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| "last": "Mitchell", |
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| "institution": "Edinburgh University Press University of Minnesota Press Minneapolis", |
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| "abstract": "Note: The t a b l e of contents appears i n AJCZ, Microfiche 1 4 , frames 67-69, and summaries of several contributions appear on the same fiche. REVIEWED B Y EDITH J. HOLS AND DAN BURROWS U n i v e r s i t y of ~i n n e s o t a , D u l u t h 5 5 8 1 2 Computers in the Humanities is a selecti~n of papers from 115 presented at a conference on computers and the humanities, 1973, at the University o f Minnesota in Minneapolis I t s value is both as a bank of ideas and a s a cross section o f t h e very broad area a t the confluence of those two disciplines The var i e t y of interests d i s p l a y e d here is an indication of the consiarable breadth of opportunity f o r further exploration Its e d it o r hopes it will be \"appropriate f o r use in such couraes in 'Computers and the Humanities' as are now found in many major American and European universities \" As an i d e a book for such a Review: Computers in the Humanities course it should serve rather w e l l Certainly i t has little competition Scholars in the humanities are only beginning t o see the computer as the greatest thing since t h e invention (discovery?) of the s t y l u s , and recent extensions i n t o languages more agreeable to the soft sciences and to the arts have made more a t t r a ct i v e a continuing growth on several fronts. Concordances and indexes are growlng in number and in informatory powers, l a r g e banks of texts are being created, and new and imaginative uses of such stores are being attempted More sophisticated methods of analysis a r e being devised, and programs are being developed which perform increasingly complex tasks Much of this work needs to be done only once, s o i n order that efforts not be duplicated it is urgent that information on work completed or i n progress be p u b l i c i z e d. The Minnesota conference and the book which has came from i t share some things t h a t have been done The collection i s a mixed bag in more than one sense. Disciplines represented include music, a r t , archaeology, literary analysis, dialectology, language history, l e x i c o g r a p h y , and Roman history Papers v a r y in l e n g t h and in readability With this example, we used a multiplicative application probabilities model which was f a r more consistent w i t h the data than a non-application model, as measured by a chi-square comparison of predicted versus observed ftequencies (b Sankoff and P Rousseau, p. 7). Review Computers in the Hutnanities lyric poetry tends toward introversion and internal movement, towards travel through Shelley' s 'caverns of t h e m i n d , ' that ' t h o u g h t can with d t f f iculty v i s i t ' (C. M a r t i n d a l e , p 57) Automating poetry is, on the whole, a f a i r l y harmless activity (R. W. B a i l e y , p 283) And, inevitably, the papers vary in importance The only serious f a u l t we find i n the collection is that e d i t o r i a l comment Fs ingufficient This is especially true in the section, 'Art and P o e t r y , ' where titles and appropriate credits are given, one o r two completed designs shown, but no textual advice on the nature of t h e programs used We have chosen to survey some of t h e papers herein from t w o p o i n t s of view, f i r s t as a list of accomplishments, and second as a source of inspiration for new accomplishments Readers outside the field, who are aware that something is going on, b u t who are not quite sure what, w i l l find that t h e computer is being used most in doing the things it can do best, that is, indexes and concordances. But i t s use ie being extended to more complicated tasks, i t s symbology is beFng extended to new alphabets These are some of the things which are being done THE COMPUTER AS WORKHORSE The computer serves best as a workhorse, doing t h i n g s t h a t are at least tedious and ttme-consuming, sometimes impossible, for the unassisted human mind P Bratley, S Lusignan, and", |
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| "text": "Note: The t a b l e of contents appears i n AJCZ, Microfiche 1 4 , frames 67-69, and summaries of several contributions appear on the same fiche. REVIEWED B Y EDITH J. HOLS AND DAN BURROWS U n i v e r s i t y of ~i n n e s o t a , D u l u t h 5 5 8 1 2 Computers in the Humanities is a selecti~n of papers from 115 presented at a conference on computers and the humanities, 1973, at the University o f Minnesota in Minneapolis I t s value is both as a bank of ideas and a s a cross section o f t h e very broad area a t the confluence of those two disciplines The var i e t y of interests d i s p l a y e d here is an indication of the consiarable breadth of opportunity f o r further exploration Its e d it o r hopes it will be \"appropriate f o r use in such couraes in 'Computers and the Humanities' as are now found in many major American and European universities \" As an i d e a book for such a Review: Computers in the Humanities course it should serve rather w e l l Certainly i t has little competition Scholars in the humanities are only beginning t o see the computer as the greatest thing since t h e invention (discovery?) of the s t y l u s , and recent extensions i n t o languages more agreeable to the soft sciences