Greetings!! Everyone. This blog is based on DH : MIT Moral Machine and CLiC Project, assigned by Dr, Dilipsir Barad. In this blog I'm going to discuss about various points regarding Digital Humanities.
Let's start with the meaning of Digital Humanities,...
Digital humanities are at the leading edge of applying computer-based technology in the humanities. Initially called ‘humanities computing’, the field has grown tremendously over the past 40 or so years. It originally focused on developing digital tools and the creation of archives and databases for texts, artworks, and other materials. From these initial uses, and as computation developed, computers offered increasingly sophisticated ways of handling and searching digitised culture. For example, with recent advances in digital imaging, it is now possible to produce very high-quality reproductions of books and artworks that can transform our ability to study them. The key to understanding the digital humanities is to reject the idea that digital technology is invading the academy.
Digital humanities is an interdisciplinary field that combines traditional humanities disciplines, such as literature, history, and philosophy, with digital tools and methods to analyze, interpret, and present human culture and knowledge. It involves the use of computational techniques to conduct research, manage data, and create digital resources, enhancing the understanding and dissemination of humanities scholarship.
Computers were used for humanist ends from very early on in their history, and not only, as one might expect, as mere storage for large libraries of text. Computer networks, particularly the internet, have also enabled digital files to be used from almost anywhere on the globe. This access to information has had a tremendous effect on the ability to undertake research in the arts and humanities.
For more information about Digital Humanities Visit:-
# Why it's found in English departments ?
- Text has traditionally been easy for computers to process, facilitating research in stylistics, linguistics, and author attribution.
- There is a long-standing connection between computers and composition studies.
- Digital humanities has converged with digital archiving and the creation of electronic editions of texts.
- There is a significant interest in hypertext and electronic literature.
- The field embraces cultural studies that explore digital material culture.
- Recently, there has been a surge in e-reading devices and large-scale text digitization projects.
# What do Digital Humanities Do ?
1. Digital Archives :-
Let's have an introduction to few archives...
- Indian Memory Project : https://www.indianmemoryproject.com/
- Gandhi Sevagram Ashram : https://www.gandhiashramsevagram.org/
- Harvard University - Arts and Humanities Research Computing: https://digitalhumanities.fas.harvard.edu/projects/
- Google Arts & Culture : https://artsandculture.google.com/
- The Victorian Web : https://victorianweb.org/
These are some digital archives through with one can get more authentic information about their subject of interest, DH helps in such manners. DH also includes,..
2. Computational Humanities :-
In the case of literature by using digital technology in research concern way one can analyse Literary text. One can also use digital technology in Teaching & Learning with the Pedagogical concern. and also DH can be use in Generative Literature. Lastly the most important part of the digital humanity is....
3. Multi-modal Critique:-
The Fundamentals Of Humanities > Critical Inquiry
With the connection of this Digital Humanities , The University of Birmingham launch one project for teachers and they have to experiment with the student . The name of the project is 'CLiC Project', and they have given one activity book "CLiC – Corpus Linguistics in Context, An Activity Book , Supporting the teaching of literature , at GCSE and AS/A-level, Version 1, November 2017". This book has been written for teachers and the exploration of literature in the classroom. Language and literature can be taught as separate subjects, but recent developments of language and literature specifications illustrate how both can and need to be integrated. For example, Marcello Giovanelli and colleagues have created resources supporting the teaching of the AQA English Language and Literature Specification.The CLiC – Activity Book is structured into two main parts – a methodological section that introduces the functionality of the CLiC app and a thematic section that illustrates specific thematic activities.
In this The CLiC web app one can access four corpora and they are,
- DNov - Dickens's Novels
- 19C - 19th Century Reference Corpus
- ChiLit - 19th Century Children's Literature Corpus
- ArTs - Additional Requested Texts
Number of texts and number of words in CLiC corpora
Corpus Number of texts Number of words
--------------------------------------------------------------
DNov 15 3,835,807
19C 29 4,513,070
ChiLit 71 4,443,542
ArTs 23 2,259,103
--------------------------------------------------------------
Total 138 15,051,522
As I previously mentioned, The CLiC Project Book is divided into two parts, with the second part being activity-based. Let's delve into Part II – Thematic Activities:
This section of the CLiC Activity Book begins with questions. While the first part focuses on the technical aspects of using CLiC, this part emphasizes how CLiC can assist in addressing specific questions that might naturally arise in a literature classroom. For instance, while reading a novel, one might notice a feature, theme, issue, or pattern that seems significant but is somewhat vague. CLiC can help explore these observations further. It aids in refining one's thoughts, finding evidence to support intuitions, and uncovering additional patterns in the text that might have gone unnoticed.
