Tag Archives: digital humanities

Open-Access Anne Finch Digital Archive

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Readers of early British poetry and early women writers will soon be able to discover all of Anne Finch’s poems and plays in the first scholarly edition of her work:  The Cambridge Edition of the Works of Anne Finch, Countess of Winchilsea, general editor, Jennifer Keith:  Volume 1:  Early Manuscript Books, edited by Jennifer Keith and Claudia Thomas Kairoff, associate editor Jean I. Marsden; and Volume 2:  Later Collections, Print and Manuscript, edited by Jennifer Keith and Claudia Thomas Kairoff. The print edition establishes for the first time an accurate record of all known work by Finch that has survived:  more than 230 poems (the number varies depending on how one enumerates different versions of some poems), two plays, and letters.

Already available is the open-access Anne Finch Digital Archive, which complements the print edition.  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.

Writing in an era known for the overtly public and political poetry of John Dryden, Jonathan Swift, and Alexander Pope, Anne Finch, Countess of Winchilsea (1661-1720), articulated a different literary and political authority.  From her position as a female aristocrat, once at the center of the court and then for many years a political internal exile, Finch explored the individual’s spiritual condition as inextricable from social and political phenomena.  Her interest in affairs of state frequently informed her exposure of patriarchy’s constraints on women and men.  Finch’s work participates in the strategies of her contemporaries such as Dryden and Pope—the public speaker who sought to influence state politics, the renovator of classical mythology and pastoral who exposed contemporary mores, the fabulist who satirized state and society, the friend who used the couplet for conversation and exchange, and the wit who made discernment a moral good.  But Finch both furthers and deviates from these practices.  Readers will discover her innovative use of form and genre to explore a wide range of themes and her complex use of tone to enlist the reader’s discernment and develop a poetics of intimacy.

The edition has received generous support from the National Endowment for the Humanities, the Folger Shakespeare Library, the Women’s Caucus of the American Society for Eighteenth-Century Studies, the William Andrews Clark Memorial Library, the University of North Carolina at Greensboro, and Wake Forest University.

Open Anthologies and the 18th-Century Reader
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openanthologycollageAs 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.  Texts are haphazardly distributed, some behind commercial paywalls such as Gale’s ECCO collection, while others are in reasonably well-curated but still imperfect archives like Project Gutenberg. Still others seem to have been put together with no thought whatsoever.  In keeping with the tendency of the Internet to level the field of information, all such texts come decontextualized in several senses.  Rarely are the texts that students or general readers are likely to find annotated to provide the kind of historical contextualization that most readers need to make sense of works from this period.  And, too, the fact of digitization decontextualizes all works from the past from the conditions of their production and dissemination; everything looks the same on the screen.

openanthologyOur 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 Open Anthology of Literature in English aims to build a digital anthology from the ground up, offering digitized texts that have been edited for accuracy and annotated for modern readers.  Students are crucial collaborators and makers in this project.  Using the TypeWright tool at the 18th Connect project, they can correct the OCR of original texts, and in the process get to see what eighteenth-century print looked like.  And they can identify what should be annotated (who knows better than they do what they need in order to make sense of a work from the past?), and then research what they and readers like them need to know.  They get to work with TEI/XML, which means that they get to see the digital tools of the twenty-first century print shop.  As students complete texts, they become part of a permanent, open-access archive of reliable works, encoded in TEI/XML that is available for the use of teachers who want a place to which they can send their students.  Students thus create something that lives on past the term in which they are enrolled in the class, and the community of students and readers get an archive of free and reliable texts that take full advantage of the resources offered by digitization.