and to the arts have made more a t t r a ct i v e a continuing growth on several fronts. Concordances and indexes are growlng in number and in informatory powers, l a r g e banks of texts are being created, and new and imaginative uses of such stores are being attempted More sophisticated methods of analysis a r e being devised, and programs are being developed which perform increasingly complex tasks Much of this work needs to be done only once, s o i n order that efforts not be duplicated it is urgent that information on work completed or i n progress be p u b l i c i z e d. The Minnesota conference and the book which has came from i t share some things t h a t have been done The collection i s a mixed bag in more than one sense. Disciplines represented include music, a r t , archaeology, literary analysis, dialectology, language history, l e x i c o g r a p h y , and Roman history Papers v a r y in l e n g t h and in readability With this example, we used a multiplicative application probabilities model which was f a r more consistent w i t h the data than a non-application model, as measured by a chi-square comparison of predicted versus observed ftequencies (b Sankoff and P Rousseau, p. 7). Review Computers in the Hutnanities lyric poetry tends toward introversion and internal movement, towards travel through Shelley' s 'caverns of t h e m i n d , ' that ' t h o u g h t can with d t f f iculty v i s i t ' (C. M a r t i n d a l e , p 57) Automating poetry is, on the whole, a f a i r l y harmless activity (R. W. B a i l e y , p 283) And, inevitably, the papers vary in importance The only serious f a u l t we find i n the collection is that e d i t o r i a l comment Fs ingufficient This is especially true in the section, 'Art and P o e t r y , ' where titles and appropriate credits are given, one o r two completed designs shown, but no textual advice on the nature of t h e programs used We have chosen to survey some of t h e papers herein from t w o p o i n t s of view, f i r s t as a list of accomplishments, and second as a source of inspiration for new accomplishments Readers outside the field, who are aware that something is going on, b u t who are not quite sure what, w i l l find that t h e computer is being used most in doing the things it can do best, that is, indexes and concordances. But i t s use ie being extended to more complicated tasks, i t s symbology is beFng extended to new alphabets These are some of the things which are being done THE COMPUTER AS WORKHORSE The computer serves best as a workhorse, doing t h i n g s t h a t are at least tedious and ttme-consuming, sometimes impossible, for the unassisted human mind P Bratley, S Lusignan, and", |
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| "text": "Computers i n the Humanities Francine O u e l l e t t e , i n \"JEUDEMO a text-handling system,\" describe j u s t such a system, remarking that \"the computer 's main contribution t o l i t e r a r y endeavour i s i n the provision of concordances, word-indexes, and r a t h e r unsophisticated statistics. I I", |
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| "text": "The t e x t processing system they describe i s JEUDEMO, designed go perform \"typical jobs with the Chronicle is a continuing eff~rt which is attempting to do two things: to establish a definitive text, and to make contributions to a gramar for Old English. What makes hie paper especially interesting is the full and clear account o f the way he is going about it.", |
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| "text": "The obvious and inmediate task for the humanities is the assemblage of concordances and dictionaries. Two kinds of program are presented in Mitchell's book 1) the program which simply g e t s the information out and prints on order, and 2) the program which uses the information i n some kind of analysis.", |
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| "section": "CONCORDANCES AND D I C T I O N A R I E S", |
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| "text": "It is not surprising that a concordance and a dictionary of Shakespeare would be an early choice. M. Spevack, H. J. Neuhaus, and T. Finkenstaedt describe the operation of \"SHAD a Shakespeare dictionary.\" At the time of their writing, the dictionary was being prepared with the use of an already existing concordance ", |
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| "section": "CONCORDANCES AND D I C T I O N A R I E S", |
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| "text": "Review : Computers in the Humanities 14 these difficulties must be considered, but not as insurmountable.It is just such complexities which make the use of the computer urgent and probably essential.Another who attacks the prbblem of authorship is J. R. Any stylistic study is conducted in a vacuum unless two items are in comparison, for example Writer A in Poem X vs -Writer A in Poem Y, or Writer A vs -Writer B, or Writer A vs -Writer A + ten years. Eventually norms of a sort will be established. D. ", |
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| "section": "annex", |
