![N. Katherine Hayles, I find myself wondering – as we
ponder various possible futures for Comparative
Literature in the second decade of the twenty - first
century – how to rouse ourselves from the “ somnolence
[of] five hundred years of print ” (Hayles, 2002 : p. 29).
Of course, there is nothing neutral, objective, or
necessary about the medium of print; rather it is a
medium that has a long and complex history connected
to the formation of academic disciplines, institutions,
epistemologies, and ideologies, not to mention
conceptions of authorship and scholarly research.](https://image.slidesharecdn.com/comparativeliteratureintheageofdigitalhumanitiesonpossiblefuturesforadiscipline-toddpresner-220306194407/85/Comparative-literature-in-the-age-of-digital-humanities-on-possible-futures-for-a-discipline-todd-presner-7-320.jpg)
![➔ Comparative Media Studies
For Nelson, a hypertext is a:-
Body of written or pictorial material interconnected in such
a complex way that it could not conveniently be presented
or represented on paper [ … ] Such a system could grow
indefinitely, gradually including more and more of the world
’ s written knowledge. (Nelson, 2004: pp. 134 – 145)](https://image.slidesharecdn.com/comparativeliteratureintheageofdigitalhumanitiesonpossiblefuturesforadiscipline-toddpresner-220306194407/85/Comparative-literature-in-the-age-of-digital-humanities-on-possible-futures-for-a-discipline-todd-presner-11-320.jpg)
Comparative literature in the age of digital humanities on possible futures for a discipline todd presner
- 1. Comparative Literature in the Age of Digital Humanities: On Possible Futures for a Discipline - Todd Presner
- 3. Abstract:- After five hundred years of print and the massive transformations in society and culture that it unleashed, we are in the midst of another watershed moment in human history that is on par with the invention of the printing press or perhaps the discovery of the New World. This article focuses on the questions like it is essential that humanists assert and insert themselves into the twenty - first century cultural wars, which are largely being defined, fought, and won by corporate interests.
- 4. Why, for example, were humanists, foundations, and universities conspicuously – even scandalously – silent when Google won its book search lawsuit and, effectively, won the right to transfer copyright of orphaned books to itself? Why were they silent when the likes of Sony and Disney essentially engineered the Digital Millennium Copyright Act, radically restricting intellectual property, copyright, and sharing? The Manifesto is a call to Humanists for a much deeper engagement with digital culture production, publishing, access, and ownership. If new technologies are dominated and controlled by corporate and entertainment inter ests, how will our cultural legacy be rendered in new media formats? By whom and for whom?
- 5. Key Arguments:- Nicholas Negroponte once asserted in his wildly optimistic book Being Digital (Negroponte, 1995 ), for they always have an underbelly: mobile phones, social networking technologies, and perhaps even the hundred - dollar computer, will not only be used to enhance education, spread democracy, and enable global communication but will likely be used to perpetrate violence and even orchestrate genocide in much the same way that the radio and the railway did in the last century (despite the belief that both would somehow liberate humanity and join us all together in a happy, interconnected world that never existed before) (Presner, 2007 ).
- 6. Paul Gilroy analyzed in his study of “ the fatal junction of the concept of nationality with the concept of culture ” along the “ Black Atlantic, ” voyages of discovery, enlightenment, and progress also meant, at every moment, voyages of conquest, enslavement, and destruction. Indeed, this is why iany discussion of technology cannot be separated from a discussion about formations of power and instrumentalized authority.
- 7. N. Katherine Hayles, I find myself wondering – as we ponder various possible futures for Comparative Literature in the second decade of the twenty - first century – how to rouse ourselves from the “ somnolence [of] five hundred years of print ” (Hayles, 2002 : p. 29). Of course, there is nothing neutral, objective, or necessary about the medium of print; rather it is a medium that has a long and complex history connected to the formation of academic disciplines, institutions, epistemologies, and ideologies, not to mention conceptions of authorship and scholarly research.
- 8. Darnton ’s assessment seriously that we are now in the fifth decade of the fourth information age in the history of humankind, it seems to me that we ought to try to understand not only the contours of the discipline of Comparative Literature – and for that matter, the Humanities as a whole – from the perspective of an information - and media - specific analysis, but that we also ought to come to terms with the epistemic disjunction between our digital age and everything that came before it.
- 9. Walter Benjamin did in The Arcades Project (1928 – 40; 1999), it is necessary, I believe, to interrogate both the media and methodologies for the study of literature, culture, and society. The “ problem ” of Comparative Literature is to figure out how to take seriously the range of new authoring, annotation, and sharing platforms that have transformed global cultural production.
- 10. Key points :- ➔Comparative Media Studies ➔Comparative Data Studies ➔Comparative Authorship and Platform Studies
- 11. ➔ Comparative Media Studies For Nelson, a hypertext is a:- Body of written or pictorial material interconnected in such a complex way that it could not conveniently be presented or represented on paper [ … ] Such a system could grow indefinitely, gradually including more and more of the world ’ s written knowledge. (Nelson, 2004: pp. 134 – 145)
- 12. Comparative Data Studies:- ➢ Lev Manovich and Noah Wardrip - Fruin, the field of “ cultural analytics ” has emerged over the past five years to bring the tools of high - end computational analysis and data visualization to dissect large - scale cultural datasets. ➢ Jerome McGann argues with regard to the first in his elegant analysis of “ radiant textuality, ” the differences between the codex and the electronic versions of the Oxford English Dictionary.
- 13. ➢ Comparative Authorship and Platform Studies ➔ James Boyle points out, there are many corporate entities eager to regulate the public domain and control the “ commons of the mind. ” 10 For Boyle, the real danger is not unauthorized file sharing but “ failed sharing ” due to enclosures and strictures placed upon the world of the creative commons (Boyle, 2008 : p. 182). ➔ Scholars such as McKenzie Wark and Kathleen Fitzpatrick have even “ published ” early versions of their entire books on Commentpress.
- 14. Conclusion:- This article mainly focuses on this twenty-first century in terms of digital humanities how we are doing comparative studies. After discussing various arguments, we come to know that to date, it has more than three million content pages, more than three hundred million edits, over ten million registered users, and articles in forty - seven languages (Wikipedia Statistics). This is a massive achievement for eight years of work. Wikipedia represents a dynamic, flexible, and open - ended network for knowledge creation and distribution that underscores process, collaboration, access, interactivity, and creativity, with an editing model and versioning system that documents every contingent decision made by every contributing author. At this moment in its short life, Wikipedia is already the most comprehensive, representative, and pervasive participatory platform for knowledge production ever created by humankind. In my opinion, that is worth some pause and reflection, perhaps even by scholars in a future disciplinary incarnation of Comparative Literature.