novelsincontextNovels in Context is a web-accessible TEI/XML database application focused on a particular moment in literary history.  Drawing on the practice of public scholarship, the free code ethos, scholarship around the digital archive and digital edition, and the Open Educational Resources movement, Novels in Context seeks to provide a curated, extensible, searchable, and reusable collection of primary source materials focused on the eighteenth-century English novel.  This project is unique not only in its use of database technology and the standardized TEI Simple markup but also in its commitment to the material page–each item is accompanied by quality page images sourced by hand from libraries and special collections.  If everything looks the same on the screen, so too in print anthologies, which deracinate the text from its reality in time and space.  Without understanding something about how a text or an utterance or a performance comes to be in our purview, agile, contextualized engagement with literature—much less the world at large—is impossible.  By involving students in its creation, Novels in Context works to fulfill the promise of feminist pedagogical theory that  urges both collaboration and connection, seeing students as critical makers—full, capable partners in the scholarly work of keeping our cultural heritage alive.

While these projects work to improve the quality of digital texts in an open, collaborative, and scalable way, they also speak to another concern with the market-driven tendencies of academic publishing.  The construction of a Digital Republic of Learning is and has been underway in myriad forms on the Internet since the 1990s, to be sure, but the past decade has seen a noted rise in the number of corporate fingers in the pot.  To be committed to the public goods of education, we need texts and pedagogies that are public and open, but they also need to be critical, rather than affirmative.  A user-generated open anthology of the kind we are imagining is a step in this direction.  As the eighteenth century teaches us, power in the public sphere is in large part a product of one’s ability to negotiate its social and technical components.  Looking toward the eighteenth century, which witnessed its own technological and social revolutions in the dissemination of knowledge, can also be of real use in our current educational context.  Knowledge and power, knowledge-power:  one of our most salient charges as teachers and scholars today must be to enable the fullest possible participation in public conversation.  And when we say “fullest,” we mean it in the broadest sense—rich, responsible, free, purposeful, ethical, capable of enabling new relations of power, new relationships between our present and our past, newly connected selves.

To that end, we seek collaborators on both projects, teachers and students who want to make creating digital editions eighteenth-century texts.  We will provide TEI/XML templates and lessons to enable students to become active, critical contributors to the textual commons.  Please contact [email protected] or [email protected] to find out how you and your students can join in the task of creating open, curated digital editions of texts from our collective past.

The Lady’s Magazine (1770-1818): Understanding the Emergence of a Genre

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LadysMagazine‘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.

In an 1840 letter to Hartley Coleridge, Charlotte Brontë wrote that she wished “with all [her] heart” that she “had been born in time to contribute to the Lady’s magazine,” a periodical that ran for 13 issues per annum from more than six decades and had an estimated circulation of 10,000 monthly copies at the height of its popularity.  170 years later the history and cultural and literary importance of a publication, the vast majority of the original content of which was produced by unknown and unpaid reader-contributors, remains undocumented.

Our project fills this significant gap through a detailed bibliographical, statistical and literary-critical analysis of one of the first recognizably modern magazines for women from its inception in 1770 until the launch of its new series in 1818.  In its two-pronged book history/literary critical approach, this project sets out to answer three key research questions:

  • What made the Lady’s Magazine one of the most popular and enduring titles of its day?
  • What effects might an understanding of the magazine’s content, production, and circulation have upon our conceptions of Romantic-era print culture?
  • What role did the Lady’s Magazine play in the long-term development of the women’s magazine and the history of women’s writing?

In response to these questions, we are producing an open-access fully annotated, downloadable index of the magazine’s content for its first 50 years, which will launch in September 2016.  Titles of articles are accompanied by the names or pseudonyms of their contributors, and their contributors’ status (author, translator, extracter, or pilferer) is given wherever it can be clearly ascertained.  Attributions are made where possible.  In fact, we are amassing a small but growing body of evidence about a number of regular and mostly unknown contributors to the magazine and their lives or careers beyond its pages.  We regularly publish about these discoveries, and many other topics besides, on our project blog.

In addition to illuminating the production and composition of the magazine, we also pay detailed attention to its diverse, text-based contents.  Since the titles of articles in the Lady’s Magazine are often misleading (an article purporting to be about women’s dress might make an impassioned plea for reforms in female education, for instance), our index tags content by genre, key stylistic features and prominent keywords (marriage, education, politics, for example) making it easy for readers to find items of particular interest.

