We’re extremely pleased to announce that the Literature Compass MLA Panel, ‘Got ECCO? The Contents and Discontents of Electronic Media for Early Modern Studies’, is now available to watch online!
The videos are embedded in this post below, and you can also watch them via our Compass Journals channel on YouTube: www.youtube.com/CompassJournals.
The panel was organised and chaired by our Eighteenth Century Section Editor, Cynthia Wall and included our Editor-in-Chief Peter Brown on the panel.
The full line-up of videos is as follows:
1. Cynthia Wall, Univ. of Virginia, Introduction
2. Peter Brown, Univ. of Kent
3. Christine Ruotolo, Univ. of Virginia Librarian
4. Kathryn J. Lowerre, Michigan State
5. Gail Aw, Univ. of Virginia
6. David Radcliffe, Virginia Polytechnic Inst. and State Univ.
Part 1 Part 2
7. David A. Golumbia, Univ. of Virginia
8. Q&A Part 1 Part 2
We’d like to extend our thanks to Cynthia Wall for leading the panel, and to all the speakers for their engaged and engaging contributions.
One of the aims in making this panel available online is to allow the discussion to continue and have an ‘afterlife’ following the conference. So do feel free to post your comments on this panel and the issues raised using the comments feature below.
Friday, 28 December
159. Got ECCO? The Contents and Discontents of Electronic Media for Early Modern Studies
8:30–9:45 a.m., Atlanta, Hyatt Regency
Program arranged by the Division on Restoration and Early-Eighteenth-Century English Literature
Cynthia Wall, Univ. of Virginia, Introduction:
More videos after the fold -
Peter Brown, Univ. of Kent:
Christine Ruotolo, Univ. of Virginia Librarian:
Kathryn J. Lowerre, Michigan State:
Gail Aw, Univ. of Virginia:
David Radcliffe, Virginia Polytechnic Inst. and State Univ.
Part 1:
David Radcliffe, Virginia Polytechnic Inst. and State Univ.
Part 2:
David A. Golumbia, Univ. of Virginia:
Q&A
Part 1:
Q&A
Part 2:
Comments? Thoughts? Feedback? Feel free to post your comments below!
March 13, 2008 at 3:46 pm |
I have listened to all the panel presentations and q&as, with a strong sense of how isolated we have become from each other–the speakers a few employed people secure in their positions or very bright graduate students who do not yet know if they will fall into the unknown ECCO-less world. Where is any sense of all the doctoral students from 1970 onwards who didn’t find a permanent foothold but who might be doing scholarship if they could have access to the tools? Why have the employed scholars make their choices so as to sever themselves from these others who might be advocates for the humanities in the wider community? *You* do not pay to use ECCO–why are you able to imagine only that those who have less income should have to pay to do so?
I am aware that the British Library sold the microfilm rights for its ECCO images to Ann Arbor for relatively little, while ECCO sells these images for a large amount–note the relative award to public (and public service) vs. private at both ends of this process. I wish to record the misery of the librarians at (Peter Brown’s institution) the University of Kent at Canterbury who had to refuse me access to ECCO because of their contract.
As for the matter of 18th-century music on ECCO, my understanding is that the microfilm series from which it derives was based on ESTC (i.e. Eighteenth-Century STC) holdings. When the ESTC was originally planned, it was decided to exclude “engraved” prints, a category that included most music, both that engraved on copper and punched on pewter, as sheet songs (which ca. 1700 displace letterpress–woodblock–music on broadsides, for individually-issued songs). In short, most music was excluded at the initial cut, and one should not expect to find much of it in ECCO.
But no, I have not Got ECCO. From one of the unfit, Yvonne Noble