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This volume responds to the current interest in computational and statistical methods to describe and analyse metre, style, and poeticity, particularly insofar as they can open up new research perspectives in literature, linguistics, and literary history. The contributions are representative of the diversity of approaches, methods, and goals of a thriving research community. Although most papers focus on written poetry, including computer-generated poetry, the volume also features analyses of spoken poetry, narrative prose, and drama. The contributions employ a variety of methods and techniques ranging from motif analysis, network analysis, machine learning, and Natural Language Processing. The volume pays particular attention to annotation, one of the most basic practices in computational stylistics. This contribution to the growing, dynamic field of digital literary studies will be useful to both students and scholars looking for an overview of current trends, relevant methods, and possible results, at a crucial moment in the development of novel approaches, when one needs to keep in mind the qualitative, hermeneutical benefit made possible by such quantitative efforts.

LITERARY CRITICISM / General. --- Digital Humanities. --- distant reading. --- poetry. --- stylistics.

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Both Narratology and Digital Humanities look back on a remarkable history of research and progress. One after the other, the narratological and the digital research communities evolved into large international and interdisciplinary networks. While cooperation between the two disciplines would be possible and beneficial in many areas, they often still work in parallel rather than together. A workshop at Hamburg University brought together Literary Studies researchers from Narratology and from Digital Humanities to (a) discuss requirements for and possibilities of a digital operationalisation of analytical categories from Narratology and Literary Studies and (b) theoretically reflect upon possible connections between more traditional and digital approaches. The present volume combines the workshop contributions from both disciplines and thus attempts to further the bridge-building and dialogue.

Literary theory --- Computational literary studies --- Distant reading --- Narratology --- Mixed methods

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The reception history of the term autofiction, coined by Serge Doubrovsky in 1977 and strongly polarising since then, shows that autofictional writing has been used by numerous authors in the past decades as a possibility to give explosive insights into their lives on the one hand, but to refer to an indeterminable ""fictional"" part of their work on the other. The underlying interferences between fictional and factual narrative strategies seem to predestine autofiction for the representation and provocation of scandal. This volume brings together contributions that illuminate the relationship between autofiction and scandal from epistemological, literary-historical and reception-aesthetic perspectives and explore ethical questions of the demarcation between public and private space.

Prose: non-fiction --- narratology; literary scandal; literary provocation; intertextuality; aesthetics of scandal; sociobiography; reception authorities; writer's stage design; close reading; distant reading; autobiography

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There is no doubt that we live in exciting times: Ours is the age of many ‘silent revolutions’ triggered by startups and research labs of big IT companies; revolutions that quietly and profoundly alter the world we live in. Another ten or five years, and self-tracking will be as normal and inevitable as having a Facebook account or a mobile phone. Our bodies, hooked to wearable devices sitting directly at or beneath the skin, will constantly transmit data to the big aggregation in the cloud. Permanent recording and automatic sharing will provide unabridged memory, both shareable and analyzable. The digitization of everything will allow for comprehensive quantification; predictive analytics and algorithmic regulation will prove themselves effective and indispensable ways to govern modern mass society. Given such prospects, it is neither too early to speculate on the possible futures of digital media nor too soon to remember how we expected it to develop ten, or twenty years ago. The observations shared in this book take the form of conversations about digital media and culture centered around four distinct thematic fields: politics and government, algorithm and censorship, art and aesthetics, as well as media literacy and education. Among the keywords discussed are: data mining, algorithmic regulation, sharing culture, filter bubble, distant reading, power browsing, deep attention, transparent reader, interactive art, participatory culture. The interviewees (mostly from the US, but also from France, Brazil, and Denmark) were given a set of common questions as well specific inquiries tailored to their individual areas of interest and expertise. As a result, the book both identifies different takes on the same issues and enables a diversity of perspectives when it comes to the interviewees’ particular concerns. Among the questions offered to everybody were: What is your favored neologism of digital media culture? If you could go back in history of new media and digital culture in order to prevent something from happening or somebody from doing something, what or who would it be? If you were a minister of education, what would you do about media literacy? What is the economic and political force of personalization and transparency in digital media and what is its personal and cultural cost? Other recurrent questions address the relationship between cyberspace and government, the Googlization, quantification and customization of everything, and the culture of sharing and transparency. The section on art and aesthetics evaluates the former hopes for hypertext and hyperfiction, the political facet of digital art, the transition from the “passive” to “active” and from “social” to “transparent reading”; the section on media literacy discusses the loss of deep reading, the prospect of “distant reading” and “algorithmic criticism” as well as the response of the university to the upheaval of new media and the expectations or misgivings towards the rise of the Digital Humanities.

