Congratulations to Orlando’s Susan Brown, recently appointed Canada Research Chair (Tier I) in Collaborative Digital Scholarship at the University of Guelph. In other news, Laura Mandell includes Susan Brown on her short list of DH leaders in her interview with Melissa Dinsman on “The Digital in the Humanities” for the Los Angeles Review . . . Read more
What is Orlando?
The Orlando Project is an experiment in the integration of text and technology. It has designed and continues to enhance digital tools to harness the power of computers for critical literary and historical research. The project's constantly expanding and improving storehouse of knowledge about women's lives and writings, the Orlando textbase itself, is rendered uniquely searchable and sortable by its encoding. Its widening of the knowledge base in cultural history goes together with the training and professional development of generations of students.
The project began when Patricia Clements, Isobel Grundy, and Susan Brown proposed to research and write a much-needed literary history and to deliver it electronically. It was a bold move: such an undertaking had not previously been attempted in kind, scale, or complexity, and at this stage in the development of humanities computing – the mid 1990s – it was by no means clear either that text encoding (markup) could produce meaningful results in so complex a field as literary history or even that an extensively encoded text could be effectively deployed and accessed on the internet. Nevertheless, Brown, Clements, and Grundy, traditionally trained and hitherto non-computational professors of English, set out to create a multidisciplinary team which could both produce a major history of women’s writing in the British Isles and conceive and build this as a digital history.
The Orlando Project is collaborative and multidisciplinary. The venture at its core brings together literary scholars, digital humanists, and computing scientists, and from the beginning the team has benefited from the generous collaboration of distinguished digital humanists from across Canada and internationally. Orlando research is cross-cultural, and student colleagues – of whom the Project has trained upwards of 85, and rising – learn about both editorial and archival research, and document analysis and markup. Professors and student researchers alike are excited by the experimental environment.
The history the team built is the product of massive scholarly research, of Orlando’s tagsets (built in-house), and of the Orlando production system. Orlando: Women’s Writing in the British Isles from the Beginnings to the Present was published online by Cambridge University Press in 2006 at orlando.cambridge.org/. It is an unprecedented work of literary scholarship. Not a book, though in length the equivalent of about 80 scholarly books, and not a digital edition of an existing text, it is a richly searchable textbase that caters to the individual research interests of readers/users. Orlando’s unique encoding system enables users to search and recombine detailed accounts of authors’ lives and writing careers, plus extensive contextual material in a way that has never before been possible.
The Orlando Project team continues to explore ways in which the digital can enrich the textual, and its technologies have enabled other innovative projects. CWRC, the Canadian Writing Research Collaboratory (www.cwrc.ca), led by Susan Brown and built on Orlando as a web-based service-oriented platform, combining a repository and a toolkit, empowers scholars through new ways of pursuing research into Canadian writing and culture.
Searching in Orlando
The first three entry points to Orlando are People (for author entries singly or in groups, and other names), Chronologies (timelines by word, date, or tag), and Tag Search. Tag Search offers picklists of tags, with explanatory diagrams showing relationships between tags. This starburst represents the chief tags in the Production section of the Writing schema developed by Orlando. Some of these have subtags not represented here. For example, the Mode of Publication tag can be narrowed to subtags about subscription, or limited edition, etc.
More about Orlando, onscreen
New Directions/Directors for Orlando
We are delighted to announce that Corrinne Harol has undertaken the position of Literary Director of the Orlando Project.
Dr. Harol (PhD UCLA), Associate Professor in the Department of English and Film Studies, University of Alberta, specializes in Restoration and eighteenth-century literature and culture. Areas of research interest include the intersections of literary, scientific, political, and religious discourses; intellectual history and critical theory; feminist theory and gender studies. She is the author of Enlightened Virginity in Eighteenth-Century Literature as well as journal articles and book chapters on eighteenth century literature.
Corrinne Harol joins Technical Director Susan Brown and Research Director Isobel Grundy. This shared direction of the project is part of the shift to a new phase of Orlando, announced at the Digital Diversity conference as Orlando 2.0. Orlando 2.0 sees the project moving in 2016 to welcoming contributions from scholars worldwide through a new online collaborative research platform.
Orlando’s ongoing work include twice-annual updates to the textbase, each of which comprises ten new entries plus many revisions that reflect new publications, new attributions, new contradictions. Current and former project members are contributing to the upcoming Digital Diversity essay collection, which will be published online and in print. Technical work includes developing prototypes for exploring the project’s materials in new ways, and producing a set of linked open data based on Orlando. Recent studies of Orlando are available in DHQ: Digital Humanities Quarterly and ada: a journal of gender, new media, and technology.
Orlando in the Media
Orlando’s Design Research
Explore in Orlando
7 December 1626
Sir John Davies, husband of Lady Eleanor (later Lady Eleanor Douglas), died: three days after he had mocked her for weeping in public, some months after he had burned her first book.
