Untitled Bicentennial Bits and Bytes The Pittsburgh Digital Frankenstein Project Rikk Mulligan | Elisa Beshero-Bondar | Matt Lavin | Jon Klancher @CritRikk | @epyllia | @mjlavin80 | @jklancher MLA 2018: Saturday Jan. 6 @ 3:30pm; Sheraton Riverside Suite Link to these slides: http://bit.ly/BicFrankMLA18​ 1 http://bit.ly/BicFrankMLA18 Hello. Thank you for sharing your time with us, especially late on a Saturday afternoon. Just to make sure you are in the right place, this is session 632: Bits and Bytes: The Pittsburgh Digital Frankenstein Project. I and my fellow panelists will be describing several aspects of our project over the next forty minutes or so to set up our roundtable discussion with you. I’m Rikk Mulligan; my fellow panelists are Elisa Beshero-Bondar, Matthew Lavin, and Jon Klancher. I’ll begin by introducing our project and explaining how we came together, as well as what each of us are bringing to the project and how this helped us define our initial project plans. My co-panelists will go in depth into our current phase and we'll end with some discussion of our next steps and May 2018 milestone. Speaker notes A Patchwork Team Elisa Beshero-Bondar, Director, Center for the Digital Text, University of Pittsburgh at Greensburg Jon Klancher, English Department, Carnegie Mellon University Matt Lavin, Director, Digital Media Lab, University of Pittsburgh Rikk Mulligan, University Libraries, Carnegie Mellon University Raff Viglianti, Maryland Institute for Technology in the Humanities (MITH), University of Maryland Scott Weingart, Program Director of Digital Humanities, University Libraries, Carnegie Mellon University 2 . 1 Most Humanities research is done by individuals, but Digital Scholarship tends to require a team, often directed by a principal investigator with a well-defined research agenda. Our team is somewhat different--we formed around the opportunity to contribute to a project focused on the bicentennial anniversary of the publication of Mary Shelley’s novel Frankenstein. We came together organically through online and face-to-face relationships because of the possibilities of working together rather than as part of a specific goal or design. The Pittsburgh Digital Frankenstein Project began to coalesce during October 2016, but its beginnings go back to August 2016 when Neil Fraistat of MITH--the Maryland Institute for Technology in the Humanities--contacted Scott Weingart to ask if he might be interested in doing some visualizations on the materials in the Shelley Godwin Archive. A couple of weeks later, while Scott and I were discussing an unrelated science fiction project, he asked if I had any interest in Frankenstein. I’d just learned that CMU has a copy of the first edition in our special collections and thought this would be a great opportunity to explore new DH methods and highlight our special collections through a DH project. Scott then video chatted with Neil, Raff Viglianti, David Rettenmaier, and Purdom Lindblad at MITH in September to begin scoping out the project. He then sent out an email to the four of us in the Pittsburgh area (Elisa, Matt, Jon, and myself), introducing us and asking if we might explore potential goals. Although Raff was not involved in our first meetings, Elisa was already in contact with him and had previously arranged for him to speak at Pitt- Oakland and Pitt-Greensburg on music encoding and its applications. Elisa and Raff had also been in touch with Neil about contributing an update to the edition of Frankenstein on the Romantic Circles website, one that would interweave with the Shelley-Godwin Archive’s edition of the Frankenstein manuscript Notebooks. Because Elisa and Raff work together as members of the TEI Technical Council, Neil hoped they might work together on the interconnection of those editions, as part of the “Pittsburgh group” collaboration. Jon accepted Scott’s invitation because of his involvement in the Romantic Bicentennials as Co-Director of Networked Events, which has several upcoming Frankenstein projects. As the only Romanticist at CMU we were hoping he would participate and he was looking at this as a chance to work with a DH team. Scott and I are members of CMU’s new digital center, dSHARP, and Matt is one of those who attended our open office/open consulting