Titlebook: Reading Modernism with Machines; Digital Humanities a Shawna Ross,James O‘Sullivan Book 2016 The Editor(s) (if applicable) and The Author(s

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ModLabs,rmation of contemporary digital-humanities and new-media laboratories and collaboratories. The trajectory of this project, broadly conceived, leads from the modular principles of early twentieth-century industrial design and avant-garde aesthetics, to the implementation of modular architecture in th

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Modeling Modernist Dialogism: Close Reading with Big Data,ate as a method of studying literary history.” Hammond, Brooke and Hirst respond by demonstrating the productive interpretive interplay that results when close reading is placed in a “feedback loop” with the insights available at the scale of big data. Using cutting-edge techniques in computational

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Textbase as Machine: Graphing Feminism and Modernism with ,, graphs change perspectives developed in narrative scholarship on feminist political and educational institutions in modernism. We use the network visualization tool . and the information it draws from ., together with readings of primary sources, to assert that the National Union of Women’s Suffrag

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Remediation and the Development of Modernist Forms in ,,adian middlebrow magazine .. The authors argue that modernist literary forms developed on the pages of middlebrow magazines, though more often for pragmatic reasons such as printing capabilities and the necessity of advertising revenue than for strictly artistic or aesthetic reasons. By juxtaposing

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,In the End Was the Word: A Computational Approach to T. S. Eliot’s Poetic Diction,t T. S. Eliot, exemplar of modernism, was writing in a style that was in some way separate from the Georgian movement that came just before him. C. K. Stead writes that critics have been disposed to view the Georgians “through spectacles provided … by the later, more vigorous movement led by Pound a

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