Data workshop 26 November

On Friday 26 November, the EModGraL research team and our key collaborators gathered together in wintry Turku (in person and via Zoom) to discuss the tentative typology of graphic devices we are developing for our materials.

There are several modern typologies used for graphic devices that offer a helpful starting point for us, but we have not yet found a classification that would be directly applicable to our early printed materials. We are therefore working on developing a typology for the purposes of the project. In the first stage, the typology will be rather simple, consisting of a few main categories that enable us, for example, to distinguish between diagrams, tables, and pictures. In the first stage of data collection, our research assistant will categorise graphic devices in our dataset according to this typology. In the next stage, we will develop a more nuanced categorisation of the data based on what we find in our materials.  

The image shows participants of the data workshop in a classroom, with two participants on the screen.
The workshop begins. Photo: Outi Merisalo

Workshop sessions

Our workshop was organised as a one-day intensive event with three sessions focused on different aspects of the tentative typology. In the first session, we introduced the project and our data collection procedure. We also discussed the various categories we intend to exclude from our dataset. The second session focused on the categories of figures and tables, while the third session was concerned with ‘general images’ or pictures.

The discussion was lively throughout the day, and we received plenty of useful comments and feedback on our tentative typology. After the workshop, we had dinner together in the 17th-century cellars of a local restaurant.

Tricky cases

Our discussion was mainly based on samples of material from 1596 and 1696. The books from these years form the core of our pilot dataset, and we expect them to contain enough material to provide us with a workable initial categorisation.

While it has thus far been relatively easy to categorise most of the graphic devices in our data from the first pilot year, 1596, some cases have proved tricky. For example, while we exclude tables of contents from our quantitative dataset, what should we do with a table of contents that is organised as a horizontal tree diagram?1 In other words, when collecting data, should we prioritise function (a table of contents should be excluded) or form (a horizontal tree diagram should be included)? This question is at the core of many of the problematic cases we discussed in the workshop. There are no easy solutions, so we will have to find compromises that are good enough for the purposes of our project.

The data workshop took place at exactly the right time considering the timeline of the whole project. We expect that our tentative typology will change and develop during the project, but it was very useful to compare notes at this early stage to ensure that our data collection procedure is feasible and that the tentative categories are helpful in terms of the later stages of the project. We are grateful for the expert advice and insightful comments provided by our collaborators!

Mari-Liisa Varila | Twitter: @mlvarila

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1. See Ayelet Even-Ezra 2020, Lines of Thought: Branching Diagrams and the Medieval Mind. Chicago: U of Chicago Press.

Interview with the PI

A yellow two-storey building with autumnal trees in the background

Matti Peikola is Professor of English at the Department of English, University of Turku. He is also the PI of Early Modern Graphic Literacies. In today’s blog post, Matti tells us more about the background and aims of the project.

A yellow two-storey building with autumnal trees in the background.
Team members currently work in the Rosetta and Signum buildings of the campus (built in 1899). Photo: Mari-Liisa Varila.

How did you first become interested in graphic literacies?

In the mid-2000s, I was working on Middle English tables of lections that are found in many manuscripts of the Wycliffite Bible. Although I was at that point primarily focusing on the textual transmission of these tables, my interest was piqued by the long opening rubrics (canons) of some of the tables that inform and instruct the reader about how information is structured and visually presented in them. In some of the tables, however, no such rubrics occur, which made me wonder about possible ‘graphic literacy’ -related reasons for their inclusion/omission.

Whose graphic literacies will the project investigate?

In practice, the project investigates early modern book producers’ and writers’ ideas about graphic literacies of their vernacular audiences and readers. In the project, we assume that these ideas are conveyed by book producers’ and writers’ adoption of different kinds of graphic devices in their books and their discussion of such devices in text and paratext.

What is, in your opinion, the most challenging aspect of the project?

It will be challenging to arrive at a classification of the early modern graphic devices that is not anachronistic and too reliant on modern typologies. We should approach the devices from their historical context(s) and take into account technological factors that constrain their use in early modern printed books. The classification also needs to be amenable to quantitative data analysis.

What kinds of material will the project explore?

We examine digital facsimiles of all books published in English in twelve sample years from 1521 to 1796 (at 25-year intervals). The materials are primarily accessed via the EEBO (Early English Books Online) and ECCO (Eighteenth Century Collections Online) databases. The purpose is to record all books published in these years that contain graphic devices like tables and diagrams, and then investigate this dataset and its subsets quantitatively and qualitatively in various ways.

Why is studying early graphic literacies important?

Early modern graphic devices have so far been largely examined in Latin scientific writing by historians of science. In this project we examine texts of multiple domains and genres and focus on how graphic devices were accommodated to different kinds of vernacular audiences. The linguistic and philological dimension of this historical process is particularly important for us, and it has not been systematically addressed before. We are essentially looking for traces of different kinds of early multimodal literacies and how they were communicated by book producers and writers.

Mari-Liisa Varila | Twitter: @mlvarila

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The beginnings of EModGraL

Old map of Europe

In a way, the Early Modern Graphic Literacies project begun two years ago when our first research plan for this project was written. But our team has been interested in the interaction between the verbal and visual elements on the page for longer than that. This post takes a look at a selection of our previous work that led to the EModGraL project.

An engraving showing the path of comets.
Astronomy: diagram of the path of comets. Engraving. Credit: Wellcome Collection. Public Domain Mark

The verbal and the visual

Together with a team of colleagues, Matti Peikola and Mari-Liisa Varila examined copies of the English Polychronicon in manuscript and print in an exploratory paper testing our ‘pragmatics on the page’ approach (2013).1 This pilot study compared the varying visual forms of text employed in different copies (or utterances) of the same work. We explored four different strategies of highlighting text: “changing its colour, increasing or reducing its size, using a different style than that of its immediate environment, and positioning it in a location where it stands out from the body text” (Carroll & al., p. 57). We also looked at the use of initials, borders, and paraphs.

