin or Maier’s intended alchemical message, for all we know. For
+ instance, in the Viatorium translation (McLean 2005) it is evident that the translator
+ uses formulations that obscure the meaning further when seemingly they did not
+ understand what Maier was talking about. However, instead of acknowledging this
+ uncertainty, as a modern editor would be expected to do, historical editors
+ often glossed over such issues. Therefore, the true benefit of reusing a
+ historical translation is questionable, and only individuals with sufficient
+ Latin skills to read Maier’s original text would be in a position to notice
+ such issues. This makes historical translations particularly unsuitable for lay
+ audiences, who would benefit the most from having a reliable translation
+ available.
+
+
+
+ About the project page.
+
+
+
+ About the project page (Credits).
+ As stated in the backmatter (fig.
+ 12 and 13), “the Beinecke
+ manuscript [the anonymous 17th-century English translation from Mellon MS 48] is a
+ fascinating document in its own right and merits further research; however, the
+ objective of Furnace and Fugue is not to provide a study of the
+ Beinecke manuscript itself but rather to provide a reliable English translation of
+ Maier’s Latin text” (Nummedal and Bilak
+ 2020a).
+ https://furnaceandfugue.org/back-matter/about/. There is no further
+ information on why the authors think it to be a reliable translation. Was this
+ verified on a number of emblems or is there secondary literature to back this
+ claim up? Is there any reliable information on the production context and
+ intended use of Mellon MS 48? The English translation is based on the 17th
+ century translation Atalanta running, that is, new chymicall emblems relating
+ to the secrets of nature. Mellon MS 48. Beinecke Rare Book and Manuscript
+ Library. https://collections.library.yale.edu/catalog/15959780 (completely
+ digitised). Yet how can those two aspects, both being a historical
+ document which merits further research but also providing a reliable translation,
+ be reconciled? The editors encourage curious readers to explore the Beinecke
+ manuscript, but how can readers unfamiliar with textual criticism be expected to
+ make anything of this text without further contextualisation? Can a historical
+ document that merits further research ever be a reliable source, especially given
+ the complexities of alchemical language? This relatively uncritical engagement
+ with the source materials is a weakness of Furnace and Fugue. It is
+ an acceptable decision to not put special focus on the interpretation of the
+ Beinecke MS but it should at least have been contextualised in a way that makes
+ users of the edition aware of its nature and the problems this might entail.
+
To address this issue, an easy-to-find, clearly visible note should
+ be added to highlight the frequent unreliability of historical translations and
+ the reasons why they have to be used with caution. The lack of a critical edition
+ and the debatable use of a historical translation were also remarked upon in the
+ much shorter format of Reviews in DH (Bielak 2021).In this review,
+ the title of Maier’s book is misspelt as Atalantia instead of Atalanta.
+ As it stands, the translation might lead some to assume incorrectly that this
+ translation was produced throughout the Furnace and Fugue project
+ according to modern translation standards. The authors could have opted to present
+ the diplomatic translation as a default, as its wording immediately denotes it as
+ a historical document. A button to ‘Switch to reading version’ would make it
+ even more obvious. Alternatively, an information box could provide this vital
+ context and explain the implications for the translation’s accuracy and
+ trustworthiness. A suggested citation could highlight the translation’s
+ provenance from a historical source. None of these issues is a dealbreaker and
+ they can be addressed through minor adjustments to the edition. I propose
+ providing a more detailed explanation of the historical translation in the edition
+ guidelines found in the back matter or about page, accompanied by a prominently
+ displayed popup button or similar element near the text itself in the emblem
+ view.
+
+
+
+ Scholarly essays
+
Three introductory essays (Rampling 2020; Tilton 2020;
+ Tabor 2020) make Furnace and
+ Fugue a very well-rounded resource for audiences unfamiliar with the
+ historical context of Atalanta fugiens. The scholarly essays that
+ represent the scholarly engagement with Atalanta fugiens within
+ Furnace and Fugue will be discussed in the following paragraphs (Bianchi 2020; Bilak 2020; Forshaw 2020; Gaudio 2020;
+ Ludwig 2020; Nummedal and Bilak 2020b; Nummedal 2020; Oosterhoff 2020).
+
+
+
+ Essay example (Text by Donna Bilak).
+
+
+
+ Essay example (Text by Donna Bilak). Emblem collection.
+
+
+
+ Essay example (Text by Donna Bilak). Essay citation.
+
+
+
+ Essay example (Text by Tara Nummedal with a spotlight
+ feature).
+
+
+
+ Essay example (Text by Tara Nummedal with a image zoom
+ feature).
+ Donna Bilak frames Atalanta fugiens as a case of playful
+ encipherment typical of early modern courtly entertainment (fig. 14, 15, and
+ 16): She argues that the fifty emblems
+ can be interpreted as a magic square following Agrippa of Nettesheim’s writings (Bilak 2020). Michael Gaudio examines the
+ landscapes depicted in the background of Merian’s etchings, interpreting them as a
+ commentary on the measurement of nature, thereby inviting users of the book to look
+ more closely (Gaudio 2020). Tara
+ Nummedal interprets Atalanta fugiens as a reflection of Maier’s
+ perspective on different types of reading (fig.
+ 17 and 18): Atalanta
+ fugiens invites readers to engage in both the ‘horizontal mode’, i.e.
+ quickly turning pages and viewing the emblems in context, but also the ‘vertical
+ mode’ encouraging in-depth study of individual pages and thereby engaging different
+ modes of meaning-making. The digital edition reflects this theory in the affordances
+ it offers to its users (Nummedal
+ 2020).
+
Richard Oosterhoff discusses allusions to mathematics such as the
+ squaring of the circle in Maier’s earlier tract De Circulo Physico
+ Quadrato (1616), explaining it as a problem that cannot be solved by theory
+ alone, but only by a practitioner able to combine ‘ratio’ and ‘experientia’,
+ highlighting the importance of practical expertise alongside theory. Craftsmen
+ are, as Maier suggests, ‘squaring circles’ all the time in their everyday practice by
+ approximation while the problem remains unsolvable to theorists. Maier likely means
+ to insinuate that the same is true for gold-making, framing it as a solution that is
+ theoretically knowable, just not yet known, exactly like Aristotle had framed the
+ squaring of the circle (Oosterhoff
+ 2020). Peter Forshaw discusses Maier’s mythoalchemy, comparing his
+ mythoalchemical text Arcana Arcanissima (1614) with the mythoalchemical
+ emblems of Atalanta fugiens (Forshaw 2020).
+
+
+
+ Performance edition of Atalanta fugiens (as PDF).
+ The most groundbreaking revelation in Furnace and Fugue is that
+ forty of the fifty fugues were copied from John Farmers Divers & Sundry
+ Waies (1591), as Loren Ludwig demonstrates (Ludwig 2020). Contrary to the original assumption that
+ Maier composed most of the fugues himself, this discovery places Atalanta
+ fugiens in the reception line of an English crypto-catholic liturgical
+ tradition but also raises questions about the role of the fugues in Maier’s overall
+ work. While a crypto-catholic intention does not seem likely given Maier’s otherwise
+ undoubtedly Lutheran faith, the reuse of those fugues underscores Maier’s belief in
+ music as an alternative, yet equally suitable transmission medium for secret
+ knowledge, be it spiritual or alchemical. Furthermore, Eric Bianchi suggests in his
+ essay that Atalanta fugiens is unlikely to have been intended for
+ performance but rather as an invitation to silent contemplation in the context of
+ contemporary music theory – an ideal that Maier later realised in his
+ Cantilenae Intellectuales (1622). Bianchi further notes that
+ composing music and possessing theoretical knowledge of music theory were markers of
+ belonging to the courtly elite, the intended audience for Maier’s book, unlike
+ playing music which was the task of skilled artisans (Bianchi 2020). Nonetheless, Atalanta
+ fugiens can certainly be performed, as demonstrated by the music player in
+ the digital edition and the performance edition (fig. 19) created in the Furnace and Fugue project (Nummedal and Bilak 2020a).The music edition can be found under this: https://furnaceandfugue.org/back-matter/music-performance/furnace-fugue-music-edition.pdf.
+ The performance edition is a PDF version of Atalanta fugiens intended for singers
+ who want to print out the sheet music for performing it.
+
While these contributions significantly enhance current research,
+ particularly the insights regarding Maier’s fugues, central questions concerning
+ Atalanta fugiens remain unanswered to this day, such as the absence
+ of a critical edition or a chemical commentary.Another edition
+ with commentary is currently being prepared in the context of
+ Sonderforschungsbereich 980 Episteme in Bewegung. Wissenstransfer von der alten
+ Welt bis in die Frühe Neuzeit as a sub-project under the title of Michael Maiers
+ Atalanta fugiens – Emblematische Verrätselung als Transferstrategie by Simon
+ Brandl at FU Berlin. https://www.sfb-episteme.de/teilprojekte/sagen/A06/up_brandl/index.html.
+ Although the project’s title does not explicitly promise a critical edition, the
+ phrase “digital edition with scholarly commentary” (Nummedal and Bilak 2020b) may lead readers to
+ expect an apparatus-style commentary rather than scholarly essays.
+
+ Footnotes in the scholarly essays
+
+
+
+ Essay example (Text by Peter Forshaw with expanded
+ footnote).
+ By default, footnotes in Furnace and Fugue are hidden and
+ are also excluded from the printed PDF version. Users can only access them by
+ clicking on each one individually to look up its contents (fig. 20).
+
Usability and design decisions significantly impact how users engage
+ with resources by providing certain affordances (Norman 2013). A digital scholarly edition should
+ allow for the critical examination of sources, both primary sources and those
+ referenced in scholarly articles. Making it difficult or cumbersome to open up all
+ the footnotes, requiring individual clicks on each footnote, creates a user
+ experience that discourages active engagement with footnotes. A scholarly edition
+ should never discourage critical and scholarly engagement with the sources
+ represented in it, no matter the gain in usability or the improvement in design or
+ beauty.
+
To address this issue, I recommend supplying a ‘display all
+ footnotes’ button or providing a PDF version of the articles that includes all
+ footnotes.
+
+
+
+ Contents and search bar
+
+
+
+ TextSearch.
+ The search bar allows for full-text searching of all elements of the
+ project, that is the scholarly essays as well as all versions of the digital edition
+ (fig. 21). For instance, a fuzzy search
+ for ‘Hesperid*’ (including a wildcard) yields results in ‘Discourse (Latin)’ and
+ ‘Discourse (English)’ in Emblem 14, 22, and 25 as well as one result for ‘Discourse
+ (Latin)’ in Emblem 50. Moreover, the term appears in both the body and footnotes of
+ Peter Forshaw’s scholarly essay and in the body of Bilak’s essay. Notably, the
+ full-text search also encompasses ‘Diplomatic German’, as evidenced by searching
+ for ‘geheimer’, which yields one result in ‘Epigram (German)’ in Emblem 3.
+
+
+ Backmatter/about
+
+
+
+ Overview of the emblems with the DOI button below the
+ heading.
+ The backmatter/about page provides ample documentation on internal aspects
+ of the project, such as technical implementation, editorial practices, project
+ contributors, and their roles. It also acknowledges funding and covers the project’s
+ timeline from 2015 to 2020, which encompasses its development, implementation, and
+ subsequent publication. A DOI citation is available, but it is somewhat difficult to
+ find in the edition, as it is displayed only when navigating to the overview view of
+ the book (fig. 22).
+ https://doi.org/10.26300/bdp.ff.maier to be found here: https://furnaceandfugue.org/atalanta-fugiens/.
+
+
+ Technical implementation
+
The backmatter/about site does not address the project’s digital
+ sustainability. The majority of the content focuses on editorial guidelines and
+ acknowledgments. The XML source data and code for the website creation are
+ provided through a GitHub repository, allowing for data reuse. However, this
+ approach may pose a risk to long-term archiving and sustainability, as relying on
+ a proprietary platform like GitHub could result in potential data loss or
+ discontinuation of services. It would be preferable for a non-commercial
+ institution to ensure the long-term sustainability of the data.According to email correspondence with editor Tara Nummedal and
+ project designer Crystal Brusch, long-term preservation is planned as part of
+ the Brown Digital Repository (BDR): https://repository.library.brown.edu/studio/. Even though the project
+ has already ended three years ago at this point, there does not seem to be a
+ permanent solution yet. This issue seems to be beyond the editors’ control and
+ one can only hope that there will be an institution-wide solution for archiving
+ born-digital projects in the future. In total, there are four GitHub
+ repositories containing all project data and code, with the ‘atalanta-media’
+ repository appearing as the most suitable point of access.
+ https://github.com/Brown-University-Library/atalanta-media, https://github.com/Brown-University-Library/atalanta-code, https://github.com/Brown-University-Library/atalanta, https://github.com/Brown-University-Library/atalanta-src (containing
+ the custom static site generator). The latter is not a public
+ repository. Notably, there are no GitHub releases or data publications
+ on Zenodo archiving parts of the edition.
+
In terms of technical implementation, Furnace and Fugue
+ employs a custom static site generator, presumably developed as part of a broader
+ digital publishing initiative at Brown University. However, the rationale for not
+ utilising existing tools for this purpose is not provided. While the use of
+ plugins and JavaScript libraries (e.g., Waypoints, GreenSock Animation API (GSAP),
+ GSAP ScrollToPlugin, Tumult Hype Pro, ScrollMagic) enhances the user experience,
+ there is no explicit consideration of the project’s long-term sustainability. This
+ concern extends to archiving and publishing data on GitHub, which may be subject
+ to disappearance, as well as the JavaScript libraries that tend to become outdated
+ relatively quickly. The aforementioned information represents the extent of the
+ documentation regarding technical implementation, with more detailed information
+ promised on the ‘atalanta-code’ GitHub repository, which, upon inspection, does
+ not seem to contain such documentation.
+
Data provided on the ‘atalanta-media’ GitHub are: TEI/XML for
+ Atalanta fugiens, 1618 (in Latin and German), TEI/XML for
+ Atalanta running, that is, new chymicall emblems relating to the secrets
+ of nature (English), MEI/XML for the 50 fugues, WAV audio files for the
+ 50 fugues in three voices, JSON image search terms for the 50 emblem images and
+ frontispiece as well as JP2 image files for Atalanta fugiens, 1618
+ which link to the Brown Digital Repository (Olio).
+ Maier 1618a = https://repository.library.brown.edu/studio/item/bdr:698524/
+ Everything except the JP2 images is hosted on GitHub repositories, i.e. a
+ version control system for working code, not digital repositories meant for
+ long-term archiving.
+ https://github.com/Brown-University-Library/atalanta-media.
+ The TEI files are available from the project’s GitHub repository and include
+ detailed <teiHeader> metadata as well as, for example, the
+ markup of personal names using <persName>.An example is: https://github.com/Brown-University-Library/atalanta-texts/blob/master/latin/EpigrammaAuthoris.xml.
+ However, it is not quite clear where the image tags in the tag view come from
+ or whether they even are from IconClass. One would assume there must be a METS
+ document in the background, yet this does not seem to be part of the GitHub
+ repository. Only a JSON file is to be found which likely is responsible for the
+ semantic search: https://github.com/Brown-University-Library/atalanta-code/blob/master/data/json/byterm_enh_array.json.
+ With the last GitHub edits in 2020, the project seems no longer to be under
+ development. It is unclear whether the project will be actively maintained and who
+ is the responsible party, if any, and the manner in which it will be done remains
+ unclear, although it could be presumed that the Brown Digital Publishing
+ Initiative may assume responsibility.
+
+
+
+ Furnace and Fugue and digital editing practices
+
Part of the Brown Digital Publishing Initiative, Furnace and
+ Fugue serves as a commentary on generating reputation, trustworthiness, and
+ credibility in digital publishing, particularly within the context of digital
+ scholarly editions. It combines practices from both digital scholarly editions and
+ digital scholarly publications, positioning itself as a first-born digital monograph
+ that includes a text edition but differs from other digital scholarly editions in
+ significant ways. To understand Furnace and Fugue and its place within
+ the Digital Humanities and digital scholarly editing community, it is essential to
+ consider its context in the Mellon Digital Publishing Initiative grant. This
+ initiative aims to develop new models for digital publications, primarily focused on
+ making traditional scholarly peer-reviewed publications accessible as digital
+ open-access editions while maintaining credibility within the traditional framework
+ of tenure requirements. It does not directly derive from the Digital Humanities
+ tradition of digital scholarly editing like it is usually reflected upon in reviews
+ in this journal. This important information for understanding the institutional
+ context of Furnace and Fugue can only be gleaned by listening to a
+ number of podcasts, interviews, and online talks given by the editors and
+ collaborators of the Furnace and Fugue project (New Books Network 2020; Cocks 2021). It might make sense to include a brief note
+ on this in the ‘Backmatter’ of the digital edition, alongside other project
+ information.
+
Through these circumstances, Furnace and Fugue serves as an
+ intriguing commentary on digital editions. On one hand, the project seeks to promote
+ digital open-access publishing and align such publications with traditional academic
+ expectations by partnering with a reputable publisher, the University of Virginia
+ Press. This approach prioritises ‘extrinsic’means of garnering reputation rather
+ than fully utilising quality standards of the digital scholarly editing community,
+ i.e., quality standards for digital editing as discussed frequently in this journal
+ but that Furnace and Fugue does not make full use of (such as opting for
+ the IconClass tagging system instead of a custom one to enhance interoperability or
+ providing a critical edition of the text represented in the edition).It is worth discussing briefly why this may present problems. Does
+ a digital edition only hold value if it receives approval from a traditional
+ press? Does this impose further restrictions on scholars engaged in scholarly
+ editing? The involvement of a tenured professor at Brown University, along with
+ the support of the Mellon Foundation and Brown Digital Publishing Initiative,
+ highlights the privilege associated with such projects. Does this potentially set
+ a precedent for other scholars interested in publishing digitally, requiring them
+ to collaborate with prestigious presses, a practice rather uncommon in the world
+ of digital scholarly editing? Does this implicitly suggest that a digital edition
+ itself is not a reputable or serious publication? In fact, the digital scholarly
+ editing community offers various quality assurance measures, both ‘extrinsic’
+ (such as this journal or the Reviews in DH journal), and ‘intrinsic’ by adhering
+ to best practices in digital scholarly editing. These measures are intended to
+ ensure quality assurance and prevent digital editions from being perceived as
+ inferior to traditional print editions.Such concerns may have been understandable
+ at a time when digital scholarly editing was less prevalent and online sources
+ still carried a stench of untrustworthiness. However, one would expect that in
+ 2020, a year where the necessity of ‘going digital’ became even more evident in
+ academia, even in previously less digital spaces due to the global pandemic, this
+ would no longer be a topic of discussion. As a member of the Digital Humanities
+ community, one would assume that a digital edition is not viewed as inferior, even
+ in the initial years of the project (2015/7). If anything, participating in or
+ leading a digital project should be considered an asset for one’s Curriculum
+ Vitae, as indicated in the podcasts where the editors discuss the motivation
+ behind Furnace and Fugue (New
+ Books Network 2020, Cocks
+ 2021). Then again, this might serve to put into relief the contrast which
+ still exists between the Digital Humanities and more traditionally-minded scholars
+ with regards to digital scholarly editing. Admittedly, these statements were only
+ made in more informal outlets such as interviews or podcasts, not reflected in the
+ narrative on the website itself. However, it remains crucial to pay close
+ attention to the rhetoric employed in digital edition projects, particularly those
+ claiming to serve as flagship examples for inspiring future best
+ practices.
+
However, the self-fashioning of the project as a digital publishing
+ pioneer may be explained by the unmentioned focus on creating a digital publication,
+ that is a digitally-enhanced, peer-reviewed, open-access edited collection rather
+ than a digital scholarly edition of Atalanta fugiens itself. While these
+ decisions are valid, they could have been explicitly stated in the project
+ description. Given the project’s aim to develop high-quality digital publications
+ deserving the same respect as print equivalents, it still seems a bit unusual that
+ more interest was not extended to the digital scholarly edition of Atalanta
+ fugiens. The methodology of scholarly editing, digital or otherwise, has
+ long been accepted as a means of ensuring quality and reputation for text editions.
+ The title of the digital publication “a Digital Edition [...] with Scholarly
+ Commentary” (Nummedal and Bilak 2020b),
+ though probably carefully chosen, may be considered somewhat misleading since
+ scholars trained in text editing or textual philology would expect that commentary to
+ relate directly to the text. According to a more traditional definition of a
+ scholarly commentary, the articles provide inter- and multidisciplinary
+ interpretations of Atalanta fugiens, not a commentary of the text
+ itself. The title of the introduction, “Interplay. New Scholarship on Atalanta
+ fugiens” (), confirms just that suspicion – that Furnace and
+ Fugue is not primarily a digital scholarly edition of Atalanta
+ fugiens but rather, provides new scholarship on Atalanta
+ fugiens while at the same time making the text and facsimiles easily
+ accessible online.
+
+
+ Furnace and Fugue as a digital edition
+
The editors emphasise the fact that Furnace and Fugue is
+ the first truly interdisciplinary resource on Atalanta fugiens, yet, its
+ unique contribution pertains mainly to the area of musicology. This is reflected both
+ in the edition of the source text itself, featuring an innovative MEI Viewer/Player,
+ which allows even a lay audience to playfully explore the musical composition, and in
+ the scholarly essays, which contribute consequential new insights mostly with regard
+ to Maier’s fugues. While the other essays explore interesting aspects, they do not
+ fundamentally change our understanding of Atalanta fugiens but rather
+ expand on existing discussions. The team was certainly interdisciplinary, yet as to
+ the pertinent question of why there was not a historian of chemistry involved, the
+ project website remains silent.Historians of chemistry, such as
+ Lawrence Principe, seem to have acted as consultants at some stage of the project
+ or at least participated in the 2015 and 2016 workshops. This criticism may have
+ been anticipated and thus addressed with an explanation as to why the decision was
+ made to not include such a central aspect.
+
Despite its other merits, which are plentiful, Furnace and
+ Fugue could have done a better job of being more critical of its sources
+ (the 17th century translation) and tailoring the resource for the needs of a
+ scholarly audience (making footnotes more easily accessible in the scholarly essays).
+ It is suggested that a note regarding the translation as well as a ‘show all
+ footnotes’ button should be added to remedy these issues. As a third main issue, the
+ long-term archiving situation is not clear and there is no statement on the data
+ management plan.
+
While Furnace and Fugue excels in visual presentation and
+ interactive aspects, it falls short in textual criticism as it lacks a critical
+ edition. While it is understandable that Furnace and Fugue opted to
+ focus on aspects previous editions had paid less attention to (images and music), the
+ text is still one of the three core elements of Maier’s multimedia work (text, image,
+ music). Despite the significant scholarly interest in Atalanta fugiens,
+ the text itself remains incompletely understood, lacking a commentary or
+ comprehensive textual analysis. The absence of a critical edition or deeper
+ engagement with the text is regrettable and leaves a sense of incompleteness.
+ However, this was a deliberate decision by the editors, who have successfully
+ achieved the goals they set for this digital edition of Atalanta
+ fugiens.
+
+
+
+ Introductory text by Hereward Tilton with map
+ visualization.
+ Classifying Furnace and Fugue as a digital scholarly edition is
+ somewhat challenging since it does not provide a critical edition of Atalanta
+ fugiens per se, although it does offer scholarly essays on the subject.
+ Thus, one could say that it meets the criteria of being both a digital edition and a
+ scholarly resource. The map included in Tilton’s introduction, for instance, does a
+ convincing job of visualising Maier’s travels, however, this particular feature does
+ not truly lose its usefulness when given in print form (fig. 23). Then again, Digital Humanities scholars are
+ probably not the primary target audience, as certain notable features, such as the
+ ability to create personal emblem collections and interactive rearrangement, are not
+ highlighted in the documentation as the noteworthy features they are. Furnace
+ and Fugue includes interactive digital features that cannot be replicated
+ in print, suggesting its classification as a digital scholarly edition.On criteria for classifying resources as digital scholarly
+ editions: Sahle 2016.
+
Potential future work for Furnace and Fugue includes
+ integrating the image search with Emblematica Online or similar sources. This would
+ entail tagging the images according to the IconClass guidelines for easier comparison
+ of potential visual inspirations. The text could benefit from a philological approach
+ and a text-critical edition, providing explanations of visual motifs and sources
+ directly on the text in the form of a traditional commentary. Having to retrieve and
+ reassemble the information scattered throughout scholarly essays makes it hard to
+ form one’s own interpretation of the text. Additionally, integrating the sources
+ identified by De Jong or providing an easily searchable overview of De Jong’s
+ findings would be valuable (Jong 2002,
+ 330-33), maybe even linking to the sources of relevant facsimiles available online.
+ Further research could explore the chemical interpretations of Atalanta
+ fugiens, as done in Werthmann.
+ Werthmann 2011, 214-26 covers
+ emblems 24, 28, 34, 37, and 44. Many publications suggest that this topic
+ is already dealt with yet there are hardly any publications explaining why this
+ supposedly is so.
+
While Furnace and Fugue has a beautifully designed layout
+ and a collaboration with a traditional publishing house, it could enhance the user
+ experience by providing more transparent information about its sources, such as the
+ 17th century English translation, and improving the accessibility of footnotes in
+ scholarly essays. While the resource offers diplomatic and normalised transcriptions
+ of the Latin-German original book and its 17th century English translation, textual
+ scholars may desire a critical apparatus or commentary at the word or sentence level.
+ The scholarly essays provide interpretations but do not constitute a philological or
+ text-critical edition as implied by the project title.
+
Additionally, the long-term archiving situation and data management plan
+ require clarification. The insights gained from the project should be published in a
+ Digital Humanities publication to make them accessible to the wider community and
+ ensure preservation for the future, involving both the editors as well as the
+ technical leads of the project. Such a publication could summarise some of the
+ information which can now be found by listening to a number of podcasts on the
+ project but also explain decisions made in the process of creating this publication
+ in more detail, especially with regards to experimenting with ways to handle the
+ multimediality of the sources, potential reuse scenarios (and a long-term archiving
+ plan) for the data and libraries created for the project. Furthermore, it would be
+ great to have a deeper description of the digital aspects of the project which goes
+ beyond the brief project description (backmatter/about). Overall, Furnace and
+ Fugue is a stunning project that provides a valuable platform for both the
+ general public and scholars to explore Atalanta fugiens.
+
+
+ Conclusion
+
+ Furnace and Fugue is the first born-digital monograph by Brown
+ University Digital Publications, consisting of eight interpretative essays, three
+ introductory texts, and a digital edition of the early modern emblem book
+ Atalanta fugiens (1618a), including a MEI-based music player, using
+ which individual voices can be isolated for analysis and demonstration, an invaluable
+ feature for lectures or educational presentations. The edition shines in its elegant
+ visual presentation and interactive capabilities. For instance, the feature to create
+ personalised emblem collections is significant, allowing focused, individualised
+ study. Additionally, the image search functionality lets users dive deeply into the
+ material, even if it could benefit from integration into existing emblem databases
+ and search engines to facilitate even broader comparative studies. Particularly
+ noteworthy is the innovative MEI Viewer/Player, which opens new vistas for
+ understanding Maier’s intricate fusion of music with alchemical thought, allowing
+ even those without a music theory background to engage deeply with the fugues. The
+ feature not only empowers academic scrutiny but also extends the project’s appeal to
+ a broader audience.
+
A flagship project and ‘haute couture’ digital edition, Furnace
+ and Fugue pushes the boundaries of multimedia publication in the
+ historiography of alchemy. Nummedal and Bilak have seamlessly blended the realms of
+ digital scholarly edition and digital scholarly publication, with the edition being
+ accompanied by essays from various disciplines. In the context of alchemy research,
+ where digital scholarly editions are still relatively few, Furnace and
+ Fugue is an innovative project, taking its place alongside the only two
+ other major digital editions, the 2009 pioneering Chymistry of Isaac
+ Newton project (Newman
+ 2009) and the influential Making and Knowing project (2014-2021,
+ Smith 2020). The comprehensive and
+ interactive digital platform realises the multimedia experience likely envisioned by
+ Maier for Atalanta fugiens, a feature hitherto inaccessible to most
+ users of the book. In sum, Furnace and Fugue enriches scholarship on
+ early modern alchemy and on the chymist Michael Maier. It sets a precedent in its
+ multidisciplinary approach and multimedia digital edition. It represents a
+ significant leap forward in understanding Maier’s multimedia vision and its
+ implications for his alchemical thought.
+
+
+
+
+
+ Bianchi, Eric. 2020. “Weight, Number, Measure: The Musical
+ Universe of Michael Maier.” Furnace and Fugue. In A Digital Edition of
+ Michael Maier’s ‘Atalanta fugiens’ (1618) with Scholarly Commentary,
+ edited by Tara Nummedal and Donna Bilak. https://furnaceandfugue.org/essays/bianchi/.
+ Bielak, Alicja. 2021. “A Review of Furnace and Fugue, a
+ Digital Edition of Michael Maier’s Atalantia Fugiens, directed by Allison Levy.”
+ In Reviews in Digital Humanities 2/12. https://doi.org/10.21428/3e88f64f.6f3a23ff.
+ Bilak, Donna. 2020. “Chasing Atalanta. Maier, Steganography,
+ and the Secrets of Nature.” In Furnace and Fugue. A Digital Edition of
+ Michael Maier’s ‘Atalanta fugiens’ (1618) with Scholarly Commentary,
+ edited by Tara Nummedal and Donna Bilak. https://furnaceandfugue.org/essays/bilak/.
+ Cocks, Catherine. 2021. “Going Digital: Considerations and
+ Collaborations Interview.” In The H-Net Book Channel. https://networks.h-net.org/node/1883/discussions/8596862/going-digital-considerations-and-collaborations.
+ Eijkelboom, Carolien. 1990. “Alchemical Music by
+ Michael Maier.” In Alchemy Revisited: Proceedings of the International
+ Conference on the History of Alchemy at the University of Groningen, 17–19
+ April 1989, edited by Z. R. W. M. von Martels, 98. Leiden: Brill.
+ Figala, Karin, and Ulrich Neumann. 1989. “Michael
+ Maier (1569–1622): New Bio-Bibliographical Material.” In Alchemy Revisited.
+ Proceedings of the International Conference on the History of Alchemy at the
+ University of Groningen. 17–19 April 1989, edited by Z. R. W. M. von
+ Martels, 34-50. Collection de Travaux de L’Académie Internationale d’histoire Des
+ Sciences 33. John d. North (Ed.). Leiden: Brill.
+ Forshaw, Peter J. 2020. “Michael Maier and Mythoalchemy.”
+ In Furnace and Fugue. A Digital Edition of Michael Maier’s ‘Atalanta
+ fugiens’ (1618) with Scholarly Commentary, edited by Tara Nummedal and
+ Donna Bilak. https://furnaceandfugue.org/essays/forshaw/.
+ Frietsch, Ute. 2017. “Bilder.” Herzog August Bibliothek
+ Wolfenbüttel. http://alchemie.hab.de/bilder.
+ Frietsch, Ute. 2021. “Obscurum vocabulum:
+ Begriffe der frühneuzeitlichen Alchemie und der Alchemie-Thesaurus der Herzog
+ August Bibliothek.” In Alchemie – Genealogie und Terminologie, Bilder,
+ Techniken und Artefakte. Forschungen aus der Herzog August Bibliothek,
+ edited by Petra Feuerstein-Herz and Ute Frietsch. Wiesbaden: Harrassowitz,
+ 103-131.
+ Gaudio, Michael. 2020. “The Emblem in the Landscape.
+ Matthäus Merian’s Etchings for Atalanta Fugiens.” In Furnace and Fugue. A
+ Digital Edition of Michael Maier’s ‘Atalanta fugiens’ (1618) with Scholarly
+ Commentary, edited by Tara Nummedal and Donna Bilak. https://furnaceandfugue.org/essays/gaudio/.
+ Godwin, Jocelyn. ed. 1989. Atalanta Fugiens: An
+ Edition of the Fugues, Emblems and Epigrams, by Michael Maier, Translated by
+ Jocelyn Godwin. Grand Rapids, MI: Phanes Press.
+ Hasler, Johann F. W. 2011. “Performative and Multimedia
+ Aspects of Late-Renaissance Meditative Alchemy: The Case of Michael Maier’s
+ Atalanta Fugiens (1617).” In Revista de Estudios Sociales 39:
+ 135-44.
+ Hlaváček, Jakub. 2006. “K Alchymistické Interpretaci
+ Antické Mytologie on the Alchemistic Interpretation of Ancient Mythology.” In
+ Maier, Michael, Atalanta Fugiens. Prchající Atalanta Neboli Nové Chymické
+ Emblémy Vyjadřující Tajemství Přírody, 11-33. Prague.
+ Hofmeier, Thomas. 2007. “Einleitung.” In Michael
+ Maiers Chymisches Cabinet: Atalanta Fugiens deutsch nach der Ausgabe von
+ 1708, edited by Thomas Hofmeier, 9-72. Berlin, Basel:
+ Thurneysser.
+ Jong, Helena de. 2002. Michael Maiers’s Atalanta
+ Fugiens. Sources of an Alchemical Book of Emblems. Lake Worth:
+ Nicolas-Hays, Inc. Reprint of the original 1969 edition: Leiden: Brill.
+ Ianus 7.
+ Kelkel, Manfred. 1987. “A la recherche d’un art total:
+ Musique et alchimie chez Michael Maier: Maniérismes et discours hermétique dans
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+ 49-55.
+ Leibenguth, Erik. 2002. Hermetische Philosophie
+ des Frühbarock. Die “Cantilenae Intellectuales” Michael Maiers. Edition mit
+ Übersetzung, Kommentar und Bio-Bibliographie. Tübingen: Niemeyer.
+ Limbeck, Sven. 2019. “‘Sounding Alchemy’. Alchemie und
+ Musik in Mittelalter und Früher Neuzeit.” In Feurige Philosophie: Zur
+ Rezeption Der Alchemie (Wolfenbütteler Hefte, Band 37), edited by Petra
+ Feuerstein-Herz, 43-82. Wolfenbüttel: Harrassowitz.
+ Ludwig, Loren. 2020. “John Farmer’s Sundry Waies. The
+ English Origin of Michael Maier’s ‘Alchemical Fugues’.” In Furnace and
+ Fugue. A Digital Edition of Michael Maier’s Atalanta fugiens (1618) with
+ Scholarly Commentary, edited by Tara Nummedal and Donna Bilak. https://furnaceandfugue.org/essays/ludwig/.
+ Maier, Michael. 1617a. “Examen Fucorum Pseudo-Chymicorum.”
+ Herzog August Bibliothek Wolfenbüttel. 1617. http://diglib.hab.de/drucke/46-med-4s/start.htm.
+ Maier, Michael. 1617b. “Symbola Aureae Mensae.” Herzog
+ August Bibliothek Wolfenbüttel. 1617. http://diglib.hab.de/drucke/46-med-1s/start.htm.
+ Maier, Michael. 1618a. Atalanta fugiens: hoc est,
+ emblemata nova de secretis naturæ, chymica, accomodata partim oculis &
+ intellectui, figuris cupro incisi, adiectisque sententiis, epigrammatis &
+ notis, partim auribus & recreationi animi plus minus 50 rugis musicalibus
+ trium vocum. Brown Olio. Brown Digital Repository. Brown University
+ Library. https://repository.library.brown.edu/studio/item/bdr:698524/.
+ Maier, Michael. 1618b. Tripus Aureus, Hoc est, Tres
+ Tractatus Chymici Selectissimi : Nempe I. Basilii Valentini ... Practica una cum
+ 12. clavibus... II. Thomae Nortoni ... Crede Mihi seu Ordinale... nunc ex
+ Anglicano manuscripto in Latinum translatum ... III. Cremeri Cuiusdam Abbatis
+ Westmonasteriensis Angli Testamentum. Jennis: Frankfurt am Main.
+ Maier, Michael. 2009. “Arcana Arcanissima (Digital edition
+ of the 1613 edition): Ann Arbor, MI; Oxford (UK): Text Creation Partnership,
+ 2008-09 (EEBO-TCP phase 1).”, http://name.umdl.umich.edu/A06751.0001.001.
+ Martinón-Torres, Marcos. 2011. “Some Recent
+ Developments in the Historiography of Alchemy.” In Ambix 58/3:
+ 215-37.
+ McLean, Adam, ed. 2005. The Viatorium of Michael
+ Maier. A 17th Century English Manuscript Translation Transcribed by Fiona
+ Oliver and Voicu Ion Cristi. Glasgow: Magnum Opus Hermetic Sourceworks
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+ Meinel, Christoph. 1986. “Alchemie und Musik.” In Die
+ Alchemie in der Europäischen Kultur- und Wissenschaftsgeschichte, edited
+ by Christoph Meinel, 201-25. Harrassowitz: Wiesbaden.
+ Mundt, Lothar. 1992. “Empfehlungen zur Edition
+ neulateinischer Texte.” In Probleme der Edition von Texten der Frühen
+ Neuzeit. Beiträge zur Arbeitstagung der Kommission für die Edition von Texten
+ der Frühen Neuzeit, edited by Lothar Mundt, Hans-Gert Roloff, and Ulrich
+ Seelbach, 186-90. Editio / Beihefte 3. Tübingen: Max Niemeyer. https://doi.org/10.1515/9783110946932.186.
+ New Books Network. 2020. “D. Bilak and T.
+ Nummedal, ‘Furnace and Fugue. A Digital Edition of Michael Maier’s ‘Atalanta
+ Fugiens’ (1618) (U Virginia Press, 2020).” Podcast “New Books in German Studies”
+ 2020-10-08. https://podcasts.apple.com/ie/podcast/d-bilak-t-nummedal-furnace-fugue-digital-edition-michael/id671875824?i=1000495509588.
+ Newman, William (ed.). 2009. The Chymistry of Isaac
+ Newton. Bloomington: Indiana University. https://webapp1.dlib.indiana.edu/newton/indexChemicus.do.
