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Collaborative Hypertext Teaching Projects in the University of Saskatchewan English DepartmentPeter Stoicheff, 2002 Over the last several years a group of faculty and graduate students in the University of Saskatchewan English Department have worked together to create literary hypertexts. The results have been exciting for all of us who have been involved with the projects. The results have also been exciting for students and instructors who use the projects in the classroom at the University of Saskatchewan and around the world, and for scholars who find new and useful information in them. What is meant by the term "hypertext"? Originally coined in the early 1960s by the Australian computer researcher Theodor Nelson, it means any electronic or digital system of information that has internal links to its different parts and external links to related parts outside it. On the surface, it seems an unlikely concept to attract literature professors and students, and particularly ones who have a limited interest in computers per se. Nevertheless, we recognized that the concept had an intriguing potential for displaying aspects of literary texts. Here is an example. A poet who caught my attention when I was doing my doctoral work at the University of Toronto in the early 1980s is Ezra Pound. He wrote a long poem called The Cantos from 1916 to about 1968. The poem is very complex. "Complexity" is a term that has particular meanings in different disciplines. In mathematics, for instance, it refers to a series of numbers that contains little or no repetition. In literature the term is less specific, but Pound's poem offers an excellent example of how it can be used meaningfully. The Cantos, a typical modern literary enterprise, contains many fragments of other texts - classical Greek poems and plays, Egyptian love poems, Shakespearean lines, mythological references, and so on. We call such a technique "intertextuality" (or other things too, like borrowing or stealing). The Cantos, it happens, is very intertextual. A typical edition of The Cantos contains no explanation of this, so readers have to recognize each instance themselves. In fact, they have to recognize not only the source of a particular intertextual reference but also the fact that the passage they are reading is borrowed at all. Pound did not, for example, italicize or otherwise call attention to the borrowed parts of his poem - they blend in seamlessly. The technique is so rampant in the poem that, despite its centrality to modern literature, no scholarly edition exists. This is because there would be so many footnotes and glosses and explanations that the poem itself would become obscured, receding onto the horizon of the page. The edition would be almost exclusively comprised of scholarly apparatus. And this is just the beginning of The Cantos' complexity. It also contains material from scientific, juridical, philosophical, political and musical areas of knowledge, and it uses many languages and alphabets. Ezra Pound is one of the most famous and influential poets of the twentieth century. T. S. Eliot dedicated his famous poem The Waste Land to him, and most poets writing in the English language from about 1920 on are indebted to him in some way. Despite this, the complexity of Pound's poetry makes it almost impossible to teach at the university level. If, however, some way could be found to present the poetry that allowed the reader to access the relevant intertextual information easily without ruining the visual integrity of the poem on the page, it could be taught successfully. The hypertext concept, it seemed to me several years ago, would permit this to be done. The poetry could remain on the page, uncluttered by the scholarly apparatus of footnotes and translations and explanations, and links could be created that would take readers to the information they required. Pound's poem The Cantos might be wonderfully served by this kind of editorial treatment, and in the process so might undergraduate students who had effectively been denied access to it by the physical impediments of the book, the page and the classroom.
The Cantos' length would make it a difficult piece of literature to begin with if one were to try creating a hypertext edition, however. Other modern works of literature were complex too, but shorter and more accessible. Too, many of these were being taught already at the university level with varying degrees of success. One of them was T. S. Eliot's "The Love Song of J. Alfred Prufrock," a standard first-year example of how a modern intertextual poem works. It was published in 1915, at a time when Eliot's readers would catch the references he included in his poem to other works of literature. The contemporary university classroom tells a very different story. Students can have a difficult time reading poetry at all, let alone complex poetry whose own interior references to other works make it seem as if one is reading several poems simultaneously. What was originally a joy to Eliot's readers has become a chore to many contemporary students, and the instructor who tries to explain the references in class is undertaking an activity not unlike that of explaining a joke. In the process of authoritatively delivering the information, the effect of it is lost. I would like to take a detour here that seems arbitrary at first but is in fact connected in a meaningful way to this narrative of collaborative teaching. In 1996, at about the same time I was considering the pedagogical benefits of the hypertext platform for displaying Pound's and Eliot's poetry, the English Department at the University of Saskatchewan was asking its graduate students to respond to a questionnaire about their experiences in their M.A. and Ph.D. programs here. One of the main themes that emerged from that exercise was that they wished to work together more, and in isolation from each other less. They enjoyed their classes, and various other initiatives that involved working in groups, but they found the experience of writing theses and dissertations lonely, alienating and unrewarding. In a sense this is an accurate assessment of the research experience in the humanities in general, not only for some graduate students but for some professors as well. Papers and books are written in isolation, with collaboration occurring only indirectly through the consultation of other sources related to the project at hand. That usually takes place in the university library, whose physical layout and architectural design are intended to facilitate individual, undisturbed study. While scientific research is frequently undertaken in a laboratory and involves several faculty and graduate students, humanities research is mostly a private affair. As a result, the cover page of a typical single-authored humanities journal article might look something like the example on the left while the cover page of a typical multi-authored scientific paper might look something like the example on the right.
