We propose the creation of a digital studio for the optical and chemical analysis of manuscripts and printed books. In this Level II start-up project, we will capture images of a 1472 guide for priests written in Latin by a Florentine archbishop and printed in Strasbourg using moveable type. We will image selected pages from this book at specific frequencies in the ultraviolet-visible-near-infrared spectrum. We will also conduct spot-level densitometry and Raman spectroscopy on elements in this book. The resulting data from these images will then allow us to create a digital studio that will include interactive tutorials and demonstrations explaining the principles of optical and chemical analysis to students, scholars, and life-long learners in the humanities. This digital studio will also allow users to browse and compare the images and spectroscopic data to form their own understanding of the book’s production process and reception history.
Nicaraguan poet Rubén Darío once posed the following question concerning the effects of U.S. domination of Cuba 15 years following the Spanish American War: “¿Qué espectáculo ofrece hoy día ese pueblo al espectador imparcial? El de una colonia disimulada donde a las aspiraciones de veinte años de lucha ha sucedido un oscuro servilismo al oro yanqui” (“Refutación” 111). Darío suggests that readers visually perceive the situation, that they trust “impartial spectators” in order to truly comprehend the U.S. domination in the region. Spectacles are events based on the optics of the consuming observers; viewers who, at their own leisure, decipher visual productions and performances. Unsurprisingly, Darío himself is the informed spectator and enlightens readers to the colonialist and financial burdens imposed on Cuba. The poet continually implemented this didactic maneuver to uncover the “spectacles” of U.S. domination following el desastre of 1898. The spectacle of the “lucha” of U.S.-Latin American relations, as construed by Darío, is no more evident than in the first printing of his seminal poem “A Roosevelt” in Madrid magazine Helios in 1904.
On the scholarly editing of historical documents as digital objects.
Description of the codex Oxford, Taylor Institution Library, Arch. 8° G. 1519 (11). This composite codex consists of 19 prints, printed between 1519 and 1522. The texts of print no. 1-11 and no. 13-19 are written by Martin Luther. The text of nr. 12 is about him.
In this interview Adrian Edwards, lead curator of Printed Historical Sources, The British Library, talks to Ernesto Priego about the Comics Unmasked: Art and Anarchy in the UK exhibition at The British Library, 2 May – 19 August 2014.
Brett D. Hirsch, “The Kingdom Has Been Digitized: Electronic Editions of Renaissance Drama and the Long Shadows of Shakespeare and Print.” Literature Compass 8.9 (2011): 568-91.
Selective bibliography on the beginning of printing in Europe.
Bachelor of Arts Thesis on the first printed German cookbook.
This is a book review (pre-print) of the 2014 book by Lifshitz.
Twentieth-century American literature; African American literature; the literature of social movements; women’s literature; Marxist and feminist theories; print cultures; graphicity; representations of reading, writing, ink, and print; contemporary American poetry