{"id":12,"date":"2017-09-05T09:50:54","date_gmt":"2017-09-05T15:50:54","guid":{"rendered":"http:\/\/briancroxall.net\/f17dh\/?page_id=12"},"modified":"2017-12-12T17:00:21","modified_gmt":"2017-12-13T00:00:21","slug":"schedule","status":"publish","type":"page","link":"https:\/\/briancroxall.net\/f17dh\/schedule\/","title":{"rendered":"Schedule"},"content":{"rendered":"<p>Complete all assigned reading before coming to class. Please keep in mind that all reading assignments are <strong>subject to change<\/strong>. This website is the canonical version of the schedule.<\/p>\n<p>All page numbers refer to the editions\/ISBNs that I have ordered. Some readings are in the <a href=\"https:\/\/reserve.lib.byu.edu\/course\/13532\/\">Course Reserves system<\/a>, indicated by CR.<\/p>\n<p>&#8211;Week 1&#8211;<\/p>\n<h3 style=\"text-align: center;\">Digital Humanities = Screwing Around<\/h3>\n<p><strong>Sep. 5 T<br \/>\n<\/strong><\/p>\n<ul>\n<li>Introductions, Syllabus<\/li>\n<\/ul>\n<p><strong>Sep. 7 Th<br \/>\n<\/strong><\/p>\n<ul>\n<li>Stephen Ramsay. \u201c<a href=\"https:\/\/reserve.lib.byu.edu\/course\/13532\/\">The Hermeneutics of Screwing Around; or What You Do with a Million Books<\/a>.\u201d <em>Pastplay<\/em>. 2014.<\/li>\n<\/ul>\n<p>&#8211;Week 2&#8211;<\/p>\n<p><strong>Sep. 12 T<br \/>\n<\/strong><\/p>\n<ul>\n<li>Alexis C. Madrigal, \u201c<a href=\"http:\/\/www.theatlantic.com\/technology\/archive\/2014\/01\/how-netflix-reverse-engineered-hollywood\/282679\/\">How Netflix Reverse Engineered Hollywood<\/a>.\u201d <em>The Atlantic<\/em>. 2 Jan. 2014.<\/li>\n<li>Kayleigh Donaldson, \u201c<a href=\"http:\/\/www.pajiba.com\/book_reviews\/did-this-book-buy-its-way-onto-the-new-york-times-bestseller-list.php\">Did this Book Buy Its Way Onto <em>The New York Times<\/em> Bestseller List?<\/a>\u201d <em>Pajiba.<\/em> 27 Aug. 2017.<\/li>\n<\/ul>\n<h3 align=\"center\">Mapping Digital Humanities<\/h3>\n<p><strong>Sep. 14 Th<\/strong><\/p>\n<ul>\n<li>Franco Moretti. \u201c<a href=\"https:\/\/reserve.lib.byu.edu\/instructor\/request\/93325\/\">Models for an Abstract Literary History\u20142<\/a>.\u201d\u00a0<em>New Left Review<\/em>.<\/li>\n<li>Stephen Ramsay. \u201c<a href=\"http:\/\/stephenramsay.us\/text\/2011\/01\/08\/whos-in-and-whos-out\/\">Who\u2019s In and Who\u2019s Out<\/a>.\u201d <i>Stephen Ramsay. <\/i>8 Jan. 2011.<\/li>\n<li>Stephen Ramsay. \u201c<a href=\"http:\/\/stephenramsay.us\/text\/2011\/01\/11\/on-building\/\">On Building<\/a>.\u201d <i>Stephen Ramsay<\/i>. 11 Jan. 2011.<\/li>\n<\/ul>\n<p>&#8211;Week 3&#8211;<\/p>\n<p><strong>Sep. 19 T<br \/>\n<\/strong><\/p>\n<ul>\n<li>Jhumpa Lahiri. \u201c<a href=\"https:\/\/reserve.lib.byu.edu\/course\/13532\/\">Sexy<\/a>.