ACTIVITY:15
SUBJECT:- Education, women and governesses in the 19th century:-
First let's know about some information about Education, women and governesses in the 19th century:-
In the 19th century, education for women underwent significant transformations, although it remained heavily influenced by societal expectations and gender norms. Early in the century, formal education for girls was limited, primarily focusing on domestic skills and the accomplishments deemed suitable for women of the time, such as embroidery, music, and basic literacy. However, as the century progressed, the rise of the middle class and the influence of educational reformers began to open more opportunities for women. Schools specifically for girls, such as the founding of girls' public day schools and boarding schools, became more common, and the curriculum gradually expanded to include subjects like mathematics, science, and literature, reflecting a growing recognition of women's intellectual capabilities.
The role of governesses was pivotal in this era, particularly for middle and upper-class families. Governesses, often well-educated women from modest backgrounds, were employed to provide private tuition to young girls (and sometimes boys) within the home. This arrangement allowed girls to receive a tailored education while still adhering to the prevailing social norms that discouraged their attendance at schools alongside boys. The position of governess, however, was fraught with challenges. These women were typically well-educated but were seen as social inferiors to the families they served, leading to a precarious position within the household hierarchy. Despite this, many governesses played crucial roles in advancing the education and intellectual development of their charges.
The latter part of the century saw the emergence of higher education opportunities for women, including the establishment of women’s colleges such as Girton College at Cambridge and Newnham College at Oxford. These institutions were instrumental in advocating for women’s rights to higher education and professional careers. However, women still faced significant barriers and resistance, with societal expectations often relegating them to roles of caregivers and homemakers. The 19th century thus marks a period of gradual progress and enduring challenges in the realm of women’s education, reflecting broader social changes and the persistent struggle for gender equality.
2. Summarise how the video describes the life of a governess in 19th century British society and literature. Can you think of any novels with a governess among the characters?
> Summary of the video:-
A governess is a woman, probably young, but not necessarily, could be middle aged, who lives with a family and is responsible for the teaching of the girls, so that could be anywhere from about a five year old up to an eighteen year old. She may also educate boys up until about the age eight, at which point they go away to school.
The governess could be teaching anything from very basic stuff like the three R’s, reading, writing, arithmetic, right up to really quite complex subjects, French, Italian, piano playing, use of the globes, which we know as geography really, algebra. Governesses who taught older girls were responsible for training them up in what were called accomplishments. Now these are the kinds of skills that girls were assumed to need once they entered the middle class marriage market. So that might include things like speaking French, playing the piano, deportment, you know, walking around with a book on your head so that you have a straight spine, dance even, that kind of basket of accomplishments and skills that make you ready to find a husband.
But it wasn’t just that that governesses taught. They were also responsible for their charges’ moral education. They often superintended children’s prayers at night time, they heard them reading from the Bible. They were constantly inculcating sort of normal moral truths about not lying, not pinching your sibling, being grateful for everything, being kind to your parents. So it was a difficult kind of job. I mean on the one hand, you’re teaching girls in effect how to show off, on the hand, you’re also trying to teach them how to be good, Christian women. It’s a very, very complicated role and it’s no wonder that an awful lot of governesses found it an immense strain.
The sort of person who was most likely to become a governess was a young woman, from a middle class home, that is an educated home, who for some reason just didn’t have a source of income. Her father perhaps had failed as a businessman, or perhaps her brother has lost his job, perhaps her mother had died, there was some reason why she didn’t have enough money and she needed to go out and make some. And how she did that, without losing caste, without becoming shamefully working class, was to go and live with another family, was to go and hire herself out as a sort of surrogate mother in somebody else’s household. You’ve got a newly affluent middle class. They want to ape the kind of ways of living of the aristocracy, and one way they can do that is by hiring a more or less gentile woman to raise their daughters. So employing a governess becomes a kind of mark of status, it’s kind of conspicuous consumption.