+ Norman, Donald. 2013. The Design of Everyday Things:
+ Revised and Expanded Edition. MIT Press.
+ Nummedal, Tara. 2020. “Sound and Vision. The Alchemical
+ Epistemology of Michael Maier’s Atalanta Fugiens.” In Furnace and Fugue. A
+ Digital Edition of Michael Maier’s ‘Atalanta fugiens’ (1618) with Scholarly
+ Commentary, edited by Tara Nummedal and Donna Bilak. https://furnaceandfugue.org/essays/nummedal/.
+ Nummedal, Tara, and Donna Bilak. 2016. “Tear the
+ Books Apart: Atalanta Fugiens in a Digital Age.” https://blogs.brown.edu/libnews/nummedal-bilak/.
+ Nummedal, Tara, and Donna Bilak. eds. 2020a.
+ Furnace and Fugue. A Digital Edition of Michael Maier’s ‘Atalanta
+ Fugiens’ (1618) with Scholarly Commentary. https://furnaceandfugue.org/.
+ Nummedal, Tara, and Donna Bilak. 2020b.
+ “Interplay. New Scholarship on Atalanta fugiens” In Furnace and
+ Fugue. A Digital Edition of Michael Maier’s ‘Atalanta fugiens’ (1618) with
+ Scholarly Commentary, edited by Tara Nummedal and Donna Bilak. https://furnaceandfugue.org/essays/introduction/.
+ Oosterhoff, Richard J. 2020. “Learned Failure and the
+ Untutored Mind. Emblem 21 of Atalanta Fugiens.” In Furnace and Fugue. A
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+ Principe, Lawrence M. 2013. The Secrets of
+ Alchemy. Chicago.
+ Purš, Ivo. 2007. “Emblémy Prchající Atalanty Michaela Maiera
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+ Sleeper, Helen Joy. 1938. “The Alchemical Fugues in Count
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+ Smith, Pamela. 2020. The Making and Knowing Project
+ (2015–2020). https://www.makingandknowing.org.
+ Smith, Pamela H. 2009. “Rez: Thomas Hofmeier, Michael Maiers
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+ Streich, Hildemarie. 1989. “Introduction: Music, Alchemy
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+ Jocelyn Godwin, edited by Jocelyn Godwin, 19-89. Grand Rapids, MI:
+ Phanes Press.
+ Szönyi, György Endre. 2003. “Occult Semiotics and
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+ Arnoud S. Q. Visser, 301-23. Imago Figurata Studies 4. Turnhout: Brepols.
+ Tabor, Stephen. 2020. “Atalanta Fugiens in the Printing
+ Office.” In Furnace and Fugue. A Digital Edition of Michael Maier’s
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+ Tilton, Hereward. 2011. “Rez: Thomas Hofmeier, Michael
+ Maiers Chymisches Cabinet. Atalanta Fugiens Deutsch nach der Ausgabe von 1708.” In
+ Ambix 58:1: 85-86.
+ Tilton, Hereward. 2020. “Michael Maier: An Itinerant
+ Alchemist in Late Renaissance Germany.” In Furnace and Fugue. A Digital
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+ Alchemie um 1600. https://merian-alchemie.ub.uni-frankfurt.de/.
+ Wels, Volkhard. 2010. “Poetischer Hermetismus. Michael Maiers
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+ der Literatur der Frühen Neuzeit, edited by Peter-André Alt and Volkhard
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+ Kitzingen am Main.
+
+
+
+
+
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--- /dev/null
+++ b/issues/issue18/sturm/sturm-tei.xml
@@ -0,0 +1,1953 @@
+
+
+
+
+
+
+
+ DER STURM
+
+
+ Lisa
+ Dieckmann
+
+
+ Universität zu Köln
+ Cologne, Germany
+
+ lisa.dieckmann@uni-koeln.de
+
+
+
+ Institut für Dokumentologie und Editorik e.V.
+ December 2023
+ http://ride.i-d-e.de/issues/issue-18/sturm
+ 10.18716/ride.a.18.2
+ https://github.com/i-d-e/ride/raw/master/issues/issue18/sturm/sturm.pdf
+
+
+
+
+
+ RIDE - A review journal for digital editions and resources
+ Ulrike Henny-Krahmer
+ Martina Scholger
+ Ulrike
+ Henny-Krahmer
+ Frederike
+ Neuber-Martucci
+ Martina
+ Scholger
+ Christina Burgstaller
+ Digital Scholarly Editions
+ http://ride.i-d-e.de/issues/issue-18
+
+
+
+
+ DER STURM. Digitale Quellenedition zur Geschichte der internationalen
+ Avantgarde
+ Marjam Trautmann, Torsten Schrade, Akademie der Wissenschaften und der
+ Literatur Mainz
+
+ Editor
+ Trautmann, Marjam
+
+
+ Editor
+ Schrade, Torsten
+
+
+ Contributor
+ Kollatz, Thomas
+
+
+ Contributor
+ Müller-Dannhausen, Lea
+
+
+ Contributor
+ Lorenz, Anne
+
+
+ Contributor
+ Enders, Rainer
+
+
+ Contributor
+ Pirsich, Volker
+
+ 2018
+ https://sturm-edition.de/
+ 2023-07-26
+
+
+
+
+ Criteria for Reviewing
+ Scholarly Digital Editions
+
+
+
+
+
born digital
+
+
+
+
+
+
+ Documentation
+
+ Bibliographic description cf. Catalogue 1.2
+
+ Is it easily possible to describe the project bibliographically along
+ the schema "responsible editors, publishing/hosting institution, year(s) of
+ publishing"?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contributors cf. Catalogue 1.4
+
+ Are the contributors (editors, institutions, associates) of the
+ project fully documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contacts cf. Catalogue 1.5
+
+ Does the project list contact persons?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Selection cf. Catalogue 2.1
+
+ Is the selection of materials of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reasonability of the selection cf. Catalogue
+ 2.1
+
+ Is the selection by and large reasonable?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Archiving of data cf. Catalogue 4.16
+
+ Does the documentation include information about the long term
+ sustainability of the basic data (archiving of the data)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Aims cf. Catalogue 3.1
+
+ Are the aims and purposes of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Methods cf. Catalogue 3.1
+
+ Are the methods employed in the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Data model cf. Catalogue 3.7
+
+ Does the project document which data model (e.g. TEI) has been used
+ and for what reason?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Help cf. Catalogue 4.15
+
+ Does the project offer help texts concerning the use of the
+ project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Citation cf. Catalogue 4.8
+
+ Does the project supply citation guidelines (i.e. how to cite the
+ project or a part of it)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Completion cf. Catalogue 4.16
+
+ Does the editon regard itself as a completed project (i.e. not promise
+ further modifications and additions)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Institutional curation cf. Catalogue 4.16
+
+ Does the project provide information about institutional support for
+ the curation and sustainability of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+
+ Contents
+
+ Previous edition cf. Catalogue 2.2
+
+ Has the material been previously edited (in print or
+ digitally)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Materials used cf. Catalogue 2.2
+
+ Does the edition make use of these previous editions?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Introduction cf. Catalogue 4.15
+
+ Does the project offer an introduction to the subject-matter (the
+ author(s), the work, its history, the theme, etc.) of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Bibliography cf. Catalogue 2.3
+
+ Does the project offer a bibliography?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Commentary cf. Catalogue 2.3
+
+ Does the project offer a scholarly commentary (e.g. notes on unclear
+ passages, interpretation, etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contexts cf. Catalogue 2.3
+
+ Does the project include or link to external resources with contextual
+ material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Images cf. Catalogue 2.3
+
+ Does the project offer images of digitised sources?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Image quality cf. Catalogue 4.6
+
+ Does the project offer images of an acceptable quality?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Transcriptions cf. Catalogue 2.3
+
+ Is the text fully transcribed?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Text quality cf. Catalogue 4.6
+
+ Does the project offer texts of an acceptable quality (typos, errors,
+ etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Indices cf. Catalogue 4.5
+
+ Does the project feature compilations indices, registers or
+ visualisations that offer alternative ways to access the material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of documents cf. Catalogue 1.3 and
+ 2.1
+
+ Which kinds of documents are at the basis of the project?
+
+ Single manuscript
+
+
+
+
+
+ Single work
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ Collected works
+
+
+
+
+
+ Papers
+
+
+
+
+
+ Archival holding
+
+
+
+
+
+ Charters
+
+
+
+
+
+ Letters
+
+
+
+
+
+ Diary
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Document era cf. Catalogue 1.3 and 2.1
+
+ What era(s) do the documents belong to?
+
+ Classics
+
+
+
+
+
+ Medieval
+
+
+
+
+
+ Early modern
+
+
+
+
+
+ Modern
+
+
+
+
+
+
+ Subject cf. Catalogue 1.3
+
+ Which perspective(s) do the editors take towards the edited material?
+ How can the edition be classified in general terms?
+
+ History
+
+
+
+
+
+ Philology / Literary Studies
+
+
+
+
+
+ Philosophy / Theology
+
+
+
+
+
+ History of Science
+
+
+
+
+
+ Musicology
+
+
+
+
+
+ Art History
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Spin-Offs cf. Catalogue 4.11
+
+ Does the project offer any spin-offs?
+
+ App
+
+
+
+
+
+ Mobile
+
+
+
+
+
+ PDF
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+ Access modes
+
+ Browse by cf. Catalogue 4.3
+
+ By which categories does the project offer to browse the
+ contents?
+
+ Authors
+
+
+
+
+
+ Works
+
+
+
+
+
+ Versions
+
+
+
+
+
+ Structure
+
+
+
+
+
+ Pages
+
+
+
+
+
+ Documents
+
+
+
+
+
+ Type of material
+
+
+
+
+
+ Images
+
+
+
+
+
+ Dates
+
+
+
+
+
+ Persons
+
+
+
+
+
+ Places
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Simple search cf. Catalogue 4.4
+
+ Does the project offer a simple search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Advanced search cf. Catalogue 4.4
+
+ Does the project offer an advanced search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Wildcard search cf. Catalogue 4.4
+
+ Does the search support the use of wildcards?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Index cf. Catalogue 4.4
+
+ Does the search offer an index of the searched field?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Suggest functionalities cf. Catalogue 4.4
+
+ Does the search offer autocompletion or suggest
+ functionalities?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Help texts cf. Catalogue 4.4
+
+ Does the project offer help texts for the search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+
+ Aims and methods
+
+ Audience cf. Catalogue 3.3
+
+ Who is the intended audience of the project?
+
+ Scholars
+
+
+
+
+
+ Interested public
+
+
+
+
+
+
+ Typology cf. Catalogue 3.3 and 5.1
+
+ Which type fits best for the reviewed project?
+
+ Facsimile edition
+
+
+
+
+
+ Archive edition
+
+
+
+
+
+ Documentary edition
+
+
+
+
+
+ Diplomatic edition
+
+
+
+
+
+ Genetic edition
+
+
+
+
+
+ Work critical edition
+
+
+
+
+
+ Text critical edition
+
+
+
+
+
+ Enriched edition
+
+
+
+
+
+ Database edition
+
+
+
+
+
+ Digital library
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Critical editing cf. Catalogue 3.6
+
+ In how far is the text critically edited?
+
+ Transmission examined
+
+
+
+
+
+ Palaeographic annotations
+
+
+
+
+
+ Normalization
+
+
+
+
+
+ Variants
+
+
+
+
+
+ Emendation
+
+
+
+
+
+ Commentary notes
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ XML cf. Catalogue 3.7
+
+ Is the data encoded in XML?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Standardized data model cf. Catalogue 3.7
+
+ Is the project employing a standardized data model (e.g.
+ TEI)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of text cf. Catalogue 3.5.
+
+ Which kinds or forms of text are presented?
+
+ Facsimiles
+
+
+
+
+
+ Diplomatic transcription
+
+
+
+
+
+ Edited text
+
+
+
+
+
+ Translations
+
+
+
+
+
+ Commentaries
+
+
+
+
+
+ Semantic data
+
+
+
+
+
+
+
+ Technical accessability
+
+ Persistent identification cf. Catalogue 4.8
+
+ Are there persistent identifiers and an addressing system for the
+ edition and/or parts/objects of it and which mechanism is used to that
+ end?
+
+ DOI
+
+
+
+
+
+ ARK
+
+
+
+
+
+ URN
+
+
+
+
+
+ PURL.ORG
+
+
+
+
+
+ Persistent URLs
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Interfaces cf. Catalogue 4.9
+
+ Are there technical interfaces like OAI-PMH, REST etc., which allow
+ the reuse of the data of the project in other contexts?
+
+ OAI-PMH
+
+
+
+
+
+ REST
+
+
+
+
+
+ General API
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Open Access
+ Is the edition Open Access?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Accessability of the basic data cf. Catalogue
+ 4.12
+
+ Is the basic data (e.g. the XML) of the project accessible for each
+ part of the edition (e.g. for a page)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Download cf. Catalogue 4.9
+
+ Can the entire raw data of the project be downloaded (as a
+ whole)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reuse cf. Catalogue 4.9
+
+ Can you use the data with other tools useful for this kind of
+ content?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Declaration of rights cf. Catalogue 4.13
+
+ Are the rights to (re)use the content declared?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ License cf. Catalogue 4.13
+
+ Under what license are the contents released?
+
+ CC0
+
+
+
+
+
+ CC-BY
+
+
+
+
+
+ CC-BY-ND
+
+
+
+
+
+ CC-BY-NC
+
+
+
+
+
+ CC-BY-SA
+
+
+
+
+
+ CC-BY-NC-ND
+
+
+
+
+
+ CC-BY-NC-SA
+
+
+
+
+
+ PDM
+
+
+
+
+
+ No license
+
+
+
+
+
+ Multiple licenses
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+ art history
+ history
+ 20th century
+ avantgarde
+ sturm
+ herwarth walden
+ transcription
+ facsimile
+
+
+
+
+
+
+
+
This paper reviews the digital edition Der Sturm – Digitale Quellenedition zur
+ Geschichte der internationalen Avantgarde, which aims to bring together all
+ existing digital sources on the STURM company, to make them accessible and to link
+ them with each other. Initiated by Herwarth Walden by founding the STURM magazine for
+ contemporary art, the STURM company provided many different platforms (e.g., gallery,
+ publishing, theatre) for the art scene in Germany at the beginning of the 20th
+ century and had also a big impact on the international avant-garde. The digital
+ edition currently offers facsimiles, transcriptions, and commentaries on a part of
+ the letters, the encoding of the sources and texts is done in TEI-XML and can be
+ downloaded or accessed via an API. Inventory lists exist for the other documents
+ which link to the source of the digital image. All semantic and structural entities
+ of STURM sources are permanently referenced using persistent identifiers.
+
+
+
+
+
+
+
+ Titelseite Der Sturm – Monatsschrift für Kultur und die
+ Künste, Juli 1916, Universitätsbibliothek Heidelberg.
+ Die Zeitschrift Der Sturm wird im Jahr 1910 von dem
+ Publizisten, Dichter, Verleger und Komponisten Herwarth Walden (eigentlich Georg
+ Lewin) in Berlin gegründet und dient als Plattform der avantgardistischen Kunstszene
+ (Abb. 1). Der STURM avanciert in den
+ folgenden Jahren zu einem regelrechten Unternehmen. Neben der Zeitschrift entsteht
+ die STURM-Galerie, in der Walden zahlreiche Künstlerinnen und Künstler der Zeit
+ ausstellt (u. a. Sonia Delaunay, Natalja Gontscharowa, Else Lasker-Schüler, Gabriele
+ Münter und Marianne von Werefkin, Marc Chagall, Franz Marc, Wassily Kandinsky und
+ Paul Klee). Darüber hinaus entwickeln sich die STURM-Abende, die STURM-Theaterbühne,
+ der STURM-Verlag, eine Kunstbuchhandlung und die STURM-Akademie.Vgl. Trautmann 2018, 25ff und
+ vgl. auch Schirn Kunsthalle 2015a
+ und 2015b.
+
+
Herwarth Walden ist eine der Schlüsselfiguren der Kunst-Moderne in
+ Deutschland. Zunächst hatte Walden 1903 den Verein für Kunst gegründet,
+ dem zahlreiche bekannte Künstlerinnen und Künstler der Zeit angehörten (u. a. Thomas
+ und Heinrich Mann, Else Lasker-Schüler, Rainer Maria Rilke, Alfred Döblin oder
+ Gottfried Benn). Dieses Netzwerk baute er – auch zusammen mit seiner späteren Ehefrau
+ Nell Walden – kontinuierlich auf. Es bildete die Basis für alle folgenden
+ Entwicklungen. Die Zeitschrift Der Sturm war über 20 Jahre Sprachrohr
+ europäischer avantgardistischer Strömungen in Literatur, Bildender Kunst, Theater,
+ Architektur und Musik und hatte weitreichenden Einfluss auf die internationale
+ Avantgarde.Vgl. Chytraeus-Auerbach und Uhl 2013,
+ 7-11, vgl. auch Sprengel 1991
+ und vgl. auch arthistoricum.net.
+
+
Gerade die vielfältigen und gattungsübergreifenden Aktivitäten in
+ unterschiedlichen Bereichen der Künste machen Herwarth Walden und das
+ STURM-Unternehmen für viele geisteswissenschaftliche Disziplinen und auch für
+ interdisziplinäre Fragestellungen interessant. Die Quellen, welche Briefe,
+ Zeitschriften, Ausstellungskataloge, Theaterjahrbücher, verschiedene Schriften und
+ andere Materialien wie Plakate oder Fotografien umfassen,Vgl.
+ Trautmann und Schrade
+ 2018, hier: https://sturm-edition.de/quellen.html. sind von hoher Relevanz
+ für die kunsthistorische Forschung, aber auch für die Geschichtswissenschaft, die
+ Literaturwissenschaft, Theaterwissenschaft und Musikwissenschaft. Zahlreiche
+ Anknüpfungspunkte gibt es aber auch für die Kunstmarktforschung. Darüber hinaus sind
+ die Quellen natürlich auch disziplinübergreifend für die Digital Humanities von
+ großem Interesse.
+
+
+
+ Startseite Der Sturm – Digitale Quellenedition zur Geschichte
+ der internationalen Avantgarde.
+ Die Digitale Edition Der Sturm setzt sich das Ziel, alle
+ existierenden digitalen Quellen zum STURM-Unternehmen zusammenzuführen, zu
+ erschließen und untereinander zu verknüpfen, um eine (Teil-)geschichte der
+ internationalen Avantgarde zeichnen zu können (Abb. 2).Vgl. Trautmann und Schrade 2018, hier
+ insbesondere https://sturm-edition.de/projekt.html und https://sturm-edition.de/projekt/ziel.html.
+
+
Ausgehend von der Ausstellung STURM-Frauen, welche 2015 in der Schirn
+ Kunsthalle in Frankfurt gezeigt wurde und erstmals den weiblichen Beitrag zur
+ Entwicklung der Avantgarde in den Blick nahm,Die Ausstellung fand
+ statt vom 30. Oktober 2015 bis 7. Februar 2016. Schirn Kunsthalle 2015a. wurde die digitale
+ Edition als kollaboratives Digital-Humanities-Projekt an der Akademie der
+ Wissenschaften und der Literatur Mainz insbesondere zusammen mit dem
+ wissenschaftlichen Nachwuchs konzipiert und sieht sich in erster Linie als Projekt im
+ Bereich der Geschichte. Es ist an der Akademieprofessur für Digital Humanities
+ angesiedelt, wurde von Marjam Trautmann und Torsten Schrade erarbeitet und wird
+ weiterhin von diesen herausgegeben.Vgl. Trautmann und Schrade 2018, hier
+ insbesondere https://sturm-edition.de/projekt/ziel.html. Eine erste Grundlage
+ für die Erarbeitung der digitalen Edition lieferte eine Masterarbeit von Marjam
+ Trautmann (2018). Bislang sind
+ alle Arbeiten an dem Projekt ohne eine externe Förderung durchgeführt worden, was
+ hinsichtlich der Elaboriertheit des Projekts besonders betont werden muss. Dies ist
+ sicherlich vor allem wegen der institutionellen Anbindung möglich. Alle Inhalte sind
+ zudem frei zugänglich.
+
Die Quellenedition umfasst sechs Abteilungen:
+ Abteilung I – STURM-Briefe
+ Abteilung II – STURM-Zeitschrift
+ Abteilung III – STURM-Kataloge (Ausstellungen)
+ Abteilung IV – STURM-Bühne (Theaterjahrbücher)
+ Abteilung V – STURM-Schriften (Bücher des Verlages)
+ Abteilung VI – STURM-Materialien (sonstiges Quell-Material)
+
+
+
Alle sechs Abteilungen befinden sich noch im Aufbau: In der Abteilung I
+ wurde bereits mit der Erschließung der Quellen begonnen, wohingegen die Abteilungen
+ II bis VI zunächst die aus unterschiedlichen Quellen zur Verfügung stehenden
+ Digitalisate in Bestandslisten versammeln. Die Digitalisate der STURM-Zeitschriften
+ (Abteilung II) werden zum Beispiel von der Universitätsbibliothek Heidelberg, die
+ Digitalisate der STURM-Kataloge (Abteilung III) vom Zentralinstitut für
+ Kunstgeschichte in München und die Digitalisate der STURM-Bühne (Abteilung IV) vom
+ Blue Mountain Project zur Verfügung gestellt. Abteilung V und VI stellen jeweils
+ Bestandslisten bereit, die im STURM-Verlag erschienenen Schriften bzw. andere
+ Materialien verzeichnen und diese ggf. mit dem Link zu einem Digitalisat
+ versehen.Für weitergehende Informationen vgl. Trautmann und Schrade
+ 2018, hier insbesondere https://sturm-edition.de/quellen.html. Der nächste Schritt für
+ die Abteilungen II bis VI soll sein, Volltexte bereitzustellen und diese im
+ XML-Format nach den TEI-Guidelines zu erfassen.Vgl. Trautmann und Schrade 2018, hier die
+ Unterseiten zu den Abteilungen II bis VI: https://sturm-edition.de/quellen/zeitschrift.html, https://sturm-edition.de/quellen/kataloge.html, https://sturm-edition.de/quellen/buehne.html, https://sturm-edition.de/quellen/schriften.html, https://sturm-edition.de/quellen/materialien.html.
+
+
+
+
+ Parallelansicht von Transkript und Faksimile.
+ In der Abteilung I STURM-Briefe sollen die in der Handschriftenabteilung der
+ Staatsbibliothek zu Berlin Preußischer Kulturbesitz über 3.700 verzeichneten und
+ digitalisierten Briefe von STURM-Künstlern und -Künstlerinnen an Herwarth Walden
+ historisch-kritisch digital ediert werden. Ein Großteil des Materials, welches
+ Briefe, Postkarten und Telegramme umfasst, ist zwar noch nicht erschlossen, drei
+ unterschiedliche Briefkorpora sind aber bereits verzeichnet und vollständig ediert.
+ Es handelt sich um Briefkorpora von Franz Marc, Jacoba van Heemskerck und Guillaume
+ Apollinaire aus dem Zeitraum von 1913 und 1922. Die Briefe sind in der Regel an
+ Herwarth Walden gerichtet, in einigen Fällen auch an seine Frau Nell. Insgesamt sind
+ 179 Briefe mit Faksimile, Transkription und Kommentaren erschlossen. Die Digitalisate
+ der Briefe und Postkarten sind in die Seite eingebunden, so dass eine Parallelansicht
+ von Faksimile und Digitalisat möglich ist (Abb.
+ 3), wenngleich die auf dieser Ebene angezeigten Bilder eher klein sind,
+ sodass eine Vergrößerung zur genaueren Ansicht lohnt.
+
Die Briefe von Franz Marc und Jacoba von Heemskerck wurden innerhalb der
+ Masterarbeit von Marjam Trautmann erstmalig digital ediert: Die Briefe von Jacoba van
+ Heemskerck wurden zwar bereits 2006 von Arend Hendrik Husseen publiziert und ediert
+ (Huussen 2006), jedoch kritisiert
+ Trautmann Husseens Edition aufgrund der Veränderungen in der Transkription im
+ Vergleich zum Original teilweise stark,Trautmann kritisiert u. a.
+ Huussens starke Normalisierung, Ergänzungen von Interpunktion und Wörtern und
+ teilweise falsche Transkription. Sie liefert auch einige Beispiele für ihre
+ Kritik. Vgl. Trautmann 2018,
+ 10f. weshalb sie diese Briefe innerhalb der Masterarbeit nochmalig
+ erschließt. Weitere edierte Briefe der Abteilung sind anschließend hinzugekommen, wie
+ sich aus den Zitierhinweisen mit Publikationsdaten entnehmen lässt. Auch werden neue
+ Versionen dokumentiert. Das Projekt verfolgt einen ‚work in progress‘-Ansatz, bei dem
+ die Briefe vom Projektteam digital erschlossen und zeitnah veröffentlicht
+ werden.Vgl. Trautmann und Schrade 2018, hier: https://sturm-edition.de/projekt/methodik.html.
+
+
Bei der Transkription der Briefe werden Syntax, Interpunktion und
+ Orthographie vom Original übernommen, wobei Silbentrennungen aufgelöst werden.
+ Unterstreichungen und Hochstellungen werden abgebildet, Durchstreichungen nur dann,
+ wenn sie als inhaltlich relevant erachtet werden und nicht nur zur Tilgung
+ orthographischer Fehler dienen. Die Briefe werden nicht topographisch nachgebildet,
+ Briefmarken, Poststempel, Wasserzeichen und Vordrucke und auch Postkartenmotive in
+ der Regel nicht erfasst. Handschriftliche Beilagen der Briefe werden in die
+ Transkription aufgenommen, beigelegte Zeichnungen und Zeitungsausschnitte werden in
+ der Regel nicht transkribiert (außer ggf. handschriftliche Kommentare oder
+ Unterstreichungen), aber als digitales Faksimile bereitgestellt.Vgl. auch Trautmann und
+ Schrade 2018, hier: https://sturm-edition.de/edition/briefe.html. Die Dokumentation
+ des Projekts ist nicht nur im Bereich der Textbehandlung sehr gut und ausführlich,
+ sondern auf allen Ebenen, z. B. auch bei der Darstellung systematischer und
+ technischer Aspekte. Dadurch wird die Erarbeitung der digitalen Edition sehr
+ transparent und nachvollziehbar, was an dieser Stelle besonders hervorgehoben werden
+ muss.
+
+
+
+ Darstellung der Kommentare im Text und in den Fußnoten.
+ Die Kommentare sind in Fußnoten platziert und enthalten erläuternde
+ Beschreibungen zu im Text erwähnten Ausstellungen, Vortragsreihen, Kolumnen,
+ Kunstvereinen, Werken oder aber auch zu Begrifflichkeiten (z. B. ‚Sturmzettel‘).
+ Darüber hinaus werden in den Fußnoten alle historischen und politischen Referenzen in
+ den Briefen – insbesondere in Bezug auf Entwicklungen im 1. Weltkrieg – ausführlich
+ kontextualisiert. In den Texten erwähnte und im Sturm oder anderen
+ Medien publizierte Werke werden seitengenau verlinkt. Ferner werden hier
+ bibliographische Angaben gemacht für Zeitschriften, Artikel und Bücher, die im Text
+ genannt werden. Orte, Werke und Personen werden im Text selbst durch Links auf
+ entsprechende Registereinträge, die jeweils Verweise auf Normdatensätze enthalten,
+ verzeichnet (Abb. 4). Laut Projektwebseite
+ sollen in einer nächsten Projektphase auch weitere Textzeugen – vereinzelte, schon in
+ Büchern publizierte Briefe – in den Metadaten der entsprechenden Briefe dokumentiert
+ werden.Vgl. Trautmann und Schrade 2018, hier: https://sturm-edition.de/quellen/briefe.html. Die Codierung der
+ Metadaten folgt den Guidelines der TEI (P5). Die abteilungsübergreifenden
+ Editionsrichtlinien sind ausführlich dokumentiert.Vgl. Trautmann und Schrade
+ 2018, hier: https://sturm-edition.de/edition.html.
+
+
+
+
+ Personenregister.
+ Das Personenregister führt 199 Personen auf, die in den Volltexten verknüpft
+ sind und im Register auf den jeweiligen Eintrag in der Gemeinsamen Normdatei der
+ Deutschen Nationalbibliothek (GND) verweisen (Abb. 5). Alle Registereinträge sind mit den jeweiligen Textstellen in den
+ Briefen verlinkt. Das Ortsregister, welches neben der Liste auch über eine Karte
+ erreichbar ist, enthält 87 in den Texten genannte Orte, jeweils verbunden mit der
+ zugehörigen externen GeoNames-Normdatei. Im Werkregister befinden sich alle 172 im
+ Volltext explizit erwähnten Zeitschriften, Zeitungen, Bücher, Artikel und Kunstwerke,
+ die teilweise mit Links auf externe Ressourcen wie die GND und frei verfügbare
+ Digitalisate versehen sind. Die Lemmata werden im Werkregister nach den in den Texten
+ auftretenden Wörtern erstellt und sind daher in vielen Fällen wenig aussagekräftig
+ (z. B. ‚Bild‘). Man könnte hier überlegen, das Register nach den Angaben in der GND
+ ‚Autor*in/Künstler*in:Titel‘ aufzubauen.
+
Die Register sollen abteilungsübergreifend erstellt werden, aufgrund des
+ aktuellen Bearbeitungsstands sind die jeweiligen Quellenverweise bislang nur der
+ Abteilung I Briefe zugeordnet und mit den entsprechenden Datensätzen verlinkt. Die
+ einzelnen Registerlemmata führen zu einem Stammdatenblatt, auf dem die jeweiligen
+ Registerinformationen (Normdatenverweis, Auftreten in den Quellen) nochmals separat
+ aufgeführt werden. Perspektivisch soll dieses mit weiteren Informationen,
+ beispielsweise aus der GND und Wikipedia, automatisiert ergänzt werden. In den
+ Briefen selbst sind die Entitäten mit ihrem jeweiligen Register-Stammdatenblatt
+ verknüpft. Ferner ist eine Erweiterung der Register durch die Erfassung von
+ Ereignissen geplant (bspw. STURM-Ausstellungen).Vgl. auch Trautmann und Schrade
+ 2018, hier: https://sturm-edition.de/register.html.
+
+
Neben den zentralen Registerzugängen Person, Ort und Werk ist innerhalb
+ der Abteilungen auch ein chronologischer Einstieg möglich. Hier befindet sich jeweils
+ eine nach Jahren sortierte Liste der Quellen. Bei den Briefen kann man zusätzlich
+ auch über die Künstler*innen auf die Inhalte zugreifen. Laut Projektwebseite werden
+ weiterhin mittelfristig drei zusätzliche Quellenzugänge angestrebt: Ereignisse,
+ Körperschaften und Sachbegriffe.Vgl. auch Trautmann und Schrade 2018, hier: https://sturm-edition.de/projekt/methodik.html.
+
+
+
+
+ Bestandsliste der digitalen Bestände der STURM
+ Zeitschrift.
+ Die Digitalisate stammen aus verschiedenen Quellen (s. o.) und sind in den
+ einzelnen Abteilungen verlinkt und über Bestandslisten abrufbar (Abb. 6), in der Abteilung Briefe sind sie in die Seite selbst
+ eingebunden, d.h. alle Briefseiten, alle Beilagen und eine Abbildung mit Farbkeil
+ sind neben der Transkription in einer Thumbnail-Ansicht dargestellt. Es gibt auch
+ eine Zoomstufe, jedoch sind die Abbildungen im Vergleich zu den Originalen hier auf
+ eine Breite von 800px (Hochformat) bzw. 1200px (Querformat) skaliert, was aber für
+ die Lesbarkeit absolut ausreichend ist. Die Originale dürften auch nicht wesentlich
+ größer sein. Wenn man die Abbildungen höher aufgelöst sehen möchte, kann man auf den
+ Link zum DFG-VIEWER klicken und gelangt zu den Originalen in der Staatsbibliothek
+ Berlin. Die Zeitschriften liegen z. B. in Heidelberg digitalisiert vor. Es existieren
+ DOIs für Heft, Einzelseite und Artikel, aber (noch) nicht für einzelne
+ Abbildungen.
+
Im Sinne der Nachhaltigkeit erfolgt die Codierung der Quellen und
+ Begleittexte der digitalen Edition in TEI-XML. Sie werden darüber hinaus mit
+ übergreifenden Metadaten (teiHeader) und Normdaten versehen. Persistente
+ Identifikatoren und Permalinks sorgen zudem für eine dauerhafte Adressierung und
+ Zitierbarkeit. Die Identifikatoren sind systematisch nach einem einheitlichen Schema
+ angelegt und lassen durch ihre semantische Strukturierung auch Rückschlüsse auf die
+ Quelle zu:
+ TYP.ABTEILUNG.DATIERUNG.SIGLE.LAUFNUMMER[#][ABSATZ/BILD].[KOLUMNE].[SEITE/FOLIO]. Für
+ einen Brief von Franz Marc ergibt sich daher zum Beispiel: https://sturm-edition.de/id/Q.01.19140115.FMA.01. Für einen STURM-Katalog
+ vom 20. September 1913 lässt sich folgender Identifikator ermitteln:
+ Q.03.19130920.STK.01. Der Aufruf einer URI führt immer zur aktuellen Version der
+ Entität, wobei auch alle vorangegangenen Versionen flexibel aufrufbar sind, z. B.
+ https://sturm-edition.de/id/Q.01.19140115.FMA.01/1. Dies ist ein weiterer
+ vorbildlicher Schritt zu einer transparenten und nachvollziehbaren digitalen
+ Edition.
+
Die Systematisierung und Modellierung der zahlreichen unterschiedlichen
+ und verteilten Quellentypen des STURM bildet hier den Kern der digitalen Methodik.
+ Die Verknüpfungen und Beziehungen der Quellen untereinander werden derzeit unter
+ Anwendung bestehender Ontologien wie dem CIDOC Conceptual Reference Model oder
+ fachspezifischer Vokabulare wie dem Getty Art & Architecture Thesaurus (AAT)
+ semantisch modelliert und perspektivisch als Linked Open Data verfügbar gemacht.
+ Zunächst werden die in den bereits edierten Quellen annotierten Entitäten wie
+ Personen, Orte und Werke semantisch verknüpft, anschließend auch Entitäten wie zum
+ Beispiel Körperschaften und Ereignisse.Die Daten werden noch
+ nicht in dieser Form zur Verfügung gestellt. Die Informationen gehen aus einem
+ Posterbeitrag der DHd 2019 hervor. Vgl. Lorenz, Müller-Dannhausen und Trautmann
+ 2019, 273-275.
+
+
Für die Edition der Quellen in XML wurde eine Webanwendung für die
+ native XML-Datenbank eXist entwickelt. Die Editionsarbeiten werden mit oXygen
+ durchgeführt, die Online-Publikation der Quellen erfolgt aus der Anwendung heraus,
+ indem alle Bestandteile als XML vorgeneriert und dann als statisches HTML
+ ausgeliefert werden. Diese Softwarekomposition soll die Performance steigern und die
+ Nachhaltigkeit verbessern, indem alle Komponenten und auch die Präsentationsschicht
+ und die generierten Formate systemneutral verfügbar gemacht werden. Im Bereich der
+ Textverarbeitung kommt TUSTEP zum Einsatz.Diese Informationen
+ finden sich in der gut dokumentierten Softwarearchitekturbeschreibung: Trautmann und Schrade
+ 2018, hier: https://sturm-edition.de/ressourcen/software.html. Weitere Informationen
+ zur Steigerung der Nachhaltigkeit Digitaler Editionen am Beispiel der
+ STURM-Edition: Schrade
+ 2018. Die Editionssoftware dieses Projektes steht unter MIT-Lizenz
+ und kann über GitHub frei heruntergeladen und weiterentwickelt werden.Siehe https://github.com/digicademy/sturm-php-app/releases/ und https://github.com/digicademy/sturm-exist-app/releases/.
+
+
+
+
+ Die visuell ansprechende Webseite funktioniert auch auf
+ mobilen Geräten.
+ Die Webseite ist responsiv gestaltet und funktioniert auch auf mobilen
+ Endgeräten (Abb. 7). Sie ist klar
+ strukturiert und sehr übersichtlich. Alle Informationen sind leicht zugänglich und
+ jeder Bereich ist ausführlich dokumentiert. Auch Rahmeninformationen wie Impressum
+ und Kontakt sind leicht auffindbar. Darüber hinaus ist die Webseite visuell
+ ansprechend und mit Liebe zum Detail gestaltet. Die Besonderheit des Webdesigns
+ besteht darin, dass die Typographie und die Druckgestalt der STURM-Zeitschrift in das
+ Erscheinungsbild einbezogen wurden, indem die historische Schrift der Zeitschrift als
+ Webfont eingebunden und der Text (je nach Endgerät) auch mehrspaltig visualisiert
+ wird. Im Vorfeld wurde eine Schriftanalyse durchgeführt, um die historische Schrift
+ zu ermitteln. Dabei wurde herausgefunden, dass die ersten Ausgaben mit der
+ Schriftfamilie „Romana“ des deutsch-amerikanischen Schriftdesigners Gustaf F.
+ Schroeder gesetzt wurden. Ein daran orientierter Webfont kommt nun in der
+ Präsentation zum Einsatz.Zur Typographie vgl. Trautmann und Schrade
+ 2018, hier: https://sturm-edition.de/ressourcen/software.html.
+
+
+
+
+ Auszug aus einer TEI-codierten XML-Datei.
