Sterne Digital Library

斯特恩数字图书馆

• 批准号: AH/S002154/1
• 负责人: Helen Williams
• 金额: $ 25.79万
• 依托单位: Northumbria University
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FS002154%2F1
• 关键词: Sterne; Digital; Library

How we think about literary history has typically been shaped by what we think the 'important' books are, and who wrote them. Although scholars have sought to challenge ideas of canonicity by asserting the place of 'lesser' works - those produced by marginal groups, for instance, or which do not make significant claims on what we deem to be 'good' literature - these recuperations have often been positioned in opposition to so-called canonical works. A more revealing approach to how literary cultures have flourished in the past can be shaped by considering the symbiotic relations between apparently 'important' and 'lesser' works as realised through the dynamic processes of adaptation. Creatively recycling a popular text into new forms, media and modes (the visual, performance, material culture) invigorates the inherent connections and differences between the marginal and the central in stimulating new ways. The processes of literary adaptation are deep-rooted and hold many significant literary examples, from Philip Sidney to J.K. Rowling. Yet eighteenth-century readers exuberantly refashioned texts into alternative artistic forms against the back-drop of an emergent celebrity culture and a rapidly expanding book trade. Popular works in this period enjoyed a lively, reciprocal relationship with the adaptations they inspired. Texts became substance for public consumption and regurgitation in new forms, as readers turned creators by producing their own versions of famous works. Laurence Sterne (1713-68) was one of the most popular and successful writers of his day. His idiosyncratic novels, 'The Life and Opinions of Tristram Shandy, Gentleman' (1759-67) and 'A Sentimental Journey through France and Italy' (1768), were wildly successful and inspired a host of 'Sterneana': creative responses in word, image, and performance. Whilst other popular texts from this period inspired creativity, none experienced adaptation as prolific or diverse as Sterne's. Sterne's first readers found his fiction to be strikingly 'novel' in every sense, from 'Tristram Shandy's' erratic story-telling, playful typography, and bawdry, to 'A Sentimental Journey's' ambiguous mixture of erotic humour and touching pathos. Both novels generated sequels, imitations, continuations, song, drama, and visual and material culture at home and abroad; 'Tableau Sentimental de la France' by 'Yoryck' (1792), for instance, uses Sterne's sympathetic traveller to critique post-Revolutionary France. Sterne continues to fascinate readers: his books have never gone out of print; there is a steady flow of visitors to his home, Shandy Hall; artists, writers, and musicians still produce their own creative interpretations of his idiosyncratic works. Experimental visual representation of narrative was pioneered by Sterne and abounds in Sterneana. The SDL will be the first digital resource to experiment with digitally encoding visual narrative like engraved lines, white space and non-verbal typographic marks. The main aim of this project is to use 'Sterneana' as a case study for examining the dynamic culture of eighteenth-century adaptation. Its objectives are to create the Sterne Digital Library, a digital resource combining Sterne's fiction with lesser-known and hitherto marginalised Sterneana, allowing users to search across them and identify their synergies and explore the wider implications afterlives hold in literary culture. It will be illuminated by explanatory texts compiled by world-leading scholars which introduce, elucidate, and encourage new routes towards exploring it. Hosted on Cambridge Digital Library, an open-access platform, it will bring new audiences to treasures of Cambridge University Library (CUL) and the Laurence Sterne Trust at Shandy Hall (LST) that are unmatched in number or scope.

我们如何看待文学史通常是由我们认为“重要”书籍以及谁写的。尽管学者们试图通过断言“小”作品的位置来挑战规范的思想 - 例如，边缘群体所制作的作品，或者对我们认为是“好”文学的内容没有重大主张 - 这些恢复通常是在反对所谓的规范上的作品中定位的。通过考虑显然“重要”和“小”作品之间的共生关系，可以通过动态的适应过程实现了一种更具启发性的方法来塑造文学文化如何蓬勃发展。创造性地将流行文本回收为新的形式，媒体和模式（视觉，性能，物质文化），在刺激新方式方面发挥了边际和中心之间的固有联系和差异。从菲利普·西德尼（Philip Sidney）到J.K.罗琳。然而，十八世纪的读者反对新兴的名人文化和快速扩展的书籍贸易的背景。在此期间，流行的作品与他们启发的改编有关，享有热闹的相互关系。随着读者通过制作自己的著名作品版本，文本成为新形式的公共消费和反流的实质。劳伦斯·斯特恩（Laurence Sterne，1713-68）是他当时最受欢迎，最成功的作家之一。他的特质小说《 Tristram Shandy》，《绅士》（1759 - 67年）和“穿越法国和意大利的感性旅程”（1768年）（1768年）非常成功，并启发了许多“ Sterneana”：Word，Image和表现的创造性回应。尽管此时期的其他流行文本启发了创造力，但没有一个像Sterne那样经历了多产或多样化的适应性。斯特恩（Sterne）的第一位读者在各个意义上都发现他的小说是“小说”，从“ Tristram Shandy”的“不稳定的故事讲述，嬉戏的排版和bawdry”到“情感之旅的“色情幽默”的模棱两可的混合物和感人的节奏。这两部小说都在国内外产生了续集，模仿，连续性，歌曲，戏剧以及视觉和物质文化；例如，“ Yoryck”（1792年）的“ Tableau Sextiment de la la la la la lance'，以斯特恩的同情旅行者来批评法国后革命后的批评。斯特恩继续吸引读者：他的书从未绝版。他的家桑迪·霍尔（Shandy Hall）稳定流动。艺术家，作家和音乐家仍然对他的特质作品产生自己的创造性解释。 Sterne和Sterneana中的叙事的实验视觉表现率率先。 SDL将是第一个尝试使用数字编码视觉叙事的数字资源，例如雕刻线条，空白空间和非语言印刷标记。 该项目的主要目的是将“ Sterneana”用作研究18世纪适应的动态文化的案例研究。它的目标是创建Sterne Digital Library，这是一种数字资源，将Sterne的小说与鲜为人知和迄今为止边缘化的Sterneana结合起来，使用户可以跨越它们并识别其协同作用，并探索对后代的更广泛含义。世界领先的学者汇编的解释性文本将照亮，这些学者介绍，阐明和鼓励探索它的新路线。它位于剑桥数字图书馆，这是一个开放式平台的剑桥数字图书馆，它将为剑桥大学图书馆（CUL）的宝藏和桑迪·霍尔（LST）的劳伦斯·斯特恩信托（Laurence Sterne Trust）带来新的观众，它们在数量或范围内都无与伦比。

项目成果

Autopathography and the Bramine's Journal

自病理学和布拉明日记

• 发表时间: 2022
• 期刊: The Shandean
• 作者: Helen Williams

Laurence Sterne and the Eighteenth-Century Book

劳伦斯·斯特恩和十八世纪的书

• 发表时间: 2021
• 作者: Williams

A Festschrift in Honour of Peter de Voogd

纪念彼得·德·沃格德的节日文集

• 发表时间: 2022
• 作者: Special Issue Of The Shandean Journal

British Sociability in the European Enlightenment - Cultural Practices and Personal Encounters

欧洲启蒙运动中的英国社交——文化实践和个人遭遇

• DOI: 10.1007/978-3-030-52567-5_4
• 发表时间: 2021
• 作者: Williams H

1650-1850 - Ideas, Aesthetics, and Inquiries in the Early Modern Era (Volume 28)

1650-1850 - 近代早期的思想、美学和探究（第 28 卷）

• DOI: 10.36019/9781684484652-004
• 发表时间: 2023
• 作者: Williams H