\u201d In <i>Interpreter of Maladies<\/i>. New York: Houghton, 1999. (CR)<\/li>\n<\/ul>\n<p><strong>Sep. 21 Th <\/strong><\/p>\n<ul>\n<li>Virginia Woolf, <em>Mrs. Dalloway<\/em>, 3-64<\/li>\n<\/ul>\n<p>&#8211;Week 4&#8211;<\/p>\n<p><strong>Sep. 26 T<br \/>\n<\/strong><\/p>\n<ul>\n<li>Virginia Woolf, <em>Mrs. Dalloway<\/em>, 64-128<\/li>\n<\/ul>\n<p><strong>Sep. 28 Th<br \/>\n<\/strong><\/p>\n<ul>\n<li>Virginia Woolf. <i>Mrs. Dalloway<\/i>, 128-end<\/li>\n<\/ul>\n<p>&#8211;Week 5&#8211;<\/p>\n<p><strong>Oct. 3 T<\/strong><\/p>\n<ul>\n<li><strong><a href=\"http:\/\/briancroxall.net\/f17dh\/assignments\/building-a-map-of-mrs-dalloway\/\">Dalloway presentations<\/a><\/strong><\/li>\n<\/ul>\n<h3 align=\"center\">The Intentional Fallacy<\/h3>\n<p><strong>\u00a0<\/strong><strong>Oct. 5 Th<br \/>\n<\/strong><\/p>\n<ul>\n<li><strong>Dalloway presentations<\/strong><\/li>\n<li>Franco Moretti. \u201c<a href=\"https:\/\/reserve.lib.byu.edu\/docs\/23781\/\">Models for an Abstract Literary History\u20141<\/a>.\u201d\u00a0<em>New Left Review<\/em>.<\/li>\n<\/ul>\n<p>&#8211;Week 6&#8211;<\/p>\n<p><strong>Oct. 10 T<br \/>\n<\/strong><\/p>\n<ul>\n<li>Carol Ann Duffy, <em>Standing Female Nude<\/em>, 1-31<b><br \/>\n<\/b><\/li>\n<\/ul>\n<p><strong>Oct. 12 Th<br \/>\n<\/strong><\/p>\n<ul>\n<li>Duffy, <em>Standing Female Nude<\/em>, 32-end<\/li>\n<\/ul>\n<p>&#8211;Week 7&#8211;<\/p>\n<p><strong>Oct. 17 T<br \/>\n<\/strong><\/p>\n<ul>\n<li>Carol Ann Duffy,\u00a0<em>The World&#8217;s Wife<\/em>, 1-41<\/li>\n<\/ul>\n<p><b>Oct. 19 Th<\/b><\/p>\n<ul>\n<li>Duffy, <em>The World&#8217;s Wife<\/em>, 42-end<\/li>\n<\/ul>\n<p>&#8211;Week 8&#8211;<\/p>\n<p><strong>Oct. 24 T<br \/>\n<\/strong><\/p>\n<ul>\n<li><strong>Class canceled, work on paper<\/strong><\/li>\n<\/ul>\n<p><strong>Oct. 26 Th<br \/>\n<\/strong><\/p>\n<ul>\n<li><strong>Class canceled, work on paper<\/strong><\/li>\n<\/ul>\n<p>&#8211;Week 9&#8211;<\/p>\n<p><strong>Oct. 31 T<br \/>\n<\/strong><\/p>\n<ul>\n<li>Duffy project<\/li>\n<li><span style=\"color: red; text-decoration: line-through;\"><span style=\"color: black;\"><strong>Duffy paper due<\/strong><\/span><\/span><\/li>\n<\/ul>\n<p><strong>Nov. 2 Th<br \/>\n<\/strong><\/p>\n<ul>\n<li>Duffy project<\/li>\n<li><strong><a href=\"http:\/\/briancroxall.net\/f17dh\/assignments\/puzzling-out-duffys-poetry\/\">Duffy paper<\/a> due<\/strong><\/li>\n<\/ul>\n<p>&#8211;Week 10&#8211;<\/p>\n<h3 align=\"center\">This is Your Eyes on the Internet<\/h3>\n<p><strong>Nov. 7 T<\/strong><\/p>\n<ul>\n<li>Mark Sample. \u201c<a href=\"http:\/\/www.samplereality.com\/2012\/05\/02\/notes-towards-a-deformed-humanities\/\">Notes towards a Deformed Humanities<\/a>.\u201d <em>Sample Reality. <\/em>2 May 2012.