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Please contact the editor Lauren Coats if you have materials to submit to Archive Journal or questions about submitting: contact@archivejournal.net. We welcome complete submissions for the “Archives Remixed” and “Notes + Queries” sections on a rolling basis. If you have an idea for a “360” roundtable, please contact the editor.
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In medieval manuscript studies, an important feature of the “digital turn” has been the creation of digital surrogates. Until recently, this activity has taken one of two forms: either the digitization of major categories of manuscripts (such as the Royal Manuscripts at the British Library) or the digitization of a single manuscript (or small groups of manuscripts) holding a particularly significant canonical literary work such as the Beowulf manuscript or the Hengwrt manuscript of the Canterbury Tales. As new projects explore further possible areas of development, such as the “distant reading” of large quantities of manuscript images or the potential of digital paleography, the digital surrogate promises to become increasingly important in medieval studies.
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This several-decades push for digitization carries significant implications for the future of medieval manuscript studies as well as medieval studies more broadly. On the one hand, digital facsimiles of medieval manuscripts make it easier for scholars, students, and wider publics to explore manuscripts and place medieval books alongside the literatures, history, art, and culture of the middle ages in and beyond Europe. On the other hand, digital surrogates are increasingly treated by some students and researchers as fully equivalent to the physical manuscript. And yet, digitization could be seen as the latest iteration of a process of copying that has always attended medieval manuscripts (e.g., modern facsimiles done by hand, or using photography or microfilm). Seen in this light, digitization might not necessarily represent a radical departure in the history of medieval manuscript production, compilation, or dissemination.
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At the center of the debates about access and preservation, historical continuity and radical rupture, one thing is clear: the ways in which librarians, publishers and scholars create and use digitized manuscripts need to be critically aware and historically informed. For this special issue of Archive Journal (to be released in late 2016), we seek contributions from scholars, archivists, librarians, curators, and technologists that address the current practices and theories shaping the (re)production of digital medieval manuscript culture as well as the larger possibilities or limits of “digital manuscript cultures” today. We welcome essays — as well as interviews, case studies, or other formats beyond the essay — of 3,000 to 5,000 words: image, audio, video, and multimedia formats of approximate equivalent size are also welcome.
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Please contact guest editors Michael Hanrahan (mhanraha@bates.edu) and Bridget Whearty (bwhearty@binghamton.edu) with any questions. Submissions due by 20 May 2016 to contact@archivejournal.net. An open access, peer-reviewed journal, Archive Journal seeks content that speaks to its diverse audience that includes librarians, scholars, archivists, technologists, and students.
What are the roles of non-subject-specialist and subject specialists in digital medieval manuscript culture? What kinds of expertise are necessary in this domain? What communities are useful in augmenting the conversations surrounding digital medieval manuscript culture?
Does digitization transform the relationship between library, curator, scholar, and wider readership, or does it simply restate long-standing relationships and power structures?
What are the implications for medieval studies more widely of the complex financial, commercial and IP issues surrounding digitization of manuscripts? How far should libraries divert resources from other activities towards digitization? How far is digitization enhancing scholarly access? Or is it creating a digital divide, in which certain resources are only available to the richest institutions?
How do technologically-advanced forms of digitization (including multi-spectral imaging and XRF imaging) affect our understandings of textual and bibliographical objects?
How do new textual strategies (involving visualization, quantification, collective annotation, etc.) affect scholarship and librarianship related to manuscripts?
What are the implications or possibilities of computational approaches (including the application of quantitative or automated techniques) to medieval manuscript culture?
How are librarians as well as scholars promoting the use of digital medieval manuscript repositories, teaching with/about them, working with projects built around them?
Archives Remixed invites analytical and creative pieces that reflect on meaning-making in and through archives. The format is open to traditional research or theoretical essays as well as multi-modal, alternate, or experimental formats. Contributions that analyze, use, theorize, create, find ways through, or reconstitute particular archives, objects or exhibits are invited. Only original work that has not been published elsewhere will be accepted for publication. Length variable.
Notes + Queries are published on a rolling basis to share timely, short essays about best practices, archival finds, recent publications or events, reports from the field, and thoughts on current work in the field. 500-2000 words.
360° features an asynchronous “discussion” among contributors from various backgrounds who respond to the same set of questions about a single archive or archival topic. 500 words per response.
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We welcome complete submissions for “Archives Remixed” and “Notes + Queries” on a rolling basis. If you have an idea for a “360″ roundtable, please contact the editor.
Submission Specifications
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We welcome submissions in a variety of formats. If you have a project that is in an experimental or unusual format, please contact the editor to discuss. For more traditional textual and/or multimedia submissions, please follow these guidelines:
Video: we prefer a link to a hosted video at Vimeo. Please contact the editors if you’d like to send a video file instead.
