Workshop GREN-CRIHN « New Perspectives on Critical Editions » (Part 2)

In collaboration with the Groupe de Recherche sur les Éditions critiques en contexte Numérique (GREN), and with the support of a connection grant from SSHRC, our center will host a 2-day workhop on critical editions on 3-4 April 2025 led by Joyce Boro, Emmanuel Château-Dutier, Guadalupe Gonzalez Dieguez, and Michael Sinatra (a follow-up to a workshop in French in September 2024). Fourteen international participants will present their work.

Both days will be streamed live, with advance registration required. (Registration for Day 1; Registration for Day 2.)

Program

Thursday 3 April 2025

• 9.15am-9.30am welcome and coffee
• 9.30am-12.15pm Session #1, chair: Guadalupe González Diéguez (Université de Montréal)
  • 9.30am-10.15am Paper #1: Monica Berti (U of Leipzig), « Critical Annotations. Extracting bibliographic data from ancient Greek and Latin Texts »: The aim of this paper is to present computational methods for extracting references to authors and works from ancient Greek and Latin sources. The language of these references is the basis for linguistic, literary, and philological reflections on the transmission of classical authors and works over the centuries. Extracting and annotating these data require a critical approach to the language of ancient sources, which may be transmitted with significant variants, and open up new possibilities for the future of critical editing in a digital environment.
  • 10.15am-11am Paper #2: Peter Stokes (EPHE), « From Image to Edition: The Role of Computational Methods in Digital Manuscript Studies »: We are in a time when software and models for ‘deep learning’ are freely available online, meaning that competent students can easily write their own software for applying AI to manuscript images in an hour or so. This includes more obvious use-cases such as automatic transcription, but also opens new possibilities for other aspects of manuscript studies such as palaeography as well as philology more broadly, and so this paper will deal with some of the limits as well as the less-commonly seen benefits that these approaches can bring.
• 11am-11.30am Coffee break
  • 11.30am-12.15pm Paper #3: Francisco Peña Fernández (U of British Columbia), « History and Trajectory of DEGE: Challenges of Interdisciplinarity »: In this presentation, I will aim to summarise the trajectory and evolution of our research project from 2016 until now, focusing on the main challenges we have faced.
• 12.15pm-1.45pm Lunch break (not provided)
• 1.45pm-3.15pm Session #2, chair: Joyce Boro (Université de Montréal)
  • 1.45pm-2.30pm Paper #4: Janelle Jenstad (U of Victoria), « Collaborating with the Dead: Editing Together across Time and Space »: Editing requires collaboration. Editors often divide the work along various lines or pass the work on to “younger strengths” (King Lear 1.1), and digital editing is facilitated by developers and supported by encoders. This paper considers how Linked Early Modern Drama Online has taken up the technological and human challenges presented by these necessary practices and asks how we can work together in new ways.
  • 2.30pm-3.15pm Paper #5: Rory Loughnane (U of Kent), « Re-Editing Christopher Marlowe »: The digitally born Oxford Marlowe edition seeks to integrate work on text, performance, cultural history, and biography, to not only establish a contested canon but to drive new research on early modern manuscript and print culture. In this talk, I will outline some of the new features of the edition and related archival projects to ask: what are the limits of a combined print-and-digital critical edition, and how can such an edition best serve a variety of readers?
• 3.15pm-3.30pm Coffee break
• 3.30pm-5pm Session #3, chair: Emmanuel Château-Dutier (Université de Montréal)
  • 3.30pm-4.15pm Paper #6: Elisa Eileen Beshero-Bondar (Penn State Behrend), « Visualizing the Frankenstein Variorum »: This presentation reflects on how the TEI can harmonize divergent and inconsistent document data models based on the Frankenstein Variorum project. Collating five distinct instantiations of the novel Frankenstein from 1816 to 1831 required confronting past encoded digital editions that were inconsistent with one another (1990s HTML, TEI for manuscript page surfaces). Constructing the interactive edition interface and heatmap visualizations required automating the construction of a standoff TEI critical apparatus that stores flattened markup and text from the source files. To visualize the Frankenstein Variorum in this way required a “cosmopolitan” formulation of the TEI as a data model that can formally reconcile diverse encodings.
  • 4.15pm-5pm Paper #7: James Cummings (Newcastle U), « Encoding Critical Apparatus in an age of AI »: This paper examines how the increasing use of genAI tools may change the methodologies of TEI encoding of critical apparatus for digital editions, noting the benefits and drawbacks for editors, and the possibilities and limitations of the technologies. While editorial tasks generally remain the same, there are short-term possibilities for incorporating genAI into text processing and certain markup tasks. However, genAI has well-known issues of inconsistency, lack of transparency, and flawed textual parsing which make this problematic.