hours last year. After hearing about the project after our first couple of meetings he opted to join in the late fall of 2016. Speaker notes What We Contribute Elisa Beshero-Bondar: Romanticist; Textual Scholar; TEI architecture and collation Jon Klancher: Romanticist; Book Historian; Annotations Matt Lavin: 19th Century Americanist; Textual Analysis, Stylometry Rikk Mulligan: 20th Century Americanist; Web Coding, Interface Design Raffaele Viglianti: Research Programmer; Shelley-Godwin Archive encoding; TEI pointers to S-GA Notebooks Scott Weingart: Early Modernist, History of Science; Textual Analysis, Stylometry Illustrations by Bernie Wrightson. Frankenstein. Mary Wollstonecraft Shelley. Marvel Comics 1983. images from Dark Horse Comics 2008 reprint. 2 . 2 Our team is eclectic--a patchwork of institutions, roles, and levels of technical expertise and DH experience. This is our strength. Even as Victor’s “patchwork” construct is greater than the sum of its parts (especially in modern reimaginings), so is our goal to construct a digital edition with features that bridge print and digital resources. We also approach the project from very different perspectives and can learn a lot from each other. As Romanticists Jon and Elisa are our subject matter experts on Shelley’s era and the text; both have several years experience teaching a variety of Frankenstein editions. Scott expertise in the history and philosophy of science will also contribute to Jon’s annotations of the text. Elisa’s extensive experience with the Text Encoding Initiative technologies including TEI XML and XSLT transformations are providing the framework for our online texts. She has worked with Raff to architect our collations and consulted with David Birnbaum at the University of Pittsburgh on some of the thornier coding issues. Raff is also contributing from MITH to help us integrate the Shelley-Godwin Archive tags and annotations, as well as later helping with the TEI pointers for our future interface efforts. Both Matt and Scott are DH generalists with extensive experience with a range of tools, methods, and projects. They began working on the textual analysis of our materials once Elisa and Raff got them in the shape they required. They are currently working on the stylometrics. [In this case, programmatic approaches to the study of measurable features of (literary) style, such as sentence length, vocabulary richness and various frequencies (of words, word lengths, word forms, etc.) with practical applications in authorship attribution research.] I only had a brief flirtation with TEI XML before this project. I’ve been working closely with Elisa to create the clean text files of the print editions and to integrate the notebooks into our corpus. My expertise lies more in web and interface design, which will come more into play as we evolve the presentation of our results. Speaker notes Print publications 1818 Edition (3 volumes) 1823 Edition (2 volumes) 1831 Edition (1/2 of a volume) bound with Friedrich von Schiller's The Ghost Seer in Bentley's Standard Series of novels) known/authorized by MWS Illustrations by Bernie Wrightson. Frankenstein. Mary Wollstonecraft Shelley. Marvel Comics 1983. images from Dark Horse Comics 2008 reprint. 3 . 1 But I’m getting ahead of myself. Before we could decide what directions we might go in for our digital project, we needed to survey the current Frankenscape. Although Elisa, Jon, and Raff were well acquainted with Frankenstein, the rest of us were only passing familiar with an edition of the novel. We began by looking at the three print editions to see what we might contribute to the digital scholarship. It is estimated that 500 copies of Frankenstein were published anonymously on January 1, 1818, in three small volumes. The current Romantic Circles edition attributes the Preface to Percy Shelley although neither the dedication or preface are signed or initialed in the actual copy. As a number of scholars have pointed out (Charles Robinson, Susan Tyler Hitchcock) the novel quickly inspired a number of stage adaptations. These proved so successful that Mary’s father, William Godwin, supervised the editing and republication of a two volume edition in 1823. The changes in this edition are so minor, which may explain why we could find