Scholarly editions contextualize our cultural heritage. Traditionally, methodologies from the field of scholarly editing are applied to works of literature, e.g. in order to trace their genesis or present their varied history of transmission. What do we make of the variance in other types of cultural heritage? How can we describe, record, and reproduce it systematically? From medieval to modern times, from image to audiovisual media, the book traces discourses across different disciplines in order to develop a conceptual model for scholarly editions on a broader scale. By doing so, it also delves into the theory and philosophy of the (digital) humanities as such.

This volume presents the state of the art in digital scholarly editing. Drawing together the work of established and emerging researchers, it gives pause at a crucial moment in the history of technology in order to offer a sustained reflection on the practices involved in producing, editing and reading digital scholarly editions—and the theories that underpin them. The unrelenting progress of computer technology has changed the nature of textual scholarship at the most fundamental level: the way editors and scholars work, the tools they use to do such work and the research questions they attempt to answer have all been affected. Each of the essays in Digital Scholarly Editing approaches these changes with a different methodological consideration in mind. Together, they make a compelling case for re-evaluating the foundation of the discipline—one that tests its assertions against manuscripts and printed works from across literary history, and the globe. The sheer breadth of Digital Scholarly Editing, along with its successful integration of theory and practice, help redefine a rapidly-changing field, as its firm grounding and future-looking ambit ensure the work will be an indispensable starting point for further scholarship. This collection is essential reading for editors, scholars, students and readers who are invested in the future of textual scholarship and the digital humanities.

The term ‘annotation’ is associated in the Humanities and Technical Sciences with different concepts that vary in coverage, application and direction but which also have instructive parallels. This publication mirrors the increasing cooperation that has been taking place between the two disciplines within the scope of the digitalization of the Humanities. It presents the results of an international conference on the concept of annotation that took place at the University of Wuppertal in February 2019. This publication reflects on different practices and associated concepts of annotation in an interdisciplinary perspective, puts them in relation to each other and attempts to systematize their commonalities and divergences. The following dynamic visualizations allow an interactive navigation within the volume based on keywords: Wordcloud ☁ , Matrix ▦ , Edge Bundling ⊛

Interfaces are important elements of digital scholarly editions as they allow and direct the interaction of users with the online content and they facilitate the access to and exchange of data and information. Some interfaces are created for the human user (GUI), others for machine interaction and data exchange (API). Both aspects of interfaces and their roles in digital scholarly editing were discussed at a conference in 2016 organised by the Centre for Information Modelling at the University of Graz and the Digital Scholarly Editions Initial Training Network DiXiT. This volume includes a range of papers presented at the conference that highlight the diverse views and approaches towards interfaces in the digital scholarly editing community.

This collection of essays from world-renowned scholar Hans Walter Gabler contains writings from a decade and a half of retirement spent exploring textual criticism, genetic criticism, and literary criticism. In these sixteen stimulating contributions, he develops theories of textual criticism and editing that are inflected by our advance into the digital era; structurally analyses arts of composition in literature and music; and traces the cultural implications discernible in book design, and in the canonisation of works of literature and their authors. Distinctive and ambitious, these essays move beyond the concerns of the community of critics and scholars. Gabler responds innovatively to the issues involved and often endeavours to re-think their urgencies by bringing together the orthodox tenets of different schools of textual criticism. He moves between a variety of topics, ranging from fresh genetic approaches to the work of James Joyce and Virginia Woolf, to significant contributions to the theorisation of scholarly editing in the digital age. Written in Gabler’s fluent style, these rich and elegant compositions are essential reading for literary and textual critics, scholarly editors, readers of James Joyce, New Modernism specialists, and all those interested in textual scholarship and digital editing under the umbrella of Digital Humanities.