Illustration 2: typical humanities (single-authored) and scientific (co-authored) offprint title pages The funding systems for research in the humanities reinforce the model of solitary scholarship, while those in the sciences reinforce the model of collaborative scholarship. The social and political and institutional assumptions behind those funding systems are beginning to provoke debate in humanities departments in this country, but the default button of individual scholarship producing, as its most desirable product, the monograph, is still there and unlikely to change for some time. The graduate students who responded to the questionnaire were not in a position to see how entrenched these attitudes are across the humanities, but they did have a sense, nevertheless, that the model of solitary work in the area of literary criticism was not necessarily the most productive, or enriching, or meaningful to them. The institutional context for the hypertext work that would follow, therefore, involved the desire to shift humanities research away from the traditional solitary model to a more collaborative one. The disciplinary context involved the need to re-conceive the presentation of central, but complex, modernist literary works so as to increase accessibility by students. The goal of the emerging hypertext projects was to combine those two into a collaborative initiative that simultaneously answered to both needs. At the time the graduate students were responding to the questionnaire in 1996, I was teaching T. S. Eliot's poem "The Love Song of J. Alfred Prufrock" to a first-year class with about the same amount of success as usual. Some students were willing to go to the library and look up the many references to other works of literature quoted in the poem, but most saw the intertextual technique as a make-work project and the poem as something very remote from their experience of reading. I was also, at that time, thinking about the possibilities of hypertext for displaying a complex poem such as this one. Why not, I thought, combine these two opportunities into one and involve graduate students in a collaborative project to make a hypertext edition of Eliot's poem for undergraduate students to use? I had two graduate students at the time, Sherry Van Hesteren and Tim Drake, who were supplied to me by my department to help with marking and other occasional chores. They were being under-employed in that capacity. Too, their own literary interests involved literature similar to Eliot's. So I broached the subject of creating a hypertext edition of "The Love Song of J. Alfred Prufrock" with them and in the fall of 1996 we began designing what our first literary hypertext project might look like. None of us knew anything about programming computers or about any of the available programming languages such as html. We learned them, as others did and still do, by emulating what other programmers had done with the html codes of web pages. A larger and more interesting problem, however, involved the editorial principles we would use. Usually, when someone creates a scholarly edition of a literary text, the physical boundaries of the book-format itself tend to determine and solve many of the editorial questions posed by the project. Only a small amount of information can be included at the bottom of a given page due to the natural space limitations of the standard page; only a certain amount of material in the form of appendices or other references can be included at the end due to the natural length of the bound volume; only a few illustrations and photographs can be included because of inevitable cost impediments; and so on. The hypertext platform, however, completely reorients, or disorients, the would-be digital editor, because the usual limitations of space and money cease to apply. If the potential exists to include almost everything written on a particular poem such as Eliot's, or to include every intertextual reference, or every scholarly explanation of each intertextual reference, on what basis do digital editors choose what becomes part of the hypertext's information and what is excluded? Our attention was mostly paid to these editorial considerations of the new digital environment. We quickly learned that we each brought distinctive skills and knowledge to the weekly editorial sessions held to raise and answer these problems. The project could not have been undertaken by only one person † the possibilities for inclusion of material are too vast, the bodies of knowledge necessary to design a potentially unlimited reference site are too multidisciplinary, the programming learning curve too steep, for a single editor to be able to handle it all. The main challenge of what became known as The Prufrock Papers hypertext project was to link readers to relevant intertextual information. A standard example of how this information handled in a university literature anthology is shown below in Illustration 3. Footnotes contain explanations and translations (the first six lines of the poem are in Italian, for instance, from the Inferno by the 15th century poet Dante Aligierhi). How does an editor of a paper anthology fit a translation and a relevant amount of information about one of the most significant Western writers into a footnote?