no digital edition and had to digitize it ourselves from a photo facsimile. The last edition released during Mary Shelley’s lifetime appeared in 1831. It is important to note that the changes from the 1818 and 1823 to the 1831 are fairly extensive, and that everyone who involved in the ghost story contest and earlier text other than Mary had died by the time she released this edition with her story of its genesis in the introduction. Speaker notes Digital Sources Pennsylvania Electronic Edition 1994 start (early HTML, frame-based) Romantic Circles 2009 update from HTML to TEI XML Manuscript Notebooks Bodleian Arbinger c56, c57, c58 Shelley-Godwin Archive TEI XML http://knarf.english.upenn.edu/ https://www.rc.umd.edu/editions/frankenstein http://shelleygodwinarchive.org/contents/franke nstein/ Illustrations by Bernie Wrightson. Frankenstein. Mary Wollstonecraft Shelley. Marvel Comics 1983. images from Dark Horse Comics 2008 reprint. 3 . 2 http://knarf.english.upenn.edu/ https://www.rc.umd.edu/editions/frankenstein http://shelleygodwinarchive.org/contents/frankenstein/ We started with a goal to prepare an updated and improved digital edition of Mary Shelley's Frankenstein that conforms to the TEI P5 standard. Elisa and Raff knew that much of this material already existed online. The earliest work dates back to the 1990s, in Stuart Curran and Jack Lynch’s University of Pennsylvania Electronic Edition. This website uses frames to display the 1818 and 1831 editions, as well as a “variorum” frame to show differences. This site also hosts hundreds of additional files as hypertext annotations and connections. The Romantic Circles website is a refereed scholarly resource; it published versions of the 1818 and 1831 editions upcoded from the PAEE HTML to TEI 3 in 2009. This site also offers a visual comparison of the texts, hosted by the Juxta Commons. Finally, the Shelley-Godwin Archive has the transcribed Abinger Manuscript Notebooks, c56, c57 and c58 currently in the Bodleian Library of Oxford. The archive focuses on the manuscripts, providing access to the extant fair copy of Frankenstein in three forms and a range of critical materials. [(1) the physical order of Bodleian MS Abinger c.58; (2) the virtually reconstituted order of Notebooks C1and C2; and (3) the linear chapter sequence of the the three-volume fair copy.] Speaker notes Rieger: inline collation of "Thomas" w/ 1818, 1831 variants in endnotes Legend: Curran and Lynch: PA Electronic Edition ( PAEE) , collation of 1818 and 1831: HTML Crook crit. ed of 1818, variants of "Thomas", 1823, and 1831 in endnotes (P&C MWS collected works) Romantic Circles TEI conversion of PAEE ; separates the texts of 1818 and 1831; collation via Juxta 1974 ~mid-1990s 1996 C. Robinson, The Frankenstein Notebooks (Garland): print facsimile of 1816 ms drafts 2007 Shelley-Godwin Archive publishes diplomatic edition of 1816 ms drafts 4 . 1 print edition digital edition Legend: 2013 2017 Critical and Diplomatic Editions Leading to the Pgh Frankenstein Project Pittsburgh Bicentennial Frankenstein Project begins: assembly/proof-correcting of PAEE files; OCR/proof-correcting 1823; "bridge" TEI edition of S-GA notebook files; automated collation; incorporating "Thomas" copy text To develop our “improved and updated” digital edition we needed to think ask the question: “what are the authoritative scholarly and critical editions of Frankenstein”? We've gone back to looking at James Rieger’s University of Chicago Press annotated edition from 1974. It is one of the first to emphasize the 1818 text; it also included the “Thomas” edition of 1823 (Mary Shelley annotated 1818 copy) in its analysis. The first online collated edition, Curran and Lynch had only compared the 1818 and 1831 editions. Nora Crook and Charles Robinson made path-breaking scholarly editions--one critical, and one of the Abinger ms notebooks--in print, not connected to Curran's work. Romantic Circles might be considered an update if not an upgrade of the PAEE, using programmatic tools in Juxta Commons rather than hand- collation. The Shelley-Godwin Archive went online with the Notebooks digital edition in 2013, making a diplomatic edition publicly available. Our work is a bridge: We bring all of these nodes of scholarship together by considering the