7 December 1666
This was probably the first day a public theatre opened in London after a seventeen-month closure owing to the plague.Pepys saw Beaumont and Fletcher's The Maid's Tragedy at Drury Lane. When the public theatres were closed during the plague, plays were still performed at Court.
7 December 1666
More than a hundred Covenanters were found guilty of rebellion and sentenced to be hanged with particular brutality from the Mercat Cross in Edinburgh.In the first year of his reign Charles II had repudiated the National Covenant (establishing the Presbyterian Church in Scotland), whose adherents had finally defeated and captured his father. Bishops were appointed for Scotland and non-conforming ministers ejected. Later the government clamped down on the preaching of these ministers, even in barns or in the open air. People attending these conventicle meetings were persecuted, until this year armed rebellion broke out at Dalry in Ayrshire and was crushed at Rullion Green in the Pentland Hills.
- 7 December 1626
May 6, 2016 ·
In early April, Margaret Atwood delivered the 10th annual Henry Kreisel Lecture, sponsored by the University of Alberta’s Canadian Literature Centre/Centre de Littérature Canadienne (CLC). Her lecture, “The Burgess Shale: The Canadian Literary Landscape of the 1960s,” will be broadcast by CBC Radio’s Ideas later this year. Here is Atwood at the event with the Orlando Project’s Patricia Clements . . . Read more
April 25, 2016 ·
NEW AUTHOR ENTRIES
March 8, 2016 ·
For March, Women’s History Month, Orlando is open access.
User id womenshistory2016
Most readers of this journal will be familiar already with Cambridge University Press’s magisterial database, Orlando: Women’s Writing in the British Isles from the Beginnings to the Present, overseen by Susan Brown, Patricia Clements, and Isobel Grundy. The database . . . has changed the parameters of the scholarship and teaching of British women’s writing. . . . The information on the Orlando database is nothing short of priceless, breathtaking in its scope and endlessly useful.
Toni Bowers, “Exploring the Richardson Circle using the Orlando Database”. The Scriblerian, 44: 2, 45: 1 (Spring and Autumn 2012), 56-8.
Because of the ways in which the extensive data can be mined or formulated, Orlando offers the best access to information on British women writers and serves as a model for similar databases that will supplant printed literary dictionaries, encyclopedias, and handbooks (187).
Wernimont takes Orlando, together with Women Writers Online, as “exemplary instances of digital literary scholarship.” Orlando’s DTDs or interpretive markup, she writes, are tools which are generative and transformative, not merely declarative. They "can be read as paratextual with respect to the absent primary texts — the literary texts written by women that Orlando articles discuss. Consequently, we can see this markup as generating a feminist and materialist hermeneutic space through which a reading of primary texts is enabled.”
Jacqueline Wernimont, “Whence Feminism? Assessing Feminist Interventions in Digital Literary Archives” (Digital Humanities Quarterly, 7: 1 (2013), http://www.digitalhumanities.org/dhq/vol/7/1/000156/000156.html#fraiman2008.
… each Orlando Project entry serves the beginning student and advanced researcher alike; it provides an introductory survey of a particular author, but can also function as a source of the latest critical understandings of the author and an encouragement for further advanced research on the themes, influences, and cultural contexts radiating out from that author (377).
[…] Orlando‘s most innovative contribution to humanities scholarship is the modelling of more interpretive, open-ended, thematic database research. The database encourages what it terms “Tag Searches,” in which entries have been tagged to highlight key terms relating to topics unique to literary history; searches can return information relating to biographical details, literary production, literary reception, textual features, and essential or “core tag” details such as dates and names. Orlando allows searches for topics that are not part of a “typical” database search—such as editions, circulation, anthologization, and type of press—but are of keen interest to researchers of reading and writing culture. Orlando thus captures some of the most recent trends in history of the book and material culture studies and translates those interests into research queries that can be performed quickly and efficiently (377).
[…] Orlando enacts exciting new approaches to women’s history, literary history, and the history of the book by translating those approaches into an equally exciting database organization. The textbase features authoritative summaries of women’s lives and writing, new cultural and thematic topics for “tagged” investigations, and innovative processes for performing searches across disciplines and time periods. Perhaps most importantly, Orlando encourages the researcher to see new patterns, new connections, and new traditions—and thus to think in new ways. The transformative effect of women’s writing is keenly felt by the Orlando researcher. With its ability to encourage new thinking in both the entry-level student and the advanced researcher, Orlando deserves a prominent place in the electronic database collection of every research library (378).
[T]he possibilities offered by “interpretive tagging,”… enable the information about an individual writer’s life and work to be searched by time, place, genre and occupation. One can look at all the authors who were nuns or librarians; who wrote agit-prop, anthems or art criticism, who had links with Scarborough or South Africa. The biographers can also be interrogated in multiple further ways. Such options enable kinds of research quite impossible in a book. But they also indirectly help generate alternatives to more “mainstream” perspectives (50).