Dear Raffaele,
thank you for sharing this. I just had a quick look at Ode to Heaven,
and one thing that stood out to me in the TEI code is the
<surface>/<graphic> structure in the beginning. If I got it right,
<graphic
url="http://shelleygodwinarchive.org/images/ox/ox-ms_shelley_e3-0039.jp2"/>
is meant to point to the scan of the corresponding page (though I can't
say for sure because it actually points to "404 - page not found"). The
other day I considered the same idea, but ultimately decided against
<graphic> because its definition says it "indicates the location of an
inline graphic, illustration, or figure." The term "inline graphic"
looks to me as if this element is not intended for whole facsimile
images, but rather smaller parts within a page. (In the end I went with
<media> for our facsimiles, although I feel this isn't exactly what this
element is meant for either.) Maybe the Guidelines need to clarify which
types of images <graphic> should be used for?
(That being said: Raffaele, why didn't you simply put the URL in
<surface @facs>? The only reason I'm looking for another element in
addition to <surface> is that our scans have IDs which can't be inferred
from the URLs, so now we're using <media @n> for that ID, while the URL
goes in both <media @url> and <surface @facs>.)
Best regards,
Martin
--
Martin de la Iglesia
Metadata and Data Conversion
Georg-August-Universität Göttingen
Göttingen State and University Library
D-37073 Göttingen
Papendiek 14 (Historical Building, Room 1.602)
+49 551 39-14070 (Tel.)
+49 551 39-3468 (Fax)
[log in to unmask]
http://www.sub.uni-goettingen.de/
Am 29.02.2016 um 22:47 schrieb Raffaele Viglianti:
> Dear TEI List
>
> The Shelley-Godwin Archive <http://shelleygodwinarchive.org/> is pleased to
> announce the public release of Percy Bysshe Shelley’s *Prometheus Unbound*
> fair copy notebooks, Bodleian MSS. Shelley e.1, e.2, and e.3. Beyond the
> fair copy of what is arguably Shelley’s greatest poem, these notebooks
> contain fair copies of his lyric poems “Ode to Heaven
> <http://shelleygodwinarchive.org/contents/ode_to_heaven>” and “Misery.—A
> Fragment <http://shelleygodwinarchive.org/contents/ode_to_heaven>,” as well
> as his draft translation of Plato’s *Ion*
> <http://shelleygodwinarchive.org/contents/ion>.
> As with our earlier release of the *Frankenstein* manuscripts, these
> manuscripts all appear as high quality page images accompanied by full
> transcriptions, and they are encoded in a schema based upon the Text
> Encoding Initiative’s guidelines for “Representation of Primary Resources,”
> enabling researchers, editors, and students to pursue a variety of
> scholarly investigations. Our encoding captures important aspects of the
> composition process, tracing the revisionary evolution of primary
> manuscripts and enabling users to see and search for additions, deletions,
> substitutions, retracings, insertions, transpositions, shifts in hand,
> displacements, paratextual notes, and other variables related to the
> composition process.
>
> *Prometheus Unbound*, itself, was first published in 1820 in a volume
> entitled *Prometheus Unbound: A Lyrical Drama in Four Acts, With Other
> Poems*. No poem caused PBS more pains to compose or occupied him for so
> long. The intermediate fair copy of Prometheus Unbound
> <http://shelleygodwinarchive.org/contents/prometheus_unbound/> located in
> e.1-e.3 served as PBS's safekeeping copy; and he recorded in it revisions
> made to the poem after the press transcript had already been sent to
> England from Italy. It is by now a commonplace that he was extremely
> dissatisfied with the published text of *1820*, the only edition of *Prometheus
> Unbound* to appear during his lifetime, for which he was not allowed to
> read proof. But the "formidable list" of errata he prepared for that text
> has been lost or destroyed—as has been the press transcript itself, which
> best would have reflected his intentions for the printed text. The last
> surviving manuscript of *Prometheus Unbound* in PBS's hand, these notebooks
> are the necessary starting point for all those who desire to better their
> understanding of Shelley's greatest poetic achievement.
>
> For this release, the S-GA team refined the design of the site to improve
> users’ experience of navigating the rich contents of the Archive. Most
> notably, the contents of S-GA can all be accessed by Manuscript (with page
> images ordered by their sequence in the manuscript), or by Work (with page
> images ordered by their linear sequence in the work, e.g., Acts and
> scenes). The *Frankenstein* manuscript page images have been refactored so
> that they can be accessed in all of the complicated arrangements and
> rearrangements
> <http://shelleygodwinarchive.org/contents/frankenstein_chapters> through
> which they have descended to us over time.
>
> Our next planned release for S-GA in late Spring 2016 will increase its
> contents by an order of magnitude, with several thousand as yet
> untranscribed page images. We continue to work behind the scenes on opening
> the Archive to participatory curation.
>
> With best wishes,
> Raffaele Viglianti and Neil Fraistat
> Maryland Institute the Technology in the Humanities
>
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