How does an anthology editor point out to the reader that the lines "Let us go then, you and I, / When the evening is spread out against the sky" are a parody of Wordsworth's 1818 poem "It is a Beauteous Evening"? Two lines into "The Love Song of J. Alfred Prufrock", that is, the editor is faced with the challenge of representing in the form of one-inch footnotes its indebtedness to two of literature's greatest writers. The inevitable distortion that ensues in the book-format anthology is reason enough for students to distance themselves from the poem. One of us found an interesting solution to the problem in Edward Tufte's wonderful book Envisioning Information, a collection of and commentary on how we are surrounded by simple visual representations of complex information. Tufte takes a work by the contemporary American painter Roy Lichtenstein called "Mural with Brushstroke" and shows how it is entirely composed of visual references to other works of art, identical to the way in which Eliot's poem is intertextual:
The pictures around the periphery of Lichtenstein's painting are the sources he "quotes from," connected to their representation in his painting by dotted lines. We decided to try the same technique with the "Prufrock" poem and produced the visualization in Illustration 5 below. The central text in the white strip is Eliot's poem; the titles arranged around it are of the intertexts with which Eliot saturates his poem. Among other things, this simple picture shows "The Love Song of J. Alfred Prufrock" in its entirety for the first time, instead of scattered across several pages. It also gives a simple indication, at a glance, of just how intertextual the poem is. Clicking on the peripheral titles takes the reader to those original sources, and from there to other relevant material. Eventually, the three of us created a web-based hypertext edition of Eliot's poem complete enough to be used in a first-year course. It contained audio samples of Eliot reading it, many of the intertextual sources, all of the early (and often quite negative) early responses to the poem (to show students how revolutionary artistic concepts usually meet with strong resistance) and other essays by Eliot relevant to the poem's contents.
This project has grown with each subsequent year of its existence. I tell undergraduate students at the first-year level and beyond that if they and I agree, their essays can be put onto the site for others to see. This gives them the sense they are writing for someone other than their single instructor, and gives them an understandable pride in the work they produce. The possibility that their work will appear on the web also encourages them to write as well as they can. Undergraduate and graduate students in subsequent years have added to the site in a number of ways, and have been employed annually to update, manage and at times reconceive it. It is now used by university and high school instructors in many countries and receives upwards of 3,000 hits per month. Inspired by the success of that project, I designed an Honours course on the theory and practice of hypertext (English 485.6 "An Introduction to Hypertext Theory and Practice" 1997-98). The first few months of the course involved studying the growing amount of scholarly material in the field; the last part of the course involved designing, as a class, a hypertext edition of Mary Shelley's novel Frankenstein. At the outset of the course I was unsure what text would be best to work on. However, as we explored the options we recognized that while a hypertext edition could be created of almost any work of literature, only some works truly warrant that kind of presentation. For many literary texts, the traditional book format is entirely appropriate - it is economical, available and understood. The hypertext platform is appropriate only if there is something about the nature of the literary text that can be displayed to greater advantage hypertextually than in book form. In the case of "The Love Song of J. Alfred Prufrock" this characteristic is its intertextuality. In the case of Mary Shelley's Frankenstein two unique characteristics qualify it for the hypertext platform. It has been repeatedly reproduced in film to the point where it is part of our cultural unconscious, enmeshed in notions of horror, science and power; and it has two very distinct versions, written by Shelley in 1818 and 1831, that offer quite different attitudes toward the role of science in society. The hypertext environment, the students concluded, could put the 1818 and 1831 versions side by side in a way that was too cumbersome and unwieldy for a book to do. And the hypertext environment could also have links from the text to cinematic interpretations of various scenes. The novel's fame meant they all knew it, were comfortable with it, and saw it as an opportunity to move between Romantic literature and contemporary culture. By the conclusion of the course in the spring of 1998 the class had designed what the hypertext edition of Frankenstein would contain if it were to be created. The next step - realizing the design - involved hiring undergraduate and graduate students to do the programming. In the summer of 1998 the first phase of this project was completed by Jon Bath and Allison Muri, M.A. and Ph.D. English students respectively, and Corey Owen, a fourth-year undergraduate English student. I suggested to them at the outset, based on my earlier experience with Tim Drake and Sherry Van Hesteren, that they keep a journal of