Sound files: .wav
Maps: .kml
Material in other formats: please discuss with the editor
If the files are too large to send by email, please contact the editor to discuss an alternate method for submission.
Terms of Publication
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Authors published in Archive Journal retain copyright of their work. All materials in Archive Journal are published under a Creative Commons license; authors may select the one under which their work appears. In order to facilitate access and preservation, Archive Journal retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.
Submit
¶ 1 Leave a comment on paragraph 1 0 Please contact the editor Lauren Coats if you have materials to submit to Archive Journal or questions about submitting: contact@archivejournal.net. We welcome complete submissions for the “Archives Remixed” and “Notes + Queries” sections on a rolling basis. If you have an idea for a “360” roundtable, please contact the editor.
Current CFP
¶ 2 Leave a comment on paragraph 2 0 Special issue: Digital Medieval Manuscript Cultures
Deadline: May 20, 2016
¶ 3 Leave a comment on paragraph 3 0 In medieval manuscript studies, an important feature of the “digital turn” has been the creation of digital surrogates. Until recently, this activity has taken one of two forms: either the digitization of major categories of manuscripts (such as the Royal Manuscripts at the British Library) or the digitization of a single manuscript (or small groups of manuscripts) holding a particularly significant canonical literary work such as the Beowulf manuscript or the Hengwrt manuscript of the Canterbury Tales. As new projects explore further possible areas of development, such as the “distant reading” of large quantities of manuscript images or the potential of digital paleography, the digital surrogate promises to become increasingly important in medieval studies.
¶ 4 Leave a comment on paragraph 4 0 This several-decades push for digitization carries significant implications for the future of medieval manuscript studies as well as medieval studies more broadly. On the one hand, digital facsimiles of medieval manuscripts make it easier for scholars, students, and wider publics to explore manuscripts and place medieval books alongside the literatures, history, art, and culture of the middle ages in and beyond Europe. On the other hand, digital surrogates are increasingly treated by some students and researchers as fully equivalent to the physical manuscript. And yet, digitization could be seen as the latest iteration of a process of copying that has always attended medieval manuscripts (e.g., modern facsimiles done by hand, or using photography or microfilm). Seen in this light, digitization might not necessarily represent a radical departure in the history of medieval manuscript production, compilation, or dissemination.
¶ 5 Leave a comment on paragraph 5 0 At the center of the debates about access and preservation, historical continuity and radical rupture, one thing is clear: the ways in which librarians, publishers and scholars create and use digitized manuscripts need to be critically aware and historically informed. For this special issue of Archive Journal (to be released in late 2016), we seek contributions from scholars, archivists, librarians, curators, and technologists that address the current practices and theories shaping the (re)production of digital medieval manuscript culture as well as the larger possibilities or limits of “digital manuscript cultures” today. We welcome essays — as well as interviews, case studies, or other formats beyond the essay — of 3,000 to 5,000 words: image, audio, video, and multimedia formats of approximate equivalent size are also welcome.
¶ 6 Leave a comment on paragraph 6 0 Please contact guest editors Michael Hanrahan (mhanraha@bates.edu) and Bridget Whearty (bwhearty@binghamton.edu) with any questions. Submissions due by 20 May 2016 to contact@archivejournal.net. An open access, peer-reviewed journal, Archive Journal seeks content that speaks to its diverse audience that includes librarians, scholars, archivists, technologists, and students.
¶ 7 Leave a comment on paragraph 7 0 Contributions might include, but are not limited to, consideration of the following:
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Journal Sections
¶ 22 Leave a comment on paragraph 22 0 Archive Journal publishes content in 3 distinct sections:
¶ 24 Leave a comment on paragraph 24 0 We welcome complete submissions for “Archives Remixed” and “Notes + Queries” on a rolling basis. If you have an idea for a “360″ roundtable, please contact the editor.
Submission Specifications
¶ 25 Leave a comment on paragraph 25 0 We welcome submissions in a variety of formats. If you have a project that is in an experimental or unusual format, please contact the editor to discuss. For more traditional textual and/or multimedia submissions, please follow these guidelines:
Terms of Publication
¶ 27 Leave a comment on paragraph 27 0 Authors published in Archive Journal retain copyright of their work. All materials in Archive Journal are published under a Creative Commons license; authors may select the one under which their work appears. In order to facilitate access and preservation, Archive Journal retains a perpetual, non-exclusive right to publish accepted work and to include it in other aggregations and indexes. Authors are free to deposit a pre-publication version in an institutional repository, individual webpage, or similar site, as well as to reprint, reuse, or republish their work in any venue after one year.