<\/li>\n<li>Javier de la Rose and Juan-Luis Su\u00e1rez. \u201c<a href=\"https:\/\/reserve.lib.byu.edu\/docs\/23797\/\">A Quantitative Approach to Beauty. Perceived Attractiveness of Human Faces in World Painting<\/a>.\u201d <em>Digital Art History<\/em>.<\/li>\n<\/ul>\n<p><strong>Nov. 9 Th<\/strong><\/p>\n<ul>\n<li>Kevin L. Ferguson. \u201c<a href=\"http:\/\/www.digitalhumanities.org\/dhq\/vol\/11\/1\/000276\/000276.html\">Digital Surrealism<\/a>.\u201d <em>Digital Humanities Quarterly<\/em>.<\/li>\n<li>Kevin L. Ferguson. \u201c<a href=\"https:\/\/hyperallergic.com\/308436\/to-cite-or-to-steal-when-a-scholarly-project-turns-up-in-a-gallery\/\">To Cite or to Steal? When a Scholarly Project Turns Up in a Gallery<\/a>.\u201d <em>Hyperallergic<\/em>. 30 June 2016.<\/li>\n<\/ul>\n<p>&#8211;Week 11&#8211;<\/p>\n<p><strong>Nov. 14 T<\/strong><\/p>\n<ul>\n<li>Jason Eppink. \u201c<a href=\"http:\/\/journals.sagepub.com\/doi\/abs\/10.1177\/1470412914553365\">A Brief History of the Gif: So Far<\/a>.\u201d<\/li>\n<li>Kate M. Miltner and Tim Highfield. \u201c<a href=\"http:\/\/journals.sagepub.com\/doi\/full\/10.1177\/2056305117725223\">Never Gonna GIF You Up<\/a>.\u201d<\/li>\n<li>Lauren Michele Jackson. \u201c<a href=\"http:\/\/www.teenvogue.com\/story\/digital-blackface-reaction-gifs\">We Need to Talk about Digital Blackface in Reaction GIFs<\/a>.\u201d <em>Teen Vogue<\/em>. 2 Aug. 2017.<\/li>\n<\/ul>\n<p><strong>Nov. 16 Th<\/strong><\/p>\n<ul>\n<li>Lindsay King and Peter Leonard. <a href=\"http:\/\/dh.library.yale.edu\/projects\/vogue\/\">Robots Reading Vogue<\/a>.\n<ul>\n<li><a href=\"http:\/\/dh.library.yale.edu\/projects\/vogue\/coveraverages\/\">Averaging Colors in\u00a0<em>Vogue<\/em><\/a><\/li>\n<li><a href=\"http:\/\/dh.library.yale.edu\/projects\/vogue\/colormetricspace\/\"><em>Vogue<\/em> Covers in Colormetric Space<\/a><\/li>\n<li><a href=\"http:\/\/dh.library.yale.edu\/projects\/vogue\/slice_histograms\/\">Slice Histograms<\/a><\/li>\n<li><a href=\"http:\/\/dh.library.yale.edu\/projects\/vogue\/about.shtml\">About page<\/a><\/li>\n<li>Either <a href=\"http:\/\/bookworm.library.yale.edu\/\">n-gram search<\/a>\u00a0or <a href=\"http:\/\/dh.library.yale.edu\/projects\/vogue\/stats\/\">Statistics<\/a><\/li>\n<\/ul>\n<\/li>\n<li><span style=\"color: red; text-decoration: line-through;\"><span style=\"color: black;\">Lev Manovich et al. <a href=\"http:\/\/selfiecity.net\/\">Selfie-City<\/a>.<\/span><\/span><\/li>\n<\/ul>\n<p>&#8211;Week 12&#8211;<\/p>\n<p><strong>Nov. 21 T<\/strong><\/p>\n<ul>\n<li><strong>Friday schedule? Madness. No class.<\/strong><\/li>\n<\/ul>\n<p><strong>Nov. 23 Th<\/strong><\/p>\n<ul>\n<li><strong>Thanksgiving. No class.