the various editorial decisions they would be faced with when working in the new hypertext environment, and of how they solved them. I anticipated that their entries would be interesting for future scholars working in the same field. The result was a paper we co-wrote, titled "The Ghost in the Machine: Editorial Issues in the Design of a Literary Hypertext Edition," that we place prominently within each of our hypertext projects. It would later prompt invitations to its graduate student authors to speak at conferences about digital editing. The Frankenstein project, like the Prufrock Papers, is comprised primarily of information obtained and formatted by the undergraduate and graduate students associated with the project. Essays that appear on the site about Gothic art and architecture, on Mary Shelley's life and on her working relationship with her famous partner Percy Bysshe Shelley, for example, were written by members of the Honours seminar who designed the site. A convenient system for visually arranging the two editions of 1818 and 1831 and revealing their differences was devised by Jon Bath and Corey Owen over the summer of 1998 and formatted for the site. A variety of cinematic scenes were linked to parts of the novel to show the discrepancies between Shelley's vision and Hollywood's. The manuscripts which show Percy Shelley's editorial involvement in the novel's later stages were researched and linked. A system for navigating all of this information was also designed that summer. The result is a site that, like the Prufrock Papers, attracts thousands of users a month, receives many inquiries from students and faculty world-wide, and is used in the undergraduate classroom at the University of Saskatchewan and elsewhere frequently. Feedback from students who use the site has been extremely positive, as has the response from users in other universities in Canada and beyond. In an English Department graduate course the following year (English 816.6: Introduction to Hypertext Theory and Practice" 1998-99) we followed a version of the curriculum in the Honours seminar the previous year - studying and researching the emerging literature in the field of hypertext theory and practice, and then devoting the better part of the second term to designing a digital literary edition. This time, we decided to work on William Faulkner's 1929 novel The Sound and the Fury. The principle of text selection for digital editing was again crucial here. Faulkner's novel has an extremely complex narrative that involves seemingly random time shifts. The novel is, for these reasons, very difficult to read. Faulkner, recognizing this possibility when approaching publishers for The Sound and the Fury, hoped initially to use different colours of ink to represent the different times (nineteen in all: eighteen in the past and one in the present) in the story. His idea was never accepted, though, for he finished the novel at the beginning of the Great Depression: the additional expenses incurred for ink colours would have been too high to permit publication. As with the Frankenstein project, I hired members of the designing class to work on programming the Faulkner site the following summer. Allison Muri and Jon Bath remained from the Frankenstein programming and design group; M.A. students Joel Deshaye and Maria Truchan-Tataryn, and undergraduate student David Mitchell, joined them. In that summer of 1999 the group visualized certain aspects of the novel's narrative structure. Textual visualization can reduce or falsely seem to dispel the inherent complexity of a text, in the process distorting its true function of multiple interpretations. The group designed this edition with the intention that visualizing some of the narrative aspects of Faulkner's novel would lead not to a reduction of its difficult character but to a recognition of patterns that lay undetected within its apparent complexity. This complexity results from its stream-of-consciousness structure that floats across the eighteen different times in the past. This complexity initially attracted us to the idea of placing The Sound and the Fury within an digital environment, and to using basic html and Javascript codes so as to re-envision the chaos of the novel's first, and chronologically most difficult, section in a manner that is academically sound and editorially informed, and that maintains the novel's textual integrity. One of the more intriguing findings we made was that through a simple process of visualizing the first section -- and eventually the whole novel -- in numerous ways, the apparent complexity was more ordered than previously assumed. The insight is reminiscent of some aspects of chaos theory of the 1980s: within apparent disorder there is replicating and observable order; within apparent randomness there is reiterating pattern. Most scholarly work on the novel explores how difficult its structure is. Our work, to our surprise, focussed eventually on how its seeming complexity actually contains structure and order. Our work on The Sound and the Fury site was completed in 2001 after two more summers of hiring graduate students to work on it. The site was ranked by the official University of Mississippi William Faulkner website (http://www.mcsr.olemiss.edu/~egjbp/faulkner/out.html) as one of four major Faulkner sites on the web. The project also yielded academic articles and talks by the graduate students. Allison Muri's initial digital design work on The Sound and the Fury project was so compelling that Professor Lisa