This is a scholarly edition of Susan Ferriers (1782-1854) second novel, <i>The Inheritance</i> (1824). I want to reclaim its value as a novel that reveals much about nineteenth-century Scottish notions of class, gender, and nation. Ferrier was among many writers influenced by the development of the Scottish Renaissance. Anand Chitnis claims that this Scottish flowering began in earnest by 1750 and ended by 1830, during which time Scotland emerged from centuries of war and oppression to establish itself as a major force in Europes intellectual and scientific community (4). Improvements in transportation opened up opportunities for migration and travel, connecting Scotland with the rest of Britain. This changing climate influenced significantly Ferrier and her Scottish contemporaries, who adopted recurrent themes, symbols, and settings in their works to establish a sense of coherence within their own society. Ferriers works feature elements that are fundamental to Scottish womens writing as a whole. These elements, such as a powerful sense of locality,distinctive characters, and use of the Scottish vernacular, are especially evident in <i>The Inheritance</i>. In utilizing the 1853 edition as copytext, I adhere to Jerome McGanns notion that each text enters the world under determinate socio-historical conditions, which can be variously defined and imagined (9). The production of a text, therefore, can be influenced by changes in perspective of the author, as well as the opinions of publishers,reviewers, family, and friends. In 1850, in response to a letter from Bentley inviting Ferrier to make changes to the stereotypes of the 1841 edition in his possession, Ferrier asked that Bentley remove the existing illustrations and vignettes and make some substantive and accidental changes to the text. These appear to have been attended to, although Bentley did keep one of the illustrations as frontispiece. At this time, Ferrier also allowed her name to be released as author of the text. This present edition is collated against the 1824 edition held at the National Library of Scotland. As one of my aims is to illustrate the nature of literary production during this period, idiosyncrasies of spelling and punctuation are left unchanged. A few misprints are corrected as indicated in the footnotes. I have included separately accidental and substantive changes between the 1841 and 1853 texts. Aside from a comprehensive introduction, I also include a brief chronology of Ferriers life and works,an appendix that includes a selection of illustrations from various editions, and a list of editions of <i>The Inheritance</i>.

This is a scholarly edition of Susan Ferriers (1782-1854) second novel, <i>The Inheritance</i> (1824). I want to reclaim its value as a novel that reveals much about nineteenth-century Scottish notions of class, gender, and nation. Ferrier was among many writers influenced by the development of the Scottish Renaissance. Anand Chitnis claims that this Scottish flowering began in earnest by 1750 and ended by 1830, during which time Scotland emerged from centuries of war and oppression to establish itself as a major force in Europes intellectual and scientific community (4). Improvements in transportation opened up opportunities for migration and travel, connecting Scotland with the rest of Britain. This changing climate influenced significantly Ferrier and her Scottish contemporaries, who adopted recurrent themes, symbols, and settings in their works to establish a sense of coherence within their own society. Ferriers works feature elements that are fundamental to Scottish womens writing as a whole. These elements, such as a powerful sense of locality,distinctive characters, and use of the Scottish vernacular, are especially evident in <i>The Inheritance</i>. In utilizing the 1853 edition as copytext, I adhere to Jerome McGanns notion that each text enters the world under determinate socio-historical conditions, which can be variously defined and imagined (9). The production of a text, therefore, can be influenced by changes in perspective of the author, as well as the opinions of publishers,reviewers, family, and friends. In 1850, in response to a letter from Bentley inviting Ferrier to make changes to the stereotypes of the 1841 edition in his possession, Ferrier asked that Bentley remove the existing illustrations and vignettes and make some substantive and accidental changes to the text. These appear to have been attended to, although Bentley did keep one of the illustrations as frontispiece. At this time, Ferrier also allowed her name to be released as author of the text. This present edition is collated against the 1824 edition held at the National Library of Scotland. As one of my aims is to illustrate the nature of literary production during this period, idiosyncrasies of spelling and punctuation are left unchanged. A few misprints are corrected as indicated in the footnotes. I have included separately accidental and substantive changes between the 1841 and 1853 texts. Aside from a comprehensive introduction, I also include a brief chronology of Ferriers life and works,an appendix that includes a selection of illustrations from various editions, and a list of editions of <i>The Inheritance</i>.