It says, ‘Look, I can afford to employ a woman, a gentile young woman, to teach my children.’ The governess occupied an incredibly awkward situation in the middle class home. I mean she’s not one of the family but she’s not a servant either, and as result she found herself really very, very much alone. The family was the family, they didn’t want this extra person at the dinner table, it’s always awkward when you’ve got people whom you don’t very well.
In any case, she’s their employee, they can’t relax in front of her. The servants meanwhile don’t want to be her friend, she’s stuck-up as far they’re concerned. They have to serve her a separate meal, often in the schoolroom, she makes extra work for them. That’s extra work, that’s more kind of journeys up the stairs, that’s more washing up.
Therefore really nobody likes her. And it’s a terribly lonely situation. I think the phrase that really sums up the governess is betwixt and between. She’s a woman who’s employed to look after somebody else’s children, but she doesn’t have children herself. She’s a gentile lady, but the family that employs her doesn’t really think that she’s smart enough to sit down to dinner with them. And the servants, who wait on her, think really that she’s no better than them and they really can’t stand her stuck up airs.
She’s supposed to dress appropriately, which means elegantly, but she doesn’t actually have enough money really to get her boots repaired or to get her gloves cleaned. I mean, she’s in the middle of a kind of lot of, lot of tensions, and living them out must have been an incredibly uncomfortable situation in which to be.
What’s absolutely extraordinary is how the governess starts to pop up in novels of the period, from the 1840s and beyond. If you think about Jane Eyre, she’s a governess. Becky Sharp of Vanity Fair, she’s also a governess. I think the point is that novels in the 19th century needed a central figure, a young person who’s going out to make their way in the world, and they need to have, you know, no parents looking after them, no kind friends watching that they don’t go wrong. They also need not to have any money of course, because they need to make their fortunes. And the answer really is she’s going to have to be a governess. That is the only kind of twenty-year-old girl who is going to have a story about going out into the world, who’s going to be unprotected.
Friendless is the word that the 19th-century uses. A friendless girl who’s going to have adventures, who’s going to be absolutely respectable. We can’t have a shop girl going out into the world, that won't make sense. We can’t have a prostitute going out into the world, that really won't make sense to a middle class readership, so we have to have the governess. She’s a fantastic figure for novelists.
Examples of famous literary governesses include Rebecca Sharp in Thackeray’s Vanity Fair, Jane Eyre in the novel by Charlotte Brontë, Agnes Grey in Anne Brontë’s novel, Madame de la Rougierre in Le Fanu’s Uncle Silas, the unnamed governess in Henry James The Turn of the Screw, Miss Wade in Dickens’s Little Dorrit, Jane Fairfax in Jane Austen’s Emma, and many others. Given her interest in the grand country house and estate as the setting for several novels, Jane Austen’s writing features several instances of a governess as a significant character.
ACTIVITY:15.2 Austen’s governesses
3. Go to the CLiC Concordance tab (http://clic.bham.ac.uk/concordance)
4. Select novels by Jane Austen in the “Search the Corpora” box. You can start typing “Austen” and CLiC will show all of Austen’s novels which you then need to select one by one.
5. Select the subset “All text”.
6. Under “Search for terms”, type the word governess.
> Here are some screenshots of the result of the searching 'Governess' in Jane Austen's novels:-
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This shows all instances of governess in Jane Austen’s novels. Look closely at the concordance lines to get a swift overview of how governesses are described and their position in society. Again, clicking on the “In bk.” column to the right of a line will give you the full context of the line in its original passage.
ACTIVITY:15.3 The social status of governesses in Pride and Prejudice
7. Following on from step 6 above, find the line that includes the sentence “Has your governess left you?” You will see to the right of the concordance line that this is from “pride” (Pride and Prejudice), chapter 29, paragraph 26, and it is sentence 71. Click on the “in bk.” graphic to the right, and CLiC will open the passage concerned from the novel.
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8. The short passage contains a wealth of evidence for the status of governesses and the attitudes of families towards them. What does it tell you about families who employed a governess and those that didn’t?
Here is the passage.
"Has your governess left you?"