<\/strong><\/li>\n<\/ul>\n<p>&#8211;Week 13&#8211;<\/p>\n<h3 align=\"center\">How to (Not) Read Hemingway<\/h3>\n<p><strong>Nov. 28 T<\/strong><\/p>\n<ul>\n<li>Ernest Hemingway. &#8220;Big Two-Hearted River, Part I,&#8221; &#8220;Big Two-Hearted River, Part II,&#8221; &#8220;Now I Lay Me&#8221;<\/li>\n<\/ul>\n<p><strong>Nov. 30 Th<\/strong><\/p>\n<ul>\n<li>Hemingway.\u00a0&#8220;Hills Like White Elephants,&#8221; &#8220;Indian Camp&#8221;<\/li>\n<\/ul>\n<p>&#8211;Week 14&#8211;<\/p>\n<p><strong>Dec. 5 T<\/strong><\/p>\n<ul>\n<li>Hemingway project (no class)<\/li>\n<\/ul>\n<p><strong>Dec. 7 Th<\/strong><\/p>\n<ul>\n<li>Hemingway project (no class)<\/li>\n<\/ul>\n<p>&#8211;Week 15&#8211;<\/p>\n<p><strong>Dec. 12 T<\/strong><\/p>\n<ul>\n<li>Hemingway, &#8220;God Rest You Merry, Gentlemen,&#8221; &#8220;The Sea Change,&#8221; &#8220;Mr. and Mrs. Elliot&#8221;<\/li>\n<\/ul>\n<p><strong>Dec. 14 Th<\/strong><\/p>\n<ul>\n<li>Hemingway, Choose Your Own Adventure, &#8220;A Very Short Story,&#8221; &#8220;The End of Something,&#8221; &#8220;The Killers&#8221;<\/li>\n<\/ul>\n<p>&#8211;Week 16&#8211;<\/p>\n<p><strong>Dec. 20 W<\/strong><\/p>\n<ul>\n<li><strong>Final Exam, 3:00-6:00pm<\/strong><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Complete all assigned reading before coming to class. Please keep in mind that all reading assignments are subject to change. This website is the canonical version of the schedule. All page numbers refer to the editions\/ISBNs that I have ordered. Some readings are in the Course Reserves system, indicated by CR. &#8211;Week 1&#8211; Digital Humanities <a class=\"read-more\" href=\"https:\/\/briancroxall.net\/f17dh\/schedule\/\">&hellip;&nbsp;<span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_jetpack_hide_featured_image":false,"_jetpack_featured_image_duplicate_dismissed":0,"footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-12","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P9aQyB-c","_links":{"self":[{"href":"https:\/\/briancroxall.net\/f17dh\/wp-json\/wp\/v2\/pages\/12","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/briancroxall.net\/f17dh\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/briancroxall.net\/f17dh\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/briancroxall.net\/f17dh\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/briancroxall.net\/f17dh\/wp-json\/wp\/v2\/comments?post=12"}],"version-history":[{"count":23,"href":"https:\/\/briancroxall.net\/f17dh\/wp-json\/wp\/v2\/pages\/12\/revisions"}],"predecessor-version":[{"id":628,"href":"https:\/\/briancroxall.net\/f17dh\/wp-json\/wp\/v2\/pages\/12\/revisions\/628"}],"wp:attachment":[{"href":"https:\/\/briancroxall.net\/f17dh\/wp-json\/wp\/v2\/media?parent=12"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}