We are mining the data we are collating and will be presenting our findings in the form of web, book, and journal articles on attributions, the career profiles of magazine contributors, and statistical and interpretive analyses of the shifting content of the magazine over the course of its long history.  Jennie is also in the process of writing a book about the magazine’s place in the Romantic literary marketplace.  By making the annotated index of contributor signatures and content analysis freely available online, we also hope to promote further research by scholars and other interested parties on the Lady’s Magazine, late-eighteenth-century periodicals, and authorship and print culture in the period more generally.

One of the greatest joys of the project has been disseminating and talking about our research in progress via our Twitter feed, Facebook page, and blog, all of which are regularly updated. Through social media, we have entered into conversations about the magazine, its diverse content, and the issues it debates and generates with modern-day readers all over the world.  Establishing a community of interested parties who felt they had a stake in the publication was vital to the success of the Lady’s Magazine, whose readers and subscribers were also its authors.  We like to think that, in a small way, the online community that has grown around the project captures and perpetuates something of the spirit of the magazine itself.

It has certainly been a genuine and generative collaboration that has advanced the project in ways that we could not have anticipated when we began.  For instance, Jennie’s happy acquisition of a copy of the periodical from one of our blog’s readers, which contained a number of rare surviving embroidery patterns, led to a flutter of Twitter excitement that snowballed into ‘The Great Lady’s Magazine Stitch Off,’ a non-competitive sewing bee in which dozens of people all over the world have recreated 10 Lady’s Magazine patterns for display at an exhibition at Chawton House Library to commemorate the 200th anniversary of the publication of Jane Austen’s Emma (1816), a novel whose hero and a major plotline are taken from a short story in the Lady’s Magazine.

To find out more, do visit the project website and blog, or contact Jennie ([email protected])

The Eighteenth-Century Poetry Archive

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Eighteenth-Century Poetry Archive

The 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.

ECPA was originally intended as a way of providing literary and historical context for its sister project, the Thomas Gray Archive, covering the lives and works of contemporaries of Gray’s such as William Collins, Mark Akenside, Joseph and Thomas Warton, Christopher Smart, and James Thomson.  As the project evolved and widened in scope, its initial contextual focus shifted to an analytical one.

ECPA builds on the texts created by the Text Creation Partnership (TCP) from Eighteenth Century Collections Online (ECCO).  The transcription and encoding has been enriched with additional descriptive (e.g., author attributions on poem level) and analytical markup (e.g., recording verse, stanza, and poem form, assigning of themes and genres, assigning rhyme scheme, assigning metrical pattern, recording of syllable pattern, addition of explanatory/editorial annotations) in support of a computationally assisted close reading process.

As readers engage with texts in different ways and with different objectives, we have modeled these different types of user engagement into distinctive “views” of the text.  So far, we have focused on views that support a first reading of a text (“reading” view) and the initial analysis of a text (“analysis” view) in the form of a close reading.  Over time, the ECPA research project will enable new modes of engagement and allow for increasingly sophisticated ways of interacting with the texts.

ECPA is currently available in public beta and is in active development.  Current developments are concerned with increasing the number of poets and poems represented, and exploring the possibility of including other European languages.  We welcome any feedback about issues, feature requests, or general feedback about the content, functionalities, or design of the Website.  Please e-mail <[email protected]>.

The Novels Reviewed Database, 1790-1820 (NRD)

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Novels Reviewed Database, 1790-1820 (NRD)

The period from 1790 to 1820 was a significant moment in British women’s literary history.  During this period more women published novels than men, even as the novel was solidifying as a respected literary genre.  By the end of this period the novel was reputable enough a medium for Sir Walter Scott, celebrated poet, to pen the wildly successful Waverly series (1814).  His success, however, came on the backs of the many women novelists who paved the way before him in the previous thirty years.

