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‘Princess Tutu’ and the Absent Fish: An Informal Essay
Anyone familiar with Princess Tutu will recognize and appreciate its masterful melding of diverse fairytale and sometimes mythic elements --- may the record show that I’m no different. Nevertheless, there is one particular sequence in Ahiru’s heart-shard-hunting quest that never felt quite right: the heart-shard of Curiosity (alternatively, the Desire for Knowledge). Or, more precisely, it’s the River that always bothered me.
As a one-off magical narrative conceit there’s really nothing wrong with the River having the heart-shard. Thanks to the episode regarding the heart-shard of Affection, it was already established by that point that non-human(oid) entities could become bearers of pieces of the Prince’s heart. So the River as heart-shard-holder was at least consistent within the narrative’s internal logic. What I think I was recognizing through my dissatisfaction with the River, though without even fully comprehending it, was instead a sudden break with what I will term the “chain of motif.” To put it another way: every other heart-shard, up until the final five from the town gates, is connected is some way to a recognizable fairytale motif and/or structure; all except for the heart-shard of Curiosity.
For an illustration of heart-shards and their associated motifs, with the specific elements that identify the motifs (where sources give different translations for the known heart-shard emotions I will provide both), I present the following:
1. Disappointment/Bitterness -- Swan Lake: admittedly, this is mostly in the music and “set design” of the episode which, along with the short-lived (one-sided) dancing rivalry between Anteaterina and Rue, are probably mostly meant to serve as a introducing the central motif of the show. Additional possible foreshadowing of the thematic conflict between Ahiru/Tutu and Rue/Kraehe later on, though this claim is much more tentative.
2. Loneliness -- Hansel and Gretel: a house in the woods, a story revolving around food, fear (though here ultimately unfounded) of being eaten
3. Sorrow/Sadness -- Giselle: taken directly from the ballet, which itself draws from the folklore of willis/vilas that, depending on the tradition, are variously described as ghosts, fairies, nymphs, etc. I’d also like to point out that the design of the willis fulfills the visual requirements of the White Lady of so many European (and Euro-influenced) countries.
4. Affection -- Not a single tale-type, but calls upon a conglomeration of magical light folklore, i.e. will-o’-the-wisps (leading people astray, as the Lamp’s riddles led Ahiru not so much astray, but certainly to where the spirit wanted her), the genie in the (oil) lamp, etc. (I also recall someone once posting about an Andersen tale in which an old street lamp reminisces on all the things it’s seen in its life, much like the Lamp-spirit. However, while a strong argument can certainly be made for this story being the inspiration for the Lamp, it’s a pretty obscure one from HCA’s repertoire, so I believe the strength of the lamp motif comes mostly from the examples I have highlighted.)
5. Fear -- Sleeping Beauty: for obvious reasons. (There are also shades of the Grimms’ “The Story of the Youth Who Went Forth to Learn What Fear Was,” but that’s a real stretch to fully justify, even for me.)
6. Curiosity/Desire for Knowledge -- ??????
7. Devotion -- “The Red Shoes,” Andersen: since the magical black pointe shoes Rue slips into seem to have a similar unsettling degree of autonomy to Andersen’s eponymous footwear. The fact that they cause a transformation that slashes at Rue with thorny vines is also a nearly sadistic inversion (intentional or not, who can say?) of the Anderson story, wherein the sinful girl is at last relieved of her suffering when an angel, carrying a branch blooming with roses, finally grants her mercy and takes her up to Heaven. I can also see possible shades of Pygmalion in Malen’s obsession with drawing Rue, though her fixation may be argued as serving more to highlight the themes of lack of control and destructive self-sacrifice implicit in the HCA tale, which I still see as the overriding motif here.
8. Regret -- Cinderella: the episode musical motif, plus the element of the “ball,” or at least a gathering of multiple people (and crow demons?) in a single location. Charon even plays the part of, first, the “step-parent” who refuses to let his ward attend that event, but eventually transitions into the role “fairy godmother” who furnishes the ward with the physical necessities he needs to go out and do what he wants. (Amusingly, this makes Ahiru either a bait-and-switch/red herring Cinderella, OR makes her and Fakir a kind of composite Cinderella, each one fulfilling different aspects of the motif -- possible foreshadowing for later partnership, courage described as “two hearts as one,” etc.)
9. Love -- The title of the episode introducing this heart-shard is “La Sylphide,” though it doesn’t have much in common with the eponymous ballet. What it does have is the first very recognizable instance of full-on witchcraft in the show, which is undeniably a strong and instantly identifiable fairytale element. The curse Rue places on this shard also positions her as the “false bride,” from such tales where one woman either kills, curses, or brings low and supplants a “true bride” in order to take that woman’s lover for herself.