Abinger manuscript notebooks, the 1818, 1823, and 1831 editions, and Mary Shelley’s annotations in the “Thomas” edition. We do not seek to replace the scholarly apparatus created by others, but to build upon, correct, update, and connect this fine work. We are cognizant that some of the work has errors we can fix or was built with almost- obsolete web technologies--needing a more stable digital architecture. Speaker notes Evolving Project Returning to the original texts to produce: Clean Text files for each edition (1818, 1823, 1831) TEI XML files for each edition Comprehensive collations from ms through 1831 to bridge and build on previous critical editions (print and digital)​ Variorum interface to show changes over time Stylometric analysis Annotations https://github.com/ebeshero/Pittsburgh_Frankenstein 4 . 2 https://github.com/ebeshero/Pittsburgh_Frankenstein We have completed several steps toward preparing a new, scholarly digital edition of Frankenstein in TEI 5. We have also started the work to offer additional scholarly resources online as part of this project. We maintain a GitHub repository to track and share our work and render our efforts as transparent as possible. As of now we have completed plain text editions of the 1818, 1823, and 1831 editions on our GitHub. We have added comments about our initial attempts to use the PAEE and RC materials, and explained the process we used to produce the clean text files. Elisa will go into more detail regarding our efforts to prepare the TEI XML editions and collation files. She will also present our work to date on developing a comprehensive collation of all five sources, and sketch out our goals in developing a visual variorum interface to display the differences between them. Matt will discuss our current work on the stylometric analysis. For those who are unfamiliar, stylometrics in this cases uses programmatic approaches to study the measurable features of (literary) style; this can include sentence length, vocabulary richness and the various frequencies of words, word lengths, and word forms as part of authorship attribution research. Jon will talk to you about how we hope to augment the annotations of previous scholarly editions and both the online resources with something different. Speaker notes Variorum project Manuscript: (Notebooks: Abinger c56, c57, c58) "Thomas copy" Edition (1818 edition with hand annotations by Mary Shelley) 1818 Edition (3 volumes) 1823 Edition (2 volumes) 1831 Edition (1/2 of a volume) Illustrations by Bernie Wrightson. Frankenstein. Mary Wollstonecraft Shelley. Marvel Comics 1983. images from Dark Horse Comics 2008 reprint. 4 . 3 Building a Digital Variorum Elisa Beshero-Bondar @epyllia 5 . 1 Can we make an edition that conveniently compares the manuscripts to the print publications? Can we make a comprehensive collation to show changes to the novel over time, from 1816 to 1831? ​ How many versions? (5 and a bit?) Which editorial interventions persist from 1816 to 1831? MWS in the "Thomas" copy: how much of this persists into 1831? PBS's additions: which/how many of these persist to 1831? What parts of the novel were most mutable? Motivating Questions 5 . 2 Rieger: inline collation of "Thomas" w/ 1818, 1831 variants in endnotes Legend: Curran and Lynch: PA Electronic Edition ( PAEE) , collation of 1818 and 1831: HTML Crook crit. ed of 1818, variants of "Thomas", 1823, and 1831 in endnotes (P&C MWS collected works) Romantic Circles TEI conversion of PAEE ; separates the texts of 1818 and 1831; collation via Juxta 1974 ~mid-1990s 1996 C. Robinson, The Frankenstein Notebooks (Garland): print facsimile of 1816 ms drafts 2007 Shelley-Godwin Archive publishes diplomatic edition of 1816 ms drafts 5 . 3 print edition digital edition Legend: 2013 2017 Our Project Genealogy: Critical and Diplomatic Editions Leading to the Pgh Frankenstein Project Pittsburgh Bicentennial Frankenstein Project begins: assembly/proof-correcting of PAEE files; OCR/proof-correcting 1823; "bridge" TEI edition of S-GA notebook files; automated collation; incorporating "Thomas" copy text "We stand on the shoulders of giants." As Rikk mentioned, we're building on a lineage of Frankenstein edition work that illuminates the novel's gestation and transformation. Rieger: INLINE collation: wants to show MWS's process, as she handwrote alterations on a copy of the 1818 Frankenstein. As you read Rieger, you see a system of markup distinguishing MWS's hand from the print, showing her insertions and addiitons. It's important for FOREGROUNDING the act of comparing texts in the line of the reader's sight--precedent for Curran's PA Electronic Edition. 