But what was the contemporary critical response to such a momentous period in the history of the British novel?  The Novels Reviewed Database, 1790-1820 (NRD) seeks to uncover just that.

The 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 NRD includes 1,836 book reviews, representing 1,215 novels and 445 identified authors.  It features transcriptions of review criticism as well as data on women writers, novels, and review periodical makeup.  The NRD contains a unique combination of contemporary primary sources that speak to the novel’s solidification as a literary genre during this period, including review articles, advertisements, and novel prefaces, many from archival sources not available digitally.

The NRD also offers a data-set by which distant reading of this period in literary history can be explored, uncovering for the first time the Reviews’ role in shaping our modern novel canon.  Distant reading studies of the novel, such as this study from the NRD of publisher William Lane, offer a new means of asking questions about the history of the novel and how contemporaries experienced its evolution.  Its scope enables the NRD to encourage a broad survey of the literary marketplace in which the novel grew in the late eighteenth century, one that brings forward the many anonymously published and still obscure women novelists from this period that are often neglected in our study of the novel.  The NRD presents opportunities for text mining review criticism, tracing economic market changes in novel production and sales, or publishers’ trends, tracking the novel’s evolving gendered authorship, understanding how reviewers discussed and understood a novel’s authorial gender, and excavating growing genre parameters by which the novel was evaluated and effectively produced.

The NRD is currently in Phase I of three phases of development.  Phase I features transcriptions of review criticism—criticism that due to poor OCR in digital archives and scattered periodicals collections, are currently unavailable to most scholars.  The NRD seeks to make this text corpus available to scholars in an open-access relational database platform.  This platform, Phase II, which introduces a review bibliography, novel publication data, and authorial gender demographics, is under construction with hopes of a 2017 release.  Phase III will provide users with review page images and the ability to read issues of the Reviews in their entirety, tagged review subjects and the power to create their own tagging profile, and a formula builder to manipulate NRD data for their own research.

Curating The Mind Is a Collection

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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.  In other words, such a virtual space navigates the world in much the same way as an ideal one.  It seeks thereby to capture the essential ideality of mind as an emergent property of imaginary objects.

We generally think of the mind as something absolutely different from the rest of the world.  There is, on the one side of a bright divide, the world of stuff: intelligible and unintelligible objects, things-in-themselves, perhaps other people, maybe our own bodies.  There is, on the other side, the world of the intellect: rational and irrational objects, things as we know them, our sense of others, and some sense of ourselves.  This is the bright line of the mind/body divide: there is mind-stuff and matter, consciousness and brute creation.  This is what is meant by the catch-all term “dualism.”

The philosophers tell us again and again that dualisms are nonsense–and I’m inclined to agree.  There is (they say) no final line in the mind, no screen where ideas pop up or frontier that separates there from here.  We are embedded in the world in which we move; “mind” is a category mistake.  Yet, there is a catch.  Despite the fact that philosophical dualisms have been overwhelmingly, repeatedly, and even routinely discredited, the figures of thought cling on, turning up in philosophy and folk psychology alike.  Some of the most powerful voices speaking against these sorts of dualisms have themselves noticed the difficulty of speaking beyond them (see for instance Daniel Dennett, in Consciousness Explained); even if we accept that we are speaking nonsense, it is hard to know how to talk about mental activity without falling back on vocabularies hinging on difference.

The Mind Is a Collection focuses on one dominant instance of this habit, a mainstream cognitive model for the British Enlightenment; it is organized around a related batch of metaphors for mentation, bubbling up repeatedly at the time and place commonly named as the source of modern dualisms.  Its crucial intervention is to argue that dualisms name the state of certain forms of networks; it argues that the mind/body distinction, decried as a philosophical fallacy, arises as the proof and function of embedded cognitive systems.  Put differently, philosophical dualisms are constructed in working spaces of thought.  John Locke calls the mind a cabinet; he was a collector of books.  Joseph Addison compares thinking to a walk in a garden; Addison was a planter and an important figure in the development of English gardening.  These are metaphors foisted on working spaces of thought.