10. Pride -- The Flying Dutchman: In which a man is punished for his sins usually implied, and sometimes outright stated, to be a slight against God performed in a bout of hubris; and cursed to wander and/or continue their mortal duties without rest for all eternity. Whether they were cursed with immortality or simply exist as spirits unable to enter Heaven or Hell varies between tellings, but the framework is essentially the same. (This is almost certainly a later variant of a story type I would prefer not to call by name, but involves “Wandering”; though since that protagonist is always cursed with immortality and never becomes a spirit, it’s a tale-type that is at best tangentially related to the motif I’ve chosen anyway.)
11. Hope -- Swan Lake; The Little Mermaid; The Ugly Duckling; etc.: for obvious reasons again.
Fairy tales and folklore rely heavily on patterns. In adopting and adapting these stories to craft its own narrative, PT also inherits those formulas. But the heart-shard of Curiosity does not fit the pattern --- in fact, it seems not to have parallels with any recognizable tale pattern at all.
What is particularly strange is the presence in the episode of many of the building blocks of a very famous folklore motif, and one made all the more conspicuous by its absence from the narrative. That is: the motif of the ring in the fish.
As far as age is concerned this motif goes back a long way, along one of two variant branches. One: the ring that is lost, despaired of, and miraculously returned to great joy (and often used as a token of recognition). Two: the ring that is the catalyst, lynchpin, etc. of some undesirable future event, which the owner tries to throw away in an attempt to dodge destiny and which inevitably comes back to him, the ring here being a tangible reminder of the inescapability of fate.
Of these variants the first is by far the most common. Arguably the most internationally famous tales of this variant is that of Solomon’s ring, which provides the basic structure many later tales of the branch: King Solomon’s (magic) signet ring was stolen by a demon and cast into the ocean, whereupon it was swallowed by a fish. Years later, a fisherman caught a fish which was then cooked and served to Solomon, who cut it open to find his ring in its belly. (The ring here also acts as an indisputable identifier of the true Solomon, who had been reduced to a pauper by the aforementioned demon after losing his ring, since the demon could shapeshift and had assumed the king’s form. The retrieval of the ring restored Solomon to his true form, allowed him to vanquish the demon, and retake his rightful place as king. Many ring-in-fish stories conclude with the ring acting as absolute proof of a character’s identity, often in a “recognition” or “reveal” scene.)
In contrast to this story is that of Polycrates and his ring. On the advice (and possibly prophecy) of the king of Egypt, Polycrates the tyrant of Samos is told to cast away that possession which he values post, lest his overabundance of success raise the ire of the gods and cause them strike him down. Polycrates attempted to do so, casting into the sea his prized emerald ring, which caused him much grief. However, not long after a fisherman brought a fish as tribute to the tyrant; when Polycrates had it gutted his ring was found in its belly, proof that he could not escape his disastrous fate (indeed, he was eventually overthrown and assassinated, possibly by being impaled and his corpse then crucified).
The object cast into the water (typically a piece of jewelry) varies depending on a story: a ring, a necklace, a bracelet, and anklet, etc., though I think the particular emphasis on encircling jewelry is an important detail. Sometimes the object is simply a gemstone --- also important in this discussion, given the curiously jewel-like appearance of the heart-shards.
In any case, the basic plot of “[thing] in water - [thing] in fish - capture of fish - [thing] back in hand” (or, even more simplistically: a valuable object lost in water and found later in an unexpected place), is found in sources ranging from Sanskrit dramas to Irish mythology. Even Hans Christian Andersen famously refurbished it in his “Steadfast Tin Soldier.” And speaking of Irish mythology, the Fenian cycle famously includes a tale about culture hero Fionn mac Cumhaill and the Salmon of Knowledge.
(For the uninitiated: A salmon ate nine hazelnuts that fell into the Well of Wisdom, gaining all the world’s knowledge, and the first person to eat of its flesh would likewise gain that knowledge. The poet Finegas/Finn Eces, to whom Fionn was then a servant, caught the fish after many years and told Fionn to cook it while he attended to other matters, but not to eat it. Fionn (surprisingly) followed this directive, until he poked at the fish to check its doneness and burned his finger in the hot fat --- a finger which he immediately stuck into his mouth to soothe, only to thereby ingest the drop of the salmon’s fat and gain the knowledge contained therein. Upon learning of this, Finegas gave Fionn the rest of the fish to eat, and Fionn gained all the world’s knowledge.)
The motif of a fish associated with great knowledge lends itself well as a base element for a hypothetical holder of the heart-shard of Curiosity, especially when combined with that of the ring in the fish/returning ring. The latter motif is essentially part of the episode anyway. After all, there’s a clear instance of jewelry being cast into water --- when Ahiru throws her pendant (an encircling necklace) into the River so that she’ll no longer have to act as Princess Tutu and bring pain to Mytho. While her necklace is never miraculously returned to her, she nevertheless recovers it, and so fulfills the bare-bones conditions of the tale type.