Numerous examples of the "digital scholarly edition" exist online, and the genre is thriving in terms of interdisciplinary interest as well as support granted by funding agencies. Some editions are dedicated to the collection and representation of the life's work of a single author, others to mass digitization and preservation of centuries' worth of texts. Very few of these examples, however, approach the task of in-text interpretation through visualization. This project describes an approach to digital representation and investigates its potential benefit to scholars of various disciplines. It presents both a digital edition as well as a framework of justification surrounding said edition. In addition to composing this document as an XML file, I have digitized a 1794 English translation of Virgil's Aeneid and used a customized digital markup schema based on the guidelines set forth by the Text Encoding Initiative to indicate a set of poetic figures—such as simile and alliteration—within that text for analysis. While neither a translation project nor strictly a poetical analysis, this project and its unique approach to interpretive representation could prove of interest to scholars in several disciplines, including classics, digital scholarship, information management, and literary theory. The practice serves both as a case-in-point as well as an example method to replicate with future texts and projects.

Hypnerotomachia Poliphili is a fifteenth-century illustrated incunabulum first published in 1499 by Aldo Manuzio in Venice. It delivers the story of two lovers separated by death but united in a dream; in fact, the entire book is a complex, multi-layered dream narrative which gradually unfolds through the interaction between text and image, inviting readers to engage with its rich content in a playful manner. The envisioned “Digital Hypnerotomachia Project" (DHP) aspires to create a platform where the encoded transcriptions and facsimiles of the various early printed editions of this literary work can be comparatively viewed and where users can interact with the text by clicking on annotated words, phrases, or images that lead to associations within, between, and outside the texts; and, ultimately, where users can generate their own annotations and share them with the community of readers. The most important features of such an edition would be, in my opinion, the annotations and tags, that will become the stepping stones towards a better and deeper understanding of the texts, their socio-cultural and literary contexts, and their intertextual relationship, hopefully opening up new pathways for research.  My thesis aims at the creation of a prototype edition, for which I will focus on the first chapter of the book. The aim is to create a parallel edition that will include some of the paratexts and first chapters of the original Italian Aldine edition, the two sixteenth-century French translations, and the sixteenth-century English translation. The omissions, additions, and changes in the early modern translations of the Hypnerotomachia can be quite revealing about the ways in which the text (and its images) was received, interpreted and adapted by early modern learned audiences. Regarding the editorial process, I will move gradually from digitization and transcription to TEI:XML encoding and publication, that is, the development of a user interface, but this will not necessarily be a linear progress, as constant re-evaluation will probably lead to adjustments and reiterations. The most important stage in the editorial process will be the TEI:XML encoding, which I perceive to be an interpretative process. The resulting annotated parallel edition prototype will hopefully show the potential of this type of edition for the Hypnerotomachia Poliphili and its translations, and this pilot project may demonstrate its merits for critical comparative analyses of the work in research and in education.

Esta tese tem como objetivo apresentar a edição crítica do romance O Seminarista, de Bernardo Guimarães, preparada com base no original da obra. A edição justifica-se porque o original, embora disponível, foi modificado ao longo de sua tradição, a ponto de comprometer-se fortemente o estilo do autor, no que apresenta de mais característico. As modificações sofridas pelo texto produziram uma árvore genealógica composta por dois ramos principais, aos quais filiam-se todos os testemunhos estudados: um ramo completo e um ramo abreviado. Com o objetivo de estabelecer o texto crítico, discutem-se aspectos do romance a partir de uma perspectiva da análise literária, fixam-se critérios para a escolha do texto de base, apresentam-se as teorias existentes no âmbito da Bibliografia Textual, propõem-se relações genealógicas entre os testemunhos e fixam-se normas adequadas para uma edição crítica de original impresso. Além da apresentação crítica da edição príncipe, esta edição registra, em aparato, todas as variantes do texto ao longo dos primeiros testemunhos da tradição da obra. / This thesis aims to present the scholarly edition of the novel O Seminarista, by Bernardo Guimarães, based on the works original. The edition is justified by the fact that the original, although available, was modified over its tradition, until strongly compromising the authors style on what it presents as most representative. The changes suffered by the text produced a genealogical tree with two main branches, to which are affiliated all the studied witnesses: an unabridged branch and an abridged branch. In order to establish a critical text, aspects of the novel are discussed through a literary analysis perspective, criteria are fixed so that the copytext can be chosen, theories that belong to a Textual Scholarship scope are presented, genealogical relationships between witnesses are proposed and appropriate standards for a scholarly edition of original printed are set. Besides the editio princeps, this edition registers, in its apparatus, all the variants in the text that are registered in the first witnesses of the work\'s tradition.

