Britons: Forging the Nation, 1707–1837

On Leaves of grass

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Elements Of Style

This question of disciplinary meaning—which I ask from the viewpoint of the humanities generally—is larger than the question of disciplinary identity now preoccupying “DH” itself, as insiders call it. Having reached a critical mass of participants, publications, conferences, grant competitions, institutionalization (centers, programs, and advertised jobs), and general visibility, the field is vigorously forming an identity. Recent debates about whether the digital humanities are a “big tent” (Jockers and Worthey), “who's in and who's out?” (Ramsay), whether “you have to know how to code [or be a builder]” (Ramsay, “On Building”), the need for “more hack, less yack” (Cecire, “When Digital Humanities”; Koh), and “who you calling untheoretical?” (Bauer) witness a dialectics of inclusion and exclusion not unlike that of past emergent fields. An ethnographer of the field, indeed, might take a page from Claude Levi-Strauss and chart the current digital humanities as something like a grid of affiliations and differences between neighboring tribes. Exaggerating the differences somewhat, as when a tribe boasts its uniqueness, we can thus say that the digital humanities—much of which affiliates with older humanities disciplines such as literature, history, classics, and the languages; with the remediation of older media such as books and libraries; and ultimately with the value of the old itself (history, archives, the curatorial mission)—are not the tribe of “new media studies,” under the sway of the design, visual, and media arts; Continental theory; cultural criticism; and the avant-garde new. Similarly, despite significant trends toward networked and multimodal work spanning social, visual, aural, and haptic media, much of the digital humanities focuses on documents and texts in a way that distinguishes the field's work from digital research in media studies, communication studies, information studies, and sociology. And the digital humanities are exploring new repertoires of interpretive or expressive “algorithmic criticism” (the “second wave” of the digital humanities proclaimed in “The Digital Humanities Manifesto 2.0” [3]) in a way that makes the field not even its earlier self, “humanities computing,” alleged to have had narrower technical and service-oriented aims. Recently, the digital humanities' limited engagement with identity and social-justice issues has also been seen to be a differentiating trait—for example, by the vibrant #transformDH collective, which worries that the digital humanities (unlike some areas of new media studies) are dominantly not concerned with race, gender, alternative sexualities, or disability.

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The Meaning of the Digital Humanities

T he annual bibliography of the Keats-Shelley Journal catalogues recent scholarship related to British Romanticism, with emphasis on secondgeneration writers—particularly John Keats, Percy Shelley, Mary Shelley, Lord Byron, Leigh Hunt, and William Hazlitt. The bibliography includes books, chapters in books, book reviews, articles in journals, other bibliographies, dissertations, and editions of Romantic-era literature and historical documents. The listings are compiled primarily from the catalogues of major British and American publishers and from the tables of contents of books and major journals in the field. The first section of the bibliography lists a wide range of scholarly work on Romanticism that might be of interest to the Journal’s readers, while the subsequent sections list items that deal more specifically with the six aforementioned authors. Because the length of the bibliography precludes my annotating every item, only some entries have annotations—primarily books dealing with the second-generation Romantics. The following bibliography catalogues scholarship for the year 2015, along with the occasional item that inadvertently may have been excluded from the annual bibliography in previous years or that may have arrived too late for inclusion. While I have made every attempt to keep the bibliography accurate and comprehensive, the occasional error or omission is inevitable. Please send corrections, additions, and citations for upcoming bibliographies to Ben P. Robertson at Troy University (ksjbiblio@troy.edu).

Annual Bibliography for 2015

A history of literary prestige needs to study both works that achieved distinction and the mass of volumes from which they were distinguished. To understand how those patterns of preference changed across a century, we gathered two samples of English-language poetry from the period 1820–1919: one drawn from volumes reviewed in prominent periodicals and one selected at random from a large digital library (in which the majority of authors are relatively obscure). The stylistic differences associated with literary prominence turn out to be quite stable: a statistical model trained to distinguish reviewed from random volumes in any quarter of this century can make predictions almost as accurate about the rest of the period. The “poetic revolutions” described by many histories are not visible in this model; instead, there is a steady tendency for new volumes of poetry to change by slightly exaggerating certain features that defined prestige in the recent past.

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The Longue Durée of Literary Prestige

The Emergence of Literary Diction

As the Napoleonic Wars ended, deceptively simple forms of commemorative militaria attuned Romantic writers to the overrepresentation of officers in victory culture. This article asserts that the ideological biases of battlefield maps prompted William Wordsworth's radical critique of naval commemoration in “Benjamin the Waggoner.” Although the campaigns of the army created travel destinations for battlefield tourism, the naval battlefield occupies a strange space in Romantic commemoration. Lacking a “place” for tourists to stand, naval commemoration induced geographic simulations from victory arboretums to dinner plates adorned with tactical maps. Inspired by the assumed objectivity of simulations such as these, Wordsworth's poem mocks the discharged sailor's reenactment of the Battle of the Nile for its revisionist geography. By overinvesting Nelson in the battle's history, Wordsworth's poem reveals the limits of patriotic nostalgia and its tendency to elide the memory of departed seamen and the families ...

Zero Ground: Mapping Maritime Commemoration in the Age of Nelson

It's hard to generalize meaningfully about the standards that govern literary reception, and even harder to describe how they change.
This article tries to get some leverage on this difficult problem by contrasting two different samples of poetry: one group of 360 volumes that was reviewed in prestigious venues between 1820 and 1919, and another that was selected randomly from HathiTrust Digital Library. We train a model to predict reception using only word frequencies from these volumes, and then use that model to draw inferences about the pace and direction of literary change. For instance, how are diachronic changes related to synchronic standards of prestige?
The collections of data and metadata that underpin this argument were made possible through grant support from the National Endowment for the Humanities, the American Council of Learned Societies, and the Social Sciences and Humanities Research Council. Any views, findings, conclusions, or recommendations in this publication do not necessarily reflect those of the funding agencies.
Code, data, and metadata are available at the github repo below.

Jordan Sellers

Papers

The Longue Durée of Literary Prestige

The Emergence of Literary Diction

Zero Ground: Mapping Maritime Commemoration in the Age of Nelson

How Quickly Do Literary Standards Change

Network specialization: A topological mechanism for the emergence of cluster synchronization