+ Für die Nachnutzung der Forschungsdaten und Texte stehen unterschiedliche
+ Optionen zur Verfügung. Sie können zusammen mit der Anwendung heruntergeladen, aber
+ auch über eine Schnittstelle als XML oder JSON bezogen werden. Es gibt vier
+ Einstiegspunkte: /letters /persons /places und /works, die jeweils
+ Registerinformationen zu den entsprechenden IDs ausliefern. Über den
+ Auslieferungspunkt /files können direkt die TEI-codierten XML-Files der edierten
+ Briefe (Bsp. https://sturm-edition.de/api/files/Q.01.19211211.JVH.01.xml) abgerufen
+ werden. Der Link zu diesem XML-File ist auch bei jedem Datensatz zu finden (Abb. 8). Für die erschlossenen Personen und
+ Werke kann eine Beacon-Datei heruntergeladen werden. Die Korrespondenz-Metadaten der
+ STURM-Künstlerbriefe sind als Correspondence Metadata Interchange Format (CMIF) verfügbar. Alle Forschungsdaten, aber auch alle darüber hinaus
+ veröffentlichten Materialien stehen unter Creative Commons Attribution 4.0
+ International Lizenz (CC BY 4.0) zur Nachnutzung zur Verfügung. Darüber hinaus sind
+ weitere digitale Ressourcen wie eine Projektbibliographie oder verschiedene
+ Publikationen zur digitalen Edition verfügbar. Auch hier muss erneut der
+ fortschrittliche Ansatz der digitalen Edition hervorgehoben werden.
+
Die unterschiedlichen Zugänge zur digitalen Edition (Künstler, Jahr,
+ Abteilung, etc.) bieten einen guten Einstieg für eine explorative oder systematische
+ Erforschung des Materials. Wünschenswert wäre hier die Ergänzung einer Volltextsuche,
+ um gezielt nach Wörtern recherchieren zu können, die in den Briefen auftauchen. Für
+ die kunstgeschichtliche Forschung wäre darüber hinaus ein eigenes Register für
+ Kunstwerke interessant, deren Lemmata (wie oben bereits angemerkt) aber
+ systematischer erfasst werden sollten. Die verwendeten Postkarten werden nur dann als
+ Medium beschrieben, wenn es sich um ungewöhnliche Textdokumente, wie die Verwendung
+ einer Ausstellungsdauerkarte als Postkarte handelt (https://sturm-edition.de/quellen/briefe/gap/Q.01.19130412.GAP.01.html). Aus
+ kunsthistorischer Perspektive wären die Motive auf den Postkarten und ggf. die Motive
+ auf den Briefmarken von Interesse und könnten evtl. in die Erschließung aufgenommen
+ werden. Darüber hinaus würde sich eine Visualisierung der historischen
+ Netzwerkanalyse zu Künstlerinnen und Künstlern anbieten.Eine
+ umfassende Netzwerkanalyse ist bereits in Planung, vgl. Lorenz, Müller-Dannhausen und Trautmann
+ 2019, 273-275.
+
+
Zusammenfassend lässt sich festhalten: Die vorliegende digitale Edition
+ ist für die disziplinäre und interdisziplinäre geisteswissenschaftliche Forschung von
+ hoher Relevanz, wird hier doch erstmalig der Zugriff auf die bereits vorliegenden
+ digitalen Quellen aller STURM-Abteilungen ermöglicht, so dass ein umfassendes
+ historisches Bild der STURM-Ära gezeichnet werden kann. Die vielfältigen Kommentare
+ und Erschließungsinformationen in der Abteilung Briefe und die digitale Umsetzung
+ tragen maßgeblich dazu bei. Im Sinne eines Informationsportals stehen zahlreiche
+ weitere Meta-Informationen und Referenzen zur Verfügung, so dass man hoffentlich
+ zukünftig auch über den Projektkontext hinaus in das STURM-Universum eintauchen
+ können wird. Vor allem ist jeder Bereich der Edition, die Software, die Methodik etc.
+ hervorragend und in vorbildlicher Art und Weise dokumentiert. Auch im Sinne
+ nachhaltiger Softwareentwicklung und der Nachnutzbarkeit von
+ Erschließungsinformationen ist das Projekt ein vorbildliches Beispiel, zumal noch
+ einmal hervorzuheben ist, dass das Projekt bislang ohne jegliche externe Förderung
+ ausgekommen ist. Besonders zu bemerken ist darüber hinaus die Einbindung des
+ wissenschaftlichen Nachwuchses. Das Projekt überzeugt auf allen Ebenen und ist in der
+ Erschließung und Dokumentation von Wissen und der Bereitstellung nachnutzbarerer
+ Ressourcen zur Orientierung für ähnliche Projekte sehr zu empfehlen.
+
+
+
+
+
+ arthistorium.net. eds. „Herwarth Walden und DER STURM“,
+ in: Themenportal arthistoricum.net. https://www.arthistoricum.net/themen/portale/sturm/.
+ Chytraeus-Auerbach, Irene und Elke Uhl. eds.
+ 2013. Der Aufbruch in die Moderne: Herwarth Walden und die europäische
+ Avantgarde. Berlin: Lit Verlag.
+ Huussen, Arend Hendrik. ed. 2006. Brieven van Jacoba
+ van Heemskerck en Marie Tak van Poortvliet aan Herwarth en Nell Walden en
+ anderen. 1911–1923. Haren (Cahiers uit het noorden Bd. 10).
+ Lorenz, Anne Katrin, Lea
+ Müller-Dannhausen und Marjam Trautmann. 2019. „DER STURM. Digitale Quellenedition
+ zur Geschichte der internationalen Avantgarde. Drei Forschungsansätze“, in:
+ DHd 2019 Digital Humanities: multimedial & multimodal.
+ Konferenzabstracts, Frankfurt am Main, 274-276. https://doi.org/10.5281/zenodo.2600812.
+ Schirn Kunsthalle. 2015a. „STURM-Frauen. Künstlerinnen der
+ Avantgarde in Berlin 1910–1932.“ Schirn Kunsthalle Frankfurt. Ausstellung
+ (30.10.2015 – 07.02.2016). https://www.schirn.de/ausstellungen/2015/sturm_frauen/.
+ Schirn Kunsthalle. 2015b. „STURM-Frauen. Premiere für die
+ Künstlerinnen der Avantgarde.“ Schirn Kunsthalle Frankfurt. Ausstellung
+ (30.10.2015 – 07.02.2016). http://schirn.de/sturmfrauen/digitorial/index.html.
+ Schrade, Torsten. 2018. Annotate, Generate, Test,
+ Deploy. Aktuelle Software-Engineering Methoden zur Steigerung der
+ Nachhaltigkeit Digitaler Editionen. Düsseldorf. https://digicademy.github.io/2018-sustainable-editions.
+ Sprengel, Peter, 1991. „Institutionalisierung der
+ Moderne: Herwarth Walden und Der Sturm“, in:
+ Zeitschrift für Deutsche Philologie, 247-281.
+ Trautmann, Marjam und Torsten Schrade. eds.
+ 2018. Der Sturm – Digitale Quellenedition zur Geschichte der internationalen
+ Avantgarde, Mainz, Akademie der Wissenschaften und der Literatur. https://sturm-edition.de.
+ Trautmann, Marjam. 2018. Eine Digitale Edition.
+ Ausgewählte Briefe von Jacoba van Heemskerck und Franz Marc an Herwarth Walden
+ (1914–1915). Mainz. http://doi.org/10.25358/openscience-2176.
+
+
+
+
+
diff --git a/issues/issue18/sturm/sturm.pdf b/issues/issue18/sturm/sturm.pdf
new file mode 100644
index 0000000..d2549b6
Binary files /dev/null and b/issues/issue18/sturm/sturm.pdf differ
diff --git a/tei_all/bufalini-tei.xml b/tei_all/bufalini-tei.xml
new file mode 100644
index 0000000..f388df7
--- /dev/null
+++ b/tei_all/bufalini-tei.xml
@@ -0,0 +1,2296 @@
+
+
+
+
+
+
+
+ Paolo Bufalini’s Notebook
+
+
+ Luisa
+ Ammirati
+
+
+ Università di Bologna
+ Bologna, Italy
+
+ luisa.ammirati@studio.unibo.it
+
+
+
+ Institut für Dokumentologie und Editorik e.V.
+ December 2023
+ http://ride.i-d-e.de/issues/issue-18/bufalini
+ 10.18716/ride.a.18.3
+ https://github.com/i-d-e/ride/raw/master/issues/issue18/bufalini/bufalini.pdf
+
+
+
+
+
+ RIDE - A review journal for digital editions and resources
+ Ulrike Henny-Krahmer
+ Martina Scholger
+ Ulrike
+ Henny-Krahmer
+ Frederike
+ Neuber
+ Martina
+ Scholger
+ Christina Burgstaller
+ Digital Scholarly Editions
+ http://ride.i-d-e.de/issues/issue-18
+
+
+
+
+ Paolo Bufalini, Appunti (1981-1991) [Edizione scientifica digitale
+ semantica]
+ Daquino, Marilena, Martina Dello Buono, Francesca Giovannetti, and
+ Francesca Tomasi
+
+ Editor
+ Daquino, Marilena, Martina Dello Buono, Francesca Giovannetti, and
+ Francesca Tomasi
+
+
+ Programmer
+ Marilena Daquino
+
+
+ Contributor
+ Martina Dello Buono
+
+ 2020
+ https://doi.org/10.6092/unibo/amsacta/6415
+ 2022-01-13
+
+
+
+
+ Criteria for Reviewing
+ Scholarly Digital Editions
+
+
+
+
+
born digital
+
+
+
+
+
+
+ Documentation
+
+ Bibliographic description cf. Catalogue 1.2
+
+ Is it easily possible to describe the project bibliographically along
+ the schema "responsible editors, publishing/hosting institution, year(s) of
+ publishing"?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contributors cf. Catalogue 1.4
+
+ Are the contributors (editors, institutions, associates) of the
+ project fully documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contacts cf. Catalogue 1.5
+
+ Does the project list contact persons?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Selection cf. Catalogue 2.1
+
+ Is the selection of materials of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reasonability of the selection cf. Catalogue
+ 2.1
+
+ Is the selection by and large reasonable?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Archiving of data cf. Catalogue 4.16
+
+ Does the documentation include information about the long term
+ sustainability of the basic data (archiving of the data)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Aims cf. Catalogue 3.1
+
+ Are the aims and purposes of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Methods cf. Catalogue 3.1
+
+ Are the methods employed in the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Data model cf. Catalogue 3.7
+
+ Does the project document which data model (e.g. TEI) has been used
+ and for what reason?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Help cf. Catalogue 4.15
+
+ Does the project offer help texts concerning the use of the
+ project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Citation cf. Catalogue 4.8
+
+ Does the project supply citation guidelines (i.e. how to cite the
+ project or a part of it)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Completion cf. Catalogue 4.16
+
+ Does the editon regard itself as a completed project (i.e. not promise
+ further modifications and additions)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Institutional curation cf. Catalogue 4.16
+
+ Does the project provide information about institutional support for
+ the curation and sustainability of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+
+ Contents
+
+ Previous edition cf. Catalogue 2.2
+
+ Has the material been previously edited (in print or
+ digitally)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Materials used cf. Catalogue 2.2
+
+ Does the edition make use of these previous editions?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Introduction cf. Catalogue 4.15
+
+ Does the project offer an introduction to the subject-matter (the
+ author(s), the work, its history, the theme, etc.) of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Bibliography cf. Catalogue 2.3
+
+ Does the project offer a bibliography?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Commentary cf. Catalogue 2.3
+
+ Does the project offer a scholarly commentary (e.g. notes on unclear
+ passages, interpretation, etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contexts cf. Catalogue 2.3
+
+ Does the project include or link to external resources with contextual
+ material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Images cf. Catalogue 2.3
+
+ Does the project offer images of digitised sources?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Image quality cf. Catalogue 4.6
+
+ Does the project offer images of an acceptable quality?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Transcriptions cf. Catalogue 2.3
+
+ Is the text fully transcribed?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Text quality cf. Catalogue 4.6
+
+ Does the project offer texts of an acceptable quality (typos, errors,
+ etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Indices cf. Catalogue 4.5
+
+ Does the project feature compilations indices, registers or
+ visualisations that offer alternative ways to access the material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of documents cf. Catalogue 1.3 and
+ 2.1
+
+ Which kinds of documents are at the basis of the project?
+
+ Single manuscript
+
+
+
+
+
+ Single work
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ Collected works
+
+
+
+
+
+ Papers
+
+
+
+
+
+ Archival holding
+
+
+
+
+
+ Charters
+
+
+
+
+
+ Letters
+
+
+
+
+
+ Diary
+
+
+
+
+
+ Other
+
+
+
+
+ a personal notebook
+
+
+
+
+ Document era cf. Catalogue 1.3 and 2.1
+
+ What era(s) do the documents belong to?
+
+ Classics
+
+
+
+
+
+ Medieval
+
+
+
+
+
+ Early modern
+
+
+
+
+
+ Modern
+
+
+
+
+
+
+ Subject cf. Catalogue 1.3
+
+ Which perspective(s) do the editors take towards the edited material?
+ How can the edition be classified in general terms?
+
+ History
+
+
+
+
+
+ Philology / Literary Studies
+
+
+
+
+
+ Philosophy / Theology
+
+
+
+
+
+ History of Science
+
+
+
+
+
+ Musicology
+
+
+
+
+
+ Art History
+
+
+
+
+
+ Other
+
+
+
+
+ Connecting the edition to the Linked Open Data's environment to
+ support a data-centric view of DSEs.
+
+
+
+
+ Spin-Offs cf. Catalogue 4.11
+
+ Does the project offer any spin-offs?
+
+ App
+
+
+
+
+
+ Mobile
+
+
+
+
+
+ PDF
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+ Access modes
+
+ Browse by cf. Catalogue 4.3
+
+ By which categories does the project offer to browse the
+ contents?
+
+ Authors
+
+
+
+
+
+ Works
+
+
+
+
+
+ Versions
+
+
+
+
+
+ Structure
+
+
+
+
+
+ Pages
+
+
+
+
+
+ Documents
+
+
+
+
+
+ Type of material
+
+
+
+
+
+ Images
+
+
+
+
+
+ Dates
+
+
+
+
+
+ Persons
+
+
+
+
+
+ Places
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Simple search cf. Catalogue 4.4
+
+ Does the project offer a simple search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Advanced search cf. Catalogue 4.4
+
+ Does the project offer an advanced search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Wildcard search cf. Catalogue 4.4
+
+ Does the search support the use of wildcards?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Index cf. Catalogue 4.4
+
+ Does the search offer an index of the searched field?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Suggest functionalities cf. Catalogue 4.4
+
+ Does the search offer autocompletion or suggest
+ functionalities?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Help texts cf. Catalogue 4.4
+
+ Does the project offer help texts for the search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+
+ Aims and methods
+
+ Audience cf. Catalogue 3.3
+
+ Who is the intended audience of the project?
+
+ Scholars
+
+
+
+
+
+ Interested public
+
+
+
+
+
+
+ Typology cf. Catalogue 3.3 and 5.1
+
+ Which type fits best for the reviewed project?
+
+ Facsimile edition
+
+
+
+
+
+ Archive edition
+
+
+
+
+
+ Documentary edition
+
+
+
+
+
+ Diplomatic edition
+
+
+
+
+
+ Genetic edition
+
+
+
+
+
+ Work critical edition
+
+
+
+
+
+ Text critical edition
+
+
+
+
+
+ Enriched edition
+
+
+
+
+
+ Database edition
+
+
+
+
+
+ Digital library
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+ Semantic Scholarly Digital Edition (SSDE)
+
+
+
+
+ Critical editing cf. Catalogue 3.6
+
+ In how far is the text critically edited?
+
+ Transmission examined
+
+
+
+
+
+ Palaeographic annotations
+
+
+
+
+
+ Normalization
+
+
+
+
+
+ Variants
+
+
+
+
+
+ Emendation
+
+
+
+
+
+ Commentary notes
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ XML cf. Catalogue 3.7
+
+ Is the data encoded in XML?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Standardized data model cf. Catalogue 3.7
+
+ Is the project employing a standardized data model (e.g.
+ TEI)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of text cf. Catalogue 3.5.
+
+ Which kinds or forms of text are presented?
+
+ Facsimiles
+
+
+
+
+
+ Diplomatic transcription
+
+
+
+
+
+ Edited text
+
+
+
+
+
+ Translations
+
+
+
+
+
+ Commentaries
+
+
+
+
+
+ Semantic data
+
+
+
+
+
+
+
+ Technical accessability
+
+ Persistent identification cf. Catalogue 4.8
+
+ Are there persistent identifiers and an addressing system for the
+ edition and/or parts/objects of it and which mechanism is used to that
+ end?
+
+ DOI
+
+
+
+
+
+ ARK
+
+
+
+
+
+ URN
+
+
+
+
+
+ PURL.ORG
+
+
+
+
+
+ Persistent URLs
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Interfaces cf. Catalogue 4.9
+
+ Are there technical interfaces like OAI-PMH, REST etc., which allow
+ the reuse of the data of the project in other contexts?
+
+ OAI-PMH
+
+
+
+
+
+ REST
+
+
+
+
+
+ General API
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+ don't know
+
+
+
+
+ Open Access
+ Is the edition Open Access?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Accessability of the basic data cf. Catalogue
+ 4.12
+
+ Is the basic data (e.g. the XML) of the project accessible for each
+ part of the edition (e.g. for a page)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Download cf. Catalogue 4.9
+
+ Can the entire raw data of the project be downloaded (as a
+ whole)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reuse cf. Catalogue 4.9
+
+ Can you use the data with other tools useful for this kind of
+ content?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Declaration of rights cf. Catalogue 4.13
+
+ Are the rights to (re)use the content declared?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ License cf. Catalogue 4.13
+
+ Under what license are the contents released?
+
+ CC0
+
+
+
+
+
+ CC-BY
+
+
+
+
+
+ CC-BY-ND
+
+
+
+
+
+ CC-BY-NC
+
+
+
+
+
+ CC-BY-SA
+
+
+
+
+
+ CC-BY-NC-ND
+
+
+
+
+
+ CC-BY-NC-SA
+
+
+
+
+
+ PDM
+
+
+
+
+
+ No license
+
+
+
+
+
+ Multiple licenses
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+ notebook
+ semantic web
+ scholarly digital edition
+ rdf
+ linked open data
+
+
+
+
+
+
+
+
+
+ Paolo Bufalini’s Notebook (from here on PBN) is a critical edition of
+ the personal notebook that the Italian politician and intellectual Paolo Bufalini
+ held from 1981 to 1991. The edition offers the opportunity to plunge into the flow of
+ thoughts of a man of the twentieth century who reflects on philosophy, poetry, and
+ politics. The methodical goal of this edition, which is implemented with XML/TEI and
+ RDF graphs, is to create an encoding system using Semantic Web technologies, able to
+ emphasize the complex network of quotations and annotations that fills the pages. The
+ digital edition aims to follow a data-centric paradigm. In this light, PBN is
+ connected to authority files and external knowledge bases, such as DBpedia, VIAF, and
+ WorldCat, to harness the power of the Linked Open Data universe. This review provides
+ the reader with an overview of Paolo Bufalini’s work and the main features of the
+ semantic critical edition. Finally, PBN can be evaluated as a decent edition, which
+ responds to certain requirements of a digital edition, but not to all, and it still
+ lends itself to improvements and new developments.
+
+
+
+
+ Introduction to the author
+
Paolo Bufalini (Rome, 9 September 1915 – Rome, 19 December 2001) was an
+ Italian communist partisan, an excellent critical observer of history, and a master
+ of alliance politics. Assigned to international relations, he played the role of a
+ mediator between the Italian Communist Party (PCI) and the Vatican for many years. He
+ was a senator from 1963 to 1992. Bufalini was a Latinist and a translator of Horace.
+ He was a humanist before being a politician. His readings and his dedication to
+ literature and philosophy, as the content of the notebook shows, saved him from an
+ all-encompassing political involvement. The former president of Italy Giorgio
+ Napolitano, commemorating Bufalini, his friend and party colleague, remembers him as
+ among “le migliori energie delle generazioni dell’antifascismo, della Guerra e della
+ Resistenza”“the best energies of the generations of
+ anti-fascism, War and Resistance” translated by the author of this review.
+ (Matteoli 2002, 25). Although he
+ is considered one of the most influential personalities in Italian politics of the
+ last century, there is no significant documentary footage about him. Aside from the
+ monograph curated by Giovanni Matteoli in 2002 and published by Rubbettino Editore
+ (see Citti 2008), the PBN appears
+ currently the widest editorial project focused on the red cardinal, as
+ he was nicknamed.
+
+
+ Introduction to the digital edition
+
The digital edition of Quaderno di appunti di Paolo Bufalini
+ (1981-1991), Paolo Bufalini’s Notebook (1981-1991) in English, is available
+ at https://projects.dharc.unibo.it/bufalini-notebook/. It is identified by
+ ISBN:9788854970793 and DOI: 10.6092/unibo/amsacta/6415. The initial project was
+ designed by Francesca Tomasi, Marilena Daquino, and Francesca Giovannetti in the
+ academic environment of the Alma Mater Studiorum, University of Bologna. For the last
+ version, the team has won a new member, Martina Dello Buono. Francesca TomasiSee https://www.unibo.it/sitoweb/francesca.tomasi/en. is an
+ associate professor in Archival and Library Science at the University of Bologna and
+ Director of the International Second Cycle in Digital Humanities and Digital
+ Knowledge (DHDK). She is the supervisor of PBN. Marilena DaquinoSee https://www.unibo.it/sitoweb/marilena.daquino2/en. , a research
+ assistant at the Alma Mater, has been a specialist in metadata at the Multimedia
+ Centre at the University of Bologna. In this project, she covered the role of RDF
+ modeling and development expert. The third curator of the project is Francesca
+ GiovannettiSee https://www.unibo.it/sitoweb/francesc.giovannett6/en., doctoral
+ student and teaching tutor at the Department of Classical and Italian Philology of
+ the University of Bologna (FICLIT), who has made Paolo Bufalini’s notebook her study
+ example for both bachelor (Giovannetti
+ 2013) and master (Giovannetti
+ 2015) theses in digital humanities. Giovannetti worked on the XML/TEI
+ modeling and markup. Martina Dello BuonoSee https://www.unibo.it/sitoweb/martina.dellobuono2/en. is a PhD
+ student in DHDK at Alma Mater Studiorum, and she is currently involved in the
+ Śivadharma project in collaboration with L’Orientale University as a
+ web designer and developer expert in Digital Humanities. Her contribution to PBN
+ concerns web design and applicationThe above information about
+ the professional career path of the editors and their responsibilities in the
+ project is available in the section ‘Credits’, accessible through a hyperlink in
+ the footer of the ‘Home’ and ‘Introduction’ pages. Once the page ‘Credits’ is
+ opened, other hypertextual links enable the user to directly see their own home
+ page in the Alma Mater Studiorum official website. There is no logo of the Alma
+ Mater University, but in the footer, a brief section is devoted to giving
+ information and links to DH.arc -Digital Humanities Advanced Research
+ Centre..
+
After Bufalini’s death, his sons donated his personal notebook (kept from
+ 1981 to 1991) to FICLIT, where some scholars brought the complex textual dynamics
+ that animated the paper to light (see Citti
+ 2008, 2). This philological work has been conveyed to the digital edition in
+ question, first published in 2019, updated in April 2020, and then again in January
+ 2021 (current version). Thus, the present review is based on this latter version of
+ PBN, but the first draft had as a reference the edition of April 2020. That explains
+ why, in the following pages, you will run into some screenshots and images that I
+ took from the previous version and that are not retrievable anymore but useful to
+ enhance the improvements achieved by the current edition. Today, the original
+ manuscript is treasured in Ezio Raimondi Library in Bologna.
+
During the decade 1981–1991 (Citti 2008, 2), Paolo Bufalini kept a private journal, which is the
+ expression of an experienced man’s thoughts with a sophisticated intellectual
+ tension, who had never stopped studying and expanding his knowledge. The Latin
+ classics (including Catullus, Lucretius, Horace, Virgil, etc.), the major figures of
+ the Italian literature (Dante, Manzoni, Carducci, Croce, etc.), and the protagonists
+ of foreign cultures (Flaubert, Shakespeare, Mann, Tolstoy, etc.) came together on the
+ same sheet of paper, inside a unique stream of thought. The notebook contains notes
+ in Italian, Latin, and English, with the margins and footer filled with annotations.
+ As a result, following the author’s thought process can be difficult at times.
+
Cardinal Silvestrini (1923–2019), who met Bufalini for the revision of
+ the Concordat (1984), remembers Bufalini and his notebook with these words:
+ C’è un quadernetto di scritti di sua mano, appunti del decennio ’81-’91 che
+ la figlia Jolanda mi ha gentilmente mostrato. È una specie di “calepino”
+ morale, in cui egli raccoglie i pensieri di autori e pensieri suoi, scritti
+ negli intervalli più diversi, durante una pausa di riunioni e assemblee, o
+ durante un viaggio, per esempio a Cuba, momenti estravaganti di una riflessione
+ in cui l’animo si rifugiava e si placava.A translation of
+ this passage is available in Citti
+ 2008, 66: “The Note-book is a kind of moral ‘note-book’, in which
+ he gathers together his own thoughts and those of other writers, written
+ during various moments of his free time, a break in a meeting or assembly or
+ during a journey, to Cuba for example, odd moments of reflection in which
+ his soul took refuge and was calmed.” (Matteoli 2002, 35)
+
+
+
The text shows the personal interest of Bufalini in themes of an
+ existential nature, such as death and time, but also in the Christian view of life,
+ dealing with topics like pain and faith. At the same time, there are lots of passages
+ that show Bufalini’s involvement in politics: democracy, mafia, social commitment,
+ and other political themes (Citti
+ 2008, 66).
+
+
+ General parameters of the edition
+
The website gives key information to frame the context and workflow of
+ this work. This is surely the best improvement compared to the version of 2020, in
+ which lots of data were missing, like the mention of the work done by the Institute
+ La Permanenza del Classico (involved in the first design of the
+ edition) or info about the editors. As mentioned before in the Introduction, the
+ older version is not accessible anymore, but I started reviewing this project when
+ the current one was not ready yet, and I kept track of the previous edition via notes
+ and screenshots.
+
The ‘Technical specifications’ section (whose link can be found in the
+ footer) enables the user to follow the backstage of the work step by step. He/she can
+ grasp the meaning of the adopted methodology, the RDF dataset components, the web
+ application development, and the possible filters for semantic queries. The choice to
+ include on the website technical information not strictly related to the philological
+ value of the edition, like the explanation of web application development, unveils a
+ didactic vocation, which goes well with the academic environment where the edition is
+ born. Although expanding beyond the humanities to include explanations about
+ ontologies, metadata, and web technologies is commendable, the lack of information on
+ the philological principles utilized, which deserves its own dedicated section, can
+ be perceived as a shortcoming. While it is true that different entities
+ (specifically, the study center La Permanenza del Classico) made the
+ editorial decisions, it is also true that Francesca Giovannetti, one of the
+ publishers of PBN, was involved in the project’s development from an early stage, as
+ she confirms in the passage below.
+ The development of the digital edition started with the diplomatic
+ transcription of the text, which preserved all the original characteristics of
+ the writings, such as spelling and punctuation, deletions and additions,
+ abbreviations and line breaks. Subsequently, the centre carried out the
+ encoding of the text in TEI Lite P4. […] In 2013, the centre [“La Permanenza
+ del Classico”] came to the decision of migrating from TEI Lite P4 to TEI P5 and
+ I was charged with this task. […] With the migration from TEI Lite P4 to TEI P5
+ the encoding model has substantially changed: different choices were made for
+ the representation of textual phenomena and of editorial additions. (Giovannetti 2015, 2)
+
+
+
Furthermore, since PBN is the only open-access available output of the
+ editorial and philological work done on the text by both La Permanenza del
+ Classico and the PBN publishers, as detailed in the ‘Subject and Content’
+ section, it would be appropriate to provide more comprehensive information about
+ these decisions. However, a close comparative reading between the facsimile and the
+ transcription allows an informed user to grasp the philological decisions behind the
+ text and its transcription because there are no cases of extreme philological
+ complexity, no variants, for instance.
+
Moreover, the financial resources available for the project are not
+ clarified, and the timeline is undeclared. On the other hand, as mentioned in the
+ below ‘Aim and methods’ paragraph, the goals and the embraced approach are explained.
+ The general parameters of the edition, therefore, can be considered partially
+ accessible to the final user: the overview of the context, the editors, the mission,
+ and methods are accessible, and the philological work is explained in a few sentences
+ but not accurately covered.
+
+
+ Subject and content
+
The subject of the digital edition is the autograph manuscript of Paolo
+ Bufalini’s notebook. The unpublished 143 bound pages and two loose sheets
+ (corresponding to pages 144-147 in the facsimile) represent the entire
+ research area of the project.
+
The PBN does not rely on printed editions. The project Quaderni di
+ Paolo Bufalini, curated by the Institute La Permanenza del
+ Classico, could be considered the digital archetype of this current
+ edition. As explained on the corresponding webpage
+ https://centri.unibo.it/permanenza/it/attivita-ed-eventi/quaderni-di-paolo-bufalini.
+ and in more detail in Giovannetti (2015), the backbone of the editorial project had already been formed in
+ 2008, when the diplomatic edition was completed, the dense network of references was
+ revealed, and the first encoding with the XML/TEI P4 was provided. However, the beta
+ version, which was edited by the Institute, cannot be consulted. It is not clear
+ whether it is simply not open-source software or if it is not available since the
+ release of the current edition. Everything we know about the previous edition’s
+ achievements is reported in the research paper by Citti (2008), where we can also find some archive images (Citti 2008, 78).
+
+
+ Aims and methods
+
The paper by Daquino, Giovannetti, and Tomasi (2019), added as a suggested reading
+ at the end of the ‘Introduction’ page of PBN, helps to understand the aims of the
+ edition better:
+ Molte delle ESD ad oggi disponibili online presentano una struttura
+ documento-centrica. […] Si tratta del paradigma tipico della stampa
+ tipografica, trasportato dall’ambiente analogico a quello digitale.
+ L’espansione del Web of data sollecita la ridefinizione del concetto di ESD da
+ parte della comunità accademica. L’ESD […] deve essere ripensata come insieme
+ di entità, ovvero anche risorse identificate univocamente con URI e
+ interconnesse attraverso l’uso di link tipizzati (le proprietà RDF), secondo un
+ paradigma dato-centrico.Translation by the author: “Many of
+ the EDSs available online today adopt a document-centric structure. [...]
+ This is the typical paradigm of printing, transported from the analogue to
+ the digital environment. The expansion of the Web of data calls for the
+ redefinition of the concept of ESD by the academic community. The ESD [...]
+ has to be rethought as a set of entities, that also means resources uniquely
+ identified with URIs and interconnected through the use of typed links (the
+ RDF properties), according to a data-centric paradigm.” (Daquino,
+ Giovannetti, and Tomasi 2019, 50)
+
+
+
Every working step of the project was conceived with this perspective in
+ mind. DSEs can exchange precious knowledge thanks to shared knowledge graphs on the
+ Semantic Web. The TEI encoding mediates between the ontologies and the source text,
+ and as stated in the ‘XML/TEI Encoding’ section on the PBN ‘Introduction’ page: “It
+ aims to represent the relationships between the textual fragments of the notebook
+ (citations, comments, translations, etc.) and to link the local authority files to
+ external datasets” (Daquino et al. 2020).
+
This means that the RDF dataset is populated by the extraction of the
+ TEI entities via XSLT, generating a Turtle file from the TEI document, or that it is
+ created manually (Giovannetti
+ 2015, 30-31). Furthermore, the embedded markup model of the notebook is
+ complemented with ontologies that open the door to a ‘global data space’ in which
+ URIs identify documents and data they contain (e.g., entities) that could be used in
+ many different applications (Giovannetti 2015, 15). The interoperability of the edition achieved through
+ the use of Linked Open Data (LOD) is, therefore, the main scholarly contribution.
+
The curators, however, have decided to only share the output – the
+ result of this ample reflection behind the creation of the edition – through the
+ official site of PBN. On the ‘Home’ page you can read: “The primary aims of the
+ edition are to identify, analyse and enhance the intratextual and extratextual
+ relations – otherwise implicit, given the private nature of the notebook – which
+ characterize the texts of the Appunti[...]” (Daquino et al. 2020).
+
The essence of their research project is to create a bespoke application
+ able to enhance the text. They find the answer to such information needs through the
+ Semantic Web technologies, but the brief digression on the ‘Introduction’ page about
+ the features and the functioning of the LOD implementation could be deepened and
+ explained in a more complete way. The risk, otherwise, is that the user, especially
+ if new to LOD, could lose the necessary information to enjoy the edition as a whole.
+ According to my experience, the paper by Daquino, Giovannetti, and Tomasi (2019) fills the
+ information gap about the strategy to implement the DSE with Semantic Web
+ technologies, but I would like to find the explanation of this vision, promoted as
+ the strength of the edition in the aforementioned paper, in the official webpage of
+ PBN.
+
+ Paolo Bufalini’s Notebook is classified by the editors, in the Overview
+ section of ‘Technical specifications’, as Semantic Scholarly Digital Edition (SSDE),
+ but I do not totally agree with them: the ‘Semantic’, ‘Digital’, and ‘Editing’ parts
+ are contemplated, but the ‘Scholarly’ only partially covered, because, although the
+ transcript is faithful to the text, the philological principles are not stated
+ explicitly and in detail.
+
+
+ User interface
+
The design of the site is sober and elegant. There is no discordant note
+ that disturbs the layout. The style adopted for the website seems to mirror the
+ personality of Paolo Bufalini, an intellectual with a moderate temper, not
+ ostentatious, but a man of great depth. The contents of the website are easily
+ accessible by using the navigation bar located on the top right of the page.
+
+
+
+ The navigation bar; screenshot.
+
+
+
+ Detail of the facsimile; screenshot.
+ The navigation bar shows the available sections, highlighting all the
+ required information to navigate the website: ‘Home’, ‘Introduction’, ‘Digital
+ Edition’, as well as ‘Index of Persons’ and ‘Index of Works’. On the ‘Home’ page, the
+ users have access to an overview of what they can find by browsing the website and to
+ the links for directly reaching the other main areas of the project. The
+ ‘Introduction’, instead, presents the fundamental pillars of the project. The
+ ‘Digital edition’ is the area devoted to the visualization of Bufalini’s work,
+ whereas the ‘Index of Persons’ and the ‘Index of Works’ are the Semantic indexes,
+ which are deepened in the following paragraphs. The website is available in Italian
+ and English (the language menu is circled in green in Fig. 1). However, it is worth reporting one little error,
+ which surely does not compromise the understanding of the text, but it would be
+ better to fix it: by accessing the ‘Digital Edition’ section, the box that appears
+ when moving the mouse on the facsimile is only partially translated into English
+ (detail circled in red, Fig. 2).
+
+
+
+ Example of a bug that appears reducing the screen on PC;
+ screenshot.
+ For what concerns the usability of the website, access from devices like
+ computers and tablets is granted, but only in a full-screen modality, since the
+ exploration of the edition by a reduced screen on a PC distorts the interface, which
+ undergoes a loss of information and functions (see Fig. 3). The horizontal comparison between the
+ facsimile and the transcript, for example, is totally hampered by the
+ graphic arrangement of the ‘Transcript’ box placed vertically above the ‘Facsimile’
+ box. Although a medium-sized screen is generally recommended to use a DSE, and
+ therefore, the aforementioned situation cannot be properly defined as a deficiency,
+ making the site responsive might be a valuable idea to take into account for a
+ possible future edition.
+
There is no area dedicated to listing the bibliographic sources, just a
+ suggested reading for a full technical description of the edition at the end of the
+ ‘Introduction’ page. Besides, there is a SPARQL endpoint, available through the
+ footer, where the user can enter queries and have access to data. Since there is no
+ further documentation about how to use it, this section is reserved for those who are
+ familiar with this semantic query language. Finally, as the editors claim in the
+ ‘Licences’ section (accessible from the footer), the code of the application is
+ available under a CC0 license (Daquino, Giovannetti, and Dello Bueno
+ 2021), the dataset of the notebook is available under a CC BY 4.0 license on
+ AMSActa (Tomasi,
+ Daquino, and Giovannetti 2019), whereas all rights of the notebook’s images
+ are reserved to FICLIT Digital Library.
+
+
+ Usability
+
+
+
+ Facsimile images and annotation of previous edition;
+ screenshot.
+
+
+
+ Digital Edition window – current edition – screenshot.
+ My personal experience as a user of PBN suggests that the edition is
+ presented as an easily usable product. The nav buttons, for instance, are easily
+ interpretable, and the features provided correspond to the expectations of a digital
+ edition’s user: as explained in the previous paragraph, the terminology used for
+ buttons and hyperlinks is quite unequivocal. Clicking on the ‘Digital Edition’ button
+ in the navigation bar, for instance, one can expect to access the
+ facsimile images of the notebookThe FICLIT Digital Library (https://web.archive.org/web/20231101071744/https://dl.ficlit.unibo.it/s/lib/item/198982)
+ provides some further information about the physical characteristics of the
+ manuscript codex, like details on its format and the color of the cover.,
+ and this is what happens. The user can browse through the facsimile,
+ shown in a double-page layout. The resolution of the images (taken with an i2S
+ CopiBook planetary scanner)This detail is omitted on the
+ official PBN page. Look at Citti
+ 2008
+ , 67. is excellent. You can zoom in on a little frame without
+ the quality being affected. On the facsimile, the user can discover the
+ quotations (and their origin, even if implicit), the annotations, and some life
+ memories caught in the calligraphy of the author. The current version (Fig. 5) is more complex and richer in filters
+ and features than the previous one (available in 2020) (Fig. 4).