The fact that this outcome was exactly what Drosselmeyer wanted would have paralleled the theme of inescapable fate we find in the story of Polycrates’ ring. In doing so, it would have raised the stakes of one of PT’s central conflicts (do these people even have free will, and if they do can they exercise it successfully to escape tragedy?), making the push and pull that much more dynamic and the tension even more taut. Because the returned ring motif would have (seemingly) implied an early answer: No. The “ring” always returns, and the fate it symbolizes is therefore set in stone. It’s a pattern we’re all familiar with, even if our recognition of it isn’t always conscious. But therein lies the problem. For seemingly no reason, in this episode PT decides to disrupt the pattern.
These are the fairy tale element building blocks we have to work with in the episode:
Water
Something lost (two somethings, in this case: the necklace and the heart-shard; one is lost purposefully in the water, the other by happenstance)
The return of things lost
Later on (continuing into a couple of the following episodes), we are even given:
A recognition scene, brought about by the thing lost in the water
The heart-shard, once recovered and then stolen by Kraehe, leads to Rue’s eventual “recognition” of herself as Kraehe. It keeps asking her who she is and why she wears black feathers, forcing her into a psychological conflict lasting two episodes. Unlike a returned ring the heart-shard is not itself hard proof of her identity, but it nonetheless forces the question of identity to the forefront of Rue’s consciousness from the depths of her denial --- it is the catalyst of revelation, if not its direct agent.
(This isn’t even touching on Ahiru’s pendant becoming the element by which Fakir later identifies her as Princess Tutu, and which was also retrieved from the water.)
But, curiously, no fish to be found anywhere. Very odd, considering that the fish is most often the narrative element that ties all the others together. It’s the device that keeps the plot from stopping dead after the valuable “something” is lost.
The closest we get is, well, Ahiru herself. She is the one who retrieves her necklace from the River, after all. One could say it’s also when she’s at her most fish-like, since it’s one of the few times we see her fully submerged in water. But I find this an unsatisfying answer for the absence of the fish. If nothing else, it lacks the gestative image of a shining ring (or necklace or jewel) sitting quietly in the cold of a piscine belly, generating all sorts of connotations relating to rebirth, fertility, protection, and so on. While not strictly necessary to the function of a returning ring story, the image nevertheless strikes me as wonderfully evocative and symbolic, which may well account for so many returning ring tales coming down to us as ring-in-fish tales.
No aquatic creature of any type is part of the encounter with the heart-shard of Curiosity. (Unless we again count Ahiru, though her being in her mostly-human Tutu aspect --- the one most removed from her aquatic duck form --- strains this interpretation past the point of credulity in my opinion.) Perhaps the most perplexing thing about this heart-shard is how the River itself is what holds it. Not even a personification of the River, i.e. a nereid, nymph, kelpie, undine, rusalka, or a few dozen other types of aquatic folklore creatures. Other aquatic animals were eschewed as well, though if the writers didn’t want to use a fish is would have still been a good opportunity to include a frog, already associated with retrieving golden balls from wells (speaking of valuable round things lost in the water). And as far as I know, there just aren’t that many stories which feature sentient, non-anthropomorphized bodies of water; the element is obscure at best if it exists at all, certainly isn’t part of any recognizable tale types. It does not fit the pattern presented by the other narrative building blocks.
It’s a conundrum I can’t quite parse. If the writers were already including so many of the elements of a common and well-known tale type, why the glaring omission of the element second in importance only to the lost object itself? The truth is, I don’t have any good answers.
I mean, I can still theorize of course. For example, it’s entirely possible that the heart-shard was swallowed and held by an ordinary fish at some point (the show establishes that regular, non-anthropomorphic animals live in the town as well), but then the fish simply died and the heart-shard then reverted to the River. The only problem with this theory is that there is absolutely nothing within the text of the show to support it, and in no way impacts the story we see play out in the show.
And so, what are we left with? There’s a hole in the story structure with nothing to fill it; a fish story that, like all those tall tales that inspired the idiom, never produces a fish. But perhaps that, itself, is the best conclusion we can draw from this incomplete tale; the definition of the colloquial “fish story”: a great big lie. Whether as intentional foreshadowing or just a glitch of human error, by omitting the fish the show writers tipped their hand. If a ring-in-fish story can so conspicuously become just a variety of “fish story,” then the credibility of all the fairytale structures we see in the show must be called into question. If the fish is missing from its own tale type, what else might be missing? If essential elements are missing from certain established story structures, how are those stories still progressing beyond their natural lifespan? If fairytale plots, with all their adherence to patterns and formulas, are the “truth” of this reality, what might it mean when the pattern is so obviously disrupted?
If Drosselmeyer meant to trap a town in a fairytale for all eternity, he overestimated the sturdiness of traditionally oral story structures. The tales they produce are narrative bricolage, held together with the spit and chewing gum of predictable conventions and the skill of the storyteller. Lose one key element, and unless you can convincingly slot another in post haste the entire fabric of the story will unravel in your hands. Drosselmeyer cast his Story’s net wide and strong, but I suspect even that turned out to be subject to degradation and decomposition. Holes were inevitable. This one was just big enough for a single fish to slip through, and with it the first hint about the truth of the Story, carried like a ring in its belly.