1990s: BURST of activity! Frankenstein was a major EARLY experiment to build a scholarly apparatus in hypertext in the early years of the World Wide Web. The web and print editions improve the scope of comparison--beyond just 1818 vs 1831. Charlie Robinson's facsimile edition of the Abinger manuscript notebooks illuminates the writing process and hands at work over the novel. Much more is now available to the scholar to document CHANGE OVER TIME. Speaker notes The dream of the 90s. . . Hypertext / Hypercard books and the PAEE Accessing (reading, writing, editing) texts in nonlinear ways Multiplying and individualizing points of access 5 . 4 Roughly contemporary with the PAEE + mid '90s scholarly edition efforts What if the female creature survived and had a chance to create her own story with lots of options? Experimental nonlinear navigation...hundreds of hypercards...plot your own course The dream of the '90s: Frankenstein's inspiration for hypertext experiment 5 . 5 I've included this slide to emphasize how the 1990s marked a moment of experiments with Frankenstein as a body of text--The building of a Creature and the assemblage of a textual body become continuous activities--the reader participates. It isn't just that we theorized with Stanley Fish about readers assembling texts for themselves; the experimenters with Frankenstein like Shelley Jackson and Stuart Curran invited readers to engage actively in remixing, juxtaposing, and exploring options. Speaker notes PAEE: Hypertext Collation Experiment hundreds of small html files, juxtaposed in frames 5 . 6 Discuss HOW this works as collation and what's so exciting about it. Speaker notes The dream of the '90s is alive... (in Pittsburgh) Digital Collation for a "Variorum" interface select a text from what version the reader chooses: 1816 MS | 1818 | "Thomas" | 1823 | 1831 compare that text to what version the reader chooses view the "molten" portions of the novel in context with the stable portions navigate multiple texts in context with one another make the critical apparatus a vantage point: see how the novel changed over time without having to find the fine-print endnotes The Creature of Collation? We make newly formed text "bodies" from disparately formed source materials. source: article on "Frankenstein" malware I programmer 5 . 7 http://www.i-programmer.info/news/149-security/4724-frankenstein-stitching-code-bodies-together-to-hide-malware.html TEI: The Text Encoding Initiative a community-maintained standard 1987 @ Vassar: draft of Poughkeepsie Principles “ provide a standard format for data interchange in humanitiesresearch. Guidelines for the Encoding and Interchange of Machine Readable Texts: first drafted 1990; published on the web by 1999 (P3) Standards for encoding texts co-evolve with standards for developing human and machine-readable markup languages ​ HTML (w3c) || (early) SGML and XML TEI XML tree structure: meant to store a stable format not subject to commercial processing requirements possible to publish TEI directly or convert to HTML; PDF; TEX; other document formats. 5 . 8 http://www.tei-c.org/index.xml SGML = standard generalized markup language XML = eXtensible markup language Speaker notes 1. Small pieces are optimal for collation. 2. There is no single "complete" edition. 3. Each output (plain text, XML, TEI collation) = viable edition on its own. 4. Interface invites the user to play: put the pieces together. From PAEE to Pgh Variorum... values in common image source: a friend's Lego set 5 . 9 Reconcile multiple kinds of text encoding: old '90s HTML (1818, 1831) not-so-plain OCR-generated text (1823) TEI XML for manuscripts: (S-GA diplomatic edition) Pittsburgh's bridges (1963) Source: NewsCastic.com A Bridge-Building Challenge Construct "Bridge" XML for collation Markup-assisted machine collation (collateX): "flattened" XML hierarchies for even collation units ms metadata markup (e.g. "hands") to ignore in collation, but preserve in the output pointers outward to manuscript editions (S-GA, Morgan Library) 5 . 