"We never had any governess."
"No governess! How was that possible? Five daughters brought up at home without a governess! I never heard of such a thing. Your mother must have been quite a slave to your education."
Elizabeth could hardly help smiling as she assured her that had not been the case.
"Then, who taught you? who attended to you? Without a governess, you must have been neglected."
"Compared with some families, I believe we were; but such of us as wished to learn never wanted the
means. We were always encouraged to read, and had all the masters that were necessary.
Those who chose to be idle, certainly might."
"Aye, no doubt; but that is what a governess will prevent, and if I had known your mother, I should
have advised her most strenuously to engage one. I always say that nothing is to be done in education without steady and regular instruction, and nobody but a governess can give it. It is wonderful how many families I have been the means of supplying in that way. I am always glad to get a young person well placed out. ..."
(Jane Austen, Pride and Prejudice, Chapter 29)
Note that it is also important to frame these comments by noticing whose views are being expressed. In this passage, the character Lady Catherine is allowed almost to speak for herself: her speech is even largely free of the narrator adding reporting clauses like she said. Elsewhere in the novel, the narrator gives opinions about
governesses directly, and sometimes a character’s perspective is blended with or filtered through the narratorial content (as ‘Free Indirect Discourse’). This happens in the narrated paragraph just above the passage excerpted here from Chapter 29.
ACTIVITY:15.4 Children’s feelings about governesses
9. Start again by going to the CLiC Concordance tab(http://clic.bham.ac.uk/concordance).
10. Find “The Secret Garden” in the “Search the corpora” box, and select it.
11. Search in “All text” for the term governess.
12. You should find 8 examples.
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13. Explore their contexts by clicking on the graphic “In bk.” for each line.
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The line containing the speech, “‘I don’t want a governess’, said Mary sharply”, occurs in the following passage.
"Why, our Dickon's eyes nearly started out o' his head, they got that round," answered Martha. "But mother, she was put out about your seemin' to be all by yourself like. She said, 'Hasn't Mr. Craven got no governess for her, nor no nurse?' and I said, 'No, he hasn't, though Mrs. Medlock says he will when he thinks of it, but she says he mayn't think of it for two or three years.'"
"I don't want a governess," said Mary sharply.
"But mother says you ought to be learnin' your book by this time an' you ought to have a woman to look after you, an' she says: 'Now, Martha, you just think how you'd feel yourself, in a big place like that, wanderin' about all alone, an' no mother. You do your best to cheer her up,' she says, an' I said I would."
(Frances Hodgson Burnett, The Secret Garden, Chapter 8)
What advantages do the adults see in getting a governess for Mary? And what does Mary think about it?
ACTIVITY:15.5 Broadening the exploration
14. Choose one of the following corpora in CLiC from the Concordance tab (http://clic.bham.ac.uk/concordance):-
a. Dickens’s Novels (DNov)
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b. The 19th Century Reference Corpus (19C)
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c. The 19th Century Children’s Literature Corpus (ChiLit)
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15. Run a concordance for governess in the chosen corpus.
16. Go through the concordance and try to find examples for at least one of the
following questions:-
a. What examples can you find for the points mentioned in the British Library video, in Activity 15.1 above, about the tension that a governess would have felt in the 19th century, being neither part of the family nor of the servants?
b. Which children do the governesses look after? What does this tell you about childhood in the 19th century?
> Governesses in the 19th century typically looked after the children of wealthy or upper-middle-class families. These children were often from the aristocracy, gentry, or well-to-do bourgeoisie. The specific demographics and implications for childhood during this period are detailed below:
# Children Looked After by Governesses:
1. Wealthy and Aristocratic Families:- Children of nobility and aristocrats frequently had governesses. These families could afford to hire private tutors and governesses to ensure their children received a personalized and high-quality education.
2. Upper-Middle-Class Families:- As the industrial revolution progressed, wealthy industrialists and businessmen sought to emulate the lifestyle and education of the aristocracy. They often employed governesses for their children to provide a classical education and to teach manners and social graces.
3. Mixed-Age Groups:- Governesses sometimes taught a range of children within a household, from young children to teenagers, adjusting their teaching methods to suit different ages and educational needs.
