p. 3 chiarificazione su NON-LINEAR
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p. 18 cybertext is a perspective on all form of texuality
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\nOver 50 papers and theses have been written proposing a number of techniques for representing such structures [OVERLAPPING]. [...] The overall strategy in almost all of these attempts has been to try to solve this inherent weakness in markup by using markup itself. Unsurprisingly, none of these solutions have completely resolved the difficulties.
\n1.2. Overlapping hierarchies
Se ho capito bene, dice che ogni problema di overlapping é un problema di textual variation, perché ogni caso di overlapping deriva dalla sovrapposizione di differenti visioni del testo (tipo voglio concentrarmi sui paragrafi o su i cambiamenti di pagina, o voglio avere piu di una rappresentazione linguistica di un testo, o ho differenti redazioni). Il cambiamento quindi puó essere testuale o di markup, ma sono questi tue insieme che fanno il testo, qunidi ci sará sempre una variazione testuale quando si parla di overlapping -->
\n
2.1. Version control systems
\nSe ho capito bene, dice che ogni problema di overlapping é un problema di textual variation, perché ogni caso di overlapping deriva dalla sovrapposizione di differenti visioni del testo (tipo voglio concentrarmi sui paragrafi o su i cambiamenti di pagina, o voglio avere piu di una rappresentazione linguistica di un testo, o ho differenti redazioni). Il cambiamento quindi puó essere testuale o di markup, ma sono questi tue insieme che fanno il testo, qunidi ci sará sempre una variazione testuale quando si parla di overlapping -->
\n
The overlapping hierarchies problem, then, boils down [si riduce] to variation in the metadata. It is entirely subsumed [incluso] by the textual variation problem because textual variation is variation in the entire text, not only in the markup.
\nIt will not be necessary, therefore, to seek a solution to the overlapping hierarchies problem if a solution can be found to the textual variation problem. Any solution to the latter is also a solution to the former.
\n2. Treatment of variation in other disciplines2.1. Version control systems
2.2. Bioinformatics: multiple sequence alignment
\n2.3. PERT/CPM and workflow graphs
\n3. The model
\n3.1. A real world example
by merging the text wherever it is the same and leaving the divergent parts as branches, a PERT-like graph results that overcomes these difficulties. With careful labelling the graph can record all the information of the nine versions in a single merged structure. [...] we call this a VARIANT GRAPH. Definition and corollary.
\nby merging the text wherever it is the same and leaving the divergent parts as branches, a PERT-like graph results that overcomes these difficulties. With careful labelling the graph can record all the information of the nine versions in a single merged structure. [...] we call this a VARIANT GRAPH. Definition and corollary.
3.2. Inadequacy of markup for recording textual variation
!!!
\n!!!
3.2.1. Problems with other texts
\n3.3. Improved adequacy of the variant graph model
\n3.4. Editing operations in written and marked-up texts
\n3.5. Partial versions
\n4. Representing variant graphs
how to turn a variant graph into a list.
\nhow to turn a variant graph into a list.
4.1. Writing out a variant graph
\n4.1.1. Breadth-first vs. depth-first traversal
\n4.1.2. Inadequacy of depth-first traversal
\n4.2. Reconstructing a variant graph
\n5. Operations on variant graphs
\n5.1. Operation 1: reading a single version
\n5.2. Operation 2: searching a multi-version text
\n5.3. Operation 3: comparing two versions
\n5.4. Operation 4: determine what is a variant of what
\n5.5. Creating and editing a variant graph
\n6. Separation of content and variation
A variant graph does not, and need not, represent any of the complexities of text relating to content. It just represents variation. [...] A variant grap [...] is applicable to a much wider range of cases: it can represent any form of textual variation in cultural heritage texts, from ancient to modern, as well as overlapping hierarchies in linguistics. It is a general model of variation.
\nA variant graph does not, and need not, represent any of the complexities of text relating to content. It just represents variation. [...] A variant grap [...] is applicable to a much wider range of cases: it can represent any form of textual variation in cultural heritage texts, from ancient to modern, as well as overlapping hierarchies in linguistics. It is a general model of variation.
7. The MVD format DA RILEGGERE CON CALMA!!
\n8. MVD applications and future developments
\n9. Conclusion
\n\n
\n
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![\"Full-size](\"http://ars.els-cdn.com/content/image/1-s2.0-S1071581909000214-gr5.jpg\")
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Asking questions and building a research agenda for digital scholarship / by Amy Friedlander -- Tools for thinking : ephilology and cyberinfrastructure / by Gregory Crane ... [et al.] -- The changing landscape of American studies in a global era / by Caroline Levander -- A whirlwind tour of automated language processing for the humanities and social sciences / by Douglas W. Oard -- Information visualization : challenge for the humanities / by Maureen Stone -- Art history and the new media : representation and the production of humanistic knowledge / by Stephen Murray -- Social attention in the age of the Web / by Bernardo A. Huberman -- Digital humanities centers : loci for digital scholarship / by Diane M. Zorich
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]Of particular interest to McGann is the demise of public discourse about poetry. That poetry has become recondite is, to his mind, at once a problem for how scholars do their work and a general cultural emergency. The Scholar’s Art asks what could be gained by reimagining the way scholars have codified the literary and cultural history of the past two hundred years and goes on to provide a series of case studies that illustrate how scholarly method can help bring about such reimaginings. McGann closes with a discussion of technology’s ability to harness the reimagination of cultural memory and concludes with exemplary acts of critical reflection.
Astute observation from one of America’s most bracing and original commentators on the place of literature in twenty-first century culture, The Scholar’s Art proposes new ways—cultural, philological, and technological—to reimagine our literary past and future.