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Canadian Writing Research Collaboratory

Canadian Writing Research Collaboratory or CWRC has become home for digitalization of literary heritage in the English and French speaking world. The project differs from the other literary initiatives by its ability to look at the culture, literature and art in the light of XXI century, the age of ubiquitous Information and Technology. Due to its infrastructure nature CWRC may be portrayed as a family of interdisciplinary projects and ideas gathered in one electronic pool. Principal funding sources of the Project are the Canada Foundation for Innovation and Social Sciences and Humanities Research Council of Canada.

Siblings of CWRC

Technology oriented projects enable researchers to get more ideas and skills in the XML, image markup, text analysis and many other spheres of online content management.

Contributing projects also include Orlando, The Canadian Women’s Writing Project, Editing Modernism in Canada. Diversity and richness of content make CWRC stand out among a number of other digital literary databases. Its scope encompasses

- City and Urban culture,

- Canadian women’s nonfiction writing in the all aspects of our life,

- Australian, New Zealand and Canadian print evolution for the period of 1840 – 1940,

- Modern Atlantic Canadian literature,

- Japanese Canadian history,

- Digital Scholarship,

- Development of Digital Humanists

- Creation of interactive timelines for humanities researchers

- Text Mining and Visualization for Digital Literary History

- Knowledge Synthesis project

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New Horizons of Digital Humanities Methodologies

The most intriguing about CWRC is its interactive online system that gives unprecedented avenues for studying Canada’s literary heritage. CWRC will advance digital humanities methodologies in a number of ways:

1) through the development in close consultation with a community of literary scholars of a platform for the collaborative production and maintenance of an extensive body of born digital scholarly materials as well as bibliographical materials, biocritical reference matter, and digital archives of existing texts;

2) through the production in consultation with this community of literary scholars and the digital humanities community of a suite of tools designed to allow researchers to interrogate digital materials in new ways;

3) through its experiments in social networking and attempting to crowdsource (cf. ReCAPTCHA) the immense labour of creating high-quality digital content;

4) through the provision of a testbed within which scholars can deploy experimental tools and interfaces. The development of these tools in partnership with this community will assist digital humanists in producing tools and interfaces that are well suited to scholarly usem. Source.

Tag matters

The tag system is based on the one invented by Orlando team. Main document type definitions (DTDs) or tagsets: Life DTD, Writing DTD, Production, Textual Features and Reception DTD. All these tags help researchers clarify a lot of facts in the life and art of British, Canadian and French women writers. Here is the illustration of Intertextuality tag:

The intertextuality tag is used to encode discussions of gestures in a text towards other texts. It has two optional attributes: Intertext Type and Gender of Author.

<TINTERTEXTUALITY INTERTEXTTYPE = “ALLUSIONUNACKNOWLEDGED” GENDEROFAUTHOR = “FEMALE”>Critics have not infrequently likened Margaret Oliphant’s Phoebe Junior to Jane Austen’s Emma.</TINTERTEXTUALITY>

<TINTERTEXTUALITY INTERTEXTTYPE = “ADAPTATION-UPDATE” GENDEROFAUTHOR = “MALE”>The title poem imitates the underworld journey of Virgil’s epic hero, but in a female version. Sappho is [Eavan] Boland’s guide on this journey, as Virgil was Dante’s.</TINTERTEXTUALITY>

<TINTERTEXTUALITY INTERTEXTTYPE = “QUOTATION” GENDEROFAUTHOR = “FEMALE”>Critic Rees-Jones sees in the title of Carol Ann Duffy’s Fifth Last Song: twenty-one love poems a reference to Adrienne Rich’s “Twenty-One Love Poems” in A Dream of a Common Language, 1978.</TINTERTEXTUALITY>

<TINTERTEXTUALITY INTERTEXTTYPE = “ANSWER” GENDEROFAUTHOR = “MALE”>She was replying to a number of authoritative male texts about the nature of women: by Burke, Rousseau, and behind them Milton.</TINTERTEXTUALITY>

<TINTERTEXTUALITY INTERTEXTTYPE = “ANSWER”>Henrietta Battier directed her work against the author of a recent publication entitled The Orange, whom she calls Dr Bobadil.</TINTERTEXTUALITY>

<TINTERTEXTUALITY INTERTEXTTYPE = “ALLUSIONACKNOWLEDGED”>Dorothea Primrose Campbell was one of those claiming serious status for the novel by literary allusion.</TINTERTEXTUALITY>

<TINTERTEXTUALITY INTERTEXTTYPE = “PARODY” GENDEROFAUTHOR = “MALE”>Eliza Fenwick’s character Lord Filmar, a rake who models himself on Richardson’s Lovelace, is too frivolous to pose any real threat.</TINTERTEXTUALITY>

<TINTERTEXTUALITY INTERTEXTTYPE = “IMITATION” GENDEROFAUTHOR = “FEMALE”>Lady Mary Wortley Montagu’s romance is modelled on Aphra Behn’s Voyage to the Isle of Love, whose emblematic geography comes in turn from Scudéry.</TINTERTEXTUALITY>


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