Friday 4 April 2025

• 9.15am-9.30am welcome and coffee
• 9.30am-12.15pm Session #4, chair: Javier Rubiera (Université de Montréal)
  • 9.30am-10.15am Paper #8: Dino Felluga (Purdue U), « Rethinking Critical Editing as Collective Praxis »: Textual editing is a child of the print book and has been shaped by that genetic lineage. “Open assembly” seeks to approach the act of editing in a different way and on several fronts, as I will discuss in this paper.
  • 10.15am-11am Paper #9: Jason Boyd (Toronto Metropolitan U), « ‘More Lives Than One’: Biographical Corpora, TEI, and Computer-Assisted Exegesis »: How might editorial text encoding assist in the exegetical study of a corpus of biographical texts? A discussion of the work of the ‘Texting Wilde Project’ will describe some possible methods and how they might illuminate aspects of biographical practice across texts.
• 11am-11.30am Coffee break
  • 11.30am-12.15pm Paper #10: Diane Jakacki (Bucknell U), « Surfacing encoding-driven analysis in digital editions with DToC »: One of the promises of text encoding for scholarly editors is the opportunity to integrate analysis through inline annotation. The challenge remains, however, as to how we can easily leverage and share that analysis with our readers, encouraging them to interact with our edited texts in ways that reveal the underlying complexities of our complex encoding. Using the playtext of Henry VIII or All is True that I am editing for the New Internet Shakespeare Editions, I will demonstrate the ways in which I am undertaking semantic encoding using the Linked Editing Academic Framework (LEAF) and the Dynamic Table of Contexts (DToC) to pursue my own analysis. Further, I will propose how my work can yield a flexible, accessible pedagogical edition that students can read and curate to ask their own questions of the text.
• 12.15pm-1.45pm Lunch break (not provided)
• 1.45pm-3.15pm Session #5, chair: Marcello Vitali-Rosati (Université de Montréal)
  • 1.45pm-2.30pm Paper #11: Elena Pierazzo (U de Tours), « How to do a critical edition if you have 4 thousand billion variants? »: Fluid texts and textuality represent a big challenge not only for textual scholars but also for digital and computational methods, which still struggle to handle very perturbed textual traditions. The same goes for very large traditions, which inevitably feature a high rate of variation. The result is that these traditions are mishandled, often ignoring or bypassing the fundamental feature of their very nature, namely crazy variation. The works affected by this problem are frequently published through synoptic or documentary editions. The presentation will present the first attempt developed within the newly started PRIMA project to deal with a variation mess. Tanking as an example of the unpublished work Il Capitolo dei Frati, which is transmitted by a thousand manuscripts, the presentation will show how transcriptions and alignments are performed, allowing clustering, collation, and selective editing.
  • 2.30pm-3.15pm Paper #12: Laura Mandell (Texas A&M), « Creating Digital Editions as Intra-Action »: In this talk, I apply Karen Barad’s notion of “intra-actions” to describe the relationship between encoding digital editions and reconceptualizing what counts as a cultural artifact. The activity of creating digital editions, I maintain, reveals the extent to which technically repetitive articulations create the artistic objects, agents, and modes of agency comprising human culture, consequently suggesting practices that enable thinking otherwise.
• 3.15pm-3.30pm Coffee break
• 3.30pm-5pm Session #6, chair: Michael Sinatra (Université de Montréal)
  • 3.30pm-4.15pm Paper #13: Susan Brown (U of Guelph), « Editing in Bits »: Digital textuality is both particulate and performative, instantiated and delivered in bits rather than fixed on a page. Technologies for linked data open up relational possibilities for textuality that exceed those of the materially bounded book. Significant challenges–conceptual, practical, temporal, and infrastructural—remain, however, when it comes to editing in bits through linked open data.
  • 4.15pm-5pm Paper #14: Marcello Vitali-Rosati (U de Montréal), « The materiality of text: a footnote to Elena Pierazzo’s work on textual models”: Despite numerous criticisms of the idea of an « immaterial » meaning conveyed by an « ideal » text that then manifests itself in particular material embodiments, this idea continues to condition our epistemological paradigms and editorial theories. Is there a way out of this dualism? Is a materialist theory of edition possible?

Ce contenu a été mis à jour le 31 mars 2025 à 16 h 59 min.