Vargo in the English Department worked with her on a hypertext edition of the poetry and prose of Anna Laetitia Barbauld, an 18th century Romantic British poet. The purpose of the project is to take a small number of Barbauld's poems and to investigate how the medium of hypertext might be used to place a work within its literary, historical, cultural, and political contexts. As with the previous hypertext projects, the Barbauld project is intended to explore how the limitations of the printed page can be transcended in order to develop a different sort of editing. While Allison Muri and Lisa Vargo intended the site to be of interest to those who want to know more about Anna Barbauld, they also designed the project to address some more general issues, including how the limits of what is possible to achieve in a printed edition might be extended and to raise questions about how works produced by one age are received by subsequent eras. During the design of the project Muri and Vargo began to recognize how hypertext can alter the study of Romantic literature by permitting the publication of lesser-known writers whose works might not receive the more expensive, book-length publication of more established poets such as Wordsworth or Coleridge. Muri and Vargo's collaborative work is useful in the classroom because it provides a record of the poetry by a superb but generally unrecognized Romantic poet whose work is otherwise difficult to find. The scholarly and pedagogical value of the project was validated by its inclusion in the Romantic Circles Electronic Editions website (http://www.rc.umd.edu/): a site that is devoted to academic digital projects involving Romantic literature and that has been selected by the NEH, the MCI Foundation, and the Council for Great City Schools as one of the 21 best sites on the Internet for education in the humanities in the United States. While working on the Faulkner project we realized that a literary text could be visualized on the computer in ways not possible with the book. Essentially, this principle had motivated our work from the first project on Eliotęs poetry. However, as we explored the possibilities of displaying texts as complex as The Sound and the Fury we began to see that our work involved removing information (the literary work) from its boundaries within the two-dimensional page and placing it in an environment (the computer screen) that is n-dimensional (or infinitely dimensional). This insight started us thinking about the page itself: when was it designed?; why does it have the shape it has?; why does it have the actual dimensions it has?; etc. These questions stimulated the next stage of collaborative work among faculty and graduate students in the English Department. The graduate students Allison Muri and Jon Bath, along with Professor Andrew Taylor and I, researched and designed a talk given at a 1999 conference at the University of Saskatchewan on these questions, and eventually produced a website that explores and answers them: "The Architectures, Ideologies and Materials of the Page." That work seemed so new and far-reaching that Professor Taylor and I decided to organize a conference called "The Future of the Page" that looked at not only the page's history but also its future: how the digital environment is altering, and still might continue to alter, our concept of information display and retrieval. That conference, funded in part by a SSHRC Occasional Conferences Grant and by other administrative sectors of the university, was extremely successful: it received national media coverage, involved scholars from around the world, included graduate students in its organizing, and attracted a large public audience. The Ph.D. student Allison Muri gave one of the ten keynote talks, and Joel Deshaye created a conference website that remains of scholarly value today. University of Toronto Press is reviewing a manuscript of the conference talks for publication; if accepted it will contain Allison Muri's talk - a nice potential feather in her cap. The work over the last five years on literary hypertext projects has permitted and encouraged collaborative work among graduate students and faculty in a discipline that is traditionally solitary. It has also involved graduate and undergraduate students in the creation of sites that have pedagogical and scholarly value. The combination of research, writing, programming and design skills necessary for such work has joined in a genuine way the unique skills of undergraduate and graduate students and faculty. This collaborative work has been felt in the university classroom at all undergraduate levels; the design has involved two Honours courses and one graduate seminar, and the completed projects have been used in first- and second-year courses in place of book-format texts, greatly increasing student access to complex literary works of great significance. This kind of collaborative work in such a new field has provided a way for students and faculty to present research results at conferences together and to co-author papers. I would like to discuss the last two points more fully. The early stages of the Prufrock Papers and the Frankenstein site resulted in a paper delivered by M.A. students Jon Bath and Corey Owen at the 1998 graduate "Changing the Climate" conference at the University of Saskatchewan. They also presented their work to the faculty of the English Department in that year. In the spring of 1999 Jon Bath and Andrew Taylor co-presented a paper on their hypertext work at