-
1st presentation: statistically significant words + topic modeling across characters in Ulysses
-
2nd presentation: fugal structure of “Siren” episode of Ulysses, @_E__F
- theory: first lines introduce fragments of voices that will compose fugal theme
- theory: each voice is the sensory presence of characters
- process for analysis was through close-reading—not scaleable. But that's OK!
- used Processing, a crowbar for graphical representation
- methodology for visualization
- Exact occurences of the root fragment
- Homophones of the root fragment (assumes we know how these were pronounced)
- Words for which the root fragment is a component
- Co-occurring fragments
-
Fabula and Sjužet in "Wandering Rocks", @muziejus
- literary criticism as detective fiction (based on his hs course in Ulysses
- map representation of Wandering Rocks, the path in time and by line (and only one can be shown at once)
- three types of points are represented exterior locations, interior thought-of locations, objects interacted with
- these tools are cool to look at, and there use in themselves is clear, but it's not clear what they add or reveal in the texts they're derived from
- discrepancies with available map data and historical dublin
- close reading vs. distant reading
- the impossibility of the "authoritative" "valid" text (a secular parallel to scripture)
- historically, editing is just the identification of errors in the transmission/reproduction of the text
- but what if you have multiple documents spread by a single author? (outgrowth of preservation for shakespeare)
- to look at texts in their genetic progression, what does that mean for the reading or studying audience?
- from handwritten, messy manuscript, –> fair copy, –> typewritten manuscript, –> galley proofs, –> printed edition
- then later transformative typesetting into pre-XML, TEI, XML for genetic analysis and hypertext versions