#princess tutu#my writing#meta#folklore#the ring in the fish#the returning ring#trust me by my standards this is almost uncomfortably informal#if i had my way i'd use only the most thorough of scholarly texts for this research#and provide footnotes and an annotated bibliography#instead i churned out 3000 words in a wild bout of insomnia with about twenty wikipedia tabs open#scholarship!#(someone please tell me i was still making sense at the end i was getting kinda loopy)
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[FULL ANSWER] 10-15 pages, cover page and bibliography not include in page count Chicago Turab
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[FULL ANSWER] 10-15 pages, cover page and bibliography not include in page count Chicago Turab
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[FULL ANSWER] 10-15 pages, cover page and bibliography not include in page count Chicago Turab
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[FULL ANSWER] 10-15 pages, cover page and bibliography not include in page count Chicago Turab
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This May Be The Worst College Paper Ever Written
This May Be The Worst College Paper Ever Written Or cease by the office on the first floor of the NAC 1/118. The Paper also revealed in depth articles, such as a seminal piece on medicine and their circulate into the US. This was essential at that time due to the heroin epidemic plaguing Harlem and different black communities. The Paper produced some superb journalism and was able to “break” several information stories earlier than the mainstream press. The second sentence says that some colonists did not need to break with Britain . You cited a supply in your paper; historic Britons sited Stonehenge on a plain; Columbus’s lookout sighted land. (“Essentially, Churchill believed that Nazi Germany presented a grave hazard to Britain.”) Delete basically and basically except you're writing about essences or bases. If you're having hassle together with your writing, attempt simplifying. Here are some questions you might ask of your doc. You will note a standard theme—learn critically with sensitivity to the context. Of course, you possibly can ask these identical questions of any doc you encounter in your research. In 1971, David Friedlander broke the true story of the uprising on the Attica prison a number of weeks earlier than the New York Times. Similarly, The Paper broke the story of the 1970 pupil takeover of the CCNY campus to protest the US invasion of Cambodia. Arlette Hecht wrote a narrative on the Rockefeller drug laws, an article launched simultaneously with a printed article in the New York Times and NY Daily News . With a period so rich in social upheaval, The Paper sought to report points not covered in traditional school newspapers , or certainly the mainstream press. As a financially and editorially unbiased pupil newspaper, The Harvard Crimson has been working across the clock to cowl Harvard and the town of Cambridge throughout this crisis. Please think about making a tax-deductible donation to help The Crimson and our pupil journalists. Paper In Particular is an annual, juried exhibition held by the Columbia College artwork galleries. The exhibition showcases the easiest in art that incorporates paper as a main component. You should be delving into the sources through the second week. When was the e-book written, and how does it match into the scholarly debate on the topic? Be sure to not confuse the author’s argument with these arguments she or he presents solely to criticize later. Your professor might ask you to analyze a primary document. You also can contact the corporate in the US or UK numbers. We have determined to check out both the Standard and Premium Quality choice from Collegepaper. We agree with the suggestions that they vary in high quality, which is kind of anticipated. According to the quality of paper we received, we will conclude that the prices for Premium content can be thought of inexpensive. Having plenty of Office Depot filler paper readily available is important for varsity, residence or workplace environments. This excessive-high quality filler paper matches most letter-size binders. I love the thought of editing the paper by studying it backwards. To really give your self the benefit and make sure you’ve proofread your work to one of the best of your capability, you have to learn your paper backwards and out loud. All of the feedback they provide is valuable and should be used on the following paper as a reference for what the expectations are going to be. should you’d like to put in writing, edit, take photographs or help design the publication. News protection ranged from group issues to nationwide and international information, the arts (there was a film and theatre critic, and a poet-in-residence). Annotated bibliographies, due to this fact, are source-targeted. In his paper, Mr. Biden included a single footnote to the Fordham Law Review article. It disclosed comparatively poor grades in college and regulation faculty, blended evaluations from teachers and details of the plagiarism. You’re relieved that the paper counts for under 20 % of the course grade. Don’t start to write until you've an excellent outline. Work carefully together with your professor to assure that your topic is neither too broad nor too slim. Big trouble is looming when you don’t have a particular matter by the tip of the primary week.
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Project Examples
What are some examples of text analysis using historical newspapers?
As more collections of newspapers from around the world are digitized, more scholars produce projects that utilize them. It seems the number of questions that might be asked that these collections might answer are limitless, so the examples below should provide inspiration, and not just an idea that might be reproduced — though, that could be really interesting, too.
