English professor develops virtual Open Corpus Project | The Justice

“Prof. Dorothy Kim (ENG) is currently working to develop a virtual corpus, or collection of written texts, of Early Middle English language. This would give researchers the opportunity to search across multiple archives and databases of manuscripts. The current status of the Open Corpus Project, as the site is titled, was unveiled at a Faculty Lunch Symposium on Thursday, March 17….

There are many existing corpora for Early Middle English and other languages, but each one has a different set of pros and cons, Kim explained. …

She explained that the design for the Open Corpus Project will be mainly based on a digital platform called Open Context, which is an open access archeological database. She said that Open Context has a landing page with a map, clickable links, and search filters; searches are presented in an organized list so that documents are easy to view and further searches can be done from the results. In order to develop the Open Corpus Project in a similar manner, Kim is partnering with Geocene, an engineering consultancy….”


Modern Languages Open – ScienceOpen

“Modern Languages Open (MLO) is a peer-reviewed platform for the open access publication of research from across the modern languages to a global audience.  It provides

Interdisciplinarity across the modern languages and engagement with other fields from a modern languages perspective
Gold Open Access under a CC-BY licence
Rigorous peer review pre-publication interactivity post-publication
Rewards for article reviewers
Flexibility on article length from 3,000-15,000 words
International dissemination under the imprimatur of a university press


MLO is published by Liverpool University Press, one of the world’s leading publishers in the modern languages, in partnership with the University of Liverpool Library….”

Frontiers | Collaborative Processes in Science and Literature: an In-Depth Look at the Cases of CERN and SIC | Research Metrics and Analytics

Abstract:  In this paper we examine how the process of collaboration works in science and literature. In the first part, we discuss the features of scientific collaboration and literary collaboration and the differences between them. In the second part, we analyze two processes of collaboration, each from a different field: the case of CERN and high-energy physics and the case of Scrittura Industriale Collettiva and its Great Open Novel. Lastly, we try to compare those two processes and deduce the common traits of a successful collaboration.


Scriptorium: Creating an Open-Access Creative Writing Journal in Brazil

“The university press (EDIPUCRS) holds an open access-only policy when it comes to journal publishing, so every PUCRS journal is available without cost.5 Authors are not charged—publishing costs are covered by the university—and the editorial team is comprised by faculty members, helped by graduate and undergraduate students. In 2018, according to a report by Science-Metrix, Brazil had 75% of scholarly articles freely available. More recent data from Nature (2019) shows that, while the country remains one of the world leaders in open access, Brazil is now in fourth place, following Indonesia, Colombia, and Bangladesh.6

This kind of output of open access journals in Brazil can be explained by the fact that a large portion of research in Brazil is funded by public money. As such, one of the demands from funding agencies is that the results need to be shared in open access publications, leading more researchers to submit their work to OA journals. In addition, OA periodicals receive a higher evaluation from the Ministry of Education—which translates to more funding to the universities that publish them….”

Supporting Research in Languages and Literature | Ithaka S+R

“In general, language and literature scholars do not prioritize publishing in open access journals and are reluctant to pay article processing charges (APCs) to make their articles in hybrid journals open access. A few subfields, such as video game studies and digital humanities, have many open access journals and may represent exceptions to this trend.

Numerous interviewees expressed positive sentiments around the idea of their research being openly available, although they often conflated “open access”—free access to published, peer-reviewed articles—with other forms of online dissemination, such as digital archives and Academia.edu. However, these interviewees usually did not report having taken concrete actions to make their research open access. The pressure to publish in prestige journals—which are usually not open access—and the cost of article processing charges[56] contravenes any desire to make their work open.[57] As one unusually well-informed interviewee explained, “I would like [my work] to be copyrighted under a Creative Commons [open access copyright license] and I have absolutely no way of doing that because of the tenure system. . . . After I get tenure I’ll start to try to push that forward.” This resonates with findings from the Ithaka S+R US Faculty Survey 2018, which showed that younger faculty members across disciplines place less of a priority on publishing in open access journals than older faculty members.[58]

The continuing supremacy of the monograph within the field of languages and literature may also contribute to scholars’ ambivalence toward open access publishing, since the open access movement broadly focuses on journal articles. Although some publishers are experimenting with open access monographs—at least one interviewee reported having published a book both in print and in a free online version—this was not a priority for the scholars interviewed for this project.

Only a few interviewees reported that they had uploaded preprints of their articles to their campus repositories. Many scholars simply do not understand that they are able to do this or why they should. Others are confused about whether and how the copyright terms of their own work allow them to share it on platforms outside the publisher’s website.[59] Several interviewees reported that they share PDFs of their articles on Academia.edu, Facebook groups, or, less commonly, their personal websites; only some of these scholars mentioned paying attention to the copyright status of their work when doing so….

Most interviewees who spoke about public humanities in relation to digital outputs did not articulate a vision for how they would measure or promote public engagement with these outputs, other than making them available. It is also important to note that language and literature scholars generally do not view open access publishing as a proxy for public engagement; there is an implicit sense that traditional scholarly research outputs are inappropriate for wider audiences….”

Friday: the new digital-first, pay-what-you-want Lovecraftian YA detective comic from Ed Brubaker, Marcos Martin, and Muntsa Vicente / Boing Boing

“Award-winning comic creators Brian K. Vaughan and Marcos Martin launched Panel Syndicate in 2013 as a digital-only, name-your-price publishing outlet for their near-future Internet noir The Private Eye. They’ve released several comics through this imprint since then — from themselves, and from other creators — that all fit under the same DRM-free, pay-what-you-want f0rmat, with horizontally-oriented pages specifically designed to be read on a computer screen or tablet….”