+
The user can arrange the window by opening or closing the box of
+ ‘Filters’, ‘Transcription’, and ‘Facsimile’. It is a graphical strategy that
+ enables the user to stay focused on what he/she is interested in, keeping open the
+ possibility to switch modality of consulting the edition. Moreover, the user can set
+ the font, the size, and the background color of the transcription box (clicking on
+ the TT circled in orange, see Fig. 5). This page shows several useful links and
+ information: the question mark (‘?’) on the right (circled in light blue, Fig. 5) explains all the tools available to
+ discover the edition; the ‘Metadata’ (circled in purple, Fig. 5), instead, displays a brief table summarising the key
+ info about the PBN; the icon of IIIF (circled in pink, Fig. 5), which stands for International Image
+ Interoperability FrameworkInternational Image Interoperability
+ Framework. https://iiif.io/., is linked to the complete facsimile on the
+ FICLIT Digital Library; on the left, the symbol of the encoding (circled in blue,
+ Fig. 5) allows to download the XML/TEI
+ file of the notebook.
+
+
+
+ Example of “People” filter result; screenshot.
+ The ‘Filters’ tab, split into ‘People’ and ‘Works’, is a tool to search for
+ specific contents in the transcription. The occurrences of the selected person are
+ reported in a list of results on top, and they are highlighted in blue in the
+ transcription of the notebook. Once a ‘People’ filter is adopted, you can also
+ distinguish the results by the ‘Person role’ (‘Author’ or ‘Mentioned person’), as
+ Fig. 6 shows.
+
Concerning the text fruition, when the mouse cursor scrolls on a
+ paragraph of a page in the facsimile, a frameset containing some information about
+ that text portion (like the author of the quoted text, mentioned entities,
+ translations, etc.) shows up on the screen (red circle, Fig. 6), whereas, clicking on it, the transcript of that
+ portion appears on the left. The facsimile and the transcription box, indeed, are
+ synchronized: when the user turns over the pages, the transcription automatically
+ updates to reach the textual passage the facsimile is showing. Vice versa, by
+ scrolling up or down on the transcription tab (that offers a sequential read,
+ developed vertically), the facsimile quickly goes on or back to the point considered.
+
This elegant format makes the reading fluid and pleasant. The user does
+ not run into the discomfort of having to open other screens to fully enjoy the text
+ and its meaning. However, the page layout loses this harmony when you disable the
+ full-screen mode of the browser window.
+
+
+
+ Index of Persons window; screenshot.
+ The PBN also presents two indices, e.g., the ‘Index of Persons’ and the
+ ‘Index of Works’, related to people and works mentioned by Bufalini on his pages. The
+ indices are well organized. The user can directly search among ‘People’ and ‘Works’
+ thanks to the search bar (circled in red, Fig.
+ 7) or by browsing the list. A legend (on the bottom left, circled in green,
+ Fig. 7) clarifies the different colors
+ assigned to ‘Comments’, ‘Quotations’, and ‘Translations’. The possibility of
+ arranging the page is appreciable, as I explained before, but in this case, the
+ ‘Filters’ tab is unnecessary because it plays the same role as the ‘List’ of names.
+ Besides, even if the user decides to close this box, the ‘Types of excerpts’ (the
+ legend) would be closed consequently.
+
+
+
+ Errors in DBpedia page links; screenshot.
+
+
+
+ Working DBpedia page link to Gabriel Malagrida’s page;
+ screenshot.
+ Furthermore, each author, listed alphabetically, is linked to authority
+ files from VIAF and the Italian DBpedia where available, which disambiguate the
+ identity of the person. In the same manner, each work is connected to external
+ sources, VIAF and WorldCat, two identification systems that grant authoritativeness
+ to the information shared by the digital edition. The links to DBpedia, however, are
+ incorrect and, therefore, do not link to the correct page (Fig. 8). The server it.dbpedia.org does not
+ exist. The correct one is www.dbpedia.org.
+ Therefore, to have the identifier of Vittorio Alfieri, for
+ example, the link should be https://dbpedia.org/page/VittorioAlfieri and not
+ http://it.dbpedia.org/resource/VittorioAlfieri. There are some exceptions,
+ like the links to Louise Colet’s and Gabriel Malagrida’s pages. (Fig. 9)
+
+
+ Accessibility
+
+
+
+ Reading of the button ‘Learn More’ in the Home of PBN and the
+ explanation of the suggested steps to interact with it by VoiceOver;
+ screenshot.
+ According to Jacob Nielsen, father of the ten usability heuristics, for a
+ product like a website to be considered ‘usable’, it should possess the following
+ five properties: it should have an easy-to-learn structure; be efficient to use; be
+ easy to remember, meaning that the user can easily regain proficiency when returning
+ to the site after a period of time; the site should always give the user the
+ possibility to fix an error and, finally, its design should be pleasant to use (Nielsen 2012). As I stated in the
+ previous section, my personal experience as a user of PBN was a positive one, and the
+ edition seemed to me to comply the aforementioned five points. However, I may not
+ represent the end user, who could be visually impaired or blind. Thus, I checked if
+ the edition met the required accessibility parameters to allow everyone to use the
+ website, disabled people included, and the result was quite satisfying. A screen
+ readerI used VoiceOver by Apple. An explanation about how it
+ works is available at https://support.apple.com/guide/voiceover/welcome/10#/. can
+ recognize the structure of paragraphs, their headings, and their textual bodies, the
+ role of the buttons (circled in green and red, Fig. 10), and the links in order to allow the user to know where and how it
+ is possible to interact with the system.
+
+
+
+ Inspection of the contrast value for a nav button;
+ screenshot.
+
+
+
+ Inspection of the contrast value for a button with a colored
+ background; screenshot.
+
+
+
+ Inspection of the contrast value for a piece of transcript
+ text; screenshot.
+ The color contrastFor further information about
+ contrast value, see https://www.w3schools.com/accessibility/accessibility_color_contrast.php
+ .
+ , instead, differs from text to text: in the navbar buttons, it does not reach
+ a high value (circled in green, Fig. 11),
+ whereas, in the other points, where the text has a colored background (circled in
+ green, Fig. 12) or the font has a more
+ intense color, this value increases (circled in green, Fig. 13).
+
+
+
+ Reading of the facsimile images’ box (in the red rectangle)
+ by VoiceOver; screenshot.
+ Nevertheless, in the accessibility of PNB, there is a kink: in the HTML
+ code, there are no ALT attributes to describe the images of the site, but this flaw
+ is reduced by the fact that there are few meaningful images, which deserve this care,
+ most of them are decorative images. However, this implies, for instance, that in the
+ ‘Digital Edition’ area, the blind user can listen to the transcription and browse the
+ page of the notebook (because of the correct access to the navigation button) without
+ knowing that the webpage is showing the notebook facsimile (Fig. 14) since there is no alternative ALT description,
+ which could indicate this information.
+
Except for this lack, the edition meets the accessibility requirements
+ for users with disabilities.
+
+
+ Text criticism
+
Even though PBN does not devote a deep explanation to the editing
+ principles, it is clear that the transcription made by the editors comes close to a
+ diplomatic one. Francesco Citti writes: “all characteristics concerning spelling and
+ punctuation, including any eventual errors or incorrect quotations were preserved.
+ Particular marks (such as arrows, references, boxes), were reproduced and where this
+ was not possible, were described (using notes […]” (Citti, 71). Indeed, the transcription philologically reproduces the
+ original text, trying to maintain unaltered any passage, but in the digital edition,
+ not all the symbols and signs are reproduced in the same way compared to what is
+ visible in the facsimile. Some examples are given below.
+
+
+
+ Memory of Luigi Petroselli, facsimile, page 7;
+ screenshot.
+ In Fig. 15, there is a notable
+ passage of the notebook. It is a personal comment of Bufalini, who remembers the
+ impressions and emotions felt during the funeral of his friend Luigi Petroselli on
+ 8th October 1981.
+
The handwriting thins out; it follows the stream of the thoughts and,
+ therefore, runs from the hand to the sheet, the line spacing gets smaller, and the
+ time of the story is agitated. It has been written in one go. The erasures and second
+ thoughts, indeed, have been purposefully kept by the author. The interpretation of
+ the passage is undoubtedly difficult because of the unclear handwriting; however, the
+ transcription proposed by the PBN wisely reveals the sense of those words.
+
The transcript of the notebook is, therefore, sophisticated, but, as I
+ wrote above, there is no documentation of the editing principles. In the
+ ‘Philological note’ of the ‘Introduction’ page, we can read:
+ The transcription philologically reproduces the original text. However, in
+ the digital edition we did not reproduce the exact symbols and signs used by
+ the author to separate or graphically connect excerpts. Nonetheless, along with
+ the transcription, the edition offers an interactive visualization of
+ facsimiles, so that the reader can retrieve all the details. (Daquino
+ et al. 2020)
+
+
+
A further clarification about the philological principles is, instead,
+ available in the section Digital edition: representation and encoding of the
+ ‘Note-book’ of one of the main bibliographic references (Citti 2008, 71-77). The philological
+ principles are indeed enclosed in the XML encoding, which expresses the
+ interpretation of text fragments curated by the study center La Permanenza del
+ Classico. For instance, a markup such as <div2 type="nota"
+ place="margine"> is assigned to a margin note of the notebook, and
+ <hi rend="sottolineato"> is assigned to a graphic element of
+ the underlining (Citti 2008, 77). The
+ transcription of graphical elements is quite intuitive because of their high
+ resemblance with the symbols of the original pages. However, the absence of a legend
+ of identified marks with the corresponding meaning is not admissible for a scholarly
+ edition. Especially if, like in the example below (Fig. 18 and 19),
+ there is not an evident rule applicable everywhere.
+
The following is a brief list of symbols that I detected during my study
+ of the edition:
+ ▬: erasures of unrecognizable words (e.g., pp. 1, 6, 60)
+
+ deleted: erasure of recognizable words
+
+ insertion/insertion: insertions of a word below and above the line (e.g., pp.
+ 60, 62, 135)
+
+ underlining: lines traced by Bufalini
+ ⧟: reproduces the equivalent sign designed by Bufalini in some pages
+ (e.g., pp. 24-25). It is a sort of intratextual reference.
+
+
+
+
+
+ Transcription and facsimile of pages 24-25;
+ screenshot.
+
+
+
+ A detail of the facsimile, page 25; screenshot.
+ The following example (Fig. 16)
+ shows both the black rectangle ▬ and the two connected circles ⧟. The
+ first one, however, could be replaced by another symbol because the word deleted by
+ the author is recognizable. Under the erasures, ‘Nitzsche’ can be seen (circled in
+ red in Fig. 16 and zoomed in Fig. 17). Thus, ‘Nitzsche’ could
+ be a better solution. Moreover, even if the symbol ⧟ is retraced by Bufalini
+ with a red pen both times (p. 24 and p. 25), the editors reproduce it in red only the
+ second time (circled in blue and orange, Fig.
+ 16). This choice seems to be motivated by a graphical reference to
+ interconnect two passages of the notebook.
+
+
+
+ The facsimile of page 54; screenshot.
+ By a cross-check, I noted that all discrepancies that emerged between the
+ full transcription and the facsimile in the previous version of PBN
+ (like omitted square brackets) were fixed. Only one symbol is missing from the
+ transcription (Fig. 18). It is quite
+ common in the notebook, and it seems an inversion of words, but maybe it is not
+ univocally interpreted by the editors.
+
+
+ Data modelling and ontologies
+
The encoded transcription follows the TEI standard. In 2013, the center
+ La Permanenza del Classico decided to migrate from TEI Lite P4 to TEI
+ P5, and Francesca Giovannetti was charged with this task (Giovannetti 2015).
+ The new encoding structures the notebook into logical units that follow the
+ physical pages. Each page is enclosed within a <div> element
+ and the beginning of each page is marked by the elements
+ <pb> and <milestone>, which
+ respectively carry a @n attribute expressing the page number as
+ assigned by the scribe and a @unit attribute to explicit which
+ side of folio the page corresponds to (the value is either ‘recto’ or ‘verso’).
+ Each page is further divided into subsections marked up as
+ <div>, each of which contains a fragment of text. Three
+ types of fragments have been identified: quotation, comment and translation.
+ These are distinguished by the value of the attribute @type (e.g.
+ <div type="quotation">). The relationships between
+ fragments are established using the attributes @corresp or
+ @ref. (Giovannetti 2015, 2-3)
+
+
+
+
+
+ Part of the XML code, from line 2213 to 2243;
+ screenshot.
+
+ Fig. 19 provides you with an example to
+ show you some of the features that Giovannetti explained above.
+
The XML/TEI file is downloadable on the ‘Digital Edition’ page, by
+ clicking on the encoding symbol in the transcription tab. Nonetheless, it could be
+ beneficial to provide users with an extra way of accessing the code through the
+ ‘Home’ or ‘Introduction’ pages and possibly linking it to the ‘XML/TEI Encoding’
+ paragraph to make it more easily discoverable.
+
‘The Metamodel’ and ‘The Knowledge Graph’ paragraphs on the
+ ‘Introduction’ page explain that in the PBN, the traditional hierarchical markup and
+ the semantic representation of data coexist. The conversion of the XML/TEI code to
+ RDF (Resource Description Framework), conceived by the World Wide Web Consortium
+ (W3C), results in the creation of a main knowledge graph
+ http://projects.dharc.unibo.it/bufalini-notebook/resource/edition/.
+ of 8K triples and other separated graphs (about 800 triples). The curators follow the
+ nanopublication approach, according to which each group of RDF statements is
+ accompanied by three additional graphs containing information about the assertions'
+ provenance, the digital scholarly edition, and the nanopublication itself. The three
+ graphs are interconnected, with one graph describing the nanopublication and linking
+ the other three graphs.
+
The project team opted to reuse ontologies from Linked Open Vocabularies
+ (LOV)Linked Open Vocabularies (LOV). https://lov.linkeddata.es/dataset/lov. to shape the information
+ held by the notebook. The choice of reusing existing ontologies rather than creating
+ new ones is an appreciable effort to enable and enhance the cooperability between
+ researchers who can rely on this model. The representation of the main graph was
+ designed with the Open Annotation model. The SPAR Ontologies FaBiOFaBiO, the FRBR-aligned Bibliographic Ontology. https://sparontologies.github.io/fabio/current/fabio.html. and
+ CiTOCiTO, the Citation Typing Ontology. https://sparontologies.github.io/cito/current/cito.html. are used
+ for describing bibliographic resources and citations. Indeed, through the pages of
+ his notebook, in search of confirmation for his intuitions, Bufalini records the
+ words of authors and philosophers who support his beliefs. CiTO is particularly
+ suited for reproducing these circumstances. As stated in the ‘Introduction’ page,
+ about 800 RDF triples, which make up 10% of the knowledge base, represent Bufalini's
+ notions regarding the relationships between the texts and authors in the notebook. To
+ capture these ideas, HiCO, an ontology that expands on PROV-O and enables the
+ specification of a statement's source, is employed.
+
+
+ Long term use
+
+
+
+ PBN’s description in “DH.arc projects” page;
+ screenshot.
+ The official PBN website does not provide any updates on the long-term
+ viability of the SDE. Consequently, it is unclear whether the edition is considered
+ complete or if the project's editors are still making modifications. Although the PBN
+ is listed under the ‘DH.arc projects’Projects at /DH.arc. https://centri.unibo.it/dharc/en/research/projects-at-dh-arc.,
+ linked in the footer section of the ‘Home’ page, with a description indicating
+ ‘Release: 2018 (next release 2020)’ and ‘Status: Ongoing’, this information appears
+ to be outdated since the last release was in 2020 (Fig. 20).
+
Additionally, the PBN GitHub repository
+ Daquino,
+ Giovannetti, and Dello Buono 2021. shows that the last update was
+ made precisely two years ago. It is uncertain whether there is institutional support
+ to ensure the edition's long-term sustainability and provide lasting access.
+ Therefore, it would be beneficial to inform users of the edition about these
+ details.
+
+
+ Conclusion
+
PBN fulfils some of the main requirements that a Scholarly Digital
+ Edition should meet: it offers a critical representation of the historical document
+ that is Paolo Bufalini’s notebook and it is guided by a digital paradigm. However, it
+ lacks a deep philological documentation. Indeed, a potential printed version of this
+ edition would lose contents and functionalities detained by the current one. The user
+ is invited to interact with the system and to consult its metadata, to access
+ reliable sources and a correct transcription, and its editors have the merit of
+ sharing a high-value work previously unpublished. Besides, the work done for
+ extending the reality of the edition to the Semantic Web environment is what makes
+ this digital edition innovative and different from the others available nowadays.
+ According to Patrick Sahle’s catalog of Digital Scholarly Edition
+ Sahle 2008-2023., indeed,
+ among more than 700 cases of studies, only one makes use of Semantic Web
+ technologies, and it is burckhardtsource projectburckhardtsource
+ project. https://burckhardtsource.org/., a semantic Digital Library that
+ hosts the critical and semantic edition of the letters written to Jacob
+ Burckhardt.
+
The decisions that have guided PBN are described, but the lack of
+ detailed documentation of the project represents a flaw. Conveying all the
+ information about the project (currently spread into different scholarly
+ articles
+ Citti 2008 and Daquino, Giovannetti, and Tomasi
+ 2019. , mainly written by the same editors) on the PBN page would
+ make it a self-sufficient source.
+
Moreover, the notebook also appears very suitable for a critical edition
+ with a critical commentary. Thanks to the dates noted by Bufalini at the top of some
+ pages, it could be interesting to investigate some possible connections between his
+ philosophical reflections and the coeval social and historical context, during which,
+ let me stress, Bufalini still served as senator of the Republic. This is just an idea
+ that genuinely came to me while leafing through the notebook. Alternatively, another
+ suggestion could be to conduct a technical analysis of the various pensBufalini used black, blue, red, and even green pens. He sometimes
+ took a pencil to underline pieces of text written with the pen. Page 140 of the
+ notebook shows this mixture well. used by the author over ten years, which
+ could unveil, for instance, the timing and the meaning of some comments and the
+ underlining. So why not think about extending the ambitions and aims of the edition
+ to a wider work in the future?
+
Therefore, PBN is a valuable project that achieves a good result in
+ terms of visualization of the facsimile, accessibility, and usability; it has a
+ modern style that makes the fruition of the site an enjoyable experience and provides
+ a well-done transcription of an unpublished work. In conclusion, although the editors
+ did not mention further extensions of the edition, I would suggest they deal with
+ some of the weaknesses of the edition and fully realize the high potential of
+ PBN.
+
+
+
+
+
+ Citti, Francesco. 2008. “Paolo Bufalini and the classics:
+ towards a digital edition of his ‘Note-Book’”. Conservation Science in
+ Cultural Heritage, 8(1): 65-89. https://doi.org/10.6092/issn.1973-9494/1396.
+ Daquino, Marilena, Francesca
+ Giovannetti, and Francesca Tomasi. 2019. “Linked Data per le edizioni scientifiche
+ digitali. Il workflow di pubblicazione dell’edizione semantica del quaderno di
+ appunti di Paolo Bufalini”. Umanistica Digitale, 3(7). https://doi.org/10.6092/issn.2532-8816/9091.
+ Daquino, Marilena, Francesca
+ Giovannetti, and Martina Dello Buono. 2021. “Paolo Bufalini's notebook”.
+ GitHub.com. https://github.com/marilenadaquino/bufalinis-notebook.
+ Daquino, Marilena, Martina
+ Dello Buono, Francesca Giovannetti, and Francesca Tomasi. 2020. “Paolo Bufalini,
+ Appunti (1981-1991)” [Semantic Scholarly Digital Edition]. Digital Humanities
+ Advanced Research Centre (/DH.arc), https://doi.org/10.6092/unibo/amsacta/6415.
+ DL FICLIT, “Paolo Bufalini, ‘Appunti 1981-1991’ (quaderno
+ manoscritto)” https://dl.ficlit.unibo.it/s/lib/item/198982.
+ Giovannetti, Francesca. 2013. “Paolo
+ Bufalini, Appunti (1981-1991). Una Proposta di Edizione Digitale.” Bachelor’s
+ degree thesis in Digital Humanities. Alma Mater Studiorum University of Bologna.
+ Giovannetti, Francesca. 2015. “Combining TEI and
+ Semantic Web Technologies to Annotate and Explore the Notebook of Paolo Bufalini
+ (1915-2001)”, Master Thesis. Alma Mater Studiorum University of Bologna.
+ Matteoli, Giovanni. 2002. “Paolo Bufalini. L’impegno
+ politico di un intellettuale”, Catanzaro, Rubbettino.
+ Nielsen, Jakob. 2012. “Usability 101: Introduction to
+ Usability”. Nielsen Norman Group. https://www.nngroup.com/articles/usability-101-introduction-to-usability/.
+ Sahle, Patrick. 2008–2023. A Catalog of Digital Scholarly
+ Editions, Version 3.0. https://v3.digitale-edition.de/.
+ Tomasi, Francesca, Marilena Daquino,
+ and Francesca Giovannetti. 2019 “Paolo Bufalini. Quaderno di appunti (1981-1991)”.
+ Dh.arc. https://doi.org/10.6092/unibo/amsacta/6415.
+
+
+
+
+
diff --git a/tei_all/catullus-tei.xml b/tei_all/catullus-tei.xml
new file mode 100644
index 0000000..6dba43a
--- /dev/null
+++ b/tei_all/catullus-tei.xml
@@ -0,0 +1,2035 @@
+
+
+
+
+
+
+
+ Catullus Online
+
+
+ Martina
+ Pensalfini
+
+
+ Università di Bologna
+ Bologna, Italy
+
+ martina.pensalfini@studio.unibo.it
+
+
+
+ Institut für Dokumentologie und Editorik e.V.
+ December 2023
+ http://ride.i-d-e.de/issues/issue-18/catullus
+ 10.18716/ride.a.18.5
+ https://github.com/i-d-e/ride/raw/master/issues/issue18/catullus/catullus.pdf
+
+
+
+
+
+ RIDE - A review journal for digital editions and resources
+ Ulrike Henny-Krahmer
+ Martina Scholger
+ Ulrike
+ Henny-Krahmer
+ Frederike
+ Neuber
+ Martina
+ Scholger
+ Digital Scholarly Editions
+ http://ride.i-d-e.de/issues/issue-18
+
+
+
+
+ Catullus Online
+ Dàniel Kiss
+
+ Editor
+ Kiss, Dàniel
+
+ 2013
+ http://www.catullusonline.org/CatullusOnline/index.php?dir=poems
+ 2022-05-14
+
+
+
+
+ Criteria for Reviewing
+ Scholarly Digital Editions
+
+
+
+
+
born digital
+
+
+
+
+
+
+ Documentation
+
+ Bibliographic description cf. Catalogue 1.2
+
+ Is it easily possible to describe the project bibliographically along
+ the schema "responsible editors, publishing/hosting institution, year(s) of
+ publishing"?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contributors cf. Catalogue 1.4
+
+ Are the contributors (editors, institutions, associates) of the
+ project fully documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contacts cf. Catalogue 1.5
+
+ Does the project list contact persons?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Selection cf. Catalogue 2.1
+
+ Is the selection of materials of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reasonability of the selection cf. Catalogue
+ 2.1
+
+ Is the selection by and large reasonable?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Archiving of data cf. Catalogue 4.16
+
+ Does the documentation include information about the long term
+ sustainability of the basic data (archiving of the data)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Aims cf. Catalogue 3.1
+
+ Are the aims and purposes of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Methods cf. Catalogue 3.1
+
+ Are the methods employed in the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Data model cf. Catalogue 3.7
+
+ Does the project document which data model (e.g. TEI) has been used
+ and for what reason?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Help cf. Catalogue 4.15
+
+ Does the project offer help texts concerning the use of the
+ project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Citation cf. Catalogue 4.8
+
+ Does the project supply citation guidelines (i.e. how to cite the
+ project or a part of it)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Completion cf. Catalogue 4.16
+
+ Does the editon regard itself as a completed project (i.e. not promise
+ further modifications and additions)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Institutional curation cf. Catalogue 4.16
+
+ Does the project provide information about institutional support for
+ the curation and sustainability of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+
+ Contents
+
+ Previous edition cf. Catalogue 2.2
+
+ Has the material been previously edited (in print or
+ digitally)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Materials used cf. Catalogue 2.2
+
+ Does the edition make use of these previous editions?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Introduction cf. Catalogue 4.15
+
+ Does the project offer an introduction to the subject-matter (the
+ author(s), the work, its history, the theme, etc.) of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Bibliography cf. Catalogue 2.3
+
+ Does the project offer a bibliography?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Commentary cf. Catalogue 2.3
+
+ Does the project offer a scholarly commentary (e.g. notes on unclear
+ passages, interpretation, etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contexts cf. Catalogue 2.3
+
+ Does the project include or link to external resources with contextual
+ material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Images cf. Catalogue 2.3
+
+ Does the project offer images of digitised sources?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Image quality cf. Catalogue 4.6
+
+ Does the project offer images of an acceptable quality?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Transcriptions cf. Catalogue 2.3
+
+ Is the text fully transcribed?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Text quality cf. Catalogue 4.6
+
+ Does the project offer texts of an acceptable quality (typos, errors,
+ etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Indices cf. Catalogue 4.5
+
+ Does the project feature compilations indices, registers or
+ visualisations that offer alternative ways to access the material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of documents cf. Catalogue 1.3 and
+ 2.1
+
+ Which kinds of documents are at the basis of the project?
+
+ Single manuscript
+
+
+
+
+
+ Single work
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ Collected works
+
+
+
+
+
+ Papers
+
+
+
+
+
+ Archival holding
+
+
+
+
+
+ Charters
+
+
+
+
+
+ Letters
+
+
+
+
+
+ Diary
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Document era cf. Catalogue 1.3 and 2.1
+
+ What era(s) do the documents belong to?
+
+ Classics
+
+
+
+
+
+ Medieval
+
+
+
+
+
+ Early modern
+
+
+
+
+
+ Modern
+
+
+
+
+
+
+ Subject cf. Catalogue 1.3
+
+ Which perspective(s) do the editors take towards the edited material?
+ How can the edition be classified in general terms?
+
+ History
+
+
+
+
+
+ Philology / Literary Studies
+
+
+
+
+
+ Philosophy / Theology
+
+
+
+
+
+ History of Science
+
+
+
+
+
+ Musicology
+
+
+
+
+
+ Art History
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Spin-Offs cf. Catalogue 4.11
+
+ Does the project offer any spin-offs?
+
+ App
+
+
+
+
+
+ Mobile
+
+
+
+
+
+ PDF
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+ Access modes
+
+ Browse by cf. Catalogue 4.3
+
+ By which categories does the project offer to browse the
+ contents?
+
+ Authors
+
+
+
+
+
+ Works
+
+
+
+
+
+ Versions
+
+
+
+
+
+ Structure
+
+
+
+
+
+ Pages
+
+
+
+
+
+ Documents
+
+
+
+
+
+ Type of material
+
+
+
+
+
+ Images
+
+
+
+
+
+ Dates
+
+
+
+
+
+ Persons
+
+
+
+
+
+ Places
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Simple search cf. Catalogue 4.4
+
+ Does the project offer a simple search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Advanced search cf. Catalogue 4.4
+
+ Does the project offer an advanced search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Wildcard search cf. Catalogue 4.4
+
+ Does the search support the use of wildcards?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Index cf. Catalogue 4.4
+
+ Does the search offer an index of the searched field?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Suggest functionalities cf. Catalogue 4.4
+
+ Does the search offer autocompletion or suggest
+ functionalities?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Help texts cf. Catalogue 4.4
+
+ Does the project offer help texts for the search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+
+ Aims and methods
+
+ Audience cf. Catalogue 3.3
+
+ Who is the intended audience of the project?
+
+ Scholars
+
+
+
+
+
+ Interested public
+
+
+
+
+
+
+ Typology cf. Catalogue 3.3 and 5.1
+
+ Which type fits best for the reviewed project?
+
+ Facsimile edition
+
+
+
+
+
+ Archive edition
+
+
+
+
+
+ Documentary edition
+
+
+
+
+
+ Diplomatic edition
+
+
+
+
+
+ Genetic edition
+
+
+
+
+
+ Work critical edition
+
+
+
+
+
+ Text critical edition
+
+
+
+
+
+ Enriched edition
+
+
+
+
+
+ Database edition
+
+
+
+
+
+ Digital library
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Critical editing cf. Catalogue 3.6
+
+ In how far is the text critically edited?
+
+ Transmission examined
+
+
+
+
+
+ Palaeographic annotations
+
+
+
+
+
+ Normalization
+
+
+
+
+
+ Variants
+
+
+
+
+
+ Emendation
+
+
+
+
+
+ Commentary notes
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ XML cf. Catalogue 3.7
+
+ Is the data encoded in XML?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Standardized data model cf. Catalogue 3.7
+
+ Is the project employing a standardized data model (e.g.
+ TEI)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of text cf. Catalogue 3.5.
+
+ Which kinds or forms of text are presented?
+
+ Facsimiles
+
+
+
+
+
+ Diplomatic transcription
+
+
+
+
+
+ Edited text
+
+
+
+
+
+ Translations
+
+
+
+
+
+ Commentaries
+
+
+
+
+
+ Semantic data
+
+
+
+
+
+
+
+ Technical accessability
+
+ Persistent identification cf. Catalogue 4.8
+
+ Are there persistent identifiers and an addressing system for the
+ edition and/or parts/objects of it and which mechanism is used to that
+ end?
+
+ DOI
+
+
+
+
+
+ ARK
+
+
+
+
+
+ URN
+
+
+
+
+
+ PURL.ORG
+
+
+
+
+
+ Persistent URLs
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Interfaces cf. Catalogue 4.9
+
+ Are there technical interfaces like OAI-PMH, REST etc., which allow
+ the reuse of the data of the project in other contexts?
+
+ OAI-PMH
+
+
+
+
+
+ REST
+
+
+
+
+
+ General API
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Open Access
+ Is the edition Open Access?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Accessability of the basic data cf. Catalogue
+ 4.12
+
+ Is the basic data (e.g. the XML) of the project accessible for each
+ part of the edition (e.g. for a page)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Download cf. Catalogue 4.9
+
+ Can the entire raw data of the project be downloaded (as a
+ whole)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reuse cf. Catalogue 4.9
+
+ Can you use the data with other tools useful for this kind of
+ content?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Declaration of rights cf. Catalogue 4.13
+
+ Are the rights to (re)use the content declared?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ License cf. Catalogue 4.13
+
+ Under what license are the contents released?
+
+ CC0
+
+
+
+
+
+ CC-BY
+
+
+
+
+
+ CC-BY-ND
+
+
+
+
+
+ CC-BY-NC
+
+
+
+
+
+ CC-BY-SA
+
+
+
+
+
+ CC-BY-NC-ND
+
+
+
+
+
+ CC-BY-NC-SA
+
+
+
+
+
+ PDM
+
+
+
+
+
+ No license
+
+
+
+
+
+ Multiple licenses
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+ anthology
+ codex
+ critical apparatus
+ critical digitization
+ critical edition
+ digital scholarly edition
+ italian
+ latin
+ literature
+ manuscripts
+ poetry
+ scholarly digital edition
+
+
+
+
+
+
+
+
+ Catullus Online, a collection of the author’s poems and a repository of
+ the conjectures collected through the centuries, was published by Dániel Kiss with
+ the support of the Abteilung für Griechische und Lateinische Philologie
+ of the Ludwig-Maximilians-Universität München, in 2013. Kiss faced many difficulties
+ in the creation of such a resource, both from a technical standpoint and from the
+ inner complexity of the philological tradition behind Catullus and his poems. He
+ still ended up creating a rather interesting Scholarly Digital Edition, which has
+ made such work more accessible, even to those that don’t typically belong in the
+ academic world, offering the possibility to access high-quality photos of the
+ manuscripts, a curated apparatus and much other information about the texts and the
+ author, with just a simple click. What is mostly missing in this project is a more
+ sophisticated digital interface, a lost opportunity to further enhance the quality of
+ such a Scholarly Digital Edition.
+
+
+
+
+ Bibliographic identification of the Scholarly Digital Edition
+
+ Catullus Online was developed thanks to the research project An
+ Online Repertory of Conjectures for Catullus (2009–2013), promoted by the
+ Center for Advanced Studies and the Abteilung für Griechische und Lateinische
+ Philologie of the Ludwig-Maximilians-Universität München, which financed
+ the project. The result of the project is now reachable as a digital resource through
+ the URL “http://www.catullusonline.org”.
+
Dániel Kiss is the editor and creator of Catullus Online,
+ and he was helped by a group composed of philologists like Giuseppe Gilberto Biondi
+ and Michael Reeve and experts in Classics like David Butterfield, Carlotta
+ Dionisotti, Julia Gaisser, Daniel Hadas, Stephen Harrison, Jeffrey Henderson,
+ Giovanni Maggiali, and John Trappes-Lomax who worked with him on tracing conjectures
+ – critical reconstructions of corrupted passages of text – and rare books. After
+ having been published in 2013, the work on Catullus Online was further
+ developed during the research project The textual transmission of
+ Catullus (2015–2017), which was realized at the Universitat de
+ Barcelona.
+
+
+ General parameters and introduction
+
The idea behind this project first appeared to Kiss during his stay at
+ Scuola Normale di Pisa in 2005, where he was confronted with the controversial
+ textual history of Catullus’ poems and their manuscripts (Kiss 2020, 101). To better understand this complex
+ history, Kiss went to the University of North Carolina at Chapel Hill in 2007, where
+ he was able to study the Halle-Ullman Papers as well as the collation and the
+ transcription of 113 manuscripts of Catullus made by William Gardner Hale, Euan T.
+ Sage, Berthold L. Ullman, and other scholars of the 20th century.From the Section ABOUT THE WEBSITE in Catullus Online: http://web.archive.org/web/20231215114144/http://www.catullusonline.org/CatullusOnline/index.php?dir=edited_pages&pageID=5.
+ By this time, he chose not to create a new edition of Catullus’ poems, and instead,
+ he focused on “mapping the manuscript tradition and drawing up conjectures”(Kiss 2020, 101).
+
+ Catullus Online was first created as a repository of conjectures and
+ later – with the development and employment of further elements – as a digital
+ critical edition. The choice of an online publication was due to the various problems
+ that came with printed editions since many were expensive and not accessible across
+ the world, whereas a digital publication instead allowed Kiss to make his project
+ more accessible and to display some additional elements (e.g., search tools, the
+ possibility to visualize the images of the manuscript and to consult more easily the
+ apparatus) that could not be used in a printed edition (Kiss 2020, 102-103).
+
It is easy to understand the general parameters of Catullus
+ Online since the titles of its various sections are very explicit, and Kiss
+ has done a good job of explaining his work and his editorial principles through the
+ two sections in the menu on the left in the lower side of the site: “ABOUT THE
+ WEBSITE”, where he explains the journey to the creation of the project and then of
+ the website, and “ABOUT THE REPOSITORY”, which instead illustrates his philological
+ attitude towards the manuscripts and conjectures. In these two sections, there are
+ many links to external web resources, which are clickable and offer the possibility
+ to explore further the sources used for Catullus Online, although a few
+ have not been updated and will lead to old or inactive pages. To know more about the
+ methods used in this project, users can read Catullus Online: A Digital
+ Critical Edition of the Poems of Catullus with a Repertory of Conjectures,
+ an essay written by Dániel Kiss, where he further explains his working process and
+ his editorial choices.
+
+
+ Subject and content of the edition
+
+ Catullus Online is composed of the full text of all 116 poems written by
+ Catullus, accompanied by a critical, diachronic, and positive apparatus – meaning
+ that both accepted and rejected readings are present (Macé and Roelli 2015) – containing the textual
+ notes and all the conjectures which have been made on the text so far and which Kiss
+ has collected through his work.
+
The text of the poems is based on the manuscripts which stem from the
+ Codex Veronensis (V), the oldest witness of Catullus’ manuscripts,
+ and is directly accessible through “POEMS”, whereas to use the apparatus, the user
+ will have to go to the section “POEMS WITH APPARATUS”. The biggest achievement of
+ such a format is that it creates a free curated digital edition of Catullus, allowing
+ the user both to have complete access to all the conjectures found by Kiss and to
+ interact with different texts and even unpublished papers (e.g., Berthold L. Ulman’s
+ ones). The editor focused on the investigation of his sources, many of which had not
+ been verified by previous scholars. To do so, he proceeded to personally transcribe
+ half a dozen undocumented manuscripts he found at Chapel Hill and two incunables that
+ were not available in any libraries of Munich and neither online. This resulted in
+ Kiss owning a collation, a reproduction, or a transcription of all known manuscripts
+ of Catullus that were copied before 1520 and of all printed editions from the editio
+ princeps of 1472 up to the first Aldine of 1502 (Kiss 2020, 104-105). Other than Catullus
+ Online, there are many classical Latin texts already available online, but
+ unlike this case, they are just digital reproductions of the printed edition, in some
+ cases scanned with OCR, with no optional functionalities or a full apparatus (Nappa 2017).
+
Another achievement of Catullus Online is the fact that
+ users can directly visualize the images of the manuscripts, and the possibility to
+ access these helps to shed light on the complex textual schema behind Catullus’
+ tradition, allowing academics – and other interested users – to consult the
+ manuscripts behind the text of the project. More precisely, we can see images of only
+ O, G, and T since Biblioteca Apostolica Vaticana – which is currently
+ holding the manuscript R – does not allow the online publication of high-resolution
+ images of its manuscripts outside of its website (Kiss 2020, 107). The possibility to directly see the
+ images of the manuscripts employed for a critical edition is not frequent, mostly due
+ to traditional copyright restrictions. In fact, many libraries do not allow
+ high-quality reproductions of the manuscripts they store, and they are neither
+ trained nor funded to handle the incoming need for digitization other than
+ conservation. To solve this problem, new application format interfaces – e.g., IIIF,
+ the International Image Interoperability Framework – are being implemented to offer
+ the possibility to let the libraries – e.g., the Bodleian Library –
+ continue hosting their images on their home servers while allowing other sites to
+ display them, offering the possibility to easily share various cultural artifacts on
+ the web (Mastronarde 2020,
+ 116).
+
+
+
+ Screenshot of the description of manuscript T.
+
+
+
+ Screenshot of the description of manuscript 90.