America’s Public Bible: Biblical Quotations in U.S. Newspapers
About: What role did the Bible play in U.S. history? How people put its writing to use may help us better understand that, and this project, which was created by George Mason University history professor Lincoln Mullen, presents the ways Bible verses were used in historical newspapers in the Library of Congress’ Chronicling America collection. The results of the research and text analysis are presented in a few ways on the project’s website. With an interactive graphic, you can see the trends of how top verses were quoted over time, and click through directly to some of the historical newspaper articles in the Chronicling America collection where the quotations appear. There are also charts that display the most frequently quoted verses by decade, and a network visualization that shows relationships between Bible passages that were quoted together on one newspaper page.
Go Deeper: You can explore the data used in this project to see the results or to try generating your own visualizations. The code (which was written in the programming language R) that was used to train the machine learning model, find Bible quotations, and more is available on GitHub. Mullen also outlined how he did all of that in a “mostly non-technical explanation,” though it may require a couple of other tutorials for you to get going.
Bonus Fun Fact: Lincoln Mullen’s wife Abby Mullen works on the Viral Texts project, outlined below.
American Lynching: Uncovering a Cultural Narrative
About: What do the portrayal of lynchings in American newspapers show about the country at the time? Using the historical newspapers in the Library of Congress’ Chronicling America collection, along with lynching data from Tuskegee University and case files from Project HAL, this project helps show the role newspapers played in shaping the country’s perception of these public killings. Created by Andrew Bales, a PhD candidate in creative writing at the University of Cincinnati, it pulls articles from the historical newspaper collection and displays them in multiple ways. For instance, an interactive map generates 20 newspaper records from each state, and is oriented on the page above a chart showing the total lynchings in each state. Another interactive map provides newspaper articles relating to specific lynching victims.
Go Deeper: Unfortunately, there’s not a lot of documentation available about how the methods behind these text analyses. However, for more information about how to approach information visualizations of difficult topics ethically, check out this piece.
Historical Agricultural News
About: Sometimes the research question isn’t even the hardest part. With vast amounts of data available, culling through it all to begin to answer the question you’ve developed can be overwhelming. How can text analysis help in the searching? That’s what this project tries to discover. Developed by Amy Giroux and Marcy Galbreath, texts and technology researchers at the University of Central Florida, and Nathan Giroux, a software engineer in the military simulation industry, the project grew out of a different project — when they realized the algorithm they’d developed to filter articles in the Chronicling America collection by keywords could be used for any number of research questions, they saw great potential. Now other researchers can search for agriculture topics and receive more meaningful results from that collection.
Go Deeper: Here’s an example from two of the project leads of the kinds of additional research that’s made possible by this tool. This is a good reminder that as you’re playing with your own text analysis project, keep in mind others who are doing similar analyses — can the work you’re doing or the results you’re getting be useful to others?
"Horrible Massacre of Emigrants!!": The Mountain Meadows Massacre in Public Discourse
About: What do the ways different sources portray one event say about the event, or the sources, or the readers? This project, which was led by digital historian Douglas Seefeldt, built its own dataset made up largely of newspaper articles (but also including fiction, historical accounts, government documents, and more), and then applied text analysis to help interpret these questions. Word clouds demonstrate what terms were used more often in publications by those on different sides of the event; and a narrative map provides similar quantitative analysis, but adds links to the specific writings to provide additional context.
Go Deeper: If you poke around this GitHub repository, you’ll find the data so you can play with it yourself, and you can see the XML encoding that’s specific to this dataset, if that’s something you’re interested in exploring with your own data.
Mapping Texts
About: What if the historical newspapers we’d like to analyze aren’t readily available, and what is available isn’t so terrific, from large swaths of the country? That’s one of the meta questions raised by this project as it looks at the quantity and quality of some digitized historical newspapers. To narrow the scope of the enormous Chronicling America collection, the University of North Texas and Stanford researchers behind this project focused on the Texas newspapers digitized by the Texas Digital Newspaper Program at the UNT Library, and one interactive map illustrates which parts of the state have better digitized historical newspapers available than others. Another interactive visualization shows the evolution of language patterns in those newspapers.
Go Deeper: Explore and play with their data, or see the source code for their interactive visualizations to create your own with a different dataset. White papers by the team are also available to read more on topic modeling and combining text mining and geovisualization.
Mining and Mapping the Production of Space: A View of the World from Houston
About: How do newspapers shape space? By comparing place names in two Texas newspapers digitized by the Texas Digital Newspaper Program, this project looks into how each portrayed the world, and considers how that perception reflected the culture of the time, and how it may have helped influence it. Three interactive maps provide visualizations of the analyzed texts, a natural choice when the question at hand considers place.
Go Deeper: Created by a team led by Cameron Blevins while he was at Stanford’s Spatial History Project (he’s now a history professor at Northeastern University working with its NULab for Texts, Maps, and Networks), this isn’t a whole website or page dedicated to a project, but the digital supplement to a published paper, which is a reminder that, like the areas of the country presented by a newspaper, your exploration can take many shapes. The supplement outlines some of the methods, and in the footnotes you can find some of the data to play with yourself. Written for a history audience, rather than a digital humanities one, it also includes a thoughtful endnote on collaboration, which serves as another good reminder: Even if you have a great idea for a research question, you may not be able to, and certainly don’t have to, explore it alone.