The usual way to explore this phenomenon would be to write a book about it, posing the argument that “mind” is a name for certain kinds of emplaced relationships.  But it seemed just as natural to me to pose this argument through a museum, since collections like museums were the smithies of modern mentation.  This, then, is that museum, which contains some of the critical objects of eighteenth-century philosophy.  John Locke says that the mind is a cabinet?  Well, some of the critical artifacts from his cabinet can be found in the first space of this museum, called “Metaphor.”  (The rest can be found in Oxford, at the Bodleian Library.)  Joseph Addison compares thinking to walking?  The back door of The Mind Is a Collection, located in “Digression,” lets out onto Addison’s favorite walk, the water-walks of Magdalen College.  And so on.

Taking these metaphors seriously involves recognizing a reverse vector.  We don’t just model our mind on the spaces in which we think.  We create gadgets, in turn, based on those mental models.  We invent tools that respond to how we understand our minds to work.  Call it the feedback loop of cognitive modeling.  We are the creatures of our gadgets, just as our gadgets are the creatures thoughts.  So, Locke says that the mind is a cabinet, and he becomes a minor pioneer in library science, developing indexing methods based on his library.  The pamphlet Locke authored that discusses this method is mentioned in Exhibit 1, “Locke’s Index.”  Joseph Addison claims that thinking is like walking, and he becomes a gardener, planting the walks that make his species of thinking possible.  The house he built, and walk he planted, is the subject of Exhibit 14, “Addison’s Walk.”  We, in other words, shape our environments to match our mental models.  This museum collects the traces of this sort of shaping.

Composing The Mind Is a Collection meant producing about 80,000 words of new prose, for the prose of the book is almost completely different than that of the virtual museum.  It also meant securing permissions for those handfuls of images not in the public domain—though even the most casual visit to the museum will show you that not many of the images in the museum involve simple photographs of things in the world.  Most of what you will find there was painstakingly worked up with architectural modeling software.  The process begins with 3-dimensional models built in Sketchup 2015—a museum inspired by multiple iconic C17 and C18 spaces (the old Bodleian, the Ashmolean, Stowe House, and so on), filled with objects modeled from scratch based on my personal viewings of various iconic C17 and C18 objects.  I then rendered this space, populated with these things, into photorealistic images, using Thea Render’s engine and studio.  Producing these images meant, among other things, developing custom materials, designing virtual “cameras,” and arranging a virtual lighting system.  I then cleaned up the resulting images in Photoshop, and built a clickable image map for each.  This leads to the final step, when image, image map, and prose are brought together in a single website, hosted by Squarespace.  It is here that the virtual museum springs into being.  Most of this work I did myself, but some involved work from some very special friends (see for instance Sir Kenelm’s Idea).  What results is, I hope, the half compellingly real, half dream-like fantasy of a virtual mind-museum.

Putting together this museum has been a labor of care.  But the labor has been about remaining true to the museum’s driving insight: that ideas are things distributed in space.  Even a philosophical dualism, so this museum argues, is the name for a certain kind of network—a network that can be seen online.  I invite you to visit, to see what I’ve been on about.  Admission to The Mind Is a Collection is always free.  You’re welcome to browse, to pursue whatever is of interest to you, and to skip what isn’t.  Leave for coffee and return.  Your ticket is good for multiple entries.  The longer, more detailed discussion of anything you find there is available in the book of the same title.  Links to places where you can find the book will be found in the gift shop.

Early Novels Database

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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.  END captures detailed information about the organizational structures eighteenth-century readers relied on—title pages, tables of contents, author claims, narrative forms, prefaces, epigraphs, advertisements, and more.  Transforming these paratextual elements into machine-readable, searchable data, END offers researchers and readers new ways of connecting and exploring digital collections of fiction.  END’s metadata will also expand the possibilities of corpus analysis of early fiction, allowing users to create more sophisticated models of large full-text corpuses.