+ The users can also access the section “TESTIMONIA”, where quotations of
+ Catullus found in ancient and medieval texts are stored as indirect witnesses of his
+ textual tradition, whereas through the section “BIBLIOGRAPHY”, the user will be able
+ to find the bibliography that was used to create this project. “MANUSCRIPTS” gives us
+ the full list of the manuscripts, and they are divided into two groups:
+ T, O, G, R, m, S.These manuscripts are introduced with a small
+ description of their main details, such as where and when they were copied, the
+ writing used, their measures, and other important specifics, as can be seen in
+ Figure 1.
+ Other surviving manuscripts of Catullus’ Liber. They are
+ each identified by a number and ordered alphabetically. This system is based on
+ the list of manuscripts created by D. F. S. Thompson (1997, 77-92) and further elaborated and curated
+ by Kiss in 2012. They have their main details – such as where they are now
+ stored, and where and when they were copied – next to their identifying number,
+ as can be seen in Figure 2.
+
+
+
In “ABOUT THE WEBSITE” and “ABOUT THE REPOSITORY”, all the information
+ about the methods and tools that have been used to build the repository and the
+ website is given, and in “HELP” and “CONTACT”, you can find all the useful
+ information to navigate the website and to properly contact the editor for feedback
+ or further inquiries. While the general interface, the navigation bar, and the
+ sections are given in English, the poems are available only in Latin, with no
+ translation into any other language offered. To offer a translation at least into
+ English would be very helpful since this edition is meant to reach not only scholars
+ but anybody with Internet access (Kiss
+ 2020, 103) and it might also involve people who do not have a solid base in
+ Latin in the Catullus Online project. A few other features that could be
+ implemented are sections or pages about Catullus’ life and his context, as well as to
+ encourage other kinds of studies on the poems, such as historical or linguistic
+ ones.
+
+
+ Aims and methods
+
+ Catullus Online was originally born as a repository of conjectures, but
+ later, the editor chose to transform it into a digital critical edition by adding the
+ text of the poems to the repository. The digital aspect of this edition was meant to
+ allow for searchability through an interconnected text, a user-friendly and
+ easy-to-use interface supported by all browsers, and reminiscent of the standards
+ upheld by printed editions (Kiss 2020,
+ 103). The constitution of the text is made in a rather traditional way, with an
+ apparatus and a repertory of conjectures (Nappa 2017), to avoid distracting the viewer from the focal points and
+ complicating the consultation of the website.
+
The two missions of this digital critical edition are to offer a
+ reliable text and to give students a research tool for the future (Kiss 2020, 113-114). An audience that
+ could benefit from this edition is also undergraduates or secondary school students,
+ as the easy-to-use interface would allow them to study the poems and the apparatus
+ easily to deepen their knowledge (Nappa
+ 2017). The main manuscripts are known as TOGR, and since they are all
+ independent of each other, they all have source value (Kiss 2020, 103):
+
+ Oxoniensis, copied in Northern Italy, 14th century, is currently
+ stored in Oxford, Bodleian Library (O).
+
+ Sangermanensis, copied in Verona in 1375, is currently stored in
+ Paris, Bibliothèque Nationale de France (G).
+
+ Romanus, copied in Florence 1375–1395, currently stored in Rome,
+ Biblioteca Apostolica Vaticana (R).
+
+ Thuaneus, an anthology of Latin poetry copied around 850 in
+ central France stored in Paris, Bibliothèque Nationale de France;
+ unlike the others, it does not derive directly from the Codex
+ Veronensis (T) (Kiss
+ 2020, 101-103).
+
+
+
+
+
+ Screenshot of the apparatus of verse 1 (carmen 1).
+ Another important element of a critical edition is the apparatus where all
+ the conjectures are stored alongside the critical and textual notes. In this case, we
+ can talk about a proper critical apparatus because the variant readings of the
+ various witnesses are stored alongside the conjectures. The apparatus appears on the
+ right of the poem either through clicking the option “SHOW FULL APPARATUS” or the
+ triangle icon in the section “POEMS WITH APPARATUS” next to the first line of the
+ poem. This way, you can easily visualize all the diachronic dimensions of the text
+ with one click, as shown in Figure 3.
+
The manuscripts are either recognized through their sigla or with their
+ number in the list, while the apparatus itself is ordered chronologically,
+ registering all the first instances of the conjectures stored inside of it. However,
+ there are a few exceptions and limitations due to the still unknown relationships
+ between many Renaissance manuscripts and humanistic conjectures. Not having a fully
+ developed stemma of all of Catullus’ manuscripts and having many families of codices
+ that cannot be linked to any of the parent nodes (TOGR) has made the task of fully
+ understanding the relationships between manuscripts and their dates rather difficult
+ and complex (Bertone 2017, 1). Kiss
+ distanced himself from Mynors’ theories – refusing the theory of the eight layers of
+ humanistic conjecturesR.A.B Mynors, to make sense of the
+ complexity of Catullus’ tradition, recognized eight layers of humanistic
+ corrections and named them after the Greek letters αβγδεζηθ to distinguish them
+ (Kiss 2013, 2017). According
+ to Dániel Kiss, this system proved to be highly problematic due to its
+ inconsistency. – and edition, in the aspects of presentation and editing,
+ for example, by choosing not to reproduce here the fragmentary Priapea,
+ placed by Muretus between the poems 17 and 21 (Nappa 2017).
+
+ Catullus Online does not follow the TEI Guidelines since, back in 2009,
+ when the project was planned by the editor, he was not aware of the possibility of
+ using models that were different from the digitized book and the text-only online
+ publication. By then, the TEI consortium had already developed digital guidelines for
+ digital critical editions like Catullus Online. However, these
+ guidelines would not have been compatible with the project since the apparatus had to
+ be marked up manually or semi-automatically. This would have been too time-consuming
+ for the project at hand, although the guidelines might have been useful as a starting
+ point since they offer a rather durable and robust system of tags (Kiss 2020, 103-104).
+
Nevertheless, the website employed a standard for the texts: HTML, a
+ formal recommendation by the W3C, used to showcase documents in a browser. Such a
+ standard is solid and quite easy to use, making the project further interoperable and
+ structured through an understandable setup. It can also be adapted for different
+ formats (such as mobile or desktop) and can be used in all major browsers, as was
+ Kiss’ original objective in creating his digital edition.
+
Another aspect to take into consideration, aside from the employment of
+ only a very basic but solid standard for the encoding of texts, is the fact that Kiss
+ has not allowed Catullus Online to be citable through CTS
+ (Canonical Text Services), losing a chance to allow the website to be
+ accessible and employ the tools available through such a service (Blackwell and Smith 2014).
+ This also limits the potentiality of such a project in the world of linked open data,
+ which has by now become a norm in the digital humanities environment.
+
All the information about the aims and methods of Catullus
+ Online can be found in the “ABOUT THE REPOSITORY” section on the website
+ and in the essay Catullus Online: A Digital Critical Edition of the Poems of
+ Catullus with a Repertory of Conjectures (Kiss 2020, 99-114), where all methods, theories, and
+ ideas are documented to fully explain the process behind the choices made on the text
+ constitution.
+
+
+ Publication and presentation
+
Kiss worked with Woodpecker Software to construct the website on which
+ Catullus Online is presented, and with Stalker Studio for its design.
+ To realize Catullus Online, the engineers of Woodpecker Software
+ employed the programming language PHP and the open-source database management system
+ MySQL, which has been employed mostly in the apparatus part (Kiss 2020, 105-109).
+
As mentioned before, the TEI Guidelines are not employed, and neither a
+ model like the one used by the digital project Musisque Deoque (Biondi et al. 2005) – a platform
+ where many digital critical editions of Latin literature are stored – is used. The
+ poems and the apparatus would need to be manually or semi-automatically encoded,
+ which would be a rather slow process for the huge number of conjectures stored in
+ Catullus Online. Instead, Kiss’ project seems to remain on the same
+ level as the digitized books and the simple text-only online publications (Kiss 2020, 103-104). The sole standard
+ employed by the author for the texts is, as mentioned above, HTML, offering a solid
+ basis. However, this could be improved in the future by using the TEI Guidelines.
+
+
+
+ Screenshot of the homepage.
+ The interface of Catullus Online is quite easy to understand,
+ and this format does not require any introductory readings or explanations. However,
+ if needed, the user can find a small summary of the various functions of this website
+ inside the section “HELP”. The user is directly introduced to the poems in the
+ central part of the homepage, whereas on the left part of the website, they can find
+ the first part of the navigation bar, – composed of “POEMS”, “POEMS WITH APPARATUS”,
+ “BIBLIOGRAPHY”, “TESTIMONIA” – the search tools, and the rest of the navigation bar –
+ MANUSCRIPTS”, “ABOUT THE WEBSITE”, “ABOUT THE REPOSITORY”, “CONTACTS”, and “HELP”, as
+ shown in Figure 4.
+
+
+
+ Screenshot of Show Full Apparatus detail.
+ On the right side of this section, there are only two relevant elements,
+ which are the Facebook icon – Catullus Online is very much active on
+ Facebook – and the “SHOW FULL APPARATUS” option, which will lead the user from
+ “POEMS” to “POEMS WITH APPARATUS”. There, the user can visualize the apparatus in its
+ entirety and they can fully visualize various textual phenomena which are
+ interconnected with the text (Kiss
+ 2020, 107), as shown in Figure 5.
+
As much as this interface is very easy to understand, it is not very
+ accessible and usable since reading the text of the poems and their apparatus might
+ be a rather tiring task for users. In fact, showcasing the full texts might be a bit
+ troubling to read and follow, even more so on a screen with a small font and a high
+ density of text.
+
+
+
+ Screenshot of the three main icons.
+ In the section “POEMS WITH APPARATUS”, three icons appear next to the verse
+ chosen, as shown in Figure 6. The triangle
+ icon will make the critical apparatus appear on the right beside the verse studied.
+ If the apparatus is longer than one line, the following verse is moved down, so that
+ the text can be properly aligned, and the user can fully visualize all the
+ conjectures and secondary readings for that specific line without having them overlap
+ with the following verse. The rectangle icon, instead, will lead to the visualization
+ of the images of the manuscripts at a lower quality, while clicking directly on the
+ image will open another window in the browser, showcasing it in a much higher
+ resolution and with a larger dimension. The images can also be downloaded, and they
+ are extremely precious for the user since they allow them to witness the tradition
+ behind Catullus’ poems directly. The quotation mark, on the other hand, will give the
+ user further textual and contextual information, and in some cases, it is possible to
+ also visualize a cross icon, which offers an overview of the different
+ reconstructions of that specific line, also shown in the apparatus. This way, it
+ allows a clearer layout separating the reconstructions from the other information
+ stored in the apparatus.
+
+
+
+ Screenshot Search by poems, apparatus, and testimonia
+ option.
+
+
+
+ Screenshot Go to the passage (poem and line) option.
+ It would be rather difficult and time-consuming to browse through the
+ entirety of the collection. Hence, two search tools have been added to allow the user
+ to jump directly to the part of the text they want to study.
+ A search box that allows you to search a word inside the poems, the
+ apparatus, or the testimonia (or through all three options); this is very
+ useful because it allows the user to confront various passages in the text with
+ a similar theme or use a specific keyword to see how it is differently used in
+ the text, or its popularity, as shown in Figure 7.
+ The second search tool can be employed, instead, to search a specific
+ paragraph. It will simply jump into a specific poem or line selected, and
+ obviously, in this case, it is important to point out that the user would need
+ to know which specific passage they are searching. This second search tool is a
+ bit faulty since it sometimes either does not work at all or will not jump
+ directly to the poem or line selected, as shown in Figure 8.
+
+
+
+
+
+ Screenshot of the alphabetic order of the Bibliography
+ section.
+ To also facilitate the navigation of the “BIBLIOGRAPHY” page, the author has
+ organized the bibliography through quick links to individual letters, alphabetically
+ ordered, as shown in Figure 9.
+
All the rights of this project – the author’s research, his work on the
+ text, and the website – are copyrighted by Dániel Kiss (2013, 2017). For the images, instead, all the rights
+ belong to the institution hosting the photographed manuscripts. The
+ Bibliothèque Nationale de France has given the permission to
+ reproduce digitally the images of the manuscripts T and G, whereas the Bodleian
+ Library at first requested a small fee for the publication of the images of
+ O, but now they are freely available on the Digital Bodleian (Mastronarde 2020, 116-117).
+
The website is not hosted on an institutional site, although that is
+ something that Kiss hopes to obtain in the future since it would make the site much
+ more stable and durable in time. Currently, he has been paying an annual fee to
+ Woodpecker Software for the domain rights of Catullus Online. The
+ platform is accessible from every kind of browser, although in the future,
+ technological change problems might prove to be rather intense for the website, even
+ more for mobile users since a responsive version has not been developed yet and a
+ printed edition is not available (Kiss
+ 2020, 109-112).
+
It is also important to state that the content and rendering of the
+ website are tightly linked, which appears to be quite a limitation for the project as
+ it does not allow the ordinary user to consult the project offline, and neither can
+ they store the texts and apparatus elsewhere to properly annotate them. It would be
+ good in the future to study a solution that would allow the users to access the
+ website differently, without relying entirely on its rendering, and by allowing the
+ possibility to download the apparatus and texts or even just simply mark the texts
+ with their annotations.
+
In the future, it is also important to review the content of
+ Catullus Online since, over the years, growing feedback from the
+ users has been collected. This could be useful to update the edition with newfound
+ conjectures and ideas, and this was possible thanks to the presence of Catullus
+ Online on Facebook, which has proved to be extremely useful for the first
+ years of the website since it allowed the editor to promote it in groups about
+ classics and digital humanities (Kiss
+ 2020, 109).
+
+
+ Conclusion
+
According to Patrick Sahle’s definition, Catullus Online is
+ a Scholarly Edition, a “critical representation of historic documents” (Sahle 2016, 23). The choices regarding
+ the reproduction of the text and the additional material chosen to portray the
+ historical tradition behind Catullus’ poems are explained, justified, and stated by
+ the editor through specific editorial methods and based on academic studies that are
+ respected throughout the entire edition. The historical aspect of this edition, on
+ the other hand, is visible in the apparatus and the “MANUSCRIPT” section where the
+ user can fully witness the diachronic dimension of Catullus’ tradition, being able to
+ bridge the distance in time directly. There is also a full representation of the
+ subject and all the self-stated rules – e.g., to offer a way to freely access the
+ conjectures, to collect as many conjectures as possible and to give the user some
+ extra tools to further understand the context and historical tradition – that are
+ respected throughout the entirety of the edition (Sahle 2016, 23-26).
+
It is also a Scholarly Digital Edition but with some
+ reservations: it imposes a specific digital paradigm – an algorithm creates a
+ specific way to visualize the text (Sahle
+ 2016, 26-27) – and a specific standard for the texts – HTML. These two
+ elements are followed in the entirety of the edition’s creation, but many aspects
+ (e.g., “accessibility, usability, and computability”) remain truly underdeveloped.
+ Regarding this, I do believe that the lack of models and examples at the time the
+ author started working on Catullus Online brought Kiss to have a very
+ basic digital model for his project: there is no employment of shared practices such
+ as TEI or CTS, and the interface of the website struggles to be responsive and
+ accessible.
+
As stated in the paragraphs above, Catullus Online does certainly offer
+ the user a scholarly edition in a digital format, and even though it solves many of
+ the problems that come with a printed edition (e.g., the possibility to access the
+ texts and the apparatus freely), it still retains some of the typical characteristics
+ of printed editions, such as the impossibility to view the edition in different
+ formats or the limited responsivity, due to the absence, for example, of an
+ infrastructure that adapts to the device the user is employing.
+
There is certainly a discussion about the digital development of the
+ edition, alongside an explanation of all the choices of the author around it,
+ furthermore, reinstating a paradigm. However, as Kiss was not the one who worked on
+ the technological side – instead, it was a private studio (Woodpecker Software) –
+ there is little to no knowledge about the infrastructure hosting the website, hence
+ limiting the reusability of such a model for other editions.
+
This brings the project to be, indeed, digital but at a basic level and
+ with many sectors that could be further improved by all the new standards, models,
+ and practices developed over the years. Although Catullus Online is not
+ digitally perfect, it hopes to be a starting point for the development of further
+ studies on Catullus’ tradition (Kiss
+ 2020, 112-114).
+
+ Suggested Future Implementations
+
Here are a few suggestions that could help Catullus
+ Online broaden its horizons in the digital realm:
+ Kiss would do well to adapt the edition to the TEI Guidelines to offer a
+ more durable service over time.
+ It would also be an improvement for the edition to allow Catullus
+ Online to be citable through the CTS protocol. It could employ an
+ implementation similar to the one in the Perseus Digital Library, which
+ combines both the CTS system and linked data, starting from an HTML basis
+ (Almas, Babeu, and
+ Krohn, 2014).
+
+
+
Both the implementation of the TEI Guidelines and the CTS protocol
+ would allow Catullus Online to become further syntactically and
+ semantically interoperable (Kalvemaski 2014), which is something that the project is in part
+ lacking.
+ It would also be a good idea to offer a translation of the poems
+ alongside their text so that this website could be truly employed and
+ consulted by people other than academics (e.g., secondary school students
+ who have yet to form themselves on Latin texts and could use this website to
+ train in such a subject).
+ On this same topic, I would also suggest offering information on
+ Catullus’ life and the history of the manuscripts used. This would be
+ helpful to give a full portrait of the author and the manuscripts used in
+ the section “ABOUT THE REPOSITORY”, which explains the editorial methods
+ behind the choices applied to the text and apparatus, but not the story of
+ the manuscripts.
+ The paper that Dániel Kiss wrote – Catullus Online: A Digital
+ Critical Edition of the Poems of Catullus with a Repertory of
+ Conjectures – could be linked in the above-mentioned section to
+ explain the story behind Catullus’ tradition further.
+
+
+
A clearer interface would also offer a more accessible tool:
+ The website and the apparatus might benefit from showing one poem at a
+ time instead of all of them at once, allowing the user to zoom in on the
+ specific part of the texts, they are interested in. For this, a drop-down
+ menu where the user could select just the poem they are looking for and its
+ apparatus could be implemented.
+ Another aspect that could be improved is the second search tool, which
+ has been noted to be faulty in the previous paragraph. If fixed, it would
+ prove to be a very helpful and useful tool to observe further unnoticed
+ details in the poems.
+ Aside from a clearer interface, it would also be good to further work on
+ creating a solution for the website not to rely so heavily on its rendering,
+ allowing different methods of consultation that would involve a broader
+ audience. It would, for example, be helpful to create different methods of
+ visualization and allow the users to consult the website offline, as
+ well.
+
+
+
Finally, I think that Catullus Online could benefit from
+ further working on its responsive design, starting by offering a mobile version of
+ the website that could be more easily accessible to everyday users and not
+ strictly academics, allowing the website to be able to be consulted at any
+ moment.
+
+
+
+
+
+
+ Almas, Bridget, Alison Babeu, and Anna Krohn.
+ 2014. “Linked Data in the Perseus Digital Library.” ISAW Papers, 7.3.
+ https://web.archive.org/web/20230731161944/http://dlib.nyu.edu/awdl/isaw/isaw-papers/7/almas-babeu-krohn/.
+ Bertone, Susanna. 2017. Tradizione di Catullo e
+ critica del paratesto Divisiones, titoli e facies del Liber [doctoral
+ thesis], Università di Parma.
+ https://hdl.handle.net/1889/3606.
+ Biondi, Gilberto, Paolo Mastrandea, Raffaele Perelli,
+ Valeria Viparelli, and Loriano Zurli. 2005. Musisque Deoque. A Digital
+ Archive of Latin Poetry. Accessed December 18, 2023. https://mizar.unive.it/mqdq/public/.
+ Blackwell, Christoper and Neel Smith, eds. 2014.
+ “The Canonical Text Services protocol, version 5.0.rc.2.” Canonical Text Services
+ protocol specification. https://web.archive.org/web/20230731161428/http://cite-architecture.github.io/cts_spec/.
+ Kalvesmaki, Joel. 2014. “Canonical References in
+ Electronic Texts: Rationale and Best Practices Issue.” Digital Humanities
+ Quarterly, 8(2). https://web.archive.org/web/20230731161221/http://www.digitalhumanities.org/dhq/vol/8/2/000181/000181.html.
+ Kiss, Dàniel. 2020. “Catullus Online: A Digital Critical
+ Edition of the Poems of Catullus with a Repertory of Conjectures.” In
+ Digitale Altertumswissenschaften: Thesen und Debatten zu Methoden und
+ Anwendungen, edited by Stylianos Chronopoulos, Felix K. Maier, and Anna
+ Novokhatko, 99-114. Digital Classics Books, 4., Heidelberg: Propylaeum. https://katalog.ub.uni-heidelberg.de/titel/68575399.
+ Kiss, Dàniel. 2013, 2017. Catullus Online. An
+ Online Repertory of Conjectures on Catullus. Accessed December 18, 2023.
+ https://web.archive.org/web/20230613133050/http://www.catullusonline.org/CatullusOnline/index.php.
+ Macé, Caroline and Philipp Roelli. 2015. “Apparatus.”
+ Parvum Lexicon Stemmatologicum. https://web.archive.org/web/20220830162314/https://wiki.helsinki.fi/display/stemmatology/Apparatus.
+ Mastronarde, Donald J. 2020. “Curated Data for Textual
+ History: Review of Catullus Online.” In Digitale Altertumswissenschaften:
+ Thesen und Debatten zu Methoden und Anwendungen, edited by Stylianos
+ Chronopoulos, Felix K. Maier, and Anna Novokhatko, 115-118. Digital Classics
+ Books, 4., Heidelberg: Propylaeum. https://katalog.ub.uni-heidelberg.de/titel/68575399.
+ Nappa, Christopher. 2017. “Review: Catullus Online.” Society
+ for Classical Studies. https://web.archive.org/web/20220502185159/https://classicalstudies.org/scs-blog/christopher-nappa/review-catullus-online.
+ Sahle, Patrick. 2016. “What is a Scholarly Digital Edition?”
+ In Digital Scholarly Editing: Theories and Practices, edited by
+ Matthew James Driscoll and Elena Pierazzo, 19-39. Cambridge: Open Book Publishers.
+ http://dx.doi.org/10.11647/OBP.0095.02.
+ Thompson, Douglas F. S. 1997. Catullus.
+ Toronto: University of Toronto Press.
+
+
+
+
+
diff --git a/tei_all/furnace-fugue-tei.xml b/tei_all/furnace-fugue-tei.xml
new file mode 100644
index 0000000..ff0ca26
--- /dev/null
+++ b/tei_all/furnace-fugue-tei.xml
@@ -0,0 +1,3025 @@
+
+
+
+
+
+
+
+ Furnace and Fugue. A multimedia edition of Michael Maier’s Atalanta
+ fugiens
+
+
+ Sarah
+ Lang
+
+
+ University of Graz
+ Graz, Austria
+
+ sarah.lang@uni-graz.at
+
+
+
+ Institut für Dokumentologie und Editorik e.V.
+ December 2023
+ http://ride.i-d-e.de/issues/issue-18/furnace-fugue
+ 10.18716/ride.a.18.4
+ https://github.com/i-d-e/ride/raw/master/issues/issue18/furnace-fugue/furnace-fugue.pdf
+
+
+
+
+
+ RIDE - A review journal for digital editions and resources
+ Ulrike Henny-Krahmer
+ Martina Scholger
+ Ulrike
+ Henny-Krahmer
+ Frederike
+ Neuber
+ Martina
+ Scholger
+ Christina Burgstaller
+ Digital Scholarly Editions
+ http://ride.i-d-e.de/issues/issue-18
+
+
+
+
+ Furnace and Fugue. A Digital Edition of Michael Maier’s Atalanta Fugiens
+ (1618) with Scholarly Commentary
+ Tara Nummedal and Donna Bilak
+
+ Editor
+ Nummedal, Tara
+
+
+ Editor
+ Bilak, Donna
+
+
+ Programmer
+ Levy, Allison
+
+
+ Programmer
+ Wasserman, Dashiell
+
+
+ Programmer
+ Krasner, Rebecca
+
+
+ Programmer
+ Sappenfield, Fiona
+
+
+ Programmer
+ Arceneaux, Amanda
+
+
+ Programmer
+ Brusch, Crystal
+
+
+ Programmer
+ Tyler, Ben
+
+
+ Programmer
+ Bradley, Adam
+
+
+ Programmer
+ Rainwater, Jean
+
+
+ Programmer
+ Birkin, Diana
+
+
+ Programmer
+ Mylonas, Elli
+
+
+ Programmer
+ DiGiulio, Scott
+
+
+ Programmer
+ Elliott, George
+
+
+ Programmer
+ Rashleigh, Patrick
+
+
+ Contributor
+ Bier, Robin
+
+
+ Contributor
+ Bier, Graham
+
+
+ Contributor
+ Ludwig, Loren
+
+
+ Contributor
+ Barnett, Michael, Brackett, Luthien
+
+
+ Contributor
+ Cahn-Lipman, Kivie
+
+
+ Contributor
+ Jodry, Fred
+
+
+ Contributor
+ Meinecke, Donald
+
+
+ Contributor
+ Mundy, Charlotte
+
+
+ Contributor
+ Quinn, Molly
+
+
+ Contributor
+ Sutherland, Elisa
+
+
+ Contributor
+ Taylor, James
+
+
+ Contributor
+ Weiss, Zoe
+
+
+ Contributor
+ Woody, Jonathan
+
+
+ Contributor
+ Elgin, Lindsay
+
+
+ Contributor
+ Mishra, Sashi
+
+ 2020
+ https://furnaceandfugue.org/
+ 2022-06-13
+
+
+
+
+ Criteria for Reviewing
+ Scholarly Digital Editions
+
+
+
+
+
born digital
+
+
+
+
+
+
+ Documentation
+
+ Bibliographic description cf. Catalogue 1.2
+
+ Is it easily possible to describe the project bibliographically along
+ the schema "responsible editors, publishing/hosting institution, year(s) of
+ publishing"?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contributors cf. Catalogue 1.4
+
+ Are the contributors (editors, institutions, associates) of the
+ project fully documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contacts cf. Catalogue 1.5
+
+ Does the project list contact persons?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Selection cf. Catalogue 2.1
+
+ Is the selection of materials of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reasonability of the selection cf. Catalogue
+ 2.1
+
+ Is the selection by and large reasonable?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Archiving of data cf. Catalogue 4.16
+
+ Does the documentation include information about the long term
+ sustainability of the basic data (archiving of the data)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Aims cf. Catalogue 3.1
+
+ Are the aims and purposes of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Methods cf. Catalogue 3.1
+
+ Are the methods employed in the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Data model cf. Catalogue 3.7
+
+ Does the project document which data model (e.g. TEI) has been used
+ and for what reason?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Help cf. Catalogue 4.15
+
+ Does the project offer help texts concerning the use of the
+ project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Citation cf. Catalogue 4.8
+
+ Does the project supply citation guidelines (i.e. how to cite the
+ project or a part of it)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Completion cf. Catalogue 4.16
+
+ Does the editon regard itself as a completed project (i.e. not promise
+ further modifications and additions)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Institutional curation cf. Catalogue 4.16
+
+ Does the project provide information about institutional support for
+ the curation and sustainability of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+
+ Contents
+
+ Previous edition cf. Catalogue 2.2
+
+ Has the material been previously edited (in print or
+ digitally)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Materials used cf. Catalogue 2.2
+
+ Does the edition make use of these previous editions?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Introduction cf. Catalogue 4.15
+
+ Does the project offer an introduction to the subject-matter (the
+ author(s), the work, its history, the theme, etc.) of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Bibliography cf. Catalogue 2.3
+
+ Does the project offer a bibliography?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Commentary cf. Catalogue 2.3
+
+ Does the project offer a scholarly commentary (e.g. notes on unclear
+ passages, interpretation, etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contexts cf. Catalogue 2.3
+
+ Does the project include or link to external resources with contextual
+ material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Images cf. Catalogue 2.3
+
+ Does the project offer images of digitised sources?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Image quality cf. Catalogue 4.6
+
+ Does the project offer images of an acceptable quality?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Transcriptions cf. Catalogue 2.3
+
+ Is the text fully transcribed?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Text quality cf. Catalogue 4.6
+
+ Does the project offer texts of an acceptable quality (typos, errors,
+ etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Indices cf. Catalogue 4.5
+
+ Does the project feature compilations indices, registers or
+ visualisations that offer alternative ways to access the material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of documents cf. Catalogue 1.3 and
+ 2.1
+
+ Which kinds of documents are at the basis of the project?
+
+ Single manuscript
+
+
+
+
+
+ Single work
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ Collected works
+
+
+
+
+
+ Papers
+
+
+
+
+
+ Archival holding
+
+
+
+
+
+ Charters
+
+
+
+
+
+ Letters
+
+
+
+
+
+ Diary
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Document era cf. Catalogue 1.3 and 2.1
+
+ What era(s) do the documents belong to?
+
+ Classics
+
+
+
+
+
+ Medieval
+
+
+
+
+
+ Early modern
+
+
+
+
+
+ Modern
+
+
+
+
+
+
+ Subject cf. Catalogue 1.3
+
+ Which perspective(s) do the editors take towards the edited material?
+ How can the edition be classified in general terms?
+
+ History
+
+
+
+
+
+ Philology / Literary Studies
+
+
+
+
+
+ Philosophy / Theology
+
+
+
+
+
+ History of Science
+
+
+
+
+
+ Musicology
+
+
+
+
+
+ Art History
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Spin-Offs cf. Catalogue 4.11
+
+ Does the project offer any spin-offs?
+
+ App
+
+
+
+
+
+ Mobile
+
+
+
+
+
+ PDF
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+ Access modes
+
+ Browse by cf. Catalogue 4.3
+
+ By which categories does the project offer to browse the
+ contents?
+
+ Authors
+
+
+
+
+
+ Works
+
+
+
+
+
+ Versions
+
+
+
+
+
+ Structure
+
+
+
+
+
+ Pages
+
+
+
+
+
+ Documents
+
+
+
+
+
+ Type of material
+
+
+
+
+
+ Images
+
+
+
+
+
+ Dates
+
+
+
+
+
+ Persons
+
+
+
+
+
+ Places
+
+
+
+
+
+ Other
+
+
+
+
+ Concepts
+
+
+
+
+ Simple search cf. Catalogue 4.4
+
+ Does the project offer a simple search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Advanced search cf. Catalogue 4.4
+
+ Does the project offer an advanced search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Wildcard search cf. Catalogue 4.4
+
+ Does the search support the use of wildcards?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Index cf. Catalogue 4.4
+
+ Does the search offer an index of the searched field?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Suggest functionalities cf. Catalogue 4.4
+
+ Does the search offer autocompletion or suggest
+ functionalities?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Help texts cf. Catalogue 4.4
+
+ Does the project offer help texts for the search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+
+ Aims and methods
+
+ Audience cf. Catalogue 3.3
+
+ Who is the intended audience of the project?
+
+ Scholars
+
+
+
+
+
+ Interested public
+
+
+
+
+
+
+ Typology cf. Catalogue 3.3 and 5.1
+
+ Which type fits best for the reviewed project?
+
+ Facsimile edition
+
+
+
+
+
+ Archive edition
+
+
+
+
+
+ Documentary edition
+
+
+
+
+
+ Diplomatic edition
+
+
+
+
+
+ Genetic edition
+
+
+
+
+
+ Work critical edition
+
+
+
+
+
+ Text critical edition
+
+
+
+
+
+ Enriched edition
+
+
+
+
+
+ Database edition
+
+
+
+
+
+ Digital library
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Critical editing cf. Catalogue 3.6
+
+ In how far is the text critically edited?
+
+ Transmission examined
+
+
+
+
+
+ Palaeographic annotations
+
+
+
+
+
+ Normalization
+
+
+
+
+
+ Variants
+
+
+
+
+
+ Emendation
+
+
+
+
+
+ Commentary notes
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ XML cf. Catalogue 3.7
+
+ Is the data encoded in XML?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Standardized data model cf. Catalogue 3.7
+
+ Is the project employing a standardized data model (e.g.
+ TEI)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of text cf. Catalogue 3.5.
+
+ Which kinds or forms of text are presented?
+
+ Facsimiles
+
+
+
+
+
+ Diplomatic transcription
+
+
+
+
+
+ Edited text
+
+
+
+
+
+ Translations
+
+
+
+
+
+ Commentaries
+
+
+
+
+
+ Semantic data
+
+
+
+
+
+
+
+ Technical accessability
+
+ Persistent identification cf. Catalogue 4.8
+
+ Are there persistent identifiers and an addressing system for the
+ edition and/or parts/objects of it and which mechanism is used to that
+ end?
+
+ DOI
+
+
+
+
+
+ ARK
+
+
+
+
+
+ URN
+
+
+
+
+
+ PURL.ORG
+
+
+
+
+
+ Persistent URLs
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Interfaces cf. Catalogue 4.9
+
+ Are there technical interfaces like OAI-PMH, REST etc., which allow
+ the reuse of the data of the project in other contexts?
+
+ OAI-PMH
+
+
+
+
+
+ REST
+
+
+
+
+
+ General API
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Open Access
+ Is the edition Open Access?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Accessability of the basic data cf. Catalogue
+ 4.12
+
+ Is the basic data (e.g. the XML) of the project accessible for each
+ part of the edition (e.g. for a page)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Download cf. Catalogue 4.9
+
+ Can the entire raw data of the project be downloaded (as a
+ whole)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reuse cf. Catalogue 4.9
+
+ Can you use the data with other tools useful for this kind of
+ content?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Declaration of rights cf. Catalogue 4.13
+
+ Are the rights to (re)use the content declared?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ License cf. Catalogue 4.13
+
+ Under what license are the contents released?
+
+ CC0
+
+
+
+
+
+ CC-BY
+
+
+
+
+
+ CC-BY-ND
+
+
+
+
+
+ CC-BY-NC
+
+
+
+
+
+ CC-BY-SA
+
+
+
+
+
+ CC-BY-NC-ND
+
+
+
+
+
+ CC-BY-NC-SA
+
+
+
+
+
+ PDM
+
+
+
+
+
+ No license
+
+
+
+
+
+ Multiple licenses
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+ mei viewer
+ history of science
+ history of alchemy
+ multimedia edition
+ translation
+
+
+
+
+
+
+
+
+ Furnace and Fugue is a digital edition of Michael Maier’s (1568-1622)
+ opus magnum, the emblem book Atalanta fugiens (1617/18)
+ in which Latin and German texts are paired with images and musical fugues in an
+ enigmatic way to engage users of the book in deep meditation on alchemical subjects.
+ The digital edition of the text itself, including an English translation based on a
+ 17th century manuscript, is accompanied by a number of scholarly essays. A main
+ feature is the MEI player, which includes a piano roll visualisation that allows
+ users to experience the musicological makeup of Atalanta fugiens even
+ without a background in music theory. The edition is a beautifully designed “haute
+ couture” edition, intended to provide an example for the future of digital scholarly
+ publishing. The project has used digital editing effectively to enable the multimedia
+ experience that Michael Maier had likely envisioned for Atalanta
+ fugiens. but which was previously inaccessible to most users of the
+ book.
+
+
+
+
+ Introduction
+
+ Furnace and Fugue is a digital edition of the multimedia emblem book
+ Atalanta fugiens (1618a), authored by alchemist Michael Maier (1569-1622). In addition to
+ customary text, this alchemical emblem book also contains a fugue to accompany each
+ image. The narrative frame for the collection of fifty emblems is the ancient myth of
+ Atalanta and Hippomenes’ race (Wels
+ 2010, 150). Early modern emblematics tend to be meant as food for thought,
+ whereby readers (or maybe rather, users) of the emblem book meditate upon the often
+ obscure symbolism to get a moral message. Maier’s Atalanta fugiens is
+ innovative in its adaptation of emblematics for alchemy and in its addition of a
+ third layer (music) to the already multi-medial emblematics (consisting of text and
+ image). Since both alchemy and emblematics on their own have a reputation of being
+ somewhat hard to unriddle, the combination thereof supplies as an ideal source for a
+ digital edition, offering lots of opportunities for including additional information,
+ data enrichment, or other explanatory resources. More information about
+ Atalanta fugiens can be found in Furnace and Fugue as
+ well as all the other many publications on Atalanta fugiens and thus,
+ shall not be repeated here in detail.Almost all research articles
+ on Atalanta fugiens repeat the same information describing how the book is set up,
+ so this information can easily be gathered from those sources. This
+ reviewThe reviewer’s academic background is in Classics
+ (Neo-Latin), history of science (esp. alchemy) as well as the Digital Humanities.
+ Having written a PhD thesis on a use case for digital methods on the work of
+ Michael Maier, I have a background in relevant aspects of the project under review
+ (digital editing, history of alchemy, and Neo-Latin) and am deeply familiar with
+ the research tradition. will discuss Furnace and Fugue in the
+ context of digital scholarly editing, describe the project website and its features
+ as well as provide a short review of the scholarly essays included in the digital
+ publication.
+
+
+
+ Landing page.
+
+
+
+ Landing page.
+
+ Furnace and Fugue is a project providing “A Digital Edition of Michael
+ Maier’s Atalanta fugiens (1618) with Scholarly Commentary” (Nummedal and Bilak 2020a), the first
+ born-digital monograph by Brown University Digital Publications (fig. 1 and 2).
