Funding

The Orlando Project has been generously supported by the Vice-President (Research), the Vice-President (Academic), the Director of Libraries, the Dean of Graduate Studies, the Dean of Arts, and the Department of English and Film Studies at the University of Alberta; and by the School of English and Theatre Studies, the Faculty of Arts, and the Vice-President Research at the University of Guelph.

The first phase in Orlando’s development – creation of the Project infrastructure, the DTDs, and extensive encoding – was funded by a Major Collaborative Research Initiatives Grant from the Social Sciences and Humanities Research Council of Canada, and the Council has since awarded Standard Research Grants to each of Dr. Brown, Dr. Clements, and Dr. Grundy for work on the Orlando narrative history.

The Canada Foundation for Innovation invested in the second phase of Orlando work, the development of the production system capable of exploiting the SGML markup for delivery on the Internet.

Inso Corporation provided the Orlando Project with an in-kind grant of software.

The Orlando Project Team is moved by, and grateful for, personal donations from Don Buchanan and Shirley and Christopher Head.

Reviews of Orlando

Susan Fraiman in Modern Philology

Opening up Orlando reminds me of first seeing Judy Chicago’s installation The Dinner Party (a work likewise remarkable in form as much as content)—three decades later, it is still thrilling and affirming to have women’s countless contributions to Western culture and society made visible. What is new in the twenty-first century, however, is that now the guest list of history-making women is electronic—and there are always more seats at the table. In this sense, Orlando goes beyond earlier constructions of alternative canons, whose printed form tended to reproduce hierarchies of “major” and “minor” writers, not to mention the naturalization of a fixed tradition (143).

We might say, then, that Orlando’s narrative is grand not in its seamless hegemony but rather in its tireless productivity. Ceding narratorial agency to each user, this is a women’s history intrinsically committed to a process of continual revision and multiplication of variants (144).

Flexible, practical, and worldly in its approach to identity politics, Orlando is a good example of what I have optimistically begun to call the New Women’s Studies: feminist scholarship willing once again to proceed under the sign of “women”—not in defiance of theoretical work disaggregating “women” and destabilizing “identity” but precisely through having engaged with and processed this work to the point of making it our common sense (146).

Susan Fraiman. “In Search of Our Mothers’ Gardens—With Help from a New Digital Resource for Literary Scholars,” Modern Philology, August 2008, 142-48. (Available from Chicago Journals).
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