Esta tese tem como objetivo apresentar a edição crítica do romance O Seminarista, de Bernardo Guimarães, preparada com base no original da obra. A edição justifica-se porque o original, embora disponível, foi modificado ao longo de sua tradição, a ponto de comprometer-se fortemente o estilo do autor, no que apresenta de mais característico. As modificações sofridas pelo texto produziram uma árvore genealógica composta por dois ramos principais, aos quais filiam-se todos os testemunhos estudados: um ramo completo e um ramo abreviado. Com o objetivo de estabelecer o texto crítico, discutem-se aspectos do romance a partir de uma perspectiva da análise literária, fixam-se critérios para a escolha do texto de base, apresentam-se as teorias existentes no âmbito da Bibliografia Textual, propõem-se relações genealógicas entre os testemunhos e fixam-se normas adequadas para uma edição crítica de original impresso. Além da apresentação crítica da edição príncipe, esta edição registra, em aparato, todas as variantes do texto ao longo dos primeiros testemunhos da tradição da obra. / This thesis aims to present the scholarly edition of the novel O Seminarista, by Bernardo Guimarães, based on the works original. The edition is justified by the fact that the original, although available, was modified over its tradition, until strongly compromising the authors style on what it presents as most representative. The changes suffered by the text produced a genealogical tree with two main branches, to which are affiliated all the studied witnesses: an unabridged branch and an abridged branch. In order to establish a critical text, aspects of the novel are discussed through a literary analysis perspective, criteria are fixed so that the copytext can be chosen, theories that belong to a Textual Scholarship scope are presented, genealogical relationships between witnesses are proposed and appropriate standards for a scholarly edition of original printed are set. Besides the editio princeps, this edition registers, in its apparatus, all the variants in the text that are registered in the first witnesses of the work\'s tradition.

One spring afternoon in 1631, the Norwich Society of Florists held a feast to celebrate and display its exquisite flowers. The celebration included an entertainment written just for the occasion—Ralph Knevet's quirky play about a war among flowers. Early modern florists were not the sort of people who sold cut flowers in shops; rather, they were experts in floriculture who applied this knowledge to cultivate new flowers. Norwich was already renowned for its gardens, but flowers soon became even more significant. Rhodon and Iris was performed just before tulipomania, a frenzy of tulip cultivation lasting from c.1634 – 1637. During this period, florists grew elaborate multi-coloured flower bulbs that sold for extremely high prices. In other words, the florists' feast and Knevet's play emerged when flowers were important to the economy and identity of Norwich. My thesis presents an open-access, digital critical edition of Rhodon and Iris encoded in TEI-P5. This edition offers an old-spelling transcription of the 1631 playbook, a modernized text with annotations, and a critical introduction. Responding to the need for more editions of non-canonical early modern plays, my research widens the otherwise Shakespeare-centric canon and helps make more early modern drama accessible to student readers. Rhodon and Iris also merits critical attention on its own grounds: an example of Caroline occasional drama, the play experiments with convention and offers a rare glimpse into the Society of Florists. My thesis approaches the play with special interest in editorial praxis, ecotheory, and the history of floriculture. The florists' feast delighted audiences and participated in a tradition of floral celebrations—one reaching, at least, from the ancient Roman ludi Florales to the modern Netflix series The Big Flower Fight. / Graduate / 2021-06-26

This diploma thesis deals with the novella The end of the nylon age written by Josef Škvorecký in 1950. It explores the text from a literary historical, literary theoretical and literary "practical", editorial point of view. After the introduction of author's work in necessary period and factual context the thesis focuses on the iterpretation of the novella, its narrative situation and the resulting structure of the text. The thesis then deals with dialogues and dialogic characteristics of the novella. The closing part pays attention to the textological issues - creating of an annotation system to the book. The novella is being related to other artist's work within each theme throughout the entire thesis.