END is a collaborative, multi-institutional project based at the University of Pennsylvania and Swarthmore College.  Faculty, staff, and fellows from both institutions lead a team of undergraduate researchers drawn from Penn and the Tri-College Consortium (Swarthmore, Haverford, Bryn Mawr) as well as Williams College.  In Summer 2016, END is expanding to NYU’s Fales Library, whose rich holdings in early fiction will expand the END dataset significantly.  After intensive training alongside the core END team based in Philadelphia, a team of NYU staff and students will catalog selections from the Fales Collection; expansion to additional New York repositories is planned for Summer 2017.

Thomas Gray Archive

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Thomas Gray is most famous for his poem “Elegy written in a country churchyard.”  It was an instant success, and even today it is the most visited page on the Thomas Gray Archive website.

There is more to Thomas Gray than just this one poem, however.  Born in 1716, he was one of the key poetic figures in the early Romanticism of the mid-eighteenth century.  The Thomas Gray Archive aims to make all his writing universally accessible online, along with important secondary works and crowd-sourced comments from today’s researchers.

The starting point for the Thomas Gray Archive was high quality digital scans of key editions of Gray’s work.  As well as the images, the texts were transcribed using a standard text encoding format (TEI/XML).  This allows the text to be searched, annotated, and analysed.

The Archive now contains the full-text of Gray’s published poetry, a selection of his prose writings, particularly his travel writing and literary criticism, and his correspondence.  There is also a digital library with digital images of key editions of his works; translations into other languages; his prose and letters; and with audio tracks of readings of a small sample of his poems.

Not all of Gray’s poetry is as seemingly accessible as the “Elegy” or his humorous verse.  In fact, given Gray’s background as a scholar poet, most of his poetry has always posed a considerable challenge even for professional readers of his works.  In order to make his works more accessible to a wider readership, the Thomas Gray Archive includes a large number of explanatory notes and offers readers the opportunity to add their own notes and interpretations. This not only helps other readers access Gray’s work, but also demonstrates how an online archive such as this can transcend the single authority of a printed book, by presenting a range of authorities and readings.

Today, the Archive contains more than 3,500 notes on Gray’s 74 poems.  These range from basic notes on the meaning of obsolete or obscure words to elaborate interpretative glosses on the use of figurative language, or references to places, people, and events that have influenced or shaped his works.  Any contributions of notes or queries on any level and of any length are very welcome and will enhance all readers’ enjoyment of Gray’s work.

2016 marks the occasion of Gray’s 300th birthday, and anyone interested in Gray’s life and work is welcome to follow the hashtag #Grayat300 on Twitter where any talks, exhibitions, and events in the UK and beyond will be announced during the tercentenary year.

Adverts 250 Project

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We live in a world saturated with advertising.  In the twentieth and twenty-first centuries, new technologies and new media have been created or adapted to deliver so many marketing messages to potential consumers that sometimes it has become impossible to recognize advertising when we encounter it.  Other times advertising is blatant, obvious, and even infuriating as it infringes on the rest of our daily activities.  Many of us tend to think of advertising as a modern invention, something that became ubiquitous in American life as a result of radio, television, and the Internet.  Sometimes we assume that widespread advertising got its start in the twentieth century.

The Adverts 250 Project, however, offers a different story of advertising in America.  This blog features a new advertisement every day, an advertisement that appeared in a newspaper printed in colonial America exactly 250 years ago that day.  Each advertisement is accompanied by short commentary providing additional context, explanation, and interpretation.  I guide readers through the world of buying, selling, and promoting products in colonial America.  On occasion, students from my Colonial and Revolutionary America courses at Assumption College join me as guest curators, bringing their own perspectives and curiosity to the project as they select and research everyday life as revealed in the advertisements.

