Thursday, September 26, 2013 – 03:00 to Friday, September 27, 2013 – 17:00
McGill University, 688 Sherbrooke
Organized by Interacting with Print
Text Mining the Novel will bring together eight researchers in the field of digital humanities for a two-day conference as part of a proposed SSHRC Partnership Grant. The aim of the partnership is to establish the foundations for the cross-cultural study of the novel according to quantitative methods. Text mining is arguably one of the most important fields driving growth, innovation, and indeed citizenship within a modern information economy, impacting a range of fields that include business management, human resources, bioinformatics, cultural production, and even voter participation. In establishing the analytical foundations of large-scale literary text analysis, this project will bring the unique knowledge of literary studies to bear on larger debates about text mining and the place of information technology within society. In so doing, it will also impact how we think about the nature of reading and the way we increasingly access our cultural heritage today.
Wednesday, October 9, 2013 – 17:30
McGill University, Leacock Building, Room 232
Organized by Interacting with Print
In this public lecture, featured speaker Dr Barbara Piatti, Director of the Institute for Cartography and Geoinformation at the University of Zurich and co-founder of the Literary Atlas of Europe Project, will examine the intersections between art and cartography, with a particular emphasis on the geography of literature, but also the nature of urban space. She is one of the leading examples of new work in the digital humanities and geo-spatial analysis. See also the graduate workshop “Critical Space Theory: Uncertainty and Ambiguity in Cultural Cartographies,” taking place the same day at 1PM.
Friday, October 25, 2013 – 00:00
Organized by Interacting with Print
By focusing on materials of a botanical nature, the new digital exhibition Interpersonal Botany examines how people used print to structure and mediate social relationships in Europe in the 18th and 19th centuries. During this period of global quest for botanical specimens and popular preoccupation with botany, printed matter fostered relationships between individuals within familial settings and intellectual networks, across national boundaries, and among friends. Reading, studying, gifting, and producing printed matter established, reinforced, and even modeled relationships between distant strangers and close companions. Interpersonal Botany includes books, periodicals, letters, friendship albums and birthday books, which variably demonstrate friendly, intimate exchange, act as guides for proper female conduct, or enable the pursuit of scientific investigation. These rare items show the diverse social dimensions of botanical printed materials, suggesting they were something more than items to be read in a solitary fashion; rather, they served as ways of creating community, forming bonds, and sharing information between colleagues and friends.
This special digital exhibition was curated by Parvaneh Abbaspour and Martina Chumova under the direction of Interacting with Print members Tom Mole and Nikola von Merveldt. We gratefully acknowledge the support and collaboration of the staff at McGill Library, especially Ann Marie Holland in Rare Books and Special Collections.
McGill University (Department of Languages, Literatures, and Cultures)
Marie-Claude Felton is a Banting postdoctoral fellow at McGill University. As a member of the Interacting with Print group, Marie-Claude is undertaking the first comparative and broader study of self-publishing in Europe in the 18th and 19th centuries. Working with Professor Andrew Piper, she will ask: How did different legislative, economic, and cultural contexts influenced the practice and significance of self-publishing? What was the place of self-published writers in the book market and what was their reception among readers? Can their activity challenge traditional depictions of a larger domination of publishers at that time? What was the role of these authors’ experience and their claims within the genesis of modern copyright? At the center of her analysis, primarily based on archival research in Paris, Leipzig and London, Marie-Claude will take a closer look at the role of authors-publishers on the European book market, the reception of their works, and the significance of their claims within the genesis of modern copyright. Her argument is that only by understanding the place of these numerous, yet little studied authors can we gain a more nuanced understanding of the history of authorship in the modern period.
Marie-Claude Felton holds a B.A. from McGill, an M.A. from the Université Laval, and a Ph.D. from UQÀM and the EHESS (École des hautes études en sciences sociales, Paris). She also completed a two-year postdoctoral fellowship at Harvard University where she investigated the role of self-publications in the dissemination of scientific knowledge in France before the Revolution. Her monograph Maîtres de leurs Ouvrages. L’édition à compte d’auteur à Paris au XVIIIe siècle will come out with Oxford University Studies in the Enlightenment in March 2014.