10 https://www.newscastic.com/news/10-decades-of-pittsburgh-skyline-2706497/ Collation "stitchery" Can be done by hand in TEI Automated: via CollateX Algorithms for locating union and "delta" points in "streams" of text Inputs in a variety of formats (XML/TEI, plain text, JSON) Output / Visualization options: Text table (above); SVG flow chart; XML JuxtaCommons on the web Develop a custom web interface (via XML output) 5 . 11 5 . 12 image source: S-GA 5 . 13 A running text stream...? Or an architecture of bridges? (collateX SVG output) 5 . 14 XML collation: flagging variants and Percy's hand 5 . 15 Stylometry and Digital Frankenstein Matthew Lavin University of Pittsburgh @mjlavin80 6 . 1 Research Questions 1. How does Frankenstein change stylistically across different expressions/manifestations? 2. How can those changes be attributed and/or characterized? In whose authorial voice is Frankenstein? Direct analysis of Percy and Mary 3. Do stylistic changes affect how Frankenstein reads in relation to cultural categories like genre, “modernness,” linguistic register generally, and scientific vocabulary? If so, how? 6 . 2 Outline of Exploratory Measures In notebooks, term counts/relative frequencies of: Mary’s hand initial Mary’s hand strikethrough Percy’s hand suggested vs. adopted Mary’s hand revised (sometimes Mary ver1, ver2, final, etc.) Across our three print editions: Term counts/relative frequencies of each text Term frequencies weighted against frequency across all documents (TF-IDF) 6 . 3 Term Counts Absolute Values of Term Count Differences across Editions, 1818 to 1823 (left) and 1823 to 1831 (right) 6 . 4 Relative Term Frequencies Absolute Value of Weighted Term Frequency Differences across Editions (tf-idf), 1818 to 1823 (left) and 1823 to 1831 (right) 6 . 5 Collational Alignment Types of Changes: Spelling normalizations Punctuation Word insertions, substitutions, deletions Word to phrase or phrase to word Reordering 6 . 6 Shelley-Godwin Notebooks Image courtesy of shelleygodwinarchive.org 6 . 7 Punctuation Matters … but not for all measures Image courtesy of dailywritingtips.com 6 . 8 Dynamics of DH Collaboration The workflows and analytical paradigms of “machine learning DH” and “scholarly editing DH” are not factory fitted to one another, but they can be adapted to work in tandem. The gains are more valuable than the cost of the retrofit. 6 . 9 Dynamics of DH Collaboration How can a single, carefully curated edition or set of editions be worked into a “macroanalysis” model where many uncorrected, dirty OCR texts are being compared to one another? What kinds of questions can we ask with hand- corrected editions that we cannot ask with HTRC corpora? 6 . 10 Open Data and Reproducibility I have argued elsewhere that openness invites open discussion and collaboration. It doesn't guarantee that these things will happen, but closed data practices all but guarantee that these practices will be difficult or impossible. 6 . 11 Next Steps: Questions/Methods How can we characterize changes by trends established in analysis of each person’s hand? How can we think about changes as moving closer or further away from a genre baseline? How do index quantifications like “how modern” or “how scientific” each version of the text is? How do we account for “modern” and “scientific” as rapidly changing ideas? 6 . 12 As Scott Weingart’s work has shown, the computational determination of “who wrote what” has become less central to DH inquiry. I believe strongly, however, that these approaches will have a second life as we turn increasingly toward the use of authorship attribution techniques to study authorship as an historical and social construction. Speaker notes Jon Klancher @jklancher Source: (w3c Recommendation of 23 Feb 2017) Web Annotation Data Model 7 . 1 https://www.w3.org/TR/annotation-model/ Annotated Print Editions of Frankenstein 1993 Leonard Wolf, ed., The Essential Frankenstein: The Definitive, Annotated Edition of Mary Shelley’s Classic Novel (New York: Plume). (1st edition as The Annotated Frankenstein, 1977) 2012 Susan J. Wolfson and Ronald L. Levao, The Annotated Frankenstein (Cambridge, MA: Belknap Press of Harvard University). 