Quale infrastruttura per le edizioni digitali: dalla tecnologia all’etica
Article Sidebar
Main Article Content
Abstract
L’articolo riflette sui modi di produzione delle edizioni scientifiche digitali, lamentandone i costi eccessivi che di fatto escludono i giovani ricercatori dalla loro produzione. Utilizzando una metafora presa in prestito dal mondo della moda, le edizioni scientifiche digitali esistenti sono paragonate all’haute couture e al prêt-à-porter: l’autrice distingue infatti le edizioni specializzate, caratterizzate dai costi elevati e dall’essere costruite “su misura” (haute cou- ture) da quelle seriali, caratterizzate da una certa uniformità e dai costi ridotti (prêt-à- porter), auspicando una più generale diffusione di quest’ultimo modello. La seconda parte dell’articolo riflette sulle caratteristiche delle edizioni seriali e loro relazioni con le edizioni specializzate.
This article reflects on current ways of producing digital scholarly editions, noting that they typically involve excessive costs that effectively exclude young or independent scholars from undertaking their production. Using a metaphor borrowed from the world of fashion, exist- ing digital scholarly editions are described as either ‘haute couture’ or ‘prêt-à-porter’: that is, either specialized editions characterized by high costs and by production ‘to measure’ (haute couture), or those that use existing frameworks and so are characterized by a certain unifor- mity and reduced costs (prêt-à-porter). The article argues for a wider diffusion of the latter model, but the second part presents a reflection on the characteristics of these editions and their productive interactions with the more specialized type of edition.
Downloads
Article Details
Authors who publish with this journal agree to the following terms:
- Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution License (see:http://creativecommons.org/licenses/by/3.0/us/) that allows others to share the work with an acknowledgment of the work's authorship and initial publication in this journal.
- Authors warrant that their submission is their own original work, and that they have the right to grant the rights contained in this license. Authors also warrant that their submission does not, to the best of your knowledge, infringe upon anyone's copyright. If the submission contains material for which an author does not hold the copyright, authors warrant that they have obtained the unrestricted permission of the copyright owner to grant Indiana University the rights required by this license, and that such third-party owned material is clearly identified and acknowledged within the text or content of their submission.
- Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgment of its initial publication in this journal.
References
Andrews, Tara. 2013. “The third way. Philology and critical edition in the digital a ge”. Va r i a n t s 10: 61–76.
Beer, Gillian. 2006. The challanges of interdisciplinarity. Lecture at the Institute of Advanced Studies, University of Durham. https://www.dur.ac.uk/ias/news/annual_research_dinner/
Buard, Pierre-Yves. 2015. Modélisation des sources anciennes et édition numérique. PhD diss., Université de Caen.
Burdick, Anna et al. 2012. Digital_Humanities. Cambridge, MA: The MIT Press.Cambridge Digital Products. 2019.
Cambridge University Press. https://www.cambridge.org/ie/digital-products/
Causer, Tim, Justin Ton r a and Valeria Wa l l a c e. 2012. “Transcription maximized; expense minimized? Crowdsourcing and editing the collected works of Jeremy Ben-t h a m”. Literary and Linguistic Computing 27: 19 –137.
Culkin, John M. [1967] 2018. “A Schoolman’s Guide to Marsahll McLuhan”. Saturday Review 18 (March): 51–53, 71–72.
Ford, Michael. 2008. “Disciplinary authority and accountability in scientific practice and learning”. Science Education, 92.3: 404–23.
Gailey, Amanda and Andrew Jewell. 2012. “Editors’ introduction to the first issue of scholarly editing: The annual of the Association for Documentary Editing”. Scholarly Editing 33: http://scholarlyediting.org/2012/essays/essay.v33intro.html.
Hedges, Mark et al. 2013. “TextGrid, TEXTvre, and DARIAH: Sustainability of Infrastructures for Textual Scholarship”. Journal of the Text Encoding Initiative, 5. https://journals.openedition.org/jtei/774.
Hirsch, Brett G. 2018. “Between Puppies and Paper, or When Not To Do a Digi-tal Edition”. Oral communication at the symposium “What is Editing in the digital age?”, Newcastle University, 12 June: https://research.ncl.ac.uk/atnu/news/whatise-ditinginthedigitalage.html.
IIIF. International Image Interoperability Framework. https://iiif.io/
Kirschenbaum, Matthew. 2015. Track Changes: A literary history of word processing. Cambridge, MA: Harvard University Press.
Oxford Scholarly Editions Online. Oxford University Press. http://www.oxfordscholar-lyeditions.com/
Pierazzo, Elena. 2013. “Research without borders: the Text Encoding Initiative and international cooperation in digital humanities”. Renaissance studies in honor of Joseph Connors, edited by Israëls Machtelt and Louis A. Wa l d m a n: 557–62. Florence: Leo S. Olschki - Villa I Tatti, The Harvard Center for Italian Renais-sance Studies.
Pierazzo, Elena. 2016. “Textual scholarship and text encoding”. A New Compan-ion to Digital Humanities, edited by Susan Schreibman, Ray Siemens, and John Unsworth: 307–21. Oxford: Wiley Blackwell.
Pierazzo, Elena andElise Leclerc. 2015. “L’edizione scientifica al tempo dell’editoria digitale”. Ecdotica 12: 180 –94.
Pierazzo, Elena, Claire Mouraby, and Filippo Fonio. 2016. “A new approach to libraries in Digital Humanities: the case of Fonte Gaia”. Digital Humanities 2016, Kraków: Jagiellonian University and Pedagogical University, Conference Abstracts: 862–3.
Risari, Elisabetta. 2014. “Haute couture e prêt-à-porter. Cassola e altri scrittori ital-iani del secondo Novecento tra Meridiani e Oscar”. Studi e Testi 33: 103 –9.
Robinson, Peter M. W. 2002, Anastasia: Analytical System Tool and SGML/XML Inte-gration Applications. Software. http://sd-editions.com/anastasia/index.html.
———. 2003. “Where we are with electronic scholarly editions, and where we want to b e”. Computerphilologie 5: http://computerphilologie.tu-darmstadt.de/jg03/robinson.html.
———. 2005. “Current issues in making digital editions of medieval texts — or, do electronic scholarly editions have a future?” Digital Medievalist 1: http://doi.org/10.16995/dm.8.
———. 2016. “Project-based Digital Humanities and social, digital, and scholarly edi-tions”. Digital Scholarship in the Humanities 31.4: 875–89.
Stokes, Peter A. and Elena Pierazzo. 2009. “Encoding the language of landscape: XML and databases at the service of Anglo-Saxon lexicography”. Perspectives on lexicography in Italy and Europe, edited by Silvia Bruti, Roberta Cella, and Marina Foschi Albert, 203–38. Newcastle: Cambridge Scholars Publishing.
TEI Consortium, eds. 2018. Guidelines for Electronic Text Encoding and Interchange. V. 3.3.0. http://w w w.tei-c.org/P5/.
va n Zu n de rt, Joris. 2018. “On not writing a review about Mirador: Mirador, IIIF, and the epistemological gains of distributed digital scholarly resources”. Digital Medi-evalist 11/1: http://doi.org/10.16995/dm.78 .
va n Zu n de rt, Joris and Peter Boot. 2012. “The digital edition 2.0 and the digital library: Services, not resources”. Bibliothek und Wissenschaft 4 4: 141–52.