Mittwoch, 25. April 2018

Der Erste Weltkrieg im Spiegel hessischer Regionalzeitungen

Seit dem 10.04.2018 steht allen Interessierten das Web-Angebot des Projektes Der Blick auf den Krieg. Der Erste Weltkrieg im Spiegel der hessischen Regionalpresse 1914-1918 mit digitalisierten Zeitungen dieses Zeitraums zur Verfügung. 
 
Versehen mit einer Förderung des Hessischen Ministeriums für Wissenschaft und Kunst arbeiteten die Universitäts- und Landesbibliotheken Darmstadt, Fulda und Wiesbaden, die Universitätsbibliotheken Frankfurt am Main, Gießen, Kassel und Marburg sowie das Hessische Bibliotheksinformationssytem (HeBIS) als zentraler Dienstleister an der Digitalisierung und Präsentation dieser Bestände. Es wurden über 120 Regionalzeitungen mit mehr als 500.000 Seiten digitalisiert und in maschinell durchsuchbaren Volltext umgewandelt. Eine Besonderheit des Projektes ist die in enger Zusammenarbeit mit dem Hessischen Landesamt für geschichtliche Landeskunde (HLGL) entwickelte Aufbereitung des Materials. Zentrale Themen der Epoche werden in einführenden Kurztexten präsentiert und mit den digitalisierten Originalquellen verknüpft.

Library of Congress: Digital Collections - Mapping the National Parks

https://www.loc.gov/collections/national-parks-maps/about-this-collection

The Library of Congress offers this digital collection of 173 maps that either document U.S. national parks or document regions that would later be designated as national parks. More specifically, the collection documents depictions of four parks (Yellowstone, Acadia, the Grand Canyon, and the Great Smoky Mountains) and includes items dating from the seventeenth century through the present. This collection showcases maps that were created for a variety of purposes and features seventeenth-century maps by European explorers, eighteenth-century property maps, U.S. Geological Survey maps, and more. Visitors may browse these maps by date, location, contributor, or subject. In addition, visitors may want to check out the articles & essays section, which includes five essays that provide additional insight into these maps. In one such essay, Library of Congress cartographer Patricia Molen van Ee traces the history of mapping the coast of Maine (and Acadia National Park) from 1856 through the 1990s. Her essay is accompanied by a number of maps in the collection

via https://scout.wisc.edu/archives/r14767/library_of_congress_mapping_national_parks 

Wie ausradierte Schriften lesbar werden

http://science.orf.at/stories/2909002/

via http://www.univie.ac.at/voeb/blog/?p=46008

Why Do So Many Judges Cite Jane Austen in Legal Decisions? / Matthew H. Birkhold in: Electric Literature Apr 24, 2018

In February 1998, Kimberly Hricko murdered her husband after beginning an affair with Brad Winkler. Kimberly fell for Brad, according to Judge William Horne of the Court of Special Appeals of Maryland, at a party where Brad “appeared at the edge of the crowd, like Darcy in Pride and Prejudice … an enigmatic new figure.” Apart from his initial appearance, Brad did not resemble Jane Austen’s beloved character: he aggressively pursued a married woman, something the honor-bound Lord of Pemberly would never have done. He was not particularly wealthy. And, most damning, Brad was described as “sweet.” The comparison with Darcy does nothing to shed light on Brad — but it wasn’t meant to. Rather, the judicial opinion cites Pride and Prejudice to portray Kimberly as a woman wrapped up in a dangerous fantasy. 
As Judge Horne’s operose prose nicely demonstrates, judicial opinions are themselves works of literature with rich hypertextual potential. Most obviously, these texts cite the legal opinions that came before them, what we know as “precedent.” But the judges who pen these decisions also draw on their own literary experiences as they write the law. The authors they most frequently cite are predictable: the likes of Shakespeare, Kafka, and Melville, writers who explicitly tackle legal themes and whose works are enshrined in the Western canon. Unsurprisingly, female authors are largely ignored in legal decisions. All of the references to Toni Morrison, Virginia Woolf, Edith Wharton, Amy Tan, and Margaret Atwood combined come nowhere close to the number of direct citations to Charles Dickens, not to mention uncited allusions to the best and worst of times. But a few women have broken through. Apart from J.K. Rowling, who appears in a number of judicial decisions because of her own litigiousness, the most-cited female authors include Harper Lee, Mary Shelley, and Jane Austen. Only the last, though, is cited not only for one work but across her entire oeuvre. .... [mehr] https://electricliterature.com/why-do-so-many-judges-cite-jane-austen-in-legal-decisions-52e44f96fd81

Margaret Atwood on How She Came to Write The Handmaid’s Tale / M. Atwood in: LitHub April 25, 2018

Some books haunt the reader. Others haunt the writer. The Handmaid’s Tale has done both.
The Handmaid’s Tale has not been out of print since it was first published, back in 1985. It has sold millions of copies worldwide and has appeared in a bewildering number of translations and editions. It has become a sort of tag for those writing about shifts towards policies aimed at controlling women, and especially women’s bodies and reproductive functions: “Like something out of The Handmaid’s Tale” and “Here comes The Handmaid’s Tale” have become familiar phrases. It has been expelled from high schools, and has inspired odd website blogs discussing its descriptions of the repression of women as if they were recipes. People—not only women—have sent me photographs of their bodies with phrases from The Handmaid’s Tale tattooed upon them, Nolite te bastardes carborundorum and Are there any questions? being the most frequent. The book has had several dramatic incarnations, a film (with screenplay by Harold Pinter and direction by Volker Schlöndorff) and an opera (by Poul Ruders) among them. Revelers dress up as Handmaids on Halloween and also for protest marches—these two uses of its costumes mirroring its doubleness. Is it entertainment or dire political prophecy? Can it be both?
I did not anticipate any of this when I was writing the book.
I began this book almost 30 years ago, in the spring of 1984, while living in West Berlin—still encircled, at that time, by the infamous Berlin Wall. The book was not called The Handmaid’s Tale at first—it was called Offred—but I note in my journal that its name changed on January 3, 1985, when almost 150 pages had been written.
That’s about all I can note, however. Although I made numerous journal entries about the book I’d been writing just before beginning The Handmaid’s Tale—a many-layered saga set in Latin America that became waterlogged and had to be set adrift—I don’t find myself writing much at all about The Handmaid’s Tale. ... [mehr] https://lithub.com/margaret-atwood-on-how-she-came-to-write-the-handmaids-tale/

Rat für Informationsinfrastrukturen (RfII) hat seinen Internetauftritt optimiert

Der RfII hat seinen Internetauftritt überarbeitet und optimiert und bietet Informationen u.a. zu aktuellen Projekten, thematischen Schwerpunkten und laufenden Arbeitsgruppen sowie die Möglichkeit, bisherige Publikationen herunterzuladen.

Die Geschichte der Suchmaschinen

http://searchstudies.org/wp-content/uploads/2018/04/haw_suchmaschinen-grafik.pdf


HAMBURG UNIVERSITY OF APPLIED SCIENCES