Diese Dissertationsschrift ist angesiedelt im Bereich Digitaler Edition archivalischer Quellen, deren Erschließung und (computergestützter) Analyse. Im Zentrum stehen die sog. Kosmos-Vorträge, die Alexander von Humboldts 1827/28 in zwei Vortragszyklen in Berlin gehalten hat. Diese werden als gleichwertige, zweifache Publikationen in Humboldts Werkbiographie eingeordnet. In einem zentralen Kapitel (Kap. 7) geht es mir um eine editionstheoretische Fundierung der Edition von Vorlesungsnachschriften, zunächst allgemein und dann bezogen auf die Nachschriften der Kosmos-Vorträge. Zuvor wird das Forschungsfeld beleuchtet, da über die Rahmenbedingungen und Inhalte der beiden Vortragsreihen bislang nur wenig bekannt war. Humboldts Motivation zu diesen Vorträgen, deren Zusammenhang mit dem Kosmos (1845–62) und weiteren seiner Publikationen, sowie die jeweiligen organisatorischen Rahmenbedingungen werden untersucht. Inhaltlich sind die Kosmos-Vorträge bislang wenig erforscht worden, unter anderem weil die wichtigsten Quellen nicht rezipiert wurden. Dank der Digitalisierung des Humboldt-Nachlasses und vor allem durch die Digitale Edition der Nachschriften aus dem Hörerkreis sind die Voraussetzungen dafür mittlerweile sehr viel besser. Um die künftige Arbeit mit diesen Dokumenten zu unterstützen, dokumentiere und reflektiere ich in Kapitel 8 die praktische Umsetzung des Editionsmodells gemäß den Richtlinien der Text Encoding Initiative (TEI). Anschließend stelle ich die edierten Nachschriften aus beiden Vortragszyklen vor und zeige, wie sich mit den digitalen Volltexten arbeiten lässt. Dabei kommen quantitative Untersuchungen und Verfahren wie automatische Kollation bzw. Plagiatssuche, aber auch ‚traditionell hermeneutische‘ Methoden zum Einsatz. Schließlich geht es mir in meiner Arbeit darum, die Grundlage für die weitere Erforschung der beiden Vortragsreihen wesentlich zu verbessern und anhand einiger exemplarischer Analysen erste Schritte in diese Richtung zu unternehmen. / This dissertation is located in the field of digital editions of archival sources, their exploration and (computer-assisted) analysis. In terms of content, it deals with the so-called Kosmos-Lectures, which Alexander von Humboldt held in two distinct courses in Berlin in the winter of 1827/28. The two series are recognised as two distinct publications of equal value in Humboldt’s oeuvre. In a central chapter (chapter 7), I am concerned with an edition-theoretical foundation for the edition of attendee’s notebooks, first in general and then in relation to the transcripts of the Kosmos-Lectures. Before this, the research field of the long-neglected Kosmos-Lectures is illuminated, as little has been known about the framework conditions of the lecture series. Humboldt’s motivation for these lectures, their connection with the Kosmos (1845–62) and other of his publications, and the respective organisational framework of the courses are being examined. In terms of content, the Kosmos-Lectures have so far been little researched, partly because the most important sources have not been taken into consideration. The conditions for this are now much better thanks to the digitisation of the Humboldt legacy collection and, above all, the digital edition of the transcripts from the audience. To facilitate future work with these documents, I document and reflect the practical implementation of the edition model according to the Text Encoding Initiative (TEI) in chapter 8. In the following two chapters, I present the attendee’s notebooks from both courses, and show how to work with these digital full texts. Quantitative investigations and methods such as automatic collation or text re-use detection, but also ‘traditional hermeneutic’ approaches are used. Ultimately, my work aims to significantly improve the basis for research into the two lecture series, which has so far been lacking, and to take the first steps in this direction by means of some exemplary analyses.