+ Eight interdisciplinary interpretative essays (Bianchi 2020; Bilak 2020; Forshaw 2020;
+ Gaudio 2020; Ludwig 2020; Nummedal 2020; Oosterhoff 2020), including the introduction and
+ essays by the editors (Nummedal and Bilak
+ 2020b), along with three short introductory texts on Michael Maier, alchemy
+ and printing (Rampling 2020; Tabor 2020; Tilton 2020), complement the edition of the emblem book
+ Atalanta fugiens. Not only is this project unique because
+ Atalanta fugiens is such a unique book and there has never been a
+ multimedia edition for it before, but realising the author’s likely intentions, it is
+ also still one of the first major digital editions in the context of alchemy
+ research. Digital scholarly editing is not yet a common practice in the
+ historiography of alchemy (Martinón-Torres
+ 2011, 233), but minimal editions of TEI-encoded transcriptions of alchemical
+ texts and their image facsimiles do exist.Examples are: Maier 1617a, 1617b, 2009. First digital edition projects have already been realised
+ in the context of alchemy research, such as The Chymistry of Isaac
+ Newton (Newman 2009) or the
+ Making and Knowing project (Smith 2020).The 2009 Newton digital edition is
+ currently being updated but beyond a number of tweets, no definitive information
+ with more details has yet been published about it: https://twitter.com/alextheknitter/status/12555713769934397452020-04-29).
+ However, digital editions have not yet become a standard in alchemy research despite
+ their unique suitedness for complex alchemical texts (Martinón-Torres 2011, 233).
+
+ Furnace and Fugue originated in co-editor Donna Bilak’s postdoctoral
+ research at the Chemical Heritage Foundation (now Science History Institute,
+ Philadelphia/PA) in 2013-2014, where it was further developed in a 2015 workshop and
+ at a later 2016 Brown University workshop.
+ https://dbilakpraxis.com/project-atalanta/ further testify the creation
+ process of Furnace and Fugue, such as: Nummedal and Bilak 2016. The project
+ was finally launched in 2020 in a YouTube event.
+ https://www.youtube.com/watch?v=pa2xtPmXBvc (“Furnace and Fugue Launch –
+ August 25, 2020”, University of Virginia Press YouTube Channel).
+ Besides the two co-editors, Tara Nummedal and Donna Bilak, a large team
+ contributed to Furnace and Fugue over the years.Those contributors are listed in the backmatter/about page where acknowledgements
+ also declare more informal contributions by a list of other individuals. The TEI
+ data contains metadata making responsibilities explicit, however in other parts of
+ the website, the declaration of individual responsibilities, especially on the
+ Digital Humanities side of the project, remains somewhat vague. However, the
+ ‘Credits’ section in the backmatter of the website gives a good overview of
+ individual responsibilities. As part of the project, a Furnace and
+ Fugue Instagram account (@furnaceandfugue) was set up which hosted a series
+ of posts for the 400th anniversary of Atalanta fugiens where different
+ people (scholars and lay people alike) were invited to express their thoughts about
+ one of the emblem images each.
+ instagram.com/furnaceandfugue The project was awarded the Roy Rosenzweig
+ Prize for Creativity in Digital History, the funds of which are intended for the
+ creation of a pedagogical companion website to promote public engagement with the
+ digital edition.
+ https://library.brown.edu/create/libnews/rosenzweig-prize/.Furnace
+ and Fugue was published by the University of Virginia Press (in the series
+ Studies in Early Modern German History, edited by Erik Midelfort) as
+ a born-digital publication.
+
+
+ Atalanta Fugiens, 1617/18
+
Michael Maier (1568-1622) was a German iatrochymist (‘alchemist and
+ doctor’) recognized for a number of alchemical publications in the early 17th
+ century. Among his works, the alchemical emblem book Atalanta fugiens
+ (1618a) stands out, as it is
+ described as “one of the most beautiful books of alchemical literature of all time”
+ (Figala and Neumann 1989,
+ 49-50). Since the seminal 1969 study by Helena M. E. De Jong, Atalanta
+ fugiens is considered the masterpiece of Maier’s oeuvre, probably because
+ of its unusual multimedia combination of text, image, and music (Leibenguth 2002, 5-6).De Jong
+ provided an overview of the sources for the mottos in Maier’s emblems in Jong 2002, 330-33.
+
Despite the fact that the whole range of possible interpretations of
+ Maier’s multimedia masterpiece will probably never run out,As
+ Principe argues: “Although the original sources of the imagery lie in earlier
+ texts, Maier augments them with further connections, allusions, and meanings of
+ his own. The epigrams are so intricate that it seems unlikely that any one reader
+ would ever ‘get’ all the references, allusions, connections, and puns.” In: Principe 2013, 174. there
+ is consensus that Maier intended to promote alchemy in the context of courtly
+ education and entertainment, for which emblems surely were an ideal medium.Figala and Neumann write: “In general, Maier pursued the aim in his
+ published books of raising and maintaining alchemy in the opinion of the educated
+ public. He strove expressly to give it the rank in the contemporary hierarchy of
+ sciences that he thought it deserved. It should stand, as the noblest of the
+ scholarly disciplines, directly after theology, for its subject-matter is the
+ investigation of the greatest secrets of God’s creation. [...] A way the poeta
+ laureatus Maier found to bring Chymia nearer to the educated public was by
+ glorifying it in poetry. With this purpose he wrote not only three Latin poetic
+ cycles, but also his best-known work and certainly one of the most beautiful books
+ of alchemical literature of all time, the Atalanta fugiens, first printed in
+ 1617.” In: Figala and Neumann
+ 1989, 49-50. Also, Principe: “In contrast to Basil Valentine’s organised
+ sequence of ‘keys’ that expound a single text and encode a single process, Maier’s
+ Atalanta fugiens is a florilegium of images. It collects imagery and expressions
+ from an array of earlier authors – Hermes, Morienus, Valentine, and others – and
+ assembles them into one of the most intricate and rich layerings of meaning to be
+ found in chymistry. Even though Maier probably did perform some laboratory work,
+ his Atalanta fugiens lies much further from the world of laboratory practice than
+ do the books of Valentine or George Starkey. (Some readers, including Sir Isaac
+ Newton, nevertheless mined it for practical information about making the
+ Philosophers’ Stone.)” In: Principe
+ 2013, 174. In their introduction to Furnace and
+ Fugue, Nummedal and Bilak state:
+ Maier [...] sought to elevate alchemy above its grubby artisanal roots,
+ establishing it as a humanist, philosophical, emblematic, courtly art with the
+ potential to access nature’s arcana. On this count Atalanta
+ fugiens certainly succeeds, demonstrating that alchemy offered not
+ just precious medicines or metals but also fodder for mathematical games,
+ musical riddles, artistic virtuosity, and classical erudition. (Nummedal and Bilak 2020b)
+
+
+
Some have even interpreted Maier’s Atalanta fugiens as a
+ turn away from alchemical practice to the use of alchemical symbolism for poetic
+ ends, merely repurposing existing material from earlier alchemical compendia as his
+ poetic material (Wels 2010, 2013).
+ While claims have been made that Atalanta fugiens lacks practical
+ chemistry, no detailed explanations are provided to support these assertions.Figala and Neumann conclude: “It has been said that this book
+ contains ‘no instructions at all for alchemical practice’. This is certainly true,
+ and much the same might be said about all Maier’s published works.” In: Figala and Neumann 1989, 50.
+ See also Principe 2013,
+ 174-79. In fact, Rainer Werthmann has offered chemical explanations for
+ several emblems within the book.
+ Werthmann 2011, 214-26 covers
+ emblems 24, 28, 34, 37, and 44. Another article by Rainer Werthmann on chemical
+ interpretations of Atalanta fugiens will appear in the proceedings Michael Maier
+ und die Formen (al)chemischen Wissens um 1600 (Volkhard Wels & Simon Brandl,
+ eds.) titled Chemisches Wissen in Michael Maiers Atalanta fugiens. Lawrence
+ Principe characterises the work as follows:
+ It can thus be seen as part of the wider tradition of apologies of alchemy
+ in which Maier uses the poetry, music, learned play, and beautiful images of
+ his book to link chymistry to the liberal and the fine arts. His purpose, then,
+ is not simply to entertain readers but rather to ennoble a practice generally
+ considered dirty and laborious by making it attractive to humanist
+ contemporaries. [...] Atalanta fugiens is one instance of
+ continuing attempts to address chymistry’s shaky cultural and intellectual
+ position – an issue that plagued chymists from the Middle Ages through the
+ eighteenth century. (Principe
+ 2013, 176-78)On the general topic see: Principe 2013,
+ 174-79.
+
+
+
+
Undoubtedly, Atalanta fugiens stands as Maier’s most
+ extensively researched work, attracting numerous re-editions and articles written
+ about it.On Atalanta fugiens (choice): Jong 2002; Szönyi 2003; Hlaváček
+ 2006; Hofmeier 2007;
+ Purš 2007; Wels 2010; Nummedal and Bilak 2020a, 2020b. While some of
+ these publications primarily admire the uniqueness and peculiarity of Maier’s emblems
+ without adding new insights, others provide valuable contributions to emblem studies
+ (Rola 1988; Gaudio 2020; Wagner 2021). Furthermore, a number of publications revolving around the
+ topic of ‘alchemy and music’ exist, most of which at least mention Maier’s
+ Atalanta fugiens.For example: Sleeper 1938; Sawyer 1966; Rebotier 1972; Meinel 1986; Kelkel 1987; Streich 1989; Godwin 1989; Eijkelboom 1990; Raasveld 1994; Hasler 2011; Limbeck 2019.
+ Furnace and Fugue could build on the source critical work of De Jong,
+ her English translation and contextual information as well as the Hofmeier edition
+ with its abundant indices (Jong 2002;
+ Hofmeier 2007; rez. Smith 2009; Tilton 2011). Beyond its multimedia
+ aspects, Atalanta fugiens’ enduring popularity was probably the
+ primary motivation for creating an edition of this book of Maier’s rather than
+ another. And, as the various contributions in Furnace and Fugue testify,
+ there is still much left to be said about it.From a
+ historiographical standpoint, one may question the editors’ decision to re-edit
+ Maier’s most well-famous work when there would have been a large number of less
+ well researched works of Maier’s left that might have benefited more from in-depth
+ study. Especially as it seems likely that better knowledge of those works would be
+ critical for the interpretation of Atalanta fugiens, which – due to its highly
+ unusual nature – remains challenging to contextualise without deeper knowledge of
+ Maier’s other works.
+
+
+
+ Digital edition overview
+
With its gorgeous design, Furnace and Fugue
+ The bibliographic citation of the edition is: Nummedal and Bilak
+ 2020a. exemplifies what Elena Pierazzo refers to as an ‘haute
+ couture’ digital edition (Pierazzo
+ 2019), a term to describe editions “which are tailored to the specific needs
+ of specific scholars” (Pierazzo
+ 2019, 209) using significant amounts of funding. The editors assert in their
+ introduction that Atalanta fugiens had never before been discussed in
+ such a multidisciplinary manner (Nummedal and Bilak
+ 2020b). Furnace and Fugue allows modern audiences, perhaps for
+ the first time, to experience Atalanta fugiens in the way it may have
+ been intended by the author. The editors state that De Jong’s fundamental 1969 study,
+ which focused on source criticism, deflected attention from the unique multimedia
+ combination that is Atalanta fugiens, reducing it to a traditionally
+ text-centered approach. Furnace and Fugue aims fill this gap and explore
+ neglected aspects, such as the relationships between images, texts, and music, in an
+ interdisciplinary context (). Additionally, the edition seeks to bridge the gap in
+ knowledge between Maier’s intended audience, erudite Humanistic polymaths, and modern
+ users. Furnace and Fugue makes Michael Maier’s unique multimedia emblem
+ book more accessible in multiple ways: On the one hand, the scholarly articles
+ addressing open questions of Maier research make this edition relevant for a
+ scholarly audience (Bianchi 2020;
+ Bilak 2020; Forshaw 2020; Gaudio 2020; Ludwig 2020; Nummedal
+ and Bilak 2020b; Nummedal
+ 2020; Oosterhoff 2020).
+ On the other hand, three introductory essays on alchemy, Maier, and letter-press
+ printing provide just enough background to let an interested public partake in the
+ exploration of this unique remnant of early modern culture (Rampling 2020; Tilton 2020; Tabor 2020).
+
In the following, we will proceed to explore the project website in the
+ order of the different options in the navigation bar (‘Digital Edition’, ‘Essays’,
+ ‘Images’, and ‘Contents’). Clicking on ‘Digital Edition’
+ Nummedal and Bilak 2020a:
+ https://furnaceandfugue.org/atalanta-fugiens/. leads the user to
+ a list of images, from which they can select an emblem to start with. Within the
+ emblem overview, there is a ‘DOI’ button that copies the DOI (https://doi.org/10.26300/bdp.ff.maier) to the user’s clipboard.
+
+
+
+ Edition View of the title page.
+ Above the emblem images, there are text links to the parts of Atalanta
+ fugiens that do not have accompanying images, such as the title page,
+ author’s epigram, dedication, and preface. However, from a usability standpoint, this
+ design is not ideal as it may cause readers to overlook other parts of Maier’s text.
+ It also hinders accessing the book in a traditional manner, where one would start
+ from the beginning and navigate through the pages (which Nummedal terms the
+ ‘horizontal mode’ in Nummedal
+ 2020). Even if one clicks on the title page (fig. 3), there is no option to traverse the book in a linear
+ fashion from the beginning.Clicking ‘Begin Atalanta fugiens’ on
+ the contents overview (https://furnaceandfugue.org/search/) does lead to the title page but
+ traditional ‘leafing through’ still is possible only through the unfolded emblem
+ navigation. In order to continue to the Author’s Epigram, one must either
+ backtrack to the overview or unfold the ‘Emblem’ navigation and skip to the right
+ until reaching the appropriate section.
+
+
+ Emblem/Edition view
+
+
+
+ Edition View of Emblem I with facsimile, text, emblem and the
+ MEI music player.
+ Upon selecting an emblem, users are presented with a comparative view of the
+ digital facsimile and its transcription (fig.
+ 4). This view includes the emblem image, an MEI viewer for the accompanying
+ fugue (Rashleigh and Brusch 2020), as
+ well as the normalised English text of the epigram and discourse.The digital edition is based on this facsimile: https://repository.library.brown.edu/studio/item/bdr:698524/ = Maier 1618a. The Music Encoding
+ Initiative (MEI) is an XML standard for encoding musical documents. More
+ information on the MEI Viewer will be given below. Users can toggle between
+ different viewing options, such as this side-by-side view (Comparative
+ View), the facsimile (Original) only view, or the digital
+ edition only (Digital Edition) view. To maintain orientation within the
+ digital edition, users can click on the ‘emblems’ navigation at the top centre of the
+ view, revealing a scrollbar that enables easy navigation between emblems using their
+ respective images. Thus, users can check their position within the overall context of
+ the book. While there is no recommended citation format for individual emblems, the
+ URL structure is relatively straightforward.It looks like this:
+ https://furnaceandfugue.org/atalanta-fugiens/emblem18.html.
+
+
+ Personalised image collections
+
+
+
+ Personalized image collections.
+
+
+
+ Personalized image collections.
+ At the bottom of the window, users have the option to expand a
+ customizable emblem collection that allows them to focus on their specific areas
+ of interest (fig. 5 and 6). The collection can be saved or cited
+ via a collection URL.Which looks something like this for a
+ collection named ‘test’ containing the emblems 12, 13, and 14: https://furnaceandfugue.org/atalanta-fugiens/emblem18.html#collection_name=test&emblems=12,13,14.
+ Thus, they are not actually saved but rather, when a user creates a collection,
+ it really is just a custom URL which contains a name and the numbers of the
+ emblems which are part of the custom collection. From a Digital
+ Humanities perspective, these user-customizable collections are particularly
+ noteworthy. Donna Bilak’s essay demonstrates their added value well, where one can
+ see customised emblem collections in use (Bilak 2020).
+
+
+ MEI viewer/player and piano roll visualisation
+
+
+
+ Piano Roll Visualization of Emblem II.
+
+
+
+ Edition View of Emblem II.
+ The music notation present in Atalanta fugiens was encoded
+ using the Music Encoding Initiative (MEI), an XML standard for representing
+ musical documents. There likely must have been a music-historical interpretation
+ of the original scores as part of creating the edition, since the notes of the
+ digital edition are not the same as in the historical book. The Verovio-based MEI
+ viewer (fig. 7) enables readers to play
+ and manipulate the music of the fugue by isolating certain voices (Rashleigh and Brusch 2020). The web MEI
+ player aims to engage musicologists and non-musicians alike, providing visual note
+ highlighting synchronised with the music playback. Users can isolate different
+ voices and utilise a piano roll visualisation to grasp the melodic and imitative
+ structures that constitute the fugues, which hold significance in relation to
+ Maier’s alchemical interpretation of his multimedia book. This approach allows
+ users who are less familiar with music notation and theory to comprehend the
+ ‘message’ and visual flow of the fugues, including the interrelationships between
+ different voices, as intended by Maier, who designed the music to add a layer of
+ dimension to his text so that readers could meditate on the musical theory in
+ conjunction with the text and emblematic images (fig. 8).
+
The music notation was transcribed using the Sibelius software and
+ converted to MEI using the Sibelius-to-MEI plugin. Subsequently, the resulting
+ MEI/XML required adjustments for timing extraction using XSLT, which generated a
+ table of MEI elements and their respective timings using the Verovio JSNode
+ script. This step was necessary due to the inherent imprecision in human
+ musicians’ performances compared to the exactness of the music notation in
+ MEI/XML. To achieve smooth synchronisation between a viewer and a recording of
+ human voices based on ideal durations from the sheet music, data had to be adapted
+ to account for these discrepancies. Common Music Notation (CMN), an open-source
+ format for hierarchically describing and rendering musical scores as images, was
+ also created using Verovio on the command line. The Common Music Notation in SVG
+ and the MEI table with timings were then assembled and inserted into the HTML
+ template. Thus, “the project modernised the polyphonic fugues into animated
+ notation that is playable in a web browser” (Rashleigh and Brusch 2020).
+
+
+ Image view
+
+
+
+ Image Search.
+
+
+
+ Image Search.
+ By clicking on ‘Images’ in the navigation bar, users are directed to the
+ image search functionality (fig. 9 and
+ 10).
+ https://furnaceandfugue.org/search/image-search.html. This
+ feature provides a faceted search with categories such as ‘People’, ‘Nature’,
+ ‘Traits’, ‘Architecture’, ‘Creatures’, ‘Actions’, and ‘Things’.
+
Each category provides corresponding options for selecting emblems.
+ Once the search results are displayed, users can choose to display the emblem tags
+ or to jump to the emblem view.The emblem tags appear to have
+ been assigned within the project. I was able to trace them back to a JSON file
+ being processed in JavaScript code, but they do not seem to be included in
+ TEI/XML and also do not correspond to IconClass or similar standards. This
+ seems like an interesting, yet underdeveloped feature. The tags become visible
+ when one clicks on ‘Tags’ under the ‘Images’ section of the website. They then
+ expand to reveal keywords with hyperlinks, and clicking on one of the tags
+ displays all images tagged with that particular keyword. Essentially, the
+ emblem image tags serve as a semantic image search. To effectively use this
+ feature, one would need to initially discern which terms can be entered,
+ meaning the functionality, while innovative, may go undiscovered except by
+ happenstance or not at all with cursory engagement. Additionally, there
+ is a shortcut to add emblems to personal collections. Notably, the emblems of
+ Furnace and Fugue do not seem to be included in existing emblem
+ repositories or research engines such as Emblematica Online. Integrating them into such a resource would allow
+ for a broader comparison of motives beyond Atalanta fugiens. In a
+ project by the Herzog August Bibliothek Wolfenbüttel, IconClass tags were created
+ specifically for alchemy (IconClass 49E39) which could have been reused here to
+ enhance interoperability between alchemy projects.
+ Frietsch 2017, discussed in
+ Frietsch 2021, 117.
+ IconClass tags for alchemy: https://iconclass.org/en/49E39.
+
+
+
+ The text
+
+ Furnace and Fugue includes a transcription of a 1618 edition of
+ Atalanta fugiens as well as an anonymous 17th century English
+ translation (Mellon MS 48, which will be discussed later).A
+ list of editions and translations, both modern and historical, can be found in
+ Leibenguth 2002,
+ 497-502. The translation from Mellon MS 48 seems to have been created soon
+ after the publication of Atalanta fugiens in 1617/18, as the watermarks
+ indicate the year 1625. The manuscript may have been intended as a draft for an
+ English edition, as indicated by corrections from an editor (Leibenguth 2002, 498). Sloane
+ Ms. 3645 from the British Library contains another English translation titled
+ The flying Atalanta. An alchemical treatise dated in the late 1670s. There are
+ at least two French translations, a 17th century exemplar at the Getty Research
+ Institute, Box 27, as well as an 18th century exemplar at Muséum d’histoire
+ naturelle (Paris), Ms. 360. A shortened version of Atalanta fugiens was
+ published under the title Scrutinium Chymicum in 1687. Furthermore, a 1708
+ edition called Chymisches Cabinet is the basis for Hofmeier 2007 (with detailed indices). Jong 2002 also features an English
+ translation with commentary. Perrot
+ 1982 contains a French translation and commentary. The fact that so
+ many translations and resources on Atalanta fugiens already existed may
+ indicate a missed opportunity to consolidate this material into one
+ comprehensive edition in Furnace and Fugue. The TEI files contain
+ detailed metadata, transcriptions, and the markup of personal names but no
+ editorial interventions in the stricter sense.
+
+
+
+ Text from Emblem II (diplomatic German).
+ On the right-hand side, users can choose between different text versions,
+ including Diplomatic English, Normalized English, Diplomatic Latin, Normalized
+ Latin, and Diplomatic German (fig. 11).
+ This makes the edition very user-friendly, intuitive, and ‘non-threatening’ to
+ users unfamiliar with edition practices and conventions. However, it has the
+ serious drawback of silently presenting the reader with a historical translation
+ without explicitly declaring it as such and which is made unrecognisable as such
+ at first glance because the normalised view is served to the readers by
+ default.Due to the choice of providing only historical
+ translations, there is, for example, no German view of the preface. In the
+ other cases where the ‘Diplomatic German’ version can be selected, only the
+ ‘Epigram’ is in German whereas the ‘Discourse’ remains in Latin, hinting at the
+ fact that ‘Diplomatic German’ means ‘diplomatic transcription of the German
+ edition’ (which happens to be bilingual) and does not necessarily describe the
+ language of the text itself. This is one of the other confusions caused by not
+ having included explanations on the translation in the edition view
+ itself.
+
+
Thanks to the availability of normalised Latin, which can be
+ generated from the TEI/XML downloadable via GitHub, one can easily feed the text
+ into Natural Language Processing Pipelines, thereby offering data that can be
+ reused in future Digital Humanities research. Named entities are marked up in the
+ TEI data as well as in the image search JSON, which powers the semantic search.
+ However, many entities (such as <persName>) marked up in the
+ detailed TEI encoding, which also references the images, are not accessible to
+ users within the edition itself. The TEI files are of high quality and could be
+ reused in future projects to create a critical edition with word-level
+ commentary.
+
+
+ The historical translation provided in Furnace and Fugue
+
+
Due to its beautiful design, accessibility, and the lasting
+ pop-cultural fascination of Atalanta fugiens, Furnace and
+ Fugue is likely to attract a non-scholarly audience, who may not be
+ aware of the potential pitfalls of re-using historical translations uncritically.
+ The way the anonymous 17th century English translation from Mellon MS 48 is
+ presented at this time, the historical translation is mostly in disguise: users
+ need to actively look for information on the provenance of the translation in
+ order to learn more about it. Most non-scholarly users of the edition are unlikely
+ to undertake this investigation. The fact that the translation is a historical
+ text of its own, requiring contextualisation, may even escape audiences who are
+ theoretically aware of these issues because it is disguised behind the normalised
+ reading version which appears as a default.
+
Early modern translations are liberal renderings rather than
+ trustworthy translations in our sense of the word. Translators are known to alter
+ meanings or details to accommodate their own interpretation of the source text or
+ alchemical theory – as Maier himself has done in his own vernacular-to-Latin
+ translation of Basil Valentine’s Twelve Keys (Maier 1618b; Principe 2013, 153). Translations can be
+ influenced not only by the limitations of expressing certain concepts in exactly
+ the same way in multiple languages, but they can also be heavily influenced by the
+ authors’ own views, their time, cultural contexts, and their own interpretations
+ of the subject matter. Moreover, when historical translations are used without
+ extensive editing or commentary, readers who are not well-versed in the target
+ languages may overlook deficiencies in the translation. This is apparent, for
+ instance, in a 17th century English translation of Michael Maier’s
+ Viatorium (1618), where the translator evidently glossed over
+ portions they did not fully comprehend, without acknowledging their likely
+ uncertainty regarding the translation’s accuracy (McLean 2005). It is plausible that such a
+ translation represents an initial or rough draft, where the translator did not
+ invest significant time, effort, or care. Assessing the quality of such a
+ translation in detail is challenging without conducting a word-by-word translation
+ oneself. While a vague translation can offer readers an overview of the content of
+ a Latin work, it is important to recognise that it is likely to contain errors or
+ inaccuracies in the finer details. Many times, such historical translations,
+ instead of making the meaning easier to grasp for a modern reader, obscure it even
+ more, introducing additional room for misunderstandings of the message intended by
+ the original author. Even if the translation of Atalanta fugiens used
+ in Furnace and Fugue were substantially better than the
+ aforementioned example, it would still not be an ideal choice from a scholarly
+ standpoint and one would expect more critical engagement with this fact. In a
+ field like the historiography of alchemy, where details can be crucial, the use of
+ a potentially flawed 17th century translation is debatable to say the least,
+ particularly if it is not clearly declared as such.The
+ recommendations for editing early modern texts emphasise the importance of
+ carefully contextualising historical translations as independent historical
+ sources. While reusing historical translations may appear as a convenient
+ shortcut, it can be misleading. Editing historical translations requires
+ substantial effort when done correctly. The Neo-Latin community is divided on
+ whether to use historical translations at all, as their benefits may not
+ outweigh the potential challenges they present (Mundt 1992). After all, interpreting and
+ translating alchemical texts is and has always been a significant exegetical
+ endeavour, not only due to their specialist terms and ‘Decknamen’ but also
+ because certain words are generally hard to render in other languages without a
+ partial loss in meaning. Furthermore, the translator might not have understood
+ the original Latin or Maier’s intended alchemical message, for all we know. For
+ instance, in the Viatorium translation (McLean 2005) it is evident that the translator
+ uses formulations that obscure the meaning further when seemingly they did not
+ understand what Maier was talking about. However, instead of acknowledging this
+ uncertainty, as a modern editor would be expected to do, historical editors
+ often glossed over such issues. Therefore, the true benefit of reusing a
+ historical translation is questionable, and only individuals with sufficient
+ Latin skills to read Maier’s original text would be in a position to notice
+ such issues. This makes historical translations particularly unsuitable for lay
+ audiences, who would benefit the most from having a reliable translation
+ available.
+
+
+
+ About the project page.
+
+
+
+ About the project page (Credits).
+ As stated in the backmatter (fig.
+ 12 and 13), “the Beinecke
+ manuscript [the anonymous 17th-century English translation from Mellon MS 48] is a
+ fascinating document in its own right and merits further research; however, the
+ objective of Furnace and Fugue is not to provide a study of the
+ Beinecke manuscript itself but rather to provide a reliable English translation of
+ Maier’s Latin text” (Nummedal and Bilak
+ 2020a).
+ https://furnaceandfugue.org/back-matter/about/. There is no further
+ information on why the authors think it to be a reliable translation. Was this
+ verified on a number of emblems or is there secondary literature to back this
+ claim up? Is there any reliable information on the production context and
+ intended use of Mellon MS 48? The English translation is based on the 17th
+ century translation Atalanta running, that is, new chymicall emblems relating
+ to the secrets of nature. Mellon MS 48. Beinecke Rare Book and Manuscript
+ Library. https://collections.library.yale.edu/catalog/15959780 (completely
+ digitised). Yet how can those two aspects, both being a historical
+ document which merits further research but also providing a reliable translation,
+ be reconciled? The editors encourage curious readers to explore the Beinecke
+ manuscript, but how can readers unfamiliar with textual criticism be expected to
+ make anything of this text without further contextualisation? Can a historical
+ document that merits further research ever be a reliable source, especially given
+ the complexities of alchemical language? This relatively uncritical engagement
+ with the source materials is a weakness of Furnace and Fugue. It is
+ an acceptable decision to not put special focus on the interpretation of the
+ Beinecke MS but it should at least have been contextualised in a way that makes
+ users of the edition aware of its nature and the problems this might entail.
+
To address this issue, an easy-to-find, clearly visible note should
+ be added to highlight the frequent unreliability of historical translations and
+ the reasons why they have to be used with caution. The lack of a critical edition
+ and the debatable use of a historical translation were also remarked upon in the
+ much shorter format of Reviews in DH (Bielak 2021).In this review,
+ the title of Maier’s book is misspelt as Atalantia instead of Atalanta.
+ As it stands, the translation might lead some to assume incorrectly that this
+ translation was produced throughout the Furnace and Fugue project
+ according to modern translation standards. The authors could have opted to present
+ the diplomatic translation as a default, as its wording immediately denotes it as
+ a historical document. A button to ‘Switch to reading version’ would make it
+ even more obvious. Alternatively, an information box could provide this vital
+ context and explain the implications for the translation’s accuracy and
+ trustworthiness. A suggested citation could highlight the translation’s
+ provenance from a historical source. None of these issues is a dealbreaker and
+ they can be addressed through minor adjustments to the edition. I propose
+ providing a more detailed explanation of the historical translation in the edition
+ guidelines found in the back matter or about page, accompanied by a prominently
+ displayed popup button or similar element near the text itself in the emblem
+ view.
+
+
+
+ Scholarly essays
+
Three introductory essays (Rampling 2020; Tilton 2020;
+ Tabor 2020) make Furnace and
+ Fugue a very well-rounded resource for audiences unfamiliar with the
+ historical context of Atalanta fugiens. The scholarly essays that
+ represent the scholarly engagement with Atalanta fugiens within
+ Furnace and Fugue will be discussed in the following paragraphs (Bianchi 2020; Bilak 2020; Forshaw 2020; Gaudio 2020;
+ Ludwig 2020; Nummedal and Bilak 2020b; Nummedal 2020; Oosterhoff 2020).
+
+
+
+ Essay example (Text by Donna Bilak).
+
+
+
+ Essay example (Text by Donna Bilak). Emblem collection.
+
+
+
+ Essay example (Text by Donna Bilak). Essay citation.
+
+
+
+ Essay example (Text by Tara Nummedal with a spotlight
+ feature).
+
+
+
+ Essay example (Text by Tara Nummedal with a image zoom
+ feature).
+ Donna Bilak frames Atalanta fugiens as a case of playful
+ encipherment typical of early modern courtly entertainment (fig. 14, 15, and
+ 16): She argues that the fifty emblems
+ can be interpreted as a magic square following Agrippa of Nettesheim’s writings (Bilak 2020). Michael Gaudio examines the
+ landscapes depicted in the background of Merian’s etchings, interpreting them as a
+ commentary on the measurement of nature, thereby inviting users of the book to look
+ more closely (Gaudio 2020). Tara
+ Nummedal interprets Atalanta fugiens as a reflection of Maier’s
+ perspective on different types of reading (fig.
+ 17 and 18): Atalanta
+ fugiens invites readers to engage in both the ‘horizontal mode’, i.e.
+ quickly turning pages and viewing the emblems in context, but also the ‘vertical
+ mode’ encouraging in-depth study of individual pages and thereby engaging different
+ modes of meaning-making. The digital edition reflects this theory in the affordances
+ it offers to its users (Nummedal
+ 2020).
+
Richard Oosterhoff discusses allusions to mathematics such as the
+ squaring of the circle in Maier’s earlier tract De Circulo Physico
+ Quadrato (1616), explaining it as a problem that cannot be solved by theory
+ alone, but only by a practitioner able to combine ‘ratio’ and ‘experientia’,
+ highlighting the importance of practical expertise alongside theory. Craftsmen
+ are, as Maier suggests, ‘squaring circles’ all the time in their everyday practice by
+ approximation while the problem remains unsolvable to theorists. Maier likely means
+ to insinuate that the same is true for gold-making, framing it as a solution that is
+ theoretically knowable, just not yet known, exactly like Aristotle had framed the
+ squaring of the circle (Oosterhoff
+ 2020). Peter Forshaw discusses Maier’s mythoalchemy, comparing his
+ mythoalchemical text Arcana Arcanissima (1614) with the mythoalchemical
+ emblems of Atalanta fugiens (Forshaw 2020).
+
+
+
+ Performance edition of Atalanta fugiens (as PDF).
+ The most groundbreaking revelation in Furnace and Fugue is that
+ forty of the fifty fugues were copied from John Farmers Divers & Sundry
+ Waies (1591), as Loren Ludwig demonstrates (Ludwig 2020). Contrary to the original assumption that
+ Maier composed most of the fugues himself, this discovery places Atalanta
+ fugiens in the reception line of an English crypto-catholic liturgical
+ tradition but also raises questions about the role of the fugues in Maier’s overall
+ work. While a crypto-catholic intention does not seem likely given Maier’s otherwise
+ undoubtedly Lutheran faith, the reuse of those fugues underscores Maier’s belief in
+ music as an alternative, yet equally suitable transmission medium for secret
+ knowledge, be it spiritual or alchemical. Furthermore, Eric Bianchi suggests in his
+ essay that Atalanta fugiens is unlikely to have been intended for
+ performance but rather as an invitation to silent contemplation in the context of
+ contemporary music theory – an ideal that Maier later realised in his
+ Cantilenae Intellectuales (1622). Bianchi further notes that
+ composing music and possessing theoretical knowledge of music theory were markers of
+ belonging to the courtly elite, the intended audience for Maier’s book, unlike
+ playing music which was the task of skilled artisans (Bianchi 2020). Nonetheless, Atalanta
+ fugiens can certainly be performed, as demonstrated by the music player in
+ the digital edition and the performance edition (fig. 19) created in the Furnace and Fugue project (Nummedal and Bilak 2020a).The music edition can be found under this: https://furnaceandfugue.org/back-matter/music-performance/furnace-fugue-music-edition.pdf.
+ The performance edition is a PDF version of Atalanta fugiens intended for singers
+ who want to print out the sheet music for performing it.
+
While these contributions significantly enhance current research,
+ particularly the insights regarding Maier’s fugues, central questions concerning
+ Atalanta fugiens remain unanswered to this day, such as the absence
+ of a critical edition or a chemical commentary.Another edition
+ with commentary is currently being prepared in the context of
+ Sonderforschungsbereich 980 Episteme in Bewegung. Wissenstransfer von der alten
+ Welt bis in die Frühe Neuzeit as a sub-project under the title of Michael Maiers
+ Atalanta fugiens – Emblematische Verrätselung als Transferstrategie by Simon
+ Brandl at FU Berlin. https://www.sfb-episteme.de/teilprojekte/sagen/A06/up_brandl/index.html.
+ Although the project’s title does not explicitly promise a critical edition, the
+ phrase “digital edition with scholarly commentary” (Nummedal and Bilak 2020b) may lead readers to
+ expect an apparatus-style commentary rather than scholarly essays.
+
+ Footnotes in the scholarly essays
+
+
+
+ Essay example (Text by Peter Forshaw with expanded
+ footnote).
+ By default, footnotes in Furnace and Fugue are hidden and
+ are also excluded from the printed PDF version. Users can only access them by
+ clicking on each one individually to look up its contents (fig. 20).
+
Usability and design decisions significantly impact how users engage
+ with resources by providing certain affordances (Norman 2013). A digital scholarly edition should
+ allow for the critical examination of sources, both primary sources and those
+ referenced in scholarly articles. Making it difficult or cumbersome to open up all
+ the footnotes, requiring individual clicks on each footnote, creates a user
+ experience that discourages active engagement with footnotes. A scholarly edition
+ should never discourage critical and scholarly engagement with the sources
+ represented in it, no matter the gain in usability or the improvement in design or
+ beauty.
+
To address this issue, I recommend supplying a ‘display all
+ footnotes’ button or providing a PDF version of the articles that includes all
+ footnotes.
+
+
+
+ Contents and search bar
+
+
+
+ TextSearch.
+ The search bar allows for full-text searching of all elements of the
+ project, that is the scholarly essays as well as all versions of the digital edition
+ (fig. 21). For instance, a fuzzy search
+ for ‘Hesperid*’ (including a wildcard) yields results in ‘Discourse (Latin)’ and
+ ‘Discourse (English)’ in Emblem 14, 22, and 25 as well as one result for ‘Discourse
+ (Latin)’ in Emblem 50. Moreover, the term appears in both the body and footnotes of
+ Peter Forshaw’s scholarly essay and in the body of Bilak’s essay. Notably, the
+ full-text search also encompasses ‘Diplomatic German’, as evidenced by searching
+ for ‘geheimer’, which yields one result in ‘Epigram (German)’ in Emblem 3.
+
+
+ Backmatter/about
+
+
+
+ Overview of the emblems with the DOI button below the
+ heading.
+ The backmatter/about page provides ample documentation on internal aspects
+ of the project, such as technical implementation, editorial practices, project
+ contributors, and their roles. It also acknowledges funding and covers the project’s
+ timeline from 2015 to 2020, which encompasses its development, implementation, and
+ subsequent publication. A DOI citation is available, but it is somewhat difficult to
+ find in the edition, as it is displayed only when navigating to the overview view of
+ the book (fig. 22).
+ https://doi.org/10.26300/bdp.ff.maier to be found here: https://furnaceandfugue.org/atalanta-fugiens/.
+
+
+ Technical implementation
+
The backmatter/about site does not address the project’s digital
+ sustainability. The majority of the content focuses on editorial guidelines and
+ acknowledgments. The XML source data and code for the website creation are
+ provided through a GitHub repository, allowing for data reuse. However, this
+ approach may pose a risk to long-term archiving and sustainability, as relying on
+ a proprietary platform like GitHub could result in potential data loss or
+ discontinuation of services. It would be preferable for a non-commercial
+ institution to ensure the long-term sustainability of the data.According to email correspondence with editor Tara Nummedal and
+ project designer Crystal Brusch, long-term preservation is planned as part of
+ the Brown Digital Repository (BDR): https://repository.library.brown.edu/studio/. Even though the project
+ has already ended three years ago at this point, there does not seem to be a
+ permanent solution yet. This issue seems to be beyond the editors’ control and
+ one can only hope that there will be an institution-wide solution for archiving
+ born-digital projects in the future. In total, there are four GitHub
+ repositories containing all project data and code, with the ‘atalanta-media’
+ repository appearing as the most suitable point of access.