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| "text": "The system allows for several types od t e x t s , including s c r i p t s with several a c t o r s , scripts which can be subdivided, f o r example, i n t o several acts. Output ranges from vocabulary lists t o a Key Word i n Context (KWIC) l i s t i n g , which gives the researcher a good idea of t h e use of a word within the t e x t . JEUDEMO i s designed t o \" meet some of the b a s i c requirements of the user from t h e h m a r i i t i e s , enabling him t o realize some r a t h e r sophisticated t e x t processing operations with a high degree of computational eEf iciency and comparatively l i tt l e e f f o r t , thus freeing him from much r o u t i n e work and allowing h i s creativity t o be applied a t a much more fruitful stage \" The w r i t e r s i n s t r u c t the reader i n some d e t a i l in the use of the system, including t h e use of commands, and including an illustration of a command sequence Options available in t h e program are given and i l l u s t r a t e d BEYOND THE CATALOG But w e can go beyond the catalog Sara R Jordan's METQA, described i n \"A computer program that learns t o understand natural language,\" structures and a d a p t s i t s own memory t o reflect experience According t o the author, most computer programs", |
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| "text": "t attempt t o teach n a t u r a l languages use dictionaries and built-in linguistic information But METQA \"learns\" over time by the usage of each word In t,erms understandable by t h e nonspecialist, Jordan gives a detailed account of the memory s t r u ct u r e developed by the program B r i e f l y , t h e t r a i n e r makes hls input, wlthout spaces. The computer responds e i t h e r w i t h an equivalent, o r with a question (What i s i t ? \" ) If questioned, the trainer gives an answer, which i s s t o r e d and assigned t o one of a system of n o d e s , connected by labeled links Here machine acquisition o f language leans i n the d i r e c t i o n o f human a c q u i s it i o n of language A reminder t h a t t h e machine has l i m i t a t i o n s in that respect i s s t r u c k by R W Bailey in the liveliest paper of t h e book, \"Computer-assis t e d p o e t r y t h e wricing machine is f o r everybody Bailey finds that mechanical techniques for the production of p o e t r y work very w e l l , but do not produce poetry The strategies he describes are of constructions based on t y p i c a l p o e t i c patthe shadows of i t p pants ( p 288) The computer manipulated by the artist i s another matter Last in the book, captioned and c r e d i t e d b u t n o t e x p l a i n e d , are four examples of computer art Ruth Leavitt's \"Computer Graphics' and \"SPLAT. A computer language f o r a r t i s t s , \" by D Donohue and Review: Computers i n the Humanities 8 generated by the artist-in-command, the computer as tool. Unfortunately, space wag severely curtailed and explanations of the programs were not i n c l u d e d . MECHANICAL PROBLEMS This book includes accounts of some attempts to solve problems.peculiar to computer use and problems which arise on extensions of computer use. One is the need to feed alphabets other than Roman into the computer. K. L. Su, in \"The creation of a set of alphabets for the Chinese language,\" shows a set of symbols which can be combined to represent nearly all Chipese characters. The symbols chosen by Su are s t i l l larger in number than the number of characters necessary for other languages: the keyboard will have 256 keys, including 210 symbols, 26 English l e t t e r s , 10 nuinbers, and 10 notations and punctuations. But without some such breakdown the tens of thousands of Chinese characters could not be used at all The author admits a \"slight loss of readability\" but \"not of any grave consequence. t I \"MUSTRAN I I : foundat i o n for computational musicology\" (J. Wenker) describes a system of notation which can be used in recording, and subsequehtly in reproducing, a musical score. Another mechanical problem, the necessity that products of research be available and usable in many contexts, is broached by D. Sherman in \"A common structure f o r lexicographic data. 1 ? He suggests that a standard structure would h e l p solve many Review: Computers in the Humanities 9 problems in exchange of data. The conrmon structure that he finds and uses in data records f o r Webster's -Seventh C o l l e g i a t e -D i ctionary, i s a r e v i s i o n of Machine Readable Catalog (MARC) which is already in use i n lib~aries of the U n i t e d S t a t e s and England. Sherman's WEBMARC permits the addition of phonetic information Problems of dimension in catalog assignment are solved t o some degree by D. D. Fisher in \"An information s y s t e m f o r the Joint Caesarea MaritFma (Israel) archaeological excavations . t t In answer to the necessity for precise recording of a r c h a e o l o g ical finds he catalogs complex structures three-dimensionally . A fairly uncomplicated data base kept on punch cards helps keep information of finds during an excavation in a usable form, w i t h a precision not easily achieved. The d a t a base can l a t e r be used to compare artifacts and to work with scientific shapes to a i d in chronolegical studies. The computer has increased what is for other reasons a seri ous p r o b l a --t h e paper surge. W. P C o l e , in \"Computer-output microfiche in the Catalog o f American Portraits\" comes up with the inevitable solution--microfarm. The method he describes for outputting on microfiche (COM-fiche) involves no paper output Copies for duplicate s e t s are said to b e comparatively low in c o s t . SOME DIRECTIONS F O R COMPUTERS IN THE HUMA$IITIES As an idea book; Computers in the Humanities must give some -leads to future work. The b e s t example of this and one of the most worth-while papers in the collection, is the editor's own study of \"The language of the Peterborough Chronicle. \" His work", |