# Implications for Childhood in the 19th Century:
1. Class and Education:- The employment of governesses highlights the significant class divisions in 19th-century society. Education was a privilege reserved for the wealthy, and having a governess was a marker of social status.
2. Gender Roles:- Governesses were typically employed to educate girls and younger boys. This reflects the gender norms of the time, where boys would eventually transition to boarding schools or receive male tutors for advanced education, while girls continued their education at home.
3. Domestic Sphere:- The presence of a governess in the home underscores the Victorian ideal of the domestic sphere. Children, particularly girls, were educated within the confines of the home, emphasizing the importance of family and the domestic environment in their upbringing.
4. Personalized Education:- The role of the governess provided a more personalized and individualized education compared to the formal schooling available to less wealthy children. This could mean a better understanding of the child's needs and tailored instruction, contributing to a more thorough education.
5. Isolation and Socialization:- While children with governesses received focused attention, they were also somewhat isolated from peers. This could impact their socialization, making them less accustomed to interacting with children outside their social class.
6. Moral and Social Training:- Beyond academics, governesses were responsible for instilling moral values, proper etiquette, and social graces in their charges. This reflects the Victorian emphasis on character and propriety as essential components of a child's upbringing.
# Summary:-
The employment of governesses to look after children of wealthy families in the 19th century highlights several key aspects of childhood during that period. It underscores the importance of class and social status, the domestic sphere, and gender roles in education. Children of affluent families received personalized education and moral training, which was both a privilege and a means of perpetuating social hierarchies and Victorian values.
c. What is the social background of the governesses? Why do they choose the job?
>
The social background of governesses during the 18th and 19th centuries often reflects a specific set of circumstances shaped by the economic, social, and gender norms of the time. Here are some key aspects:
# Social Background:-
1. Middle-Class Origins:- Governesses typically came from middle-class families. They were often the daughters of clergymen, teachers, or minor civil servants who could not afford to provide them with a dowry.
2. Education:- These women were usually well-educated for their time, having received a level of education that was rare for women of lower classes but was expected within the middle class.
3. Economic Necessity:- Financial difficulties often drove middle-class families to send their daughters into service as governesses. This could be due to the death of the family's breadwinner, economic downturns, or the need to support siblings.
4. Social Expectations:- Governesses often faced a challenging social position. They were not considered equals to the families they worked for but were also seen as superior to the domestic servants. This ambiguous status often left them isolated socially.
# Reasons for Choosing the Job:-
1. Limited Employment Opportunities:- Women in the 18th and 19th centuries had very few employment opportunities. Becoming a governess was one of the few respectable options available to educated women.
2. Economic Survival:- For many, the choice to become a governess was driven by the necessity to support themselves financially. With no dowry, marriage prospects were limited, making paid employment essential.
3. Independence:- Some women chose to become governesses to gain a measure of independence. While the position could be isolating and challenging, it did offer a way to live outside the strict confines of their family homes.
4. Vocational Calling:- A few women may have felt a genuine calling to educate and nurture children. For them, the role of a governess might have been seen as a noble profession that aligned with their personal values and aspirations.
# Historical Context:-
In literature, governesses are often depicted as central figures in exploring social dynamics and gender roles. Charlotte Brontë's "Jane Eyre" is a famous example, portraying the struggles and resilience of a governess navigating the complexities of her social environment.
Activity 2: Body language and characterisation
Characters in dramas and novels play a crucial role, and their body language significantly impacts viewers. Body language, comprising posture, eye movements, facial expressions, and gestures, serves as a nonverbal means of communication, conveying essential messages and enhancing storytelling. Understanding and effectively using body language can enrich character portrayal and narrative depth. Characterization, the process by which an author or actor creates and develops a character, is closely tied to these nonverbal cues.
# Frequency of "Chin" in Dickens vs. Austen:-
In Charles Dickens' novels, the word "chin" appears 317 times across 15 books, whereas in Jane Austen's works, it appears only once across 7 books.
# The Use of Chin in Dickens' Novels:-
Charles Dickens skillfully employs physical descriptions to enhance character development, often focusing on facial features like the chin. In Dickens' works, a strong, well-defined chin typically symbolizes strength, determination, and confidence, while a weak or receding chin indicates timidity or lack of resolve. These physical