+ https://github.com/Brown-University-Library/atalanta-media, https://github.com/Brown-University-Library/atalanta-code, https://github.com/Brown-University-Library/atalanta, https://github.com/Brown-University-Library/atalanta-src (containing
+ the custom static site generator). The latter is not a public
+ repository. Notably, there are no GitHub releases or data publications
+ on Zenodo archiving parts of the edition.
+
In terms of technical implementation, Furnace and Fugue
+ employs a custom static site generator, presumably developed as part of a broader
+ digital publishing initiative at Brown University. However, the rationale for not
+ utilising existing tools for this purpose is not provided. While the use of
+ plugins and JavaScript libraries (e.g., Waypoints, GreenSock Animation API (GSAP),
+ GSAP ScrollToPlugin, Tumult Hype Pro, ScrollMagic) enhances the user experience,
+ there is no explicit consideration of the project’s long-term sustainability. This
+ concern extends to archiving and publishing data on GitHub, which may be subject
+ to disappearance, as well as the JavaScript libraries that tend to become outdated
+ relatively quickly. The aforementioned information represents the extent of the
+ documentation regarding technical implementation, with more detailed information
+ promised on the ‘atalanta-code’ GitHub repository, which, upon inspection, does
+ not seem to contain such documentation.
+
Data provided on the ‘atalanta-media’ GitHub are: TEI/XML for
+ Atalanta fugiens, 1618 (in Latin and German), TEI/XML for
+ Atalanta running, that is, new chymicall emblems relating to the secrets
+ of nature (English), MEI/XML for the 50 fugues, WAV audio files for the
+ 50 fugues in three voices, JSON image search terms for the 50 emblem images and
+ frontispiece as well as JP2 image files for Atalanta fugiens, 1618
+ which link to the Brown Digital Repository (Olio).
+ Maier 1618a = https://repository.library.brown.edu/studio/item/bdr:698524/
+ Everything except the JP2 images is hosted on GitHub repositories, i.e. a
+ version control system for working code, not digital repositories meant for
+ long-term archiving.
+ https://github.com/Brown-University-Library/atalanta-media.
+ The TEI files are available from the project’s GitHub repository and include
+ detailed <teiHeader> metadata as well as, for example, the
+ markup of personal names using <persName>.An example is: https://github.com/Brown-University-Library/atalanta-texts/blob/master/latin/EpigrammaAuthoris.xml.
+ However, it is not quite clear where the image tags in the tag view come from
+ or whether they even are from IconClass. One would assume there must be a METS
+ document in the background, yet this does not seem to be part of the GitHub
+ repository. Only a JSON file is to be found which likely is responsible for the
+ semantic search: https://github.com/Brown-University-Library/atalanta-code/blob/master/data/json/byterm_enh_array.json.
+ With the last GitHub edits in 2020, the project seems no longer to be under
+ development. It is unclear whether the project will be actively maintained and who
+ is the responsible party, if any, and the manner in which it will be done remains
+ unclear, although it could be presumed that the Brown Digital Publishing
+ Initiative may assume responsibility.
+
+
+
+ Furnace and Fugue and digital editing practices
+
Part of the Brown Digital Publishing Initiative, Furnace and
+ Fugue serves as a commentary on generating reputation, trustworthiness, and
+ credibility in digital publishing, particularly within the context of digital
+ scholarly editions. It combines practices from both digital scholarly editions and
+ digital scholarly publications, positioning itself as a first-born digital monograph
+ that includes a text edition but differs from other digital scholarly editions in
+ significant ways. To understand Furnace and Fugue and its place within
+ the Digital Humanities and digital scholarly editing community, it is essential to
+ consider its context in the Mellon Digital Publishing Initiative grant. This
+ initiative aims to develop new models for digital publications, primarily focused on
+ making traditional scholarly peer-reviewed publications accessible as digital
+ open-access editions while maintaining credibility within the traditional framework
+ of tenure requirements. It does not directly derive from the Digital Humanities
+ tradition of digital scholarly editing like it is usually reflected upon in reviews
+ in this journal. This important information for understanding the institutional
+ context of Furnace and Fugue can only be gleaned by listening to a
+ number of podcasts, interviews, and online talks given by the editors and
+ collaborators of the Furnace and Fugue project (New Books Network 2020; Cocks 2021). It might make sense to include a brief note
+ on this in the ‘Backmatter’ of the digital edition, alongside other project
+ information.
+
Through these circumstances, Furnace and Fugue serves as an
+ intriguing commentary on digital editions. On one hand, the project seeks to promote
+ digital open-access publishing and align such publications with traditional academic
+ expectations by partnering with a reputable publisher, the University of Virginia
+ Press. This approach prioritises ‘extrinsic’means of garnering reputation rather
+ than fully utilising quality standards of the digital scholarly editing community,
+ i.e., quality standards for digital editing as discussed frequently in this journal
+ but that Furnace and Fugue does not make full use of (such as opting for
+ the IconClass tagging system instead of a custom one to enhance interoperability or
+ providing a critical edition of the text represented in the edition).It is worth discussing briefly why this may present problems. Does
+ a digital edition only hold value if it receives approval from a traditional
+ press? Does this impose further restrictions on scholars engaged in scholarly
+ editing? The involvement of a tenured professor at Brown University, along with
+ the support of the Mellon Foundation and Brown Digital Publishing Initiative,
+ highlights the privilege associated with such projects. Does this potentially set
+ a precedent for other scholars interested in publishing digitally, requiring them
+ to collaborate with prestigious presses, a practice rather uncommon in the world
+ of digital scholarly editing? Does this implicitly suggest that a digital edition
+ itself is not a reputable or serious publication? In fact, the digital scholarly
+ editing community offers various quality assurance measures, both ‘extrinsic’
+ (such as this journal or the Reviews in DH journal), and ‘intrinsic’ by adhering
+ to best practices in digital scholarly editing. These measures are intended to
+ ensure quality assurance and prevent digital editions from being perceived as
+ inferior to traditional print editions.Such concerns may have been understandable
+ at a time when digital scholarly editing was less prevalent and online sources
+ still carried a stench of untrustworthiness. However, one would expect that in
+ 2020, a year where the necessity of ‘going digital’ became even more evident in
+ academia, even in previously less digital spaces due to the global pandemic, this
+ would no longer be a topic of discussion. As a member of the Digital Humanities
+ community, one would assume that a digital edition is not viewed as inferior, even
+ in the initial years of the project (2015/7). If anything, participating in or
+ leading a digital project should be considered an asset for one’s Curriculum
+ Vitae, as indicated in the podcasts where the editors discuss the motivation
+ behind Furnace and Fugue (New
+ Books Network 2020, Cocks
+ 2021). Then again, this might serve to put into relief the contrast which
+ still exists between the Digital Humanities and more traditionally-minded scholars
+ with regards to digital scholarly editing. Admittedly, these statements were only
+ made in more informal outlets such as interviews or podcasts, not reflected in the
+ narrative on the website itself. However, it remains crucial to pay close
+ attention to the rhetoric employed in digital edition projects, particularly those
+ claiming to serve as flagship examples for inspiring future best
+ practices.
+
However, the self-fashioning of the project as a digital publishing
+ pioneer may be explained by the unmentioned focus on creating a digital publication,
+ that is a digitally-enhanced, peer-reviewed, open-access edited collection rather
+ than a digital scholarly edition of Atalanta fugiens itself. While these
+ decisions are valid, they could have been explicitly stated in the project
+ description. Given the project’s aim to develop high-quality digital publications
+ deserving the same respect as print equivalents, it still seems a bit unusual that
+ more interest was not extended to the digital scholarly edition of Atalanta
+ fugiens. The methodology of scholarly editing, digital or otherwise, has
+ long been accepted as a means of ensuring quality and reputation for text editions.
+ The title of the digital publication “a Digital Edition [...] with Scholarly
+ Commentary” (Nummedal and Bilak 2020b),
+ though probably carefully chosen, may be considered somewhat misleading since
+ scholars trained in text editing or textual philology would expect that commentary to
+ relate directly to the text. According to a more traditional definition of a
+ scholarly commentary, the articles provide inter- and multidisciplinary
+ interpretations of Atalanta fugiens, not a commentary of the text
+ itself. The title of the introduction, “Interplay. New Scholarship on Atalanta
+ fugiens” (), confirms just that suspicion – that Furnace and
+ Fugue is not primarily a digital scholarly edition of Atalanta
+ fugiens but rather, provides new scholarship on Atalanta
+ fugiens while at the same time making the text and facsimiles easily
+ accessible online.
+
+
+ Furnace and Fugue as a digital edition
+
The editors emphasise the fact that Furnace and Fugue is
+ the first truly interdisciplinary resource on Atalanta fugiens, yet, its
+ unique contribution pertains mainly to the area of musicology. This is reflected both
+ in the edition of the source text itself, featuring an innovative MEI Viewer/Player,
+ which allows even a lay audience to playfully explore the musical composition, and in
+ the scholarly essays, which contribute consequential new insights mostly with regard
+ to Maier’s fugues. While the other essays explore interesting aspects, they do not
+ fundamentally change our understanding of Atalanta fugiens but rather
+ expand on existing discussions. The team was certainly interdisciplinary, yet as to
+ the pertinent question of why there was not a historian of chemistry involved, the
+ project website remains silent.Historians of chemistry, such as
+ Lawrence Principe, seem to have acted as consultants at some stage of the project
+ or at least participated in the 2015 and 2016 workshops. This criticism may have
+ been anticipated and thus addressed with an explanation as to why the decision was
+ made to not include such a central aspect.
+
Despite its other merits, which are plentiful, Furnace and
+ Fugue could have done a better job of being more critical of its sources
+ (the 17th century translation) and tailoring the resource for the needs of a
+ scholarly audience (making footnotes more easily accessible in the scholarly essays).
+ It is suggested that a note regarding the translation as well as a ‘show all
+ footnotes’ button should be added to remedy these issues. As a third main issue, the
+ long-term archiving situation is not clear and there is no statement on the data
+ management plan.
+
While Furnace and Fugue excels in visual presentation and
+ interactive aspects, it falls short in textual criticism as it lacks a critical
+ edition. While it is understandable that Furnace and Fugue opted to
+ focus on aspects previous editions had paid less attention to (images and music), the
+ text is still one of the three core elements of Maier’s multimedia work (text, image,
+ music). Despite the significant scholarly interest in Atalanta fugiens,
+ the text itself remains incompletely understood, lacking a commentary or
+ comprehensive textual analysis. The absence of a critical edition or deeper
+ engagement with the text is regrettable and leaves a sense of incompleteness.
+ However, this was a deliberate decision by the editors, who have successfully
+ achieved the goals they set for this digital edition of Atalanta
+ fugiens.
+
+
+
+ Introductory text by Hereward Tilton with map
+ visualization.
+ Classifying Furnace and Fugue as a digital scholarly edition is
+ somewhat challenging since it does not provide a critical edition of Atalanta
+ fugiens per se, although it does offer scholarly essays on the subject.
+ Thus, one could say that it meets the criteria of being both a digital edition and a
+ scholarly resource. The map included in Tilton’s introduction, for instance, does a
+ convincing job of visualising Maier’s travels, however, this particular feature does
+ not truly lose its usefulness when given in print form (fig. 23). Then again, Digital Humanities scholars are
+ probably not the primary target audience, as certain notable features, such as the
+ ability to create personal emblem collections and interactive rearrangement, are not
+ highlighted in the documentation as the noteworthy features they are. Furnace
+ and Fugue includes interactive digital features that cannot be replicated
+ in print, suggesting its classification as a digital scholarly edition.On criteria for classifying resources as digital scholarly
+ editions: Sahle 2016.
+
Potential future work for Furnace and Fugue includes
+ integrating the image search with Emblematica Online or similar sources. This would
+ entail tagging the images according to the IconClass guidelines for easier comparison
+ of potential visual inspirations. The text could benefit from a philological approach
+ and a text-critical edition, providing explanations of visual motifs and sources
+ directly on the text in the form of a traditional commentary. Having to retrieve and
+ reassemble the information scattered throughout scholarly essays makes it hard to
+ form one’s own interpretation of the text. Additionally, integrating the sources
+ identified by De Jong or providing an easily searchable overview of De Jong’s
+ findings would be valuable (Jong 2002,
+ 330-33), maybe even linking to the sources of relevant facsimiles available online.
+ Further research could explore the chemical interpretations of Atalanta
+ fugiens, as done in Werthmann.
+ Werthmann 2011, 214-26 covers
+ emblems 24, 28, 34, 37, and 44. Many publications suggest that this topic
+ is already dealt with yet there are hardly any publications explaining why this
+ supposedly is so.
+
While Furnace and Fugue has a beautifully designed layout
+ and a collaboration with a traditional publishing house, it could enhance the user
+ experience by providing more transparent information about its sources, such as the
+ 17th century English translation, and improving the accessibility of footnotes in
+ scholarly essays. While the resource offers diplomatic and normalised transcriptions
+ of the Latin-German original book and its 17th century English translation, textual
+ scholars may desire a critical apparatus or commentary at the word or sentence level.
+ The scholarly essays provide interpretations but do not constitute a philological or
+ text-critical edition as implied by the project title.
+
Additionally, the long-term archiving situation and data management plan
+ require clarification. The insights gained from the project should be published in a
+ Digital Humanities publication to make them accessible to the wider community and
+ ensure preservation for the future, involving both the editors as well as the
+ technical leads of the project. Such a publication could summarise some of the
+ information which can now be found by listening to a number of podcasts on the
+ project but also explain decisions made in the process of creating this publication
+ in more detail, especially with regards to experimenting with ways to handle the
+ multimediality of the sources, potential reuse scenarios (and a long-term archiving
+ plan) for the data and libraries created for the project. Furthermore, it would be
+ great to have a deeper description of the digital aspects of the project which goes
+ beyond the brief project description (backmatter/about). Overall, Furnace and
+ Fugue is a stunning project that provides a valuable platform for both the
+ general public and scholars to explore Atalanta fugiens.
+
+
+ Conclusion
+
+ Furnace and Fugue is the first born-digital monograph by Brown
+ University Digital Publications, consisting of eight interpretative essays, three
+ introductory texts, and a digital edition of the early modern emblem book
+ Atalanta fugiens (1618a), including a MEI-based music player, using
+ which individual voices can be isolated for analysis and demonstration, an invaluable
+ feature for lectures or educational presentations. The edition shines in its elegant
+ visual presentation and interactive capabilities. For instance, the feature to create
+ personalised emblem collections is significant, allowing focused, individualised
+ study. Additionally, the image search functionality lets users dive deeply into the
+ material, even if it could benefit from integration into existing emblem databases
+ and search engines to facilitate even broader comparative studies. Particularly
+ noteworthy is the innovative MEI Viewer/Player, which opens new vistas for
+ understanding Maier’s intricate fusion of music with alchemical thought, allowing
+ even those without a music theory background to engage deeply with the fugues. The
+ feature not only empowers academic scrutiny but also extends the project’s appeal to
+ a broader audience.
+
A flagship project and ‘haute couture’ digital edition, Furnace
+ and Fugue pushes the boundaries of multimedia publication in the
+ historiography of alchemy. Nummedal and Bilak have seamlessly blended the realms of
+ digital scholarly edition and digital scholarly publication, with the edition being
+ accompanied by essays from various disciplines. In the context of alchemy research,
+ where digital scholarly editions are still relatively few, Furnace and
+ Fugue is an innovative project, taking its place alongside the only two
+ other major digital editions, the 2009 pioneering Chymistry of Isaac
+ Newton project (Newman
+ 2009) and the influential Making and Knowing project (2014-2021,
+ Smith 2020). The comprehensive and
+ interactive digital platform realises the multimedia experience likely envisioned by
+ Maier for Atalanta fugiens, a feature hitherto inaccessible to most
+ users of the book. In sum, Furnace and Fugue enriches scholarship on
+ early modern alchemy and on the chymist Michael Maier. It sets a precedent in its
+ multidisciplinary approach and multimedia digital edition. It represents a
+ significant leap forward in understanding Maier’s multimedia vision and its
+ implications for his alchemical thought.
+
+
+
+
+
+ Bianchi, Eric. 2020. “Weight, Number, Measure: The Musical
+ Universe of Michael Maier.” Furnace and Fugue. In A Digital Edition of
+ Michael Maier’s ‘Atalanta fugiens’ (1618) with Scholarly Commentary,
+ edited by Tara Nummedal and Donna Bilak. https://furnaceandfugue.org/essays/bianchi/.
+ Bielak, Alicja. 2021. “A Review of Furnace and Fugue, a
+ Digital Edition of Michael Maier’s Atalantia Fugiens, directed by Allison Levy.”
+ In Reviews in Digital Humanities 2/12. https://doi.org/10.21428/3e88f64f.6f3a23ff.
+ Bilak, Donna. 2020. “Chasing Atalanta. Maier, Steganography,
+ and the Secrets of Nature.” In Furnace and Fugue. A Digital Edition of
+ Michael Maier’s ‘Atalanta fugiens’ (1618) with Scholarly Commentary,
+ edited by Tara Nummedal and Donna Bilak. https://furnaceandfugue.org/essays/bilak/.
+ Cocks, Catherine. 2021. “Going Digital: Considerations and
+ Collaborations Interview.” In The H-Net Book Channel. https://networks.h-net.org/node/1883/discussions/8596862/going-digital-considerations-and-collaborations.
+ Eijkelboom, Carolien. 1990. “Alchemical Music by
+ Michael Maier.” In Alchemy Revisited: Proceedings of the International
+ Conference on the History of Alchemy at the University of Groningen, 17–19
+ April 1989, edited by Z. R. W. M. von Martels, 98. Leiden: Brill.
+ Figala, Karin, and Ulrich Neumann. 1989. “Michael
+ Maier (1569–1622): New Bio-Bibliographical Material.” In Alchemy Revisited.
+ Proceedings of the International Conference on the History of Alchemy at the
+ University of Groningen. 17–19 April 1989, edited by Z. R. W. M. von
+ Martels, 34-50. Collection de Travaux de L’Académie Internationale d’histoire Des
+ Sciences 33. John d. North (Ed.). Leiden: Brill.
+ Forshaw, Peter J. 2020. “Michael Maier and Mythoalchemy.”
+ In Furnace and Fugue. A Digital Edition of Michael Maier’s ‘Atalanta
+ fugiens’ (1618) with Scholarly Commentary, edited by Tara Nummedal and
+ Donna Bilak. https://furnaceandfugue.org/essays/forshaw/.
+ Frietsch, Ute. 2017. “Bilder.” Herzog August Bibliothek
+ Wolfenbüttel. http://alchemie.hab.de/bilder.
+ Frietsch, Ute. 2021. “Obscurum vocabulum:
+ Begriffe der frühneuzeitlichen Alchemie und der Alchemie-Thesaurus der Herzog
+ August Bibliothek.” In Alchemie – Genealogie und Terminologie, Bilder,
+ Techniken und Artefakte. Forschungen aus der Herzog August Bibliothek,
+ edited by Petra Feuerstein-Herz and Ute Frietsch. Wiesbaden: Harrassowitz,
+ 103-131.
+ Gaudio, Michael. 2020. “The Emblem in the Landscape.
+ Matthäus Merian’s Etchings for Atalanta Fugiens.” In Furnace and Fugue. A
+ Digital Edition of Michael Maier’s ‘Atalanta fugiens’ (1618) with Scholarly
+ Commentary, edited by Tara Nummedal and Donna Bilak. https://furnaceandfugue.org/essays/gaudio/.
+ Godwin, Jocelyn. ed. 1989. Atalanta Fugiens: An
+ Edition of the Fugues, Emblems and Epigrams, by Michael Maier, Translated by
+ Jocelyn Godwin. Grand Rapids, MI: Phanes Press.
+ Hasler, Johann F. W. 2011. “Performative and Multimedia
+ Aspects of Late-Renaissance Meditative Alchemy: The Case of Michael Maier’s
+ Atalanta Fugiens (1617).” In Revista de Estudios Sociales 39:
+ 135-44.
+ Hlaváček, Jakub. 2006. “K Alchymistické Interpretaci
+ Antické Mytologie on the Alchemistic Interpretation of Ancient Mythology.” In
+ Maier, Michael, Atalanta Fugiens. Prchající Atalanta Neboli Nové Chymické
+ Emblémy Vyjadřující Tajemství Přírody, 11-33. Prague.
+ Hofmeier, Thomas. 2007. “Einleitung.” In Michael
+ Maiers Chymisches Cabinet: Atalanta Fugiens deutsch nach der Ausgabe von
+ 1708, edited by Thomas Hofmeier, 9-72. Berlin, Basel:
+ Thurneysser.
+ Jong, Helena de. 2002. Michael Maiers’s Atalanta
+ Fugiens. Sources of an Alchemical Book of Emblems. Lake Worth:
+ Nicolas-Hays, Inc. Reprint of the original 1969 edition: Leiden: Brill.
+ Ianus 7.
+ Kelkel, Manfred. 1987. “A la recherche d’un art total:
+ Musique et alchimie chez Michael Maier: Maniérismes et discours hermétique dans
+ Atalanta Fugiens (1617).” In Analyse Musicale: La Musique et Nous 8:
+ 49-55.
+ Leibenguth, Erik. 2002. Hermetische Philosophie
+ des Frühbarock. Die “Cantilenae Intellectuales” Michael Maiers. Edition mit
+ Übersetzung, Kommentar und Bio-Bibliographie. Tübingen: Niemeyer.
+ Limbeck, Sven. 2019. “‘Sounding Alchemy’. Alchemie und
+ Musik in Mittelalter und Früher Neuzeit.” In Feurige Philosophie: Zur
+ Rezeption Der Alchemie (Wolfenbütteler Hefte, Band 37), edited by Petra
+ Feuerstein-Herz, 43-82. Wolfenbüttel: Harrassowitz.
+ Ludwig, Loren. 2020. “John Farmer’s Sundry Waies. The
+ English Origin of Michael Maier’s ‘Alchemical Fugues’.” In Furnace and
+ Fugue. A Digital Edition of Michael Maier’s Atalanta fugiens (1618) with
+ Scholarly Commentary, edited by Tara Nummedal and Donna Bilak. https://furnaceandfugue.org/essays/ludwig/.
+ Maier, Michael. 1617a. “Examen Fucorum Pseudo-Chymicorum.”
+ Herzog August Bibliothek Wolfenbüttel. 1617. http://diglib.hab.de/drucke/46-med-4s/start.htm.
+ Maier, Michael. 1617b. “Symbola Aureae Mensae.” Herzog
+ August Bibliothek Wolfenbüttel. 1617. http://diglib.hab.de/drucke/46-med-1s/start.htm.
+ Maier, Michael. 1618a. Atalanta fugiens: hoc est,
+ emblemata nova de secretis naturæ, chymica, accomodata partim oculis &
+ intellectui, figuris cupro incisi, adiectisque sententiis, epigrammatis &
+ notis, partim auribus & recreationi animi plus minus 50 rugis musicalibus
+ trium vocum. Brown Olio. Brown Digital Repository. Brown University
+ Library. https://repository.library.brown.edu/studio/item/bdr:698524/.
+ Maier, Michael. 1618b. Tripus Aureus, Hoc est, Tres
+ Tractatus Chymici Selectissimi : Nempe I. Basilii Valentini ... Practica una cum
+ 12. clavibus... II. Thomae Nortoni ... Crede Mihi seu Ordinale... nunc ex
+ Anglicano manuscripto in Latinum translatum ... III. Cremeri Cuiusdam Abbatis
+ Westmonasteriensis Angli Testamentum. Jennis: Frankfurt am Main.
+ Maier, Michael. 2009. “Arcana Arcanissima (Digital edition
+ of the 1613 edition): Ann Arbor, MI; Oxford (UK): Text Creation Partnership,
+ 2008-09 (EEBO-TCP phase 1).”, http://name.umdl.umich.edu/A06751.0001.001.
+ Martinón-Torres, Marcos. 2011. “Some Recent
+ Developments in the Historiography of Alchemy.” In Ambix 58/3:
+ 215-37.
+ McLean, Adam, ed. 2005. The Viatorium of Michael
+ Maier. A 17th Century English Manuscript Translation Transcribed by Fiona
+ Oliver and Voicu Ion Cristi. Glasgow: Magnum Opus Hermetic Sourceworks
+ No. 29.
+ Meinel, Christoph. 1986. “Alchemie und Musik.” In Die
+ Alchemie in der Europäischen Kultur- und Wissenschaftsgeschichte, edited
+ by Christoph Meinel, 201-25. Harrassowitz: Wiesbaden.
+ Mundt, Lothar. 1992. “Empfehlungen zur Edition
+ neulateinischer Texte.” In Probleme der Edition von Texten der Frühen
+ Neuzeit. Beiträge zur Arbeitstagung der Kommission für die Edition von Texten
+ der Frühen Neuzeit, edited by Lothar Mundt, Hans-Gert Roloff, and Ulrich
+ Seelbach, 186-90. Editio / Beihefte 3. Tübingen: Max Niemeyer. https://doi.org/10.1515/9783110946932.186.
+ New Books Network. 2020. “D. Bilak and T.
+ Nummedal, ‘Furnace and Fugue. A Digital Edition of Michael Maier’s ‘Atalanta
+ Fugiens’ (1618) (U Virginia Press, 2020).” Podcast “New Books in German Studies”
+ 2020-10-08. https://podcasts.apple.com/ie/podcast/d-bilak-t-nummedal-furnace-fugue-digital-edition-michael/id671875824?i=1000495509588.
+ Newman, William (ed.). 2009. The Chymistry of Isaac
+ Newton. Bloomington: Indiana University. https://webapp1.dlib.indiana.edu/newton/indexChemicus.do.
+ Norman, Donald. 2013. The Design of Everyday Things:
+ Revised and Expanded Edition. MIT Press.
+ Nummedal, Tara. 2020. “Sound and Vision. The Alchemical
+ Epistemology of Michael Maier’s Atalanta Fugiens.” In Furnace and Fugue. A
+ Digital Edition of Michael Maier’s ‘Atalanta fugiens’ (1618) with Scholarly
+ Commentary, edited by Tara Nummedal and Donna Bilak. https://furnaceandfugue.org/essays/nummedal/.
+ Nummedal, Tara, and Donna Bilak. 2016. “Tear the
+ Books Apart: Atalanta Fugiens in a Digital Age.” https://blogs.brown.edu/libnews/nummedal-bilak/.
+ Nummedal, Tara, and Donna Bilak. eds. 2020a.
+ Furnace and Fugue. A Digital Edition of Michael Maier’s ‘Atalanta
+ Fugiens’ (1618) with Scholarly Commentary. https://furnaceandfugue.org/.
+ Nummedal, Tara, and Donna Bilak. 2020b.
+ “Interplay. New Scholarship on Atalanta fugiens” In Furnace and
+ Fugue. A Digital Edition of Michael Maier’s ‘Atalanta fugiens’ (1618) with
+ Scholarly Commentary, edited by Tara Nummedal and Donna Bilak. https://furnaceandfugue.org/essays/introduction/.
+ Oosterhoff, Richard J. 2020. “Learned Failure and the
+ Untutored Mind. Emblem 21 of Atalanta Fugiens.” In Furnace and Fugue. A
+ Digital Edition of Michael Maier’s ‘Atalanta fugiens’ (1618) with Scholarly
+ Commentary, edited by Tara Nummedal and Donna Bilak. https://furnaceandfugue.org/essays/oosterhoff/.
+ Perrot, Étienne. 1982. Les trois pommes d’or.
+ Commentaire sur l’Atalante fugitive de Michel Maier. Paris: La Fontaine
+ de Pierre.
+ Pierazzo, Elena. 2019. “What Future for Digital Scholarly
+ Editions? From Haute Couture to Prêt-à-Porter.” In International Journal of
+ Digital Humanities 1(4): 209-20. https://doi.org/10.1007/s42803-019-00019-3.
+ Principe, Lawrence M. 2013. The Secrets of
+ Alchemy. Chicago.
+ Purš, Ivo. 2007. “Emblémy Prchající Atalanty Michaela Maiera
+ Emblems of Fleeing Atalanta by Michael Maier.” In Logos 1/2:
+ 97-106.
+ Raasveld, Paul P. 1994. “Michael Maiers Atalanta Fugiens
+ (1617) und das Kompositionsmodell in Johannes Lippius’s Sunopsis Musicae Novae
+ (1612).” In From Ciconia to Sweelinck: Donum Natalicium Willem
+ Elders, edited by Albert Clement and Eric Jas, 355-68. Amsterdam:
+ Rodopi.
+ Rampling, Jennifer. 2020. “Early Modern Alchemy.” In
+ Furnace and Fugue: A Digital Edition of Michael Maier’s ‘Atalanta
+ fugiens’ (1618) with Scholarly Commentary, edited by Tara Nummedal and
+ Donna Bilak. https://furnaceandfugue.org/front-matter/getacquainted/alchemy/.
+ Rashleigh, Patrick, and Crystal Brusch. 2020.
+ “Multimedia from the 17th-Century Book to the 21st-Century Web: A Playable Digital
+ Edition of Michael Maier’s ‘Atalanta Fugiens’.” In Proceedings of the Music
+ Encoding Conference 2020, edited by Elsa De Luca. Boston: Humanities
+ Commons. http://dx.doi.org/10.17613/ggym-sc21.
+ Rebotier, Jacques. 1972. “L’art de musique chez Michel
+ Maier.” In Revue de L’histoire Des Religions 182/1: 29-51.
+ Rola, Stanislas Klossowski De. 1988. The Golden Game:
+ Alchemical Engravings of the Seventeenth Century. London: Thames &
+ Hudson.
+ Sahle, Patrick. 2016. “What Is a Scholarly Digital Edition?”
+ In Digital Scholarly Editing. Theories and Practices, edited by
+ Matthew James Driscoll and Elena Pierazzo, 19-39. Cambridge: Open Book Publishers.
+ https://books.openedition.org/obp/3397.
+ Sawyer, F. H. 1966. “The Music in ‘Atalanta Fugiens’.” In
+ Prelude to Chemistry: An Outline of Alchemy, Its Literature and
+ Relationships, edited by John Read, 281-89. Cambridge: MIT Press.
+ Sleeper, Helen Joy. 1938. “The Alchemical Fugues in Count
+ Michael Maier’s ‘Atalanta Fugiens’.” In Journal of Chemical Education
+ 15/9: 410. https://doi.org/10.1021/ed015p410.
+ Smith, Pamela. 2020. The Making and Knowing Project
+ (2015–2020). https://www.makingandknowing.org.
+ Smith, Pamela H. 2009. “Rez: Thomas Hofmeier, Michael Maiers
+ Chymisches Cabinet. Atalanta Fugiens Deutsch nach der Ausgabe von 1708, Berlin and
+ Basel, Thurneysser, 2007” In Medical History 53:1: 141-42. https://doi.org/10.1017/S0025727300003434.
+ Streich, Hildemarie. 1989. “Introduction: Music, Alchemy
+ and Psychology in Atalanta Fugiens of Michael Maier.” In Atalanta Fugiens:
+ An Edition of the Fugues, Emblems and Epigrams, by Michael Maier, Translated by
+ Jocelyn Godwin, edited by Jocelyn Godwin, 19-89. Grand Rapids, MI:
+ Phanes Press.
+ Szönyi, György Endre. 2003. “Occult Semiotics and
+ Iconology: Michael Maier’s Alchemical Emblems.” In Mundus Emblematicus.
+ Studies in Neo-Latin Emblem Books, edited by Karl. A. E. Enenkel and
+ Arnoud S. Q. Visser, 301-23. Imago Figurata Studies 4. Turnhout: Brepols.
+ Tabor, Stephen. 2020. “Atalanta Fugiens in the Printing
+ Office.” In Furnace and Fugue. A Digital Edition of Michael Maier’s
+ ‘Atalanta fugiens’ (1618) with Scholarly Commentary, edited by Tara
+ Nummedal and Donna Bilak. https://furnaceandfugue.org/front-matter/getacquainted/printing/.
+ Tilton, Hereward. 2011. “Rez: Thomas Hofmeier, Michael
+ Maiers Chymisches Cabinet. Atalanta Fugiens Deutsch nach der Ausgabe von 1708.” In
+ Ambix 58:1: 85-86.
+ Tilton, Hereward. 2020. “Michael Maier: An Itinerant
+ Alchemist in Late Renaissance Germany.” In Furnace and Fugue. A Digital
+ Edition of Michael Maier’s Atalanta fugiens (1618) with Scholarly
+ Commentary, edited by Tara Nummedal and Donna Bilak. https://furnaceandfugue.org/front-matter/getacquainted/maier/.
+ Wagner, Berit. 2021. Merian und die Bebilderung der
+ Alchemie um 1600. https://merian-alchemie.ub.uni-frankfurt.de/.
+ Wels, Volkhard. 2010. “Poetischer Hermetismus. Michael Maiers
+ Atalanta Fugiens (1617/18).” In Konzepte des Hermetismus in
+ der Literatur der Frühen Neuzeit, edited by Peter-André Alt and Volkhard
+ Wels, 149-94. Berliner Mittelalter- Und Frühneuzeitforschung, Band 8. Göttingen: V
+ & R Unipress.
+ Werthmann, Rainer. 2011. “Kap. 13: Die Erlebnisqualität
+ chemischer Reaktionen.” In Johann Rudolph Glauber. Alchemistische Denkweise,
+ Neue Forschungsergebnisse und Spuren in Kitzingen, edited by Stephanie
+ Nomayo, 213-28. Schriftenreihe des Städtischen Museums Kitzingen, Band 4.
+ Kitzingen am Main.
+
+
+
+
+
diff --git a/tei_all/sturm-tei.xml b/tei_all/sturm-tei.xml
new file mode 100644
index 0000000..f81fad2
--- /dev/null
+++ b/tei_all/sturm-tei.xml
@@ -0,0 +1,1953 @@
+
+
+
+
+
+
+
+ DER STURM
+
+
+ Lisa
+ Dieckmann
+
+
+ Universität zu Köln
+ Cologne, Germany
+
+ lisa.dieckmann@uni-koeln.de
+
+
+
+ Institut für Dokumentologie und Editorik e.V.
+ December 2023
+ http://ride.i-d-e.de/issues/issue-18/sturm
+ 10.18716/ride.a.18.2
+ https://github.com/i-d-e/ride/raw/master/issues/issue18/sturm/sturm.pdf
+
+
+
+
+
+ RIDE - A review journal for digital editions and resources
+ Ulrike Henny-Krahmer
+ Martina Scholger
+ Ulrike
+ Henny-Krahmer
+ Frederike
+ Neuber-Martucci
+ Martina
+ Scholger
+ Christina Burgstaller
+ Digital Scholarly Editions
+ http://ride.i-d-e.de/issues/issue-18
+
+
+
+
+ DER STURM. Digitale Quellenedition zur Geschichte der internationalen
+ Avantgarde
+ Marjam Trautmann, Torsten Schrade, Akademie der Wissenschaften und der
+ Literatur Mainz
+
+ Editor
+ Trautmann, Marjam
+
+
+ Editor
+ Schrade, Torsten
+
+
+ Contributor
+ Kollatz, Thomas
+
+
+ Contributor
+ Müller-Dannhausen, Lea
+
+
+ Contributor
+ Lorenz, Anne
+
+
+ Contributor
+ Enders, Rainer
+
+
+ Contributor
+ Pirsich, Volker
+
+ 2018
+ https://sturm-edition.de/
+ 2023-07-26
+
+
+
+
+ Criteria for Reviewing
+ Scholarly Digital Editions
+
+
+
+
+
born digital
+
+
+
+
+
+
+ Documentation
+
+ Bibliographic description cf. Catalogue 1.2
+
+ Is it easily possible to describe the project bibliographically along
+ the schema "responsible editors, publishing/hosting institution, year(s) of
+ publishing"?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contributors cf. Catalogue 1.4
+
+ Are the contributors (editors, institutions, associates) of the
+ project fully documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contacts cf. Catalogue 1.5
+
+ Does the project list contact persons?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Selection cf. Catalogue 2.1
+
+ Is the selection of materials of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reasonability of the selection cf. Catalogue
+ 2.1
+
+ Is the selection by and large reasonable?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Archiving of data cf. Catalogue 4.16
+
+ Does the documentation include information about the long term
+ sustainability of the basic data (archiving of the data)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Aims cf. Catalogue 3.1
+
+ Are the aims and purposes of the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Methods cf. Catalogue 3.1
+
+ Are the methods employed in the project explicitly
+ documented?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Data model cf. Catalogue 3.7
+
+ Does the project document which data model (e.g. TEI) has been used
+ and for what reason?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Help cf. Catalogue 4.15
+
+ Does the project offer help texts concerning the use of the
+ project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Citation cf. Catalogue 4.8
+
+ Does the project supply citation guidelines (i.e. how to cite the
+ project or a part of it)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Completion cf. Catalogue 4.16
+
+ Does the editon regard itself as a completed project (i.e. not promise
+ further modifications and additions)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Institutional curation cf. Catalogue 4.16
+
+ Does the project provide information about institutional support for
+ the curation and sustainability of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+
+ Contents
+
+ Previous edition cf. Catalogue 2.2
+
+ Has the material been previously edited (in print or
+ digitally)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Materials used cf. Catalogue 2.2
+
+ Does the edition make use of these previous editions?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Introduction cf. Catalogue 4.15
+
+ Does the project offer an introduction to the subject-matter (the
+ author(s), the work, its history, the theme, etc.) of the project?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Bibliography cf. Catalogue 2.3
+
+ Does the project offer a bibliography?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Commentary cf. Catalogue 2.3
+
+ Does the project offer a scholarly commentary (e.g. notes on unclear
+ passages, interpretation, etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Contexts cf. Catalogue 2.3
+
+ Does the project include or link to external resources with contextual
+ material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Images cf. Catalogue 2.3
+
+ Does the project offer images of digitised sources?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Image quality cf. Catalogue 4.6
+
+ Does the project offer images of an acceptable quality?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Transcriptions cf. Catalogue 2.3
+
+ Is the text fully transcribed?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Text quality cf. Catalogue 4.6
+
+ Does the project offer texts of an acceptable quality (typos, errors,
+ etc.)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Indices cf. Catalogue 4.5
+
+ Does the project feature compilations indices, registers or
+ visualisations that offer alternative ways to access the material?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of documents cf. Catalogue 1.3 and
+ 2.1
+
+ Which kinds of documents are at the basis of the project?