Université du Québec à Montréal (Department of Art History)
Peggy Davis earned her degrees in Art History from UQAM (BA 1993), University of Montreal (MA 1995) and Laval University (Ph.D. 2003). Since 1996, she has taught Art History at the college and university levels before joining as a professor in the Department of Art History at UQAM in 2004. She teaches mainly European Art History in the eighteenth and nineteenth centuries, in which she focuses on the interactions between art and history-political, colonial, social, culture and literature. She is also interested in theoretical and aesthetic discourses developed in the late eighteenth and early nineteenth century and the historiography of art of this period.
Peggy Davis works on representations of America in European art, particularly in printmaking and illustration-fiction, Viaticum, and ethnographic-France in the eighteenth and nineteenth centuries. Her research has two focuses: firstly on Americanism as discourse and representation, and secondly on the print as a material object at the heart of intermedial practices. Questioning ethnocentrism and European imaginary through the prints, her research seeks to explain the interaction of the iconography with the Americanist discourse ethnographic, anthropological, historical, primitivists, (anti)-abolitionists (anti)-colonialists (anti)-racialist, etc.-developed at the turn of the Enlightenment. Print, which became increasingly accessible to a wider public since the mid-nineteenth century, interacts with other fields of high culture, bourgeois and popular books such as prints, arts and the decorative arts. For its central role in the dissemination of new knowledge, printmaking supports the story of the encounter between Europe and America.
University of Edinburgh (Department of English Literature)
Tom Mole is Adjunct Professor of Languages, Literatures and Cultures at McGill University and Director of the Centre for the History of the Book at the University of Edinburgh in Scotland. His book, Byron’s Romantic Celebrity: Industrial Culture and the Hermeneutic of Intimacy (Palgrave, 2007), won the Elma Dangerfield Prize. It argues that modern celebrity culture emerged in the early nineteenth century, and that Lord Byron should be studied as one of its earliest examples and most astute critics. Under that rubric, Mole investigates the often strained interactions of artistic endeavour and commercial enterprise, the material conditions of Byron’s publications, and the varieties of printed ephemera that supported celebrity profiles. This approach was extended in an edited collection of essays, Romanticism and Celebrity Culture (Cambridge, 2009). Mole has also edited one volume in a six-volume set of Blackwood’s Magazine 1817-1825: Selections from Maga’s Infancy (Pickering and Chatto, 2006). This is the first time extensive and fully annotated selections from this important nineteenth-century literary journal have been published. Mole is currently working on the reception of Romantic authors in later nineteenth-century Britain, focussing on the material objects and cultural practices that brought texts and authors to the attention of later audiences.
Université de Montréal (Department of History)
Susan Dalton is an associate professor in the History Department at the Université de Montréal, and was Principal Investigator in this team’s emergence phase. She works on political culture, sociability, and gender in late eighteenth- and early nineteenth-century France and the Veneto. Building on her previous work on French and Venetian salon women’s correspondence (Engendering the Republic of Letters, McGill-Queen’s 2003), she is currently examining the links between civility and aesthetics in the published writing of two Venetian salon women: Isabella Teotochi Albrizzi (1760-1836) and Giustina Renier Michiel (1755-1832). Although their writing took a number of forms (including descriptions of festivals and sculptures, literary portraits, and translation), they all encouraged readers to identify with moral models presented in human form; furthermore, in each text, Renier Michiel and Teotochi Albrizzi pushed their audience to read aesthetically by monitoring their emotional reactions to the authors, characters, and revellers the women had reproduced on the page. By charting the evolution in the type of model and the nature of identification over time, Susan Dalton argues that it is possible to find the origins of nineteenth-century Italian romantic nationalism in eighteenth-century Enlightenment universalism.
Université de Montréal (Modern Languages Department)
Nikola von Merveldt is an assistant professor and director of graduate studies in the Modern Languages Department at the Université de Montréal. By training a medievalist, she has worked and published on manuscript and early modern print culture, focusing on the complex interactions between oral, visual, and textual modes of communication from the Middle Ages to the Reformation. Her current project, The Circulation of Knowledge: Printed Images in Children’s Literature of the European Enlightenment (funded by FQRSC), explores the multiple interactions between text and image, book and reader, parent or tutor and child in illustrated children’s books. It argues that eighteenth-century pedagogical discourses, changing social structures, and new developments in the printing industry led educators to rethink the object of the book as a didactic tool and to devise new interactive formats of children’s literature. She has also curated two exhibitions: one on historical children’s books at the International Youth Library in Munich in 2007 and the one on the tradition of physiognomy at the Osler Library in Montreal in 2008.