Friday: the new digital-first, pay-what-you-want Lovecraftian YA detective comic from Ed Brubaker, Marcos Martin, and Muntsa Vicente / Boing Boing

“Award-winning comic creators Brian K. Vaughan and Marcos Martin launched Panel Syndicate in 2013 as a digital-only, name-your-price publishing outlet for their near-future Internet noir The Private Eye. They’ve released several comics through this imprint since then — from themselves, and from other creators — that all fit under the same DRM-free, pay-what-you-want f0rmat, with horizontally-oriented pages specifically designed to be read on a computer screen or tablet….”

The entire Animorphs book series is now available for free online / Boing Boing

“Animorphs was a YA sci-fi series that took the mid-90s Scholastic book fair circuit by storm. Written by K.A. Applegate, the books focus on a group of kids who gain the ability to transform into any animal they touch — but only for two hours, or else they’re stuck that way. …

Lucky for all of us, the entire 54-book series is now available as free ebooks. I can’t imagine they take that long to read, so maybe they could be a good distraction from the other invisible enemy outside right now….”

Thousands of Copyrighted Works Will Now Be Freely Available to Teachers – Teaching Now – Education Week Teacher

“Teachers—especially those of English or the arts—rely on famous works of literature, music, and film in their classes, copying and repurposing them to analyze with students.

But often, embedding these works in curricula to share with other teachers or making them available to students can raise questions about copyright: How much of an original movie or poem can a teacher include, and how widely can resources made with these materials be distributed?

As of Jan. 1, thousands of works are newly exempt from these questions. At the beginning of 2019, anything that was originally copyrighted in 1923 passed into the public domain—meaning that anyone can use and reprint it, free of charge and without permission….”

Archive of Our Own

The Organization for Transformative Works (OTW) is a nonprofit organization, established by fans in 2007, to serve the interests of fans by providing access to and preserving the history of fanworks and fan culture in its myriad forms. We believe that fanworks are transformative and that transformative works are legitimate.

We are proactive and innovative in protecting and defending our work from commercial exploitation and legal challenge. We preserve our fannish economy, values, and creative expression by protecting and nurturing our fellow fans, our work, our commentary, our history, and our identity while providing the broadest possible access to fannish activity for all fans.

The Archive of Our Own offers a noncommercial and nonprofit central hosting place for fanworks using open-source archiving software….”

Caribbean Literary Heritage

“This project is concerned with the Caribbean literary past and the region’s tangible and intangible literary heritage. It is particularly interested in neglected writers and writings at risk of being lost, and in thinking about what influences such precarity. At present, there is no established platform to access the location and scope of authors’ papers, including many scattered and undocumented sources. The literary histories that researchers and students can access are often incomplete and privilege male writers, as well as those who migrated and published with presses in the global north. This project wants to enable fuller literary histories to be told and their sources to be known, preserved and made accessible…..”

What Page Are You On? Making Online Texts More Reliable for Teachers and Students | UVA Today

“These older novels, often required reading in survey courses on literature, are in the public domain – and that’s why publishers and companies are racing to put them online without having to worry about copyright law. And while free access is a key component, students are not equipped to evaluate what they are getting.”

Pirate Radical Philosophy – Radical Philosophy

“Peter Suber, a leading voice in the open access movement, has recently provided an instance of just such a withdrawal. In January, Suber announced (using Google+ to do so) that he would ‘not referee for a publisher belonging to the Association of American Publishers unless it has publicly disavowed the AAP’s position on the Research Works Act’. The latter, which was introduced in the US Congress on 16 December 2011, was designed to prohibit open access mandates for federally funded research in the USA. The Research Works Act would thus in effect countermand the National Institutes of Health’s Public Access Policy along with other similar open access policies in the USA. To show my support for open access and Suber’s initiative, I publicly stated in January that I would act similarly. [17] Having met with staunch opposition from within both the academic and the publishing communities, all public backing of the Research Works Act has now been dropped as of 27 February. But I can’t help wondering, rather than taking this as a cue to abandon the strategy of refusal, should we not adopt it all the more? Should we not withdraw our academic labour from all those presses and journals that do not allow authors, as a bare minimum, to self-archive the refereed and accepted final drafts of their publications in institutional open access repositories? [18]

As a supporter of long standing, I feel it is important to acknowledge that the open access movement – which is concerned with making peer-reviewed research literature freely available online to all those able to access the Internet – is neither unified nor self-identical. Some regard it as a movement, [19] yet for others it represents a variety of economic models or even just another means of distribution, marketing and promotion. It should also be borne in mind that there is nothing inherently radical, emancipatory, oppositional, or even politically or culturally progressive about open access. The politics of open access depend on the decisions that are made in relation to it, the specific tactics and strategies that are adopted, the particular conjunctions of time, situation and context in which such practices, actions and activities take place, and the networks, relationships and flows of culture, community, society and economics they encourage, mobilize and make possible. Open access publishing is thus not necessarily a mode of left resistance.

Nevertheless, what is interesting about the transition to the open access publication and archiving of research is the way it is creating at least some ‘openings’ that allow academics to destabilize and rethink scholarly publishing, and with it the university, beyond the model espoused by free-market capitalism….”

Virginia Woolf’s Personal Photo Album Digitized & Put Online by Harvard | Open Culture

“…Like an avid Instragrammer—or like my mother and probably yours—Woolf kept careful record of her life in photo albums, which now reside at Harvard’s Houghton Library. The Monk’s House albums, numbered 1-6, contain images of Woolf, her family, and her many friends, including such famous members of the Bloomsbury group as E.M. Forster (above, top), John Maynard Keynes, and Lytton Strachey (below, with Woolf and W.B. Yeats, and playing chess with sister Marjorie). Harvard has digitized one album, Monk’s House 4, dated 1939 on the cover. You can view its scanned pages at their library site….”