The pilot study inspired us to organise a workshop in Turku called ‘Linguistics meets book history: Seeking new approaches’ in 2014. The workshop brought together an international group of scholars interested in the intersection of linguistics and book history as well as the interaction between the verbal and the visual on the manuscript and printed page – and beyond. The workshop led to the publication of a themed edited volume in 20172 with an introduction by the editors examining the vocabulary used to study visual and material features.3

Individual team members have also discussed the interplay of verbal and visual elements in different kinds of primary materials. For example, Peikola (2011) discusses the transmission of Middle English tables of lessons and explores the spatial challenges of copying texts formatted as tables.4 Varila’s PhD dissertation on the transmission of scientific and utilitarian writing (2016) also touches upon copying tables and diagrams.5 Aino Liira conducted a thorough survey of the verbal and visual presentation of the Polychronicon in her PhD dissertation (2020).6

These previous explorations of the transmission of graphic devices and the interaction between the verbal and the visual partly inspired the Early Modern Graphic Literacies approach. Another important starting point for EModGraL is the team members’ work on paratext and metadiscourse.

Paratext and metadiscourse

Together with Prof. Dr. Birte Bös, Peikola recently edited a volume focused on paratext, metadiscourse and framing7 in which Varila also contributed a chapter on 16th-century book producers’ comments on text-organisation.8 Sirkku Ruokkeinen and Aino Liira’s recent article (2019) highlights the importance of material practices for paratextual theory.9 The team members’ joint article (2020) on Christopher St German’s Doctor and Student examines the changes and continuities of the paratextual frame of a single work in editions published 1528–1886.10

In EModGraL, the team will study metadiscourse related to graphic devices, for example captions and other instructions for the reader/user. Our previous work on paratext and metadiscourse inspired this line of questioning and will help us identify and analyse such passages.

…and beyond

Our previous work gives us a starting point, but we have a lot to learn. In addition to historical linguistics and book studies, insights from fields such as diagram studies, digital humanities, and history of science (to name a few) will inform our work. We look forward to discussing the history of graphic devices with scholars from different fields as the project progresses!

Mari-Liisa Varila | Twitter: @mlvarila

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1. Carroll Ruth, Matti Peikola, Hanna Salmi, Mari-Liisa Varila, Janne Skaffari & Risto Hiltunen 2013. Pragmatics on the page: Visual text in late medieval English books. European Journal of English Studies 17(1), 54–71. https://doi.org/10.1080/13825577.2013.755006
2. Peikola Matti, Aleksi Mäkilähde, Hanna Salmi, Mari-Liisa Varila & Janne Skaffari (eds) 2017. Verbal and Visual Communication in Early English Texts. Utrecht Studies in Medieval Literacy (USML 37). Turnhout: Brepols.
3. Varila Mari-Liisa, Hanna Salmi, Aleksi Mäkilähde, Janne Skaffari & Matti Peikola 2017. Disciplinary decoding: Towards understanding the language of visual and material features. In Matti Peikola et al. (eds) 2017, Verbal and Visual Communication in Early English Texts. Utrecht Studies in Medieval Literacy (USML 37). Turnhout: Brepols, 1–20.
4. Peikola Matti 2011. Copying space, length of entries, and textual transmission in Middle English tables of lessons. In Jacob Thaisen & Hanna Rutkowska (eds), Scribes, Printers, and the Accidentals of their Texts. Studies in English Medieval Language and Literature 33. Frankfurt am Main: Peter Lang, 107–124.
5. Varila Mari-Liisa 2016. In search of textual boundaries: A case study on the transmission of scientific writing in 16th-century England. PhD dissertation, Turku: University of Turku. The lectio praecursoria of the doctoral defence was published in Neuphilologische Mitteilungen 117(2), 443–448.
6. Liira Aino 2020. Paratextuality in manuscript and print: Verbal and visual presentation of the Middle English Polychronicon. PhD dissertation, Turku: University of Turku. https://www.utupub.fi/handle/10024/149454
7. Peikola Matti & Birte Bös (eds) 2020. The Dynamics of Text and Framing Phenomena. Pragmatics & Beyond New Series 317. Amsterdam: John Benjamins. https://benjamins.com/catalog/pbns.317
8. Varila Mari-Liisa 2020. Book producers’ comments on text-organisation in early 16th-century English printed paratexts. In Matti Peikola & Birte Bös (eds), The Dynamics of Text and Framing Phenomena. Pragmatics & Beyond New Series 317. Amsterdam: John Benjamins, 209–229.https://research.utu.fi/converis/portal/detail/Publication/50044955?lang=fi_FI
9. Ruokkeinen Sirkku & Aino Liira 2019. Material approaches to exploring the borders of paratext. Textual Cultures: Texts, Contexts, Interpretation 11(1–2), 106–129. http://dx.doi.org/10.14434/textual.v11i1-2.23302.
10. Varila Mari-Liisa, Sirkku Ruokkeinen, Aino Liira & Matti Peikola 2020. Paratextual presentation of Christopher St German’s Doctor and Student 1528–1886. In Caroline Tagg & Mel Evans, Message and Medium. English Language Practices across Old and New Media. Topics in English Linguistics 105. Berlin: De Gruyter Mouton, 232–252. https://research.utu.fi/converis/portal/detail/Publication/46820715?lang=fi_FI

Hello world!

Welcome to the Early Modern Graphic Literacies project site! The site is currently under construction. Come back soon to find out more about the project!twitter Follow us on Twitter!

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