the Assocation for Canadian University Teachers of English conference in Ottawa (part of the annual Learned Societies conferences). Three Humanities Research Unit conferences at the University of Saskatchewan invited Corey Owen, Jon Bath, Allison Muri, Andrew Taylor and me to give talks on the work we had done as a group. Each of the graduate students spoke to English Department graduate and undergraduate classes about their involvement in the projects. Inspired by the collaborative hypertext work he had participated in, Corey Owen went on to complete an M.A. thesis on the Old English poem "The Seafarer" in hypertext format (http://is2.dal.ca/~caowen/TOC.htm) - the first digital thesis completed at the University of Saskatchewan in any discipline and one of the first in the country. It won the prestigious award for best thesis in the Humanities in 1999 at the University of Saskatchewan. Similarly inspired, Jon Bath completed an M.A. thesis on hypertext fiction ("The Well-Coded Urn: Authorial Design in the Hypertext Fiction of Stuart Malthrop and Michael Joyce," 2000). Based on research work she did for the Sound and the Fury site, Maria Truchan-Tataryn wrote an M.A. thesis on the first section of the novel ("Benjy Resurrected: The Deconstruction of the Idiot in The Sound and the Fury") and has just had one of its chapters accepted for publication in a special issue of The Journal of Medical Humanities on the representation of human disability in Faulkner's novel. In 2001 Allison Muri successfully defended her Ph.D. dissertation, influenced by her hypertext work, on "The Enlightenment Cyborg: Aspects and Origins of the Post-Modern Man-Machine Metaphor." The work was so strong she received a SSHRC Post-Doctoral Fellowship to continue her research in that area. Joel Deshaye and I were invited to give talks at the University of Regina and at New York University on the Sound and the Fury site. We co-presented the paper at the Association of Computing in the Humanities Conference in New York in June of 2001 ("The Visual Display of Literary Complexity in a Hypertext Critical Edition of William Faulkner's The Sound and the Fury"); it is currently slated for publication in the Journal of Computing in the Humanities. Each of these accomplishments in its own way breaks the mould of humanities scholarly relationships between graduate students and faculty. Papers co-written by graduate students and faculty are not the norm in the humanities; neither are invited submissions to and co-presentations at large conferences such as the ones at N.Y.U. in 2001 and Ottawa in 1999. Collaborative work that results in graduate student theses and dissertations and authored, published papers is not the norm either: usually a graduate student's work is in the same general area as his or her supervisor's, but seldom directly related to any work (and there seldom is any) they have engaged in and published together. As those of us in the English Department have worked in this swiftly evolving area we have become convinced of its broad implications not only for research and teaching in the humanities and social sciences, but for the university's commitment to linking with the broader public as well. We have therefore begun a number of initiatives aimed at creating a Humanities and Social Sciences Media Lab at the University of Saskatchewan. The Media Lab is intended to gather faculty and students from a variety of departments who are interested in creating hypertext projects for pedagogical and scholarly use. One theme of the work that would occur there is to continue with the principle behind the hypertext work already done - to explore how the digital screen can visually display complex literary structures in ways not possible on the traditional page and in ways not yet explored on the computer. The other, more fundamental theme, is to facilitate the creation of interdisciplinary courses for which there are currently no available texts. One of the main impediments to the design and delivery of interdisciplinary courses is that texts tend to be discipline-specific. The idea of the Media Lab is to create an environment in which interdisciplinary, team-taught courses can be conceived and designed, and in which digital texts can be created that will serve as the texts for these courses. The projects created in the Media Lab would also be available on-line to other universities, university scholars, university teachers, university students, and to the public. As Susan Sherwin notes in Judith Herz's Fields and Boundaries, "the more urgent problems are those that can only be resolved by shifting the boundaries that isolate our institutions from the wider community." With this mandate in mind, the intention is to hold public workshops, for people of all ages and professions, focussing on issues surrounding the transition in our culture from a paper-based medium of written communication to the digital platform.
Bibliography The amount of material currently available that deals with the issues of hypertext and hypertext theory, teaching, collaborative computer design work, and related fields, is vast. I have included below a representative list of particularly significant texts for those who have collaborated at various stages on the literary hypertexts produced by faculty and students in the University of Saskatchewan English Department. Some deal with pedagogical issues; others with the relationship between the scholarly and the digital. I have also included the URLs for the hypertext projects discussed above.