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| "text": "Spevack's Completeand Systematic Concordanceto Shakespeare), the magnetic tapes Urwesen (containing all of Shakespeare), a Computer Dictionary (CD) composed of entries from the -Shorter Oxford English Dictionary (SOED) , and LEMCA, a semi-automatic process of lemmatization. SHAD will have, according t o the writers, \"almost unlimited possibilities for presenting questions and so eliciting still more information.\" Examples of the Review: Computers in the Humanities information which may be given for the word gasp include these things: The word occurs s i x times, c o n t a i n s no grammatical ambiguity, is composed of one free morpheme, it functions as a nominal, is not a variant spelling, in uninflected. As a type, it has eight tokens (two as a verb). It is classed as a noun in S O D D . Its s t a t u s i s cornon, i t i s Germanic in o r i g i n , Old Norse, it f i r s t appeared in p r i n t i n 1 5 7 7 . I t occurs four times i n h i story p l a y s , five i n plays of the 1 5 9 0 t s , i t i s spoken by both men and women, by both major and minor c h a r a c t e r s . It i s always directly preceded by one of these adjectives. last, latter, l a t e s t . Such i n f o m a t i o n i s only t y p i c a l , n o t exhaustive. Another p r o j e c t simple i n s t r u c t u r e but l a r g e i n scope which can be attempted only with the aid of a computer is E J . Jory's word index described in \"New approaches to e p i g r a p h i c problems in Roman his t o r y ' \" J o r y has coapleted a word index of one volume of an already published sixteen-volume s e t of Latin epigrams. He proposes as an extension of h i s index a central data bank containing a l l the information about every s i n g l e known Latin inscription. LIMITS OF THEORY It is probably not possible to set limits to the cataloging functions of the computer, and perhaps n o t neceaaary What Fa needed is an approximate l i n e between what the computer can do b e s t and what t h e human mind alone can do best. Bailey demonstrates rather convincLngly that t h e computer cannot, unassisted , Review: Computers in the Humanities 12 write poetry. What he did not show, but that we believe can be shown, i s that the poetry writing programs he c r i t i c i z e s are a t least useful in utldeistanding forms in poetry Establishing limits is a matter of cumulative results from uninhibited p r o j e c t s . Another kind of limitation, boundaries of a theory, may be discovered at any time. For example, semantic field theory is an attractive method of organization of meaning. The difficulty is that, extended beyond certain neatly arranged categories, where distincti,ns are clear, the method becomes unmanageably complex. E . R . Maxwell and R. M. Smith (\"A computerized l e x i c o n of English\") describe a process which nay stretch field theory far beyond its present limits, or which may show it to be so severely limited as t o be of little value. Beginning with an undefined set of concepts c a l l e d primitives (saneness, difference, m o t i o n , space, etc.), each word is processed, con t ihuing then through finer degrees of d i f f e r e n t i a t i o n which ultimately define it and distinguish i t from all other words. Hit -\"would be defined by primitives: an event involving a motion against an object . . . by another o b j e c t , the two objects being different I It would then be differentiated from such o t h e r words as punch, jab, and slap. STYLISTICS Beyond cataloging, the most urgent need for the computer in the humanities is in stylistic studies. We have already mentioned the establishment of definitive texts. One is W. M. Baillie's \"Authorship attribution in Jacobean dramatic texts, \" i n Computers -in the Huplanities . Baillie investigates two t e x t s of Shakespeare s and two of Fletcher's, looking for automatic distinctions in the dialog of the two writers. EYEBALL lists part-of-speech and function categories wherein the investigator finds that several variables, including descriptive adverbs and complements, achieve a differentiation success rate of seventy percent or better. From !the information he forms a graph that shows s,ome consistency in discrimination between the two playwrights. Baillie is aware of at least some of the difficulties in establishment of authorship. 1) The plays are not totally cons b t e n t . In certain scenes the distinction is negative, that is, the norms of one playwright are replaced by the norms of the other. Such scenes are not destructive to the credibility of the method, , h t rather they open up new quest5ons of style and authorship. 2) The project i s based on the assumption that a writer has an i d e n t i f i a b l e s t y l e , an assumption which i s yet to be proved. 3) In a play each character may have a s t y l e distinct from others and from the author's personal style. That personal quality may or may not be given to any one or more characters and may have only an indefinite effect on the style of all of the characters. 4) Any stylistic study in breadth must assume that over a period of years a writer's s-tyle w i l l change, that he may revise an earlier writing and so create a problem in authorship. All of", |
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