Oceanic Exchanges
About: What caused information to travel across linguistic borders in the 19th century? Building on the questions of the Viral Texts project outlined below, this project aims to expand the perspective, examining newspaper articles that were reprinted around the world, from the digitized newspaper collections of six countries. It’s a work currently in progress, and it will be worth following this international team’s progress as results from their text analyses roll out.
Go Deeper: Without visualizations or other outputs to examine yet, how can Oceanic Exchanges inspire your own project? By serving as an example of the scope of research being done outside of the United States (while fully acknowledging its connection to the U.S.). Still more is on the way, and work from NewsEye and Impresso should help show how international newspaper text analysis might be accomplished. Check out this this paper by Isabel Galina, who’s one of the co-primary investigators on Oceanic Exchanges, for more ways to consider the digital humanities from a global perspective, and bookmark the Translation Toolkit for tips on presenting the results of your own work in multilingual-friendly ways.
Viral Texts
About: What caused certain stories in newspapers to “go viral” in the 19th century? By creating reuse discovery algorithms, a team led by Northeastern University English professor Ryan Cordell presents interactive visualizations, exhibits, and digital editions to show what influenced the distribution of reprinted pieces. Beginning with the Chronicling America collection, the team expanded its data sources by examining digitized newspapers in several other collections.
Go Deeper: Examine the data and the code for the project at this GitHub repository, and get more information about the methods behind the text reuse detection in this paper and this whitepaper. Additionally, this annotated bibliography outlines more readings about this project, and can point you toward the technologies that were used to make it happen. Finally, this project eventually led Cordell to work on the Oceanic Exchanges project outlined above — a good reminder that, if it feels right, you should follow your research wherever it may lead you.
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Recipe
Ingredients:
1 Cup of Lit Review
2 Tbsp of Quotes
1/2 Tsp of Referencing
1 1/2 mg of Annotated Bibliography
1/4 Cup of Paraphrasing
Methods:
Put one cup of lit review which is a survey of sources and references that provides you an overview of a certain topic or subject. It normally follows a discussion of the statement or the study’s goals or purposes for the certain research paper. It can be just a simple summary of sources, but it usually had a more organised pattern and combines both summary and synthesis.
Add two tablespoons of quotes; a repeated statement or resource which helps you refer to another text, speech, conversation, etc any medium we can read. And in this context, we are talking about it in academic purposes for writing essays. This allows us to help further explain a point, make a point or used as evidence for an idea we are trying to get across. you use quotation marks in order to implement them into your essay and then reference them using Chicago
Mix in a half a teaspoon of referencing which entails, acknowledging used quotes, phrases sentence, images, etc any medium in specifically essay writing we are talking about so that you don’t get caught for plagiarising and stealing someone else’s work. You referencing using Chicago Turabian, which means you need a footnote at the bottom of the page in which you use and then also with a reference in the bibliography as well.
Melt and add 1 1/2 milligrams of annotated bibliography that means a list of citations and references to books, articles, documents, any texts, etc. But instead of it being similar to what bibliography itself is like, each citation is followed by a brief description and reflective paragraph, this is normally at the bag of the paper or research text. It informs the reader of the relevance, accuracy also the quality of the sources in which you have used in your document.
And finally, stir in a quarter cup of paraphrasing; when you take a quote or something in which someone else has said and you implement it into your work by changing the way it has been sequenced or some of the words used and made it your understanding of what it is they are saying so that it isn’t word for word. You are expressing the meaning of different words maybe even to achieve clearer ideas or expression.
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Step No. 1: Write first. Possibly the most unconventional suggestion I give clients for creating a first draft is: Write first, then read, then write again, read more, and write one last time.
Yeah, don’t do that. Instead, at the beginning of a project — even if you have only the vaguest idea what it should be about — I suggest you set aside a week and free-write. On each workday of that week, spend 25 minutes twice a day (two "pomodoros" a day) and write down all the things that you know, want to know, are interested in, are confused, or are excited about in your new venture. Don’t try for paragraphs or even full sentences. Revel in the mess.
At the end of that week, you may have 1,000 to 4,000 words of semi-gibberish — but it holds the key to your future brilliance.
Step No. 2: The baby bibliography. From that inspired semi-gibberish, you will then mine your first annotated bibliography. And the annotations are the most important part. You should never read anything without writing something down about it. Look up about 10 sources on your subject — the 10 best or, at any rate, the most famous, or most recent and "exciting," or most in vogue, or most something. Just start somewhere. For approximately two weeks, spend every work session reading (or rereading) those sources carefully, creating a full bibliographic entry for each one. Annotate each entry with:
The source’s main thesis.