Digital humanities --- Digital media --- Political aspects --- Electronic media --- New media (Digital media) --- Humanities --- Data processing --- Information technology --- Mass media --- Digital communications --- Online journalism --- transparent reader --- algorithmic regulation --- participatory culture --- distant reading --- digital humanities --- culture --- interactive art --- politics --- digital media --- literacy --- deep attention --- sharing culture --- silent revolutions --- data mining --- power browsing --- digitization --- filter bubble --- aesthetics --- Google --- Internet

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In nineteenth-century Germany, breakthroughs in printing technology and an increasingly literate populace led to an unprecedented print production boom that has long presented scholars with a challenge: how to read it all? This anthology seeks new answers to the scholarly quandary of the abundance of text. Responding to Franco Moretti's call for "distant reading" and modeling a range of innovative approaches to literary-historical analysis informed by theburgeoning field of digital humanities, it asks what happens when we shift our focus from the one to the many, from the work to the network. The thirteen essays in this volume explore the evolving concept of "distant reading" and its application to the analysis of German literature and culture in the long nineteenth century. The contributors consider how new digital technologies enable both the testing of hypotheses and the discovery of patterns and trends, as well as how "distant" and traditional "close" reading can complement each another in hybrid models of analysis that maintain careful attention to detail, but also make calculation, enumeration, and empirical descriptioncritical elements of interpretation. Contributors: Kirsten Belgum, Tobias Boes, Matt Erlin, Fotis Jannidis and Gerhard Lauer, Lutz Koepnick, Todd Kontje, Peter M. McIsaac, Katja Mellmann, Nicolas Pethes, Andrew Piper and Mark Algee-Hewitt, Allen Beye Riddell, Lynne Tatlock, Paul A. Youngman and Ted Carmichael. Matt Erlin is Professor of German and Chair of the Department of Germanic Languages and Literatures, and Lynne Tatlock is Hortense and Tobias Lewin Distinguished Professor in the Humanities, both at Washington University, St. Louis.

Books and reading --- German literature --- Literature publishing --- 094:830 --- 830 "18/19" --- Literary publishing --- Literature --- Publishers and publishing --- Young Germany --- Appraisal of books --- Books --- Choice of books --- Evaluation of literature --- Reading, Choice of --- Reading and books --- Reading habits --- Reading public --- Reading --- Reading interests --- Reading promotion --- History --- History and criticism. --- Oude en merkwaardige drukken. Kostbare en zeldzame boeken. Preciosa en rariora-:-Duitse literatuur --- Duitse literatuur--Hedendaagse Tijd --- Publishing --- Appraisal --- Evaluation --- Germany --- Intellectual life --- Conferences - Meetings --- 830 "18/19" Duitse literatuur--Hedendaagse Tijd --- 094:830 Oude en merkwaardige drukken. Kostbare en zeldzame boeken. Preciosa en rariora-:-Duitse literatuur --- History and criticism --- Abundance of Text. --- Close Reading. --- Culture. --- Digital Humanities. --- Distant Reading. --- Interpretation. --- Literary-Historical Analysis. --- Literate Populace. --- Literature. --- Nineteenth-century Germany. --- Patterns. --- Print Production. --- Printing Technology. --- Trends.