Deposit“Intersections Between Social Knowledge Creation and Critical Making”

This article outlines the practices of digital scholarly communication (moving research production and dissemination online), critical making (producing theoretical insights by transforming digitized heritage materials), and social knowledge creation (collaborating in online environments to produce shared knowledge products). In addition to exploring these practices and their principles, this article argues for a combination of these activities in order to engender knowledge production chains that connect multiple institutions and communities. Highlighting the relevance of critical making theory for scholarly communication practice, this article provides examples of theoretical research that offer tangible products for expanding and enriching scholarly production.

MemberVicki Mayer

I am a professor of communication and media with a special focus on media and cultural production: personal, industrial, as well as geographies and political economies of production. Methodologically, I tend to use a combination of ethnography, participant observation, action research, textual and archival research, GIS mapping, and design thinking to answer research questions about how and why different kinds of folks value media production in relation to social forces in their geographic and political-economic milieus.

DepositA sociophonetic account of morphophonemic variation in Palestinian Arabic

This study presents findings from sociolinguistic fieldwork on Palestinian Arabic conducted in the Gaza Strip. The sample includes 15 speakers who are indigenous residents of Gaza City, representing three age groups and both genders. Linear mixed effects analyses are presented on the vowel raising of the Arabic feminine gender marker; a word final vocalic morpheme. The traditional dialect of Gaza City is reported to realize this morpheme consistently as [a] (Bergsträßer 1915), with all other Levantine city dialects raising the feminine ending to [ɛ, e] or [i] except after back consonants (Al-Wer 2007). Results indicate robust sociophonetic variation in the realization of this vowel across age generations. In comparison to the elderly generation in the sample, younger speakers realize this vowel significantly lower and backer in their casual speech. These results reflect what appears to be a change in progress happening across generations in the traditional dialect of Gaza City as a result of dialect contact happening in the Gaza Strip between speakers of difference varieties of Palestinian Arabic.

DepositThe Production of Mughal Shahnamas

This paper studies the interest of the early Mughals in the Shahnameh and survey the range of illustrated manuscripts of this text produced in North India in the sixteenth and seventeenth centuries. Although there were several older copies of the Shahnameh in the imperial library, and the emperor Akbar (r. 1556-1605) is said to have enjoyed listening to recitations of the epic, there is scant evidence for sumptuous copies of this work produced in the royal atelier. The art historian Som Prakash Verma has written that, in fact, there were no imperial Shahnamehs produced in this period, while the art historian John Seyller suggests that they were indeed produced in Agra, but for certain nobles who were in Mughal service. As Persianate culture became more cosmopolitan in India and the literary canon expanded to include works of Indian origin, the Shahnameh does seem to have received less attention at the highest levels at the Mughal court. It would, however, be simplistic to claim that all the early Mughal rulers had the same attitude towards the epic. Instead, it is more fruitful to look at individual attitudes based on the evidence provided by historical sources and certain extant manuscripts. This will help to better understand a wide range of Mughal Shahnameh production.

DepositProductivity of the broken plural in Maltese

In this research, we examine the productivity of the broken plural in Maltese. Using machine learning techniques and behavioral methods, we show that the broken plural is able to be predicted by a singular noun’s CV structure. Using a logistic regression classifier, we are able to correctly predict the plural CV structure of the singular noun with 69% accuracy when classifying among all available options and 80% accuracy when classifications are restricted by the structure of the singular (32% and 4% respective relative increases over a strong generalized context model (Dawdy-Hesterberg & Pierrehumbert, 2014) baseline). We are further investigating the results obtained from the machine learning using behavioral methods. In a Wug Test (following Berko, 1958), Maltese native speaker participants are shown nonsense words conforming to the CV structures found above, randomly paired with an imaginary animal picture (from Ohala, 1999). Each participant provides a response to the carrier phrase “This is a [wug]. If you saw three of them, you would say, ‘There are three [wugs].’” Using these results together, we will be able to determine whether humans are sensitive to the same features that were useful to the machine learning algorithm. Previous research suggests that humans are sensitive to CV structures when asked to form novel words (e.g., Galea, 2011), and we will expand on those results in Maltese broken plurals. Research showing that some participants are sensitive to the differences in words that sound Semitic vs. those that sound Indo-European (e.g., Twist, 2006; Drake, in prep) may also come into play here; however, it can be seen that broken plurals can be applied to non-Semitic loanwords, such as ġakketta ‘jacket’ ~ ġkieket ‘jackets’. This suggests that using a broken plural productively may not be confined to the Semitic sub-lexicon.

DepositThe Tragedy of Othello, the Moor of Venice, and Twelfth Night (review)

The Shakespeare Project of Chicago specializes in producing semi-staged early modern readings, organizing an interpretation of a text around the use of playtext prompters. It is an intentionally stripped-down process: they rehearse a production for three days before a single weekend of performances at four Chicagoland libraries. The spaces are routine, but because of the tight schedule the players don’t actually get a chance to rehearse in them. This means the company is typically unable to test blocking choices or experiment with the presentational options the architecture of a space might provide. This mode of production presents a unique challenge to each performance: how to adapt the use of plain black playtext prompters—often the only prop available—in these four bare and relatively untested spaces.

TopicCFP for SAMLA in Atlanta

SPECIAL SESSION: The Avant-Garde and Modern Visual Culture: At the Crossroads of High and Low Art This panel examines the imbrication of the avant-garde with mass-produced art in order to discern the relationships between the proliferation of images and capitalism in the advent of modern visual culture. Imitating the shock value of advertising, the avant-gardists […]