Orlando 2.0: our mission statement
Our new phase of activity, Orlando 2.0, continues the work of the Orlando Project, which recently marked its first 20 years of activity in digital literary history. We launch this phase in 2017 because our new production environment in the Canadian Writing Research Collaboratory (cwrc.ca) allows us to undertake substantially new practices in our collaborative workflow and the tools that we can offer for using the textbase for research.
On the production side, we are expanding our base of contributors. For technical reasons, Orlando was developed almost exclusively by scholars and graduate students at the University of Alberta and University of Guelph. As we revise and create new project materials, Orlando 2.0 will engage with a larger, international group of experts: external contributors working in women’s writing and in digital humanities, as well as both an advisory board and an editorial board. These developments will allow us to keep Orlando up to date with new scholarship. Moreover, while Orlando has always been committed to principles of diversity in its textbase content, we imagine that this more heterogeneous base of advisors, editors, and contributors will change the textbase in valuable ways. We are particularly committed to increasing the racial and ethnic diversity of the entries in all historical periods, and we are committed to increasing the coverage of contemporary writers.
On the technical side, Orlando 2.0 is committed to ongoing development of new ways to access, analyze, and present feminist literary research. CWRC will be offering new interfaces to allow users creative and productive ways to explore the textbase, and CWRC will also provide a means for the project’s researchers to experiment with new tools for Orlando.
Orlando’s unique contribution to feminist digital humanities has been to encode relationality an intersectionality in women’s writing and its contexts. Going forward, the Orlando/CWRC team will be focusing on linked data and collaborative systems, which we see as having great potential for more aggregation, for different kinds of exploration, and for bringing data from different projects into conversation with each other. In short, Orlando 2.0 allows us to be more collaborative and more diverse, and to develop and use leading-edge tools on an ever-expanding and dynamic textbase. We undertake Orlando 2.0 as a means of building on the feminist project of Orlando.
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
30 April 1615
John Donne preached To the Queen at Greenwich, his earliest surviving sermon.
30 April 1695
Thomas Betterton, Elizabeth Barry, and Anne Bracegirdle gave the first performance of their breakaway Actors' Company, premiering Congreve's Love for Love.They had petitioned in December against the managers (Christopher Rich and Sir Thomas Skipwith) of the United Company, now dissolved. They opened at a new theatre in Lincoln's Inn Fields to riotous applause. Love for Love enjoyed a long run.But the comic actor Thomas Doggett, playing Ben the sailor, ad-libbed freely in words the author never wrote, thus providing a harvest for informers for the Society for the Reformation of Manners and for Jeremy Collier's Short View of the Immorality and Profaneness of the English Stage, published in April 1698. Congreve in turn replied to Collier the same year in Amendments of Mr. Collier's false and imperfect citations.
30 April 1709
A proclamation against gambling and acting at the traditional, popular, rowdy May Fair (held annually north of Piccadilly in London) caused the event to collapse and the custom to wither.The fair left its name to the area now known as Mayfair. The milk-women who sold their wares around the streets were some of the last in London to keep up the May-day customs of garlands, music, and dancing.
- 30 April 1615