The Anne Finch Digital Archive complements the print edition of Anne Finch’s works, forthcoming from Cambridge University Press. Materials on the open-access Anne Finch Digital Archive enable users to explore the archival elements of Finch’s texts. The featured poems on this site have been selected from a great number in Finch’s œuvre to illustrate her work in different poetic kinds, including song, fable, biblical paraphrase, translation, verse epistle, and devotional poetry. For every featured poem, the site includes commentary with embedded links to illustrations, information about composition and printing dates and sources, audio files of the poem read aloud, and source copies showing authorized manuscript and print texts with transcriptions. We will continue to add resources to the site, including recordings of musical performances of the songs featured. The multimedia elements of this site reflect the various ways that Finch’s work engaged her contemporary readers and listeners, who knew her work in manuscript, print, or performance, or in all of these forms.
As any reader of The 18th-Century Common knows, the last quarter century has witnessed the astonishing digitization of thousands of texts from the past: novels, poems, essays, histories, plays, many of them available for free. For scholars, the creation of this Digital Republic of Learning has (on the whole) been a boon, enabling new modes of inquiry that could barely have been imagined a generation ago. For students, however, the digitization of the archive has been a more mixed blessing. As newcomers to the field, students can very easily find themselves overwhelmed by the sheer abundance of material that shows up in the simple Google search that is likely to be their first means of access. Students are unlikely to know how to judge of the quality or authenticity of what they find, or to be able to recognize the difference between a well-edited text and something with virtually no authority whatsoever. Our projects intend to improve the quality of eighteenth-century texts available for students, general readers, and scholars, and to enlist students in the project of producing them.
The Letters of Hannah More: A Digital Edition brings together for the first time the fascinating letters written by the celebrated playwright, poet, philanthropist, moralist and educationalist Hannah More (1745-1833).
More was one of the most important voices of the late eighteenth and early nineteenth centuries. At the heart of a complex and extensive network of politicians, bishops, writers, and evangelical Christians which included figures such as William Wilberforce, Samuel Johnson and Elizabeth Montagu, More sought to redefine and reshape the social and moral values of the age.
‘The Lady’s Magazine (1770-1818): Understanding the Emergence of a Genre’ is a two-year project funded by the Leverhulme Trust Research Project Grant scheme. The team of academics behind it is based at the University of Kent and is led by Jennie Batchelor, who works closely with the project’s two full-time Postdoctoral Researchers: Koenraad Claes and Jenny DiPlacidi. Our aim is to shed new light on one of the first and longest running women’s magazines of all time.
he Eighteenth-Century Poetry Archive (ECPA) is a digital project in support of the teaching, study, and research of the poetry of the long eighteenth century. It comprises a full-text collection of richly-encoded digital texts and a research project that aims to integrate texts and (digital) scholarship into a curated research collection. ECPA is based on the principle of user participation, the corpus is edited and annotated collaboratively, and will grow and evolve with the requirements and interests of its users.
The Novels Reviewed Database, 1790-1820 (NRD) is the first and only database to focus on one genre’s historical reception. Cataloging reviews of novels from the period’s two foremost review periodicals, the Monthly Review and the Critical Review, the NRD brings together book reviews and book market data, providing a repository of criticism reacting in print to this period in the novel’s, and women’s, literary history.
The Mind Is a Collection is a born-digital museum of early modern cognitive models. For the last decade or so, I have been studying the spaces in which the philosophies of the British Enlightenment were thought, penned, or put into practice. One outcome of this research is a book, The Mind Is a Collection: Case Studies in Eighteenth Century Thought (Penn, 2015). But this book was all along imagined as the catalogue of a museum, a collection of the things that people used to make sense of mental processes. The Mind Is a Collection is that museum, gathering in one place roughly a hundred objects used to model the mind. Some of these objects can be found in private collections or museums around the world, but others have vanished, are fixed in place, or never existed in the first place.
Every reader of eighteenth-century literature is familiar with the paradox of the Google Books era: while the archive of digital texts has expanded exponentially in recent years, our ability to locate them has diminished. Even basic bibliographic details such as complete titles, prefatory materials, narrative forms, and tables of contents are often missing from digital facsimiles. The Early Novels Database (END) project reunites missing metadata with digital facsimiles of early fiction to make them easier to find and categorize. Uniting twenty-first-century data structures with the sensibility of eighteenth-century indexing practices, the project creates detailed metadata about novels published between 1660 and 1850.