+
+ Single manuscript
+
+
+
+
+
+ Single work
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ Collected works
+
+
+
+
+
+ Papers
+
+
+
+
+
+ Archival holding
+
+
+
+
+
+ Charters
+
+
+
+
+
+ Letters
+
+
+
+
+
+ Diary
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Document era cf. Catalogue 1.3 and 2.1
+
+ What era(s) do the documents belong to?
+
+ Classics
+
+
+
+
+
+ Medieval
+
+
+
+
+
+ Early modern
+
+
+
+
+
+ Modern
+
+
+
+
+
+
+ Subject cf. Catalogue 1.3
+
+ Which perspective(s) do the editors take towards the edited material?
+ How can the edition be classified in general terms?
+
+ History
+
+
+
+
+
+ Philology / Literary Studies
+
+
+
+
+
+ Philosophy / Theology
+
+
+
+
+
+ History of Science
+
+
+
+
+
+ Musicology
+
+
+
+
+
+ Art History
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Spin-Offs cf. Catalogue 4.11
+
+ Does the project offer any spin-offs?
+
+ App
+
+
+
+
+
+ Mobile
+
+
+
+
+
+ PDF
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+ Access modes
+
+ Browse by cf. Catalogue 4.3
+
+ By which categories does the project offer to browse the
+ contents?
+
+ Authors
+
+
+
+
+
+ Works
+
+
+
+
+
+ Versions
+
+
+
+
+
+ Structure
+
+
+
+
+
+ Pages
+
+
+
+
+
+ Documents
+
+
+
+
+
+ Type of material
+
+
+
+
+
+ Images
+
+
+
+
+
+ Dates
+
+
+
+
+
+ Persons
+
+
+
+
+
+ Places
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Simple search cf. Catalogue 4.4
+
+ Does the project offer a simple search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Advanced search cf. Catalogue 4.4
+
+ Does the project offer an advanced search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Wildcard search cf. Catalogue 4.4
+
+ Does the search support the use of wildcards?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Index cf. Catalogue 4.4
+
+ Does the search offer an index of the searched field?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Suggest functionalities cf. Catalogue 4.4
+
+ Does the search offer autocompletion or suggest
+ functionalities?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+ Help texts cf. Catalogue 4.4
+
+ Does the project offer help texts for the search?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+ Not applicable
+
+
+
+
+
+
+
+ Aims and methods
+
+ Audience cf. Catalogue 3.3
+
+ Who is the intended audience of the project?
+
+ Scholars
+
+
+
+
+
+ Interested public
+
+
+
+
+
+
+ Typology cf. Catalogue 3.3 and 5.1
+
+ Which type fits best for the reviewed project?
+
+ Facsimile edition
+
+
+
+
+
+ Archive edition
+
+
+
+
+
+ Documentary edition
+
+
+
+
+
+ Diplomatic edition
+
+
+
+
+
+ Genetic edition
+
+
+
+
+
+ Work critical edition
+
+
+
+
+
+ Text critical edition
+
+
+
+
+
+ Enriched edition
+
+
+
+
+
+ Database edition
+
+
+
+
+
+ Digital library
+
+
+
+
+
+ Collection of texts
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Critical editing cf. Catalogue 3.6
+
+ In how far is the text critically edited?
+
+ Transmission examined
+
+
+
+
+
+ Palaeographic annotations
+
+
+
+
+
+ Normalization
+
+
+
+
+
+ Variants
+
+
+
+
+
+ Emendation
+
+
+
+
+
+ Commentary notes
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ XML cf. Catalogue 3.7
+
+ Is the data encoded in XML?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Standardized data model cf. Catalogue 3.7
+
+ Is the project employing a standardized data model (e.g.
+ TEI)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Types of text cf. Catalogue 3.5.
+
+ Which kinds or forms of text are presented?
+
+ Facsimiles
+
+
+
+
+
+ Diplomatic transcription
+
+
+
+
+
+ Edited text
+
+
+
+
+
+ Translations
+
+
+
+
+
+ Commentaries
+
+
+
+
+
+ Semantic data
+
+
+
+
+
+
+
+ Technical accessability
+
+ Persistent identification cf. Catalogue 4.8
+
+ Are there persistent identifiers and an addressing system for the
+ edition and/or parts/objects of it and which mechanism is used to that
+ end?
+
+ DOI
+
+
+
+
+
+ ARK
+
+
+
+
+
+ URN
+
+
+
+
+
+ PURL.ORG
+
+
+
+
+
+ Persistent URLs
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Interfaces cf. Catalogue 4.9
+
+ Are there technical interfaces like OAI-PMH, REST etc., which allow
+ the reuse of the data of the project in other contexts?
+
+ OAI-PMH
+
+
+
+
+
+ REST
+
+
+
+
+
+ General API
+
+
+
+
+
+ None
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+ Open Access
+ Is the edition Open Access?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Accessability of the basic data cf. Catalogue
+ 4.12
+
+ Is the basic data (e.g. the XML) of the project accessible for each
+ part of the edition (e.g. for a page)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Download cf. Catalogue 4.9
+
+ Can the entire raw data of the project be downloaded (as a
+ whole)?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Reuse cf. Catalogue 4.9
+
+ Can you use the data with other tools useful for this kind of
+ content?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ Declaration of rights cf. Catalogue 4.13
+
+ Are the rights to (re)use the content declared?
+
+ Yes
+
+
+
+
+
+ No
+
+
+
+
+
+
+ License cf. Catalogue 4.13
+
+ Under what license are the contents released?
+
+ CC0
+
+
+
+
+
+ CC-BY
+
+
+
+
+
+ CC-BY-ND
+
+
+
+
+
+ CC-BY-NC
+
+
+
+
+
+ CC-BY-SA
+
+
+
+
+
+ CC-BY-NC-ND
+
+
+
+
+
+ CC-BY-NC-SA
+
+
+
+
+
+ PDM
+
+
+
+
+
+ No license
+
+
+
+
+
+ Multiple licenses
+
+
+
+
+
+ Other
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+
+ art history
+ history
+ 20th century
+ avantgarde
+ sturm
+ herwarth walden
+ transcription
+ facsimile
+
+
+
+
+
+
+
+
This paper reviews the digital edition Der Sturm – Digitale Quellenedition zur
+ Geschichte der internationalen Avantgarde, which aims to bring together all
+ existing digital sources on the STURM company, to make them accessible and to link
+ them with each other. Initiated by Herwarth Walden by founding the STURM magazine for
+ contemporary art, the STURM company provided many different platforms (e.g., gallery,
+ publishing, theatre) for the art scene in Germany at the beginning of the 20th
+ century and had also a big impact on the international avant-garde. The digital
+ edition currently offers facsimiles, transcriptions, and commentaries on a part of
+ the letters, the encoding of the sources and texts is done in TEI-XML and can be
+ downloaded or accessed via an API. Inventory lists exist for the other documents
+ which link to the source of the digital image. All semantic and structural entities
+ of STURM sources are permanently referenced using persistent identifiers.
+
+
+
+
+
+
+
+ Titelseite Der Sturm – Monatsschrift für Kultur und die
+ Künste, Juli 1916, Universitätsbibliothek Heidelberg.
+ Die Zeitschrift Der Sturm wird im Jahr 1910 von dem
+ Publizisten, Dichter, Verleger und Komponisten Herwarth Walden (eigentlich Georg
+ Lewin) in Berlin gegründet und dient als Plattform der avantgardistischen Kunstszene
+ (Abb. 1). Der STURM avanciert in den
+ folgenden Jahren zu einem regelrechten Unternehmen. Neben der Zeitschrift entsteht
+ die STURM-Galerie, in der Walden zahlreiche Künstlerinnen und Künstler der Zeit
+ ausstellt (u. a. Sonia Delaunay, Natalja Gontscharowa, Else Lasker-Schüler, Gabriele
+ Münter und Marianne von Werefkin, Marc Chagall, Franz Marc, Wassily Kandinsky und
+ Paul Klee). Darüber hinaus entwickeln sich die STURM-Abende, die STURM-Theaterbühne,
+ der STURM-Verlag, eine Kunstbuchhandlung und die STURM-Akademie.Vgl. Trautmann 2018, 25ff und
+ vgl. auch Schirn Kunsthalle 2015a
+ und 2015b.
+
+
Herwarth Walden ist eine der Schlüsselfiguren der Kunst-Moderne in
+ Deutschland. Zunächst hatte Walden 1903 den Verein für Kunst gegründet,
+ dem zahlreiche bekannte Künstlerinnen und Künstler der Zeit angehörten (u. a. Thomas
+ und Heinrich Mann, Else Lasker-Schüler, Rainer Maria Rilke, Alfred Döblin oder
+ Gottfried Benn). Dieses Netzwerk baute er – auch zusammen mit seiner späteren Ehefrau
+ Nell Walden – kontinuierlich auf. Es bildete die Basis für alle folgenden
+ Entwicklungen. Die Zeitschrift Der Sturm war über 20 Jahre Sprachrohr
+ europäischer avantgardistischer Strömungen in Literatur, Bildender Kunst, Theater,
+ Architektur und Musik und hatte weitreichenden Einfluss auf die internationale
+ Avantgarde.Vgl. Chytraeus-Auerbach und Uhl 2013,
+ 7-11, vgl. auch Sprengel 1991
+ und vgl. auch arthistoricum.net.
+
+
Gerade die vielfältigen und gattungsübergreifenden Aktivitäten in
+ unterschiedlichen Bereichen der Künste machen Herwarth Walden und das
+ STURM-Unternehmen für viele geisteswissenschaftliche Disziplinen und auch für
+ interdisziplinäre Fragestellungen interessant. Die Quellen, welche Briefe,
+ Zeitschriften, Ausstellungskataloge, Theaterjahrbücher, verschiedene Schriften und
+ andere Materialien wie Plakate oder Fotografien umfassen,Vgl.
+ Trautmann und Schrade
+ 2018, hier: https://sturm-edition.de/quellen.html. sind von hoher Relevanz
+ für die kunsthistorische Forschung, aber auch für die Geschichtswissenschaft, die
+ Literaturwissenschaft, Theaterwissenschaft und Musikwissenschaft. Zahlreiche
+ Anknüpfungspunkte gibt es aber auch für die Kunstmarktforschung. Darüber hinaus sind
+ die Quellen natürlich auch disziplinübergreifend für die Digital Humanities von
+ großem Interesse.
+
+
+
+ Startseite Der Sturm – Digitale Quellenedition zur Geschichte
+ der internationalen Avantgarde.
+ Die Digitale Edition Der Sturm setzt sich das Ziel, alle
+ existierenden digitalen Quellen zum STURM-Unternehmen zusammenzuführen, zu
+ erschließen und untereinander zu verknüpfen, um eine (Teil-)geschichte der
+ internationalen Avantgarde zeichnen zu können (Abb. 2).Vgl. Trautmann und Schrade 2018, hier
+ insbesondere https://sturm-edition.de/projekt.html und https://sturm-edition.de/projekt/ziel.html.
+
+
Ausgehend von der Ausstellung STURM-Frauen, welche 2015 in der Schirn
+ Kunsthalle in Frankfurt gezeigt wurde und erstmals den weiblichen Beitrag zur
+ Entwicklung der Avantgarde in den Blick nahm,Die Ausstellung fand
+ statt vom 30. Oktober 2015 bis 7. Februar 2016. Schirn Kunsthalle 2015a. wurde die digitale
+ Edition als kollaboratives Digital-Humanities-Projekt an der Akademie der
+ Wissenschaften und der Literatur Mainz insbesondere zusammen mit dem
+ wissenschaftlichen Nachwuchs konzipiert und sieht sich in erster Linie als Projekt im
+ Bereich der Geschichte. Es ist an der Akademieprofessur für Digital Humanities
+ angesiedelt, wurde von Marjam Trautmann und Torsten Schrade erarbeitet und wird
+ weiterhin von diesen herausgegeben.Vgl. Trautmann und Schrade 2018, hier
+ insbesondere https://sturm-edition.de/projekt/ziel.html. Eine erste Grundlage
+ für die Erarbeitung der digitalen Edition lieferte eine Masterarbeit von Marjam
+ Trautmann (2018). Bislang sind
+ alle Arbeiten an dem Projekt ohne eine externe Förderung durchgeführt worden, was
+ hinsichtlich der Elaboriertheit des Projekts besonders betont werden muss. Dies ist
+ sicherlich vor allem wegen der institutionellen Anbindung möglich. Alle Inhalte sind
+ zudem frei zugänglich.
+
Die Quellenedition umfasst sechs Abteilungen:
+ Abteilung I – STURM-Briefe
+ Abteilung II – STURM-Zeitschrift
+ Abteilung III – STURM-Kataloge (Ausstellungen)
+ Abteilung IV – STURM-Bühne (Theaterjahrbücher)
+ Abteilung V – STURM-Schriften (Bücher des Verlages)
+ Abteilung VI – STURM-Materialien (sonstiges Quell-Material)
+
+
+
Alle sechs Abteilungen befinden sich noch im Aufbau: In der Abteilung I
+ wurde bereits mit der Erschließung der Quellen begonnen, wohingegen die Abteilungen
+ II bis VI zunächst die aus unterschiedlichen Quellen zur Verfügung stehenden
+ Digitalisate in Bestandslisten versammeln. Die Digitalisate der STURM-Zeitschriften
+ (Abteilung II) werden zum Beispiel von der Universitätsbibliothek Heidelberg, die
+ Digitalisate der STURM-Kataloge (Abteilung III) vom Zentralinstitut für
+ Kunstgeschichte in München und die Digitalisate der STURM-Bühne (Abteilung IV) vom
+ Blue Mountain Project zur Verfügung gestellt. Abteilung V und VI stellen jeweils
+ Bestandslisten bereit, die im STURM-Verlag erschienenen Schriften bzw. andere
+ Materialien verzeichnen und diese ggf. mit dem Link zu einem Digitalisat
+ versehen.Für weitergehende Informationen vgl. Trautmann und Schrade
+ 2018, hier insbesondere https://sturm-edition.de/quellen.html. Der nächste Schritt für
+ die Abteilungen II bis VI soll sein, Volltexte bereitzustellen und diese im
+ XML-Format nach den TEI-Guidelines zu erfassen.Vgl. Trautmann und Schrade 2018, hier die
+ Unterseiten zu den Abteilungen II bis VI: https://sturm-edition.de/quellen/zeitschrift.html, https://sturm-edition.de/quellen/kataloge.html, https://sturm-edition.de/quellen/buehne.html, https://sturm-edition.de/quellen/schriften.html, https://sturm-edition.de/quellen/materialien.html.
+
+
+
+
+ Parallelansicht von Transkript und Faksimile.
+ In der Abteilung I STURM-Briefe sollen die in der Handschriftenabteilung der
+ Staatsbibliothek zu Berlin Preußischer Kulturbesitz über 3.700 verzeichneten und
+ digitalisierten Briefe von STURM-Künstlern und -Künstlerinnen an Herwarth Walden
+ historisch-kritisch digital ediert werden. Ein Großteil des Materials, welches
+ Briefe, Postkarten und Telegramme umfasst, ist zwar noch nicht erschlossen, drei
+ unterschiedliche Briefkorpora sind aber bereits verzeichnet und vollständig ediert.
+ Es handelt sich um Briefkorpora von Franz Marc, Jacoba van Heemskerck und Guillaume
+ Apollinaire aus dem Zeitraum von 1913 und 1922. Die Briefe sind in der Regel an
+ Herwarth Walden gerichtet, in einigen Fällen auch an seine Frau Nell. Insgesamt sind
+ 179 Briefe mit Faksimile, Transkription und Kommentaren erschlossen. Die Digitalisate
+ der Briefe und Postkarten sind in die Seite eingebunden, so dass eine Parallelansicht
+ von Faksimile und Digitalisat möglich ist (Abb.
+ 3), wenngleich die auf dieser Ebene angezeigten Bilder eher klein sind,
+ sodass eine Vergrößerung zur genaueren Ansicht lohnt.
+
Die Briefe von Franz Marc und Jacoba von Heemskerck wurden innerhalb der
+ Masterarbeit von Marjam Trautmann erstmalig digital ediert: Die Briefe von Jacoba van
+ Heemskerck wurden zwar bereits 2006 von Arend Hendrik Husseen publiziert und ediert
+ (Huussen 2006), jedoch kritisiert
+ Trautmann Husseens Edition aufgrund der Veränderungen in der Transkription im
+ Vergleich zum Original teilweise stark,Trautmann kritisiert u. a.
+ Huussens starke Normalisierung, Ergänzungen von Interpunktion und Wörtern und
+ teilweise falsche Transkription. Sie liefert auch einige Beispiele für ihre
+ Kritik. Vgl. Trautmann 2018,
+ 10f. weshalb sie diese Briefe innerhalb der Masterarbeit nochmalig
+ erschließt. Weitere edierte Briefe der Abteilung sind anschließend hinzugekommen, wie
+ sich aus den Zitierhinweisen mit Publikationsdaten entnehmen lässt. Auch werden neue
+ Versionen dokumentiert. Das Projekt verfolgt einen ‚work in progress‘-Ansatz, bei dem
+ die Briefe vom Projektteam digital erschlossen und zeitnah veröffentlicht
+ werden.Vgl. Trautmann und Schrade 2018, hier: https://sturm-edition.de/projekt/methodik.html.
+
+
Bei der Transkription der Briefe werden Syntax, Interpunktion und
+ Orthographie vom Original übernommen, wobei Silbentrennungen aufgelöst werden.
+ Unterstreichungen und Hochstellungen werden abgebildet, Durchstreichungen nur dann,
+ wenn sie als inhaltlich relevant erachtet werden und nicht nur zur Tilgung
+ orthographischer Fehler dienen. Die Briefe werden nicht topographisch nachgebildet,
+ Briefmarken, Poststempel, Wasserzeichen und Vordrucke und auch Postkartenmotive in
+ der Regel nicht erfasst. Handschriftliche Beilagen der Briefe werden in die
+ Transkription aufgenommen, beigelegte Zeichnungen und Zeitungsausschnitte werden in
+ der Regel nicht transkribiert (außer ggf. handschriftliche Kommentare oder
+ Unterstreichungen), aber als digitales Faksimile bereitgestellt.Vgl. auch Trautmann und
+ Schrade 2018, hier: https://sturm-edition.de/edition/briefe.html. Die Dokumentation
+ des Projekts ist nicht nur im Bereich der Textbehandlung sehr gut und ausführlich,
+ sondern auf allen Ebenen, z. B. auch bei der Darstellung systematischer und
+ technischer Aspekte. Dadurch wird die Erarbeitung der digitalen Edition sehr
+ transparent und nachvollziehbar, was an dieser Stelle besonders hervorgehoben werden
+ muss.
+
+
+
+ Darstellung der Kommentare im Text und in den Fußnoten.
+ Die Kommentare sind in Fußnoten platziert und enthalten erläuternde
+ Beschreibungen zu im Text erwähnten Ausstellungen, Vortragsreihen, Kolumnen,
+ Kunstvereinen, Werken oder aber auch zu Begrifflichkeiten (z. B. ‚Sturmzettel‘).
+ Darüber hinaus werden in den Fußnoten alle historischen und politischen Referenzen in
+ den Briefen – insbesondere in Bezug auf Entwicklungen im 1. Weltkrieg – ausführlich
+ kontextualisiert. In den Texten erwähnte und im Sturm oder anderen
+ Medien publizierte Werke werden seitengenau verlinkt. Ferner werden hier
+ bibliographische Angaben gemacht für Zeitschriften, Artikel und Bücher, die im Text
+ genannt werden. Orte, Werke und Personen werden im Text selbst durch Links auf
+ entsprechende Registereinträge, die jeweils Verweise auf Normdatensätze enthalten,
+ verzeichnet (Abb. 4). Laut Projektwebseite
+ sollen in einer nächsten Projektphase auch weitere Textzeugen – vereinzelte, schon in
+ Büchern publizierte Briefe – in den Metadaten der entsprechenden Briefe dokumentiert
+ werden.Vgl. Trautmann und Schrade 2018, hier: https://sturm-edition.de/quellen/briefe.html. Die Codierung der
+ Metadaten folgt den Guidelines der TEI (P5). Die abteilungsübergreifenden
+ Editionsrichtlinien sind ausführlich dokumentiert.Vgl. Trautmann und Schrade
+ 2018, hier: https://sturm-edition.de/edition.html.
+
+
+
+
+ Personenregister.
+ Das Personenregister führt 199 Personen auf, die in den Volltexten verknüpft
+ sind und im Register auf den jeweiligen Eintrag in der Gemeinsamen Normdatei der
+ Deutschen Nationalbibliothek (GND) verweisen (Abb. 5). Alle Registereinträge sind mit den jeweiligen Textstellen in den
+ Briefen verlinkt. Das Ortsregister, welches neben der Liste auch über eine Karte
+ erreichbar ist, enthält 87 in den Texten genannte Orte, jeweils verbunden mit der
+ zugehörigen externen GeoNames-Normdatei. Im Werkregister befinden sich alle 172 im
+ Volltext explizit erwähnten Zeitschriften, Zeitungen, Bücher, Artikel und Kunstwerke,
+ die teilweise mit Links auf externe Ressourcen wie die GND und frei verfügbare
+ Digitalisate versehen sind. Die Lemmata werden im Werkregister nach den in den Texten
+ auftretenden Wörtern erstellt und sind daher in vielen Fällen wenig aussagekräftig
+ (z. B. ‚Bild‘). Man könnte hier überlegen, das Register nach den Angaben in der GND
+ ‚Autor*in/Künstler*in:Titel‘ aufzubauen.
+
Die Register sollen abteilungsübergreifend erstellt werden, aufgrund des
+ aktuellen Bearbeitungsstands sind die jeweiligen Quellenverweise bislang nur der
+ Abteilung I Briefe zugeordnet und mit den entsprechenden Datensätzen verlinkt. Die
+ einzelnen Registerlemmata führen zu einem Stammdatenblatt, auf dem die jeweiligen
+ Registerinformationen (Normdatenverweis, Auftreten in den Quellen) nochmals separat
+ aufgeführt werden. Perspektivisch soll dieses mit weiteren Informationen,
+ beispielsweise aus der GND und Wikipedia, automatisiert ergänzt werden. In den
+ Briefen selbst sind die Entitäten mit ihrem jeweiligen Register-Stammdatenblatt
+ verknüpft. Ferner ist eine Erweiterung der Register durch die Erfassung von
+ Ereignissen geplant (bspw. STURM-Ausstellungen).Vgl. auch Trautmann und Schrade
+ 2018, hier: https://sturm-edition.de/register.html.
+
+
Neben den zentralen Registerzugängen Person, Ort und Werk ist innerhalb
+ der Abteilungen auch ein chronologischer Einstieg möglich. Hier befindet sich jeweils
+ eine nach Jahren sortierte Liste der Quellen. Bei den Briefen kann man zusätzlich
+ auch über die Künstler*innen auf die Inhalte zugreifen. Laut Projektwebseite werden
+ weiterhin mittelfristig drei zusätzliche Quellenzugänge angestrebt: Ereignisse,
+ Körperschaften und Sachbegriffe.Vgl. auch Trautmann und Schrade 2018, hier: https://sturm-edition.de/projekt/methodik.html.
+
+
+
+
+ Bestandsliste der digitalen Bestände der STURM
+ Zeitschrift.
+ Die Digitalisate stammen aus verschiedenen Quellen (s. o.) und sind in den
+ einzelnen Abteilungen verlinkt und über Bestandslisten abrufbar (Abb. 6), in der Abteilung Briefe sind sie in die Seite selbst
+ eingebunden, d.h. alle Briefseiten, alle Beilagen und eine Abbildung mit Farbkeil
+ sind neben der Transkription in einer Thumbnail-Ansicht dargestellt. Es gibt auch
+ eine Zoomstufe, jedoch sind die Abbildungen im Vergleich zu den Originalen hier auf
+ eine Breite von 800px (Hochformat) bzw. 1200px (Querformat) skaliert, was aber für
+ die Lesbarkeit absolut ausreichend ist. Die Originale dürften auch nicht wesentlich
+ größer sein. Wenn man die Abbildungen höher aufgelöst sehen möchte, kann man auf den
+ Link zum DFG-VIEWER klicken und gelangt zu den Originalen in der Staatsbibliothek
+ Berlin. Die Zeitschriften liegen z. B. in Heidelberg digitalisiert vor. Es existieren
+ DOIs für Heft, Einzelseite und Artikel, aber (noch) nicht für einzelne
+ Abbildungen.
+
Im Sinne der Nachhaltigkeit erfolgt die Codierung der Quellen und
+ Begleittexte der digitalen Edition in TEI-XML. Sie werden darüber hinaus mit
+ übergreifenden Metadaten (teiHeader) und Normdaten versehen. Persistente
+ Identifikatoren und Permalinks sorgen zudem für eine dauerhafte Adressierung und
+ Zitierbarkeit. Die Identifikatoren sind systematisch nach einem einheitlichen Schema
+ angelegt und lassen durch ihre semantische Strukturierung auch Rückschlüsse auf die
+ Quelle zu:
+ TYP.ABTEILUNG.DATIERUNG.SIGLE.LAUFNUMMER[#][ABSATZ/BILD].[KOLUMNE].[SEITE/FOLIO]. Für
+ einen Brief von Franz Marc ergibt sich daher zum Beispiel: https://sturm-edition.de/id/Q.01.19140115.FMA.01. Für einen STURM-Katalog
+ vom 20. September 1913 lässt sich folgender Identifikator ermitteln:
+ Q.03.19130920.STK.01. Der Aufruf einer URI führt immer zur aktuellen Version der
+ Entität, wobei auch alle vorangegangenen Versionen flexibel aufrufbar sind, z. B.
+ https://sturm-edition.de/id/Q.01.19140115.FMA.01/1. Dies ist ein weiterer
+ vorbildlicher Schritt zu einer transparenten und nachvollziehbaren digitalen
+ Edition.
+
Die Systematisierung und Modellierung der zahlreichen unterschiedlichen
+ und verteilten Quellentypen des STURM bildet hier den Kern der digitalen Methodik.
+ Die Verknüpfungen und Beziehungen der Quellen untereinander werden derzeit unter
+ Anwendung bestehender Ontologien wie dem CIDOC Conceptual Reference Model oder
+ fachspezifischer Vokabulare wie dem Getty Art & Architecture Thesaurus (AAT)
+ semantisch modelliert und perspektivisch als Linked Open Data verfügbar gemacht.
+ Zunächst werden die in den bereits edierten Quellen annotierten Entitäten wie
+ Personen, Orte und Werke semantisch verknüpft, anschließend auch Entitäten wie zum
+ Beispiel Körperschaften und Ereignisse.Die Daten werden noch
+ nicht in dieser Form zur Verfügung gestellt. Die Informationen gehen aus einem
+ Posterbeitrag der DHd 2019 hervor. Vgl. Lorenz, Müller-Dannhausen und Trautmann
+ 2019, 273-275.
+
+
Für die Edition der Quellen in XML wurde eine Webanwendung für die
+ native XML-Datenbank eXist entwickelt. Die Editionsarbeiten werden mit oXygen
+ durchgeführt, die Online-Publikation der Quellen erfolgt aus der Anwendung heraus,
+ indem alle Bestandteile als XML vorgeneriert und dann als statisches HTML
+ ausgeliefert werden. Diese Softwarekomposition soll die Performance steigern und die
+ Nachhaltigkeit verbessern, indem alle Komponenten und auch die Präsentationsschicht
+ und die generierten Formate systemneutral verfügbar gemacht werden. Im Bereich der
+ Textverarbeitung kommt TUSTEP zum Einsatz.Diese Informationen
+ finden sich in der gut dokumentierten Softwarearchitekturbeschreibung: Trautmann und Schrade
+ 2018, hier: https://sturm-edition.de/ressourcen/software.html. Weitere Informationen
+ zur Steigerung der Nachhaltigkeit Digitaler Editionen am Beispiel der
+ STURM-Edition: Schrade
+ 2018. Die Editionssoftware dieses Projektes steht unter MIT-Lizenz
+ und kann über GitHub frei heruntergeladen und weiterentwickelt werden.Siehe https://github.com/digicademy/sturm-php-app/releases/ und https://github.com/digicademy/sturm-exist-app/releases/.
+
+
+
+
+ Die visuell ansprechende Webseite funktioniert auch auf
+ mobilen Geräten.
+ Die Webseite ist responsiv gestaltet und funktioniert auch auf mobilen
+ Endgeräten (Abb. 7). Sie ist klar
+ strukturiert und sehr übersichtlich. Alle Informationen sind leicht zugänglich und
+ jeder Bereich ist ausführlich dokumentiert. Auch Rahmeninformationen wie Impressum
+ und Kontakt sind leicht auffindbar. Darüber hinaus ist die Webseite visuell
+ ansprechend und mit Liebe zum Detail gestaltet. Die Besonderheit des Webdesigns
+ besteht darin, dass die Typographie und die Druckgestalt der STURM-Zeitschrift in das
+ Erscheinungsbild einbezogen wurden, indem die historische Schrift der Zeitschrift als
+ Webfont eingebunden und der Text (je nach Endgerät) auch mehrspaltig visualisiert
+ wird. Im Vorfeld wurde eine Schriftanalyse durchgeführt, um die historische Schrift
+ zu ermitteln. Dabei wurde herausgefunden, dass die ersten Ausgaben mit der
+ Schriftfamilie „Romana“ des deutsch-amerikanischen Schriftdesigners Gustaf F.
+ Schroeder gesetzt wurden. Ein daran orientierter Webfont kommt nun in der
+ Präsentation zum Einsatz.Zur Typographie vgl. Trautmann und Schrade
+ 2018, hier: https://sturm-edition.de/ressourcen/software.html.
+
+
+
+
+ Auszug aus einer TEI-codierten XML-Datei.
+ Für die Nachnutzung der Forschungsdaten und Texte stehen unterschiedliche
+ Optionen zur Verfügung. Sie können zusammen mit der Anwendung heruntergeladen, aber
+ auch über eine Schnittstelle als XML oder JSON bezogen werden. Es gibt vier
+ Einstiegspunkte: /letters /persons /places und /works, die jeweils
+ Registerinformationen zu den entsprechenden IDs ausliefern. Über den
+ Auslieferungspunkt /files können direkt die TEI-codierten XML-Files der edierten
+ Briefe (Bsp. https://sturm-edition.de/api/files/Q.01.19211211.JVH.01.xml) abgerufen
+ werden. Der Link zu diesem XML-File ist auch bei jedem Datensatz zu finden (Abb. 8). Für die erschlossenen Personen und
+ Werke kann eine Beacon-Datei heruntergeladen werden. Die Korrespondenz-Metadaten der
+ STURM-Künstlerbriefe sind als Correspondence Metadata Interchange Format (CMIF) verfügbar. Alle Forschungsdaten, aber auch alle darüber hinaus
+ veröffentlichten Materialien stehen unter Creative Commons Attribution 4.0
+ International Lizenz (CC BY 4.0) zur Nachnutzung zur Verfügung. Darüber hinaus sind
+ weitere digitale Ressourcen wie eine Projektbibliographie oder verschiedene
+ Publikationen zur digitalen Edition verfügbar. Auch hier muss erneut der
+ fortschrittliche Ansatz der digitalen Edition hervorgehoben werden.
+
Die unterschiedlichen Zugänge zur digitalen Edition (Künstler, Jahr,
+ Abteilung, etc.) bieten einen guten Einstieg für eine explorative oder systematische
+ Erforschung des Materials. Wünschenswert wäre hier die Ergänzung einer Volltextsuche,
+ um gezielt nach Wörtern recherchieren zu können, die in den Briefen auftauchen. Für
+ die kunstgeschichtliche Forschung wäre darüber hinaus ein eigenes Register für
+ Kunstwerke interessant, deren Lemmata (wie oben bereits angemerkt) aber
+ systematischer erfasst werden sollten. Die verwendeten Postkarten werden nur dann als
+ Medium beschrieben, wenn es sich um ungewöhnliche Textdokumente, wie die Verwendung
+ einer Ausstellungsdauerkarte als Postkarte handelt (https://sturm-edition.de/quellen/briefe/gap/Q.01.19130412.GAP.01.html). Aus
+ kunsthistorischer Perspektive wären die Motive auf den Postkarten und ggf. die Motive
+ auf den Briefmarken von Interesse und könnten evtl. in die Erschließung aufgenommen
+ werden. Darüber hinaus würde sich eine Visualisierung der historischen
+ Netzwerkanalyse zu Künstlerinnen und Künstlern anbieten.Eine
+ umfassende Netzwerkanalyse ist bereits in Planung, vgl. Lorenz, Müller-Dannhausen und Trautmann
+ 2019, 273-275.
+
+
Zusammenfassend lässt sich festhalten: Die vorliegende digitale Edition
+ ist für die disziplinäre und interdisziplinäre geisteswissenschaftliche Forschung von
+ hoher Relevanz, wird hier doch erstmalig der Zugriff auf die bereits vorliegenden
+ digitalen Quellen aller STURM-Abteilungen ermöglicht, so dass ein umfassendes
+ historisches Bild der STURM-Ära gezeichnet werden kann. Die vielfältigen Kommentare
+ und Erschließungsinformationen in der Abteilung Briefe und die digitale Umsetzung
+ tragen maßgeblich dazu bei. Im Sinne eines Informationsportals stehen zahlreiche
+ weitere Meta-Informationen und Referenzen zur Verfügung, so dass man hoffentlich
+ zukünftig auch über den Projektkontext hinaus in das STURM-Universum eintauchen
+ können wird. Vor allem ist jeder Bereich der Edition, die Software, die Methodik etc.
+ hervorragend und in vorbildlicher Art und Weise dokumentiert. Auch im Sinne
+ nachhaltiger Softwareentwicklung und der Nachnutzbarkeit von
+ Erschließungsinformationen ist das Projekt ein vorbildliches Beispiel, zumal noch
+ einmal hervorzuheben ist, dass das Projekt bislang ohne jegliche externe Förderung
+ ausgekommen ist. Besonders zu bemerken ist darüber hinaus die Einbindung des
+ wissenschaftlichen Nachwuchses. Das Projekt überzeugt auf allen Ebenen und ist in der
+ Erschließung und Dokumentation von Wissen und der Bereitstellung nachnutzbarerer
+ Ressourcen zur Orientierung für ähnliche Projekte sehr zu empfehlen.
+
+
+
+
+
+ arthistorium.net. eds. „Herwarth Walden und DER STURM“,
+ in: Themenportal arthistoricum.net. https://www.arthistoricum.net/themen/portale/sturm/.
+ Chytraeus-Auerbach, Irene und Elke Uhl. eds.
+ 2013. Der Aufbruch in die Moderne: Herwarth Walden und die europäische
+ Avantgarde. Berlin: Lit Verlag.
+ Huussen, Arend Hendrik. ed. 2006. Brieven van Jacoba
+ van Heemskerck en Marie Tak van Poortvliet aan Herwarth en Nell Walden en
+ anderen. 1911–1923. Haren (Cahiers uit het noorden Bd. 10).
+ Lorenz, Anne Katrin, Lea
+ Müller-Dannhausen und Marjam Trautmann. 2019. „DER STURM. Digitale Quellenedition
+ zur Geschichte der internationalen Avantgarde. Drei Forschungsansätze“, in:
+ DHd 2019 Digital Humanities: multimedial & multimodal.
+ Konferenzabstracts, Frankfurt am Main, 274-276. https://doi.org/10.5281/zenodo.2600812.
+ Schirn Kunsthalle. 2015a. „STURM-Frauen. Künstlerinnen der
+ Avantgarde in Berlin 1910–1932.“ Schirn Kunsthalle Frankfurt. Ausstellung
+ (30.10.2015 – 07.02.2016). https://www.schirn.de/ausstellungen/2015/sturm_frauen/.
+ Schirn Kunsthalle. 2015b. „STURM-Frauen. Premiere für die
+ Künstlerinnen der Avantgarde.“ Schirn Kunsthalle Frankfurt. Ausstellung
+ (30.10.2015 – 07.02.2016). http://schirn.de/sturmfrauen/digitorial/index.html.
+ Schrade, Torsten. 2018. Annotate, Generate, Test,
+ Deploy. Aktuelle Software-Engineering Methoden zur Steigerung der
+ Nachhaltigkeit Digitaler Editionen. Düsseldorf. https://digicademy.github.io/2018-sustainable-editions.
+ Sprengel, Peter, 1991. „Institutionalisierung der
+ Moderne: Herwarth Walden und Der Sturm“, in:
+ Zeitschrift für Deutsche Philologie, 247-281.
+ Trautmann, Marjam und Torsten Schrade. eds.
+ 2018. Der Sturm – Digitale Quellenedition zur Geschichte der internationalen
+ Avantgarde, Mainz, Akademie der Wissenschaften und der Literatur. https://sturm-edition.de.
+ Trautmann, Marjam. 2018. Eine Digitale Edition.
+ Ausgewählte Briefe von Jacoba van Heemskerck und Franz Marc an Herwarth Walden
+ (1914–1915). Mainz. http://doi.org/10.25358/openscience-2176.
+
+