Its primary impact on the field.
Two or three representative quotes.
Your own opinion about the source — what you think is brilliant, what you think is flawed.
Step No. 3: A skeleton draft. Using your baby bibliography, begin to merge some of your insights with your free-writing to form a primordial outline.
Organize under subject headings all the quotes, summaries, and opinions inspired by your free-writing.
Copy, paste, shape, and cut stuff.
Always, always create another document to save everything you’ve cut.
Make note, at every turn, of unanswered questions. This is, in effect, the most important part: It’s the part you can’t write yet.
What you’ll have at the end of about two weeks — provided you work on this in two or three 25-minute sessions a day, five days a week — is essentially a skeleton. It will have the vague shape of an article or chapter but will ask a lot more questions than it answers and will have a fair share of bracketed "notes to self" (à la Find a thing that ties these two ideas together).
Step No. 4: Close reading. Your skeleton draft is also a road map. Instead of attempting to read Everything (which you will never do), you now know what sorts of sources you need to find and read in order to flesh out your arguments and fill in the gaps.
To identify those new sources, look to household names in your field, to scholars you’ve met at conferences, to people with whom you already collaborate, to that one exciting new hotshot you keep hearing about. And, of course, consult the bibliographies of your first 10 sources. Get to mining!
With an expanded list of sources in hand, it’s time to read more intensely. Spend the next three to six weeks diving into those new sources and expanding your annotated bibliography. Again, do the reading two or three times a day, in 25-minute sessions, five or so days a week. Give yourself a deadline: Set a specific number of work sessions (such as 20 or 30), and when you’ve reached that number, cut yourself off. (Don’t worry, you’ll soon have time to read more.)
Step No. 5: A workable draft. At this point, you’re ready to dive into your now-massive annotated bibliography and do more surgery.
All those unanswered questions you had scribbled down in your free-writing? It’s time to fill in the gaps. Extract quotes, summaries, and arguments (copy, don’t delete, them from the bibliography), and paste them into the appropriate places in your Skeleton Draft. Your writing here can still be rough — don’t trip yourself up worrying about transitions or squaring all the circles. This stage of writing is chaos. If it feels uncomfortable, you’re doing it right.
By the end of this step, you will have a slightly more fleshed-out draft. Your next task, then, is to spend another two to three weeks tinkering on the sentence level, working on those transitions and cleaning up unnecessary jargon. Follow the same basic work schedule: two to three 25-minute writing sessions a day. At the end of those weeks, you may still have more holes to fill (especially in the footnotes.) But, by and large, you will have, miracle of miracles, a real draft of a chapter or an article that’s 25 to 30 pages long.
From start to finish, the process will take 11 to 14 weeks — about the duration of a semester — of working on the project for no more than an hour or two a day. With a workable draft in hand, now is a great time to put it aside and let it breathe, as your backbrain spins its wheels while you’re on break in earnest.
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Search Tools & Databases
Main search portals:
Yale Library Catalog (Orbis): Searches the books, e-books, journals, government documents, and other physical and digital items owned by the library. Individual journal articles are not retrieved by the search. Can be used to find both primary and secondary sources.
Quicksearch: A combined search of the library's books, journal articles, databases, and more. Searches Orbis as well as Morris, which is the Law Library catalog. Consider this a Google-like search of a vast amount of resources, but keep in mind some library materials are not indexed by the search. The search refinements and availability of multiple search fields are key to limiting the usually large number of results and finding the most relevant sources.
Archives at Yale: The new search portal for finding archival materials at Yale. Look for the Scope & Contents notes, inventories, and PDF Finding Aids to assess the relevance of materials to your research project.
Borrow Direct: Use the Borrow Direct platform to find and borrow books from partner libraries when our copy is checked out or we do not own the item.
Primary Sources at Yale: An engaging introduction to what primary sources are, how to find them, and what some of the major primary source collections are at the Yale University Library. Provides an excellent overview.
General resources:
Background or "reference" sources are a great place to start your research - these are scholarly encyclopedias, handbooks, bibliographies, and similar sources that provide overviews of topics and the relevant scholarship. Often primary as well as secondary sources are included in the suggestions for further reading.
Cambridge Core: Includes the Cambridge Histories, Cambridge Companions, and other helpful works.
Oxford Research Encyclopedia in American History: Includes potentially relevant articles under the “Early National History,” “Political History,” and other headings.
Wiley Online Library: Among the reference works you can find here are the Wiley “Companions” to American history, such as A Companion to the American Revolution.
Oxford Bibliographies: A large collection of annotated bibliographies usually containing both primary and secondary source citations.
Secondary sources:
The following bibliographic databases are key to finding secondary sources, especially scholarly/peer-reviewed journal articles:
JSTOR: A multidisciplinary database of great use to research in the humanities. The advanced search will allow you to search by discipline and to refine your search in other ways.