Although colonists placed advertisements for a variety of reasons, the Adverts 250 Project primarily focuses on commercial notices for goods and services in order to better understand how products were marketed in eighteenth-century America.  In comparing advertising then and now, the Adverts 250 Project often discovers that many of the strategies considered innovative today actually had precursors in the colonial era, such as limited time only sales and money-back guarantees.  In addition, some standard marketing practices were already in place or being developed in eighteenth-century America.  The Adverts 250 Project documents a variety of standard appeals–such as low prices and high quality and cutting-edge fashion–that continue to be central components of modern marketing.  It also examines the origins of other familiar marketing strategies, including “Buy American” campaigns that emerged in the decade prior to the Revolutionary War.  Colonists promoted merchandise they had made themselves instead of importing from England as a means of resisting Parliament’s abuses.

On occasion, the Adverts 250 Project features other kinds of advertisements, including domestic squabbles revealed in runaway wife advertisements.  Such advertisements appeared frequently.  Husbands warned merchants and shopkeepers against extending credit to disobedient wives, sometimes prompting responses defending the wives.  In an era before reality television or primetime dramas, readers followed complicated and messy family dynamics revealed in newspaper advertisements.  Other advertisements from the period expressed frustration about thieves who stole merchandise from shops or listed the amenities included in houses or land for sale or announced what we would consider garage sales when colonists wished to get rid of things they no longer wanted or needed.

Every advertisement tells its own story.  The Adverts 250 Project connects modern readers to some of the stories told in the advertisements printed in colonial newspapers, demonstrating in the process that advertising has been a part of American life since before the Revolution.

Home Subjects

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“I put historical Art out of the question of course, for alas!  There’s no employment in it—nor are our houses, if there were a taste for it, adapted to receive large pictures, but for our comfort, where is it practiced nowadays, with success? . . . but in Portrait, Landscape, Seaviews, Home Subjects—animals, and in every branch for which there is a demand I am proud to say—and I am sure you will agree with me—we yield to no country.”  –British sculptor Richard Westmacott, 1834

Home Subjects is a website and blog that brings together those interested in exploring an alternate history for the display of art in Great Britain:  its important role in decorating the private interior, c. 1715-1914.

The decoration of and display of art in the private home have become the focus of a tremendous amount of academic energy during the past five years.  Yet much scholarship of the past two decades has posited that British art developed primarily in relationship to the growing number of art institutions and exhibitions that captured the public imagination.  This compelling narrative has overlooked the persistence of a cultural ideal premised on private and domestic spaces for exhibiting and experiencing art.

Though the quote from Richard Westmacott that headlines our page focuses on the display of painting, the parameters of this working group are much broader.  The goal is to explore the display of art in all media, especially the decorative arts and their interaction with the “fine arts.”  Domestic display also hinges on the related subjects of collecting, marketing, and even new developments in architecture, to name only a few of the directions this research could take.

Home Subjects grew out of a conversation enabled by the Humanities Institute at Wake Forest University:  in April 2012, Dr. Anne Nellis Richter visited Wake Forest and presented her research on the display of art in the home to my eighteenth-century European art class.  We talked to students about this new direction in the field, about the challenges of researching and recovering decorative schemes, and about the ways in which social class and institutional histories inflected these endeavors.  These concerns fascinated the students, who were familiar with some of these issues from their class visits to Reynolda House Museum of American Art.  At that time, Anne and I began to talk about a way to bring together interested students and researchers to create an online scholarly community, and our conversations soon grew to include Melinda McCurdy.  As a curator at the Huntington Art Collection in San Marino, California, Melinda added a new perspective to our conversation.  Her audience is the general public, rather than the college student, and the art under her care is displayed in a way that addresses both the domestic interior and the museum gallery.  We launched Home Subjects in April 2014.  We have presented at conferences in New York and London, and we have gathered nearly 2,000 views of the blog.  Our posts are cross-posted by professional organizations like the American Society for Eighteenth-Century Art, as well as research centers and museums.

In the Fall 2015, the Wake Forest University Humanities Institute sponsored a redesign of the Home Subjects site to allow for the creation of a network of researchers working on related topics.  Please visit us at homesubjects.org.