2017 Leslie S. Klinger, ed., The New Annotated Frankenstein (New York: Liveright/Norton). 2017 David G. Guston, ed., Frankenstein: Annotated for Scientists, Engineers, and Creators of All Kinds (Cambridge, MA: MIT Press). 7 . 2 Susan J. Wolfson and Ronald L. Levao, The Annotated Frankenstein (Cambridge, MA: Belknap Press, 2012) 7 . 3 This annotation is the verbatim 1831 altered text. 2017 Leslie S. Klinger, ed., The New Annotated Frankenstein (New York: Liveright/Norton). 7 . 4 Wolfson annotation: Published in 1791, in the wake of the French Revolution (Volney was part of the Revolutionary government), Les Ruines; ou Meditation sur les revolutions des empires appeared in English as Ruins, or Meditations on the Revolutions of Empires, in 1792. Klinger annotation: More properly, The Ruins, Or, Meditation on the Revolutions of Empires; and the Laws of Nature, by Constantin- François Chasseboeuf, who took the name Volney, published in 1791 in French. It was translated in 1802 into English. The book is described by Frankenstein scholar Pamela Clemit as a “powerful Enlightenment critique of ancient and modern governments as tyrannical and supported by religious fraud” (“Frankenstein, Matilda, and the Legacies of Godwin and Wollstonecraft,” in The Cambridge Companion to Mary Shelley, ed. Esther Schor [Cambridge: Cambridge University Press, 2003] 35.) In light of the date of translation, the book in question must have been the French edition, and Safie and the creature learned French…. Our Frankenstein Variorum annotation: Of the books the Creature hears read aloud in the forest, Volney's The Ruins; or, A Survey of the Revolutions of Empires (1792) was the most closely associated with Europe's radical Enlightenment. (It was first published in French as Les Ruines: ou Meditation sur les revolutions des empires in 1791.) The Creature learns an illuminating critique of imperialism and exploitation from Volney, even as he also absorbs some of the Enlightenment's own prejudices ("slothful Asiatics"). The effect on the Creature is to give him a sense of the social or structural and not only a personal framework for understanding virtue and suffering. On Volney’s role in the novel, see also Ian Balfour, "Allegories of Origins: Frankenstein after the Enlightenment," SEL: Studies in English Literature (2016): 777-98.1500-1900 56.4 7 . 5 tel:1500-1900%2056.4 using the tool for digital annotation with tags hypothes.is hypothes.is: all tags so far... 7 . 6 https://web.hypothes.is/ Annotations that Tunnel through the Texts (not only pointing outside) domestic affection (Walton - Margaret Seville) domestic affection (DeLaceys and Safie) domestic affection (Frankenstein family) travel/expedition: Walton tr av el /e xp ed it io n : V ic to r travel/expedition: Clerval tra ve l/e xp ed itio n: Cre atu re law / judicial system ( Justine) law / judicial system Felix DeLacey law / judicial system Victor/Kirwin 7 . 7 domestic affection (DeLaceys and Safie) domestic affection (Frankenstein family)tra ve l/e xp ed itio n: Cre atu re law / judicial system Felix DeLacey law / judicial system Victor/Kirwin Annotations in the Variorum Interface Source: (2015) 6Sqft: "See New York City's subway lines superimposed over an aerial photo of the city" 7 . 8 https://www.6sqft.com/see-nycs-subway-lines-superimposed-over-an-aerial-photo-of-the-city/ Annotations and Intertextuality "tunneling" through the texts distinct from external pointers to context affected by collation "bridges" goal: available in each reading view id markers signal textual locations: book | chapter | paragraph collation alignment shows corresponding locations in other versions Portable hypothes.is annotations: "pinnable" by text string and id position markers Speaker notes Frankenstein's invitation/challenge: Build Digitally: Experiment with human and machine reading Build a Strong, Sustainable Bridge: update Romantic Circles edition interlinks to Shelley-Godwin Archive Notebooks: point to ms pages Morgan Library "Thomas copy" Centralize the Critical Apparatus ​a tool for scholars a metanarrative? a remixing of the reading process for all who care about Frankenstein make all the texts available to all the readers The work continues... Collation Annotation Stylometry Visualization and Variorum Interface 8