America: History and Life: Covers approximately 1,800 academic journals in U.S. and Canadian history.
Academic Search Premier: A multi-disciplinary database that is useful for discovering scholarly articles in fields related to history such as political science, literary criticism, etc.
Please note: The full text of articles will not always be available in these databases. If you see the "YaleLinks" icon instead of a PDF, click on the icon to discover whether we have online access to the article. We may have the article in print even if we do not have access to it online. Articles that are not part of the library's collection can be requested via Interlibrary Loan, which is part of the Get It @ Yale service.
And, don’t forget, Orbis, Books+ and Articles+ are all important tools for locating secondary sources!
Primary sources:
Unless otherwise noted, all of the following are Yale-licensed resources - access from off-campus via the University's Virtual Private Network (VPN).
Rotunda: American History Collection: A major online resource containing digital editions of the papers of key early national figures. From the homepage, click on “American Founding Era” to view a list of the collections and browse/search the site.
African American Newspapers, 1827-1998
African American Periodicals, 1825-1995
America’s Historical Imprints: A database of most of the books, pamphlets, and other printed material published from the colonial era through to the early 19th century.
America's Historical Newspapers: Coverage from the colonial period mostly through to the early 19th century.
American State Papers, 1789-1838: Documents from the first fourteen Congresses.
Note: The five databases above can be searched together, along with more collections, via the single search portal, Readex AllSearch.
American History, 1493-1945: This resource is based on the collections of one of the largest private archives in the U.S., the Gilder Lehrman Institute of American History (NYC). It has many documents relating to early American politics.
American National Biography Online: Biographies of over 17,400 Americans.
Diaries of John Quincy Adams: A digital edition from the Massachusetts Historical Society (does not require access via the Yale network).
The Early Republic: Critical Editions on the Founding of the United States: This is the online version of the 20-volume published edition of the 1st Federal Congress of 1789-1791. It has mostly primary material, but also includes essays and biographies for historical context.
Eighteenth Century Collections Online: Books, pamphlets, essays, and broadsides primarily from the United Kingdom.
Nineteenth Century U.S. Newspapers
North American Women’s Letters and Diaries: Colonial to 1950
The Papers of John Jay: Approximately 13,000 documents digitized by the Columbia University Libraries (does not require access via the Yale network).
Sabin Americana, 1500-1926: A collection of approximately 29,000 sources based on Joseph Sabin’s Bibliotheca Americana.
Slavery and Anti-Slavery: A Transnational Archive
Slavery in America: This database contains 600 primary source documents relating to the history of American slavery from the 17th to the late 19th century.
Citing your sources:
Documenting the sources you use in your research paper is a key part of the research and writing process. Complete and accurate citations to the books, journal articles, primary sources, and other items you use will allow readers to verify your sources and explore them further if they'd like to learn more about the issues you've raised.
In the field of history, the standard citation style is the Chicago Style, and you will want to consult it to find the proper format for citing sources in your footnotes as well as at the end of your paper in your bibliography. Here are the main links for referring to the Chicago Manual of Style:
Chicago-Style Citation Quick Guide
Chicago Manual of Style
A Manual for Writers of Research Papers, Theses, and Dissertations: Chicago Style for Students and Researchers (this is Kate L. Turabian's encapsulation of the Chicago Style)
In addition, the Purdue OWL (Online Writing Lab) offers a helpful overview of the Chicago Manual of Style (currently in its 17th edition).
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Referencing Techniques
Lit Review: a survey of sources and references that provides you an overview of a certain topic or subject. It normally follows a discussion of the statement or the study’s goals or purposes for the certain research paper. It can be just a simple summary of sources, but it usually had a more organised pattern and combines both summary and synthesis.
Quotes: a repeated statement or resource which helps you refer to another text, speech, conversation, etc any medium we can read. And in this context, we are talking about it in academic purposes for writing essays. This allows us to help further explain a point, make a point or used as evidence for an idea we are trying to get across. you use quotation marks in order to implement them into your essay and then reference them using Chicago
Referencing: referencing is a way of acknowledging used quotes, phrases sentence, images, etc any medium in specifically essay writing we are talking about so that you don’t get caught for plagiarising and stealing someone else’s work. You referencing using Chicago Turabian, which means you need a footnote at the bottom of the page in which you use and then also with a reference in the bibliography as well.
Annotated Bibliography: is a list of citations and references to books, articles, documents, any texts, etc. But instead of it being similar to what bibliography itself is like, each citation is followed by a brief description and reflective paragraph, this is normally at the bag of the paper or research text. It informs the reader of the relevance, accuracy also the quality of the sources in which you have used in your document.
Paraphrasing: when you take a quote or something in which someone else has said and you implement it into your work by changing the way it has been sequenced or some of the words used and made it your understanding of what it is they are saying so that it isn’t word for word. You are expressing the meaning of different words maybe even to achieve clearer ideas or expression.
0 notes