(a) Pedagogical Studies: Bass, Randall. "The Syllabus Builder: A Hypertext Resource for Teachers of Literature." Journal of Computing in Higher Education 4 (1993): 3-26. Beeman, William O. et al. Intermedia: A Case Study of Innovation in Higher Education. Providence, Rhode Island: Office of Program Analysis. 1988. Bradley, John and Geoffrey Rockwell, "What Scientific Visualization Teaches us about Text Analysis." Presented at the ALLC/ACH conference in Paris, 1994. http://www.humanities.mcmaster.ca/~grockwel/ictpaper/paris.htm DeRose, Steven et al. "What is Text, Really?" Journal of Computing in Higher Education 1 (1990). 249-57. Fraistadt, Neil, Steven Jones and Carl Stahmer, eds. Romantic Circles Electronic Editions. (http://www.rc.umd.edu/) Galegher, Jolene, et al, eds. Intellectual Teamwork. Hillsdale, New Jersey: Lawrence Erlbaum and Associates. 1990. Haefner, Joel. "'In Tangled Mazes Wrought': Hypertext and Teaching Romantic Women Poets," Approaches to Teaching British Women Poets of the Romantic Period. Ed. Stephen C. Behrendt and Harriet Kramer Linkin. (New York: Modern Language Association of America, 1997), 45-50. Herz, Judith, ed. Fields and Boundaries: The Shifting Space of Interdisciplinarity. Ottawa: Canadian Federation for the Humanities. 1993. Jonassen, David H. and Heinz Mandl, eds. Designing Hypertext/Hypermedia for Learning. Heidelberg: Springer-Verlag. 1990. Joyce, Michael. Of Two Minds: Hypertext Pedagogy and Poetics. Ann Arbor: University of Michigan Press. 1995. Kerr, Stephen T. "Instructional Text: The Transition from Page to Screen." Visible Language 20 (1986): 18-21. Katz, W., et al. "Current Uses of Hypertext in Teaching Literature." Computers and the Humanities. 30, 1996. 139-48. Landow, George P. Hypertext: The Convergence of Contemporary Critical Theory and Technology. Baltimore: Johns Hopkins Press. 1997. McQuillan, Patrick. "Computers and Pedagogy: The Invisible Presence." Journal of Curriculum Studies 26 (1994): 631-53. Nunberg, Geoffrey, ed. The Future of the Book. Berkeley: University of California Press.1996. Ross, Charles. "The Electronic Text and the Death of the Critical Edition." The Literary Text in the Digital Age. Ed. Richard J. Finneran. Ann Arbor: University of Michigan Press., 1996. 225-31. Strang, W. et al, eds. Hypermedia at Work: Practice and Theory in Higher Education. Canterbury: University of Kent. 1995. Tufte, Edward. Envisioning Information. Connecticut: Graphics Press. 1990.
(b) Hypertext Projects Produced in the University of Saskatchewan English Department: Owen, Corey. The Seafarer: A Hypertext Edition. An M.A. Thesis for the University of Saskatchewan. 1999. (http://is2.dal.ca/~caowen/TOC.htm) Stoicheff, Peter, Andrew Taylor, Jon Bath and Allison Muri, "The Architectures, Ideologies and Materials of the Page." June 1999.(http://www.lights.com/~muri/pages/intro.html) Stoicheff, Peter, Andrew Taylor and Joel Deshaye. The Future of the Page. 2000. (http://www.usask.ca/english/page) Stoicheff, Peter, Joel Deshaye, Allison Muri and members of English 816.6 (1998-99) A Hypertext Edition of William Faulkner's The Sound and the Fury." August 2001. (http://www.usask.ca/english/faulkner/) Stoicheff, Peter, Corey Owen, Jon Bath, Allison Muri and members of English 485.6 (1997-98). A Hypertext Edition of Mary Shelley's Frankenstein." August, 2000. (http://www.usask.ca/english/frank/) Stoicheff, Peter, Tim Drake, Sherry Van Hesteren, Joel Deshaye, David Mitchell and members of English 110.6 classes (1997-2001), The Prufrock Papers. August, 2001. (http://www.usask.ca/english/prufrock/) Vargo, Lisa and Allison Muri, The Anna Laeitita Barbauld Website. 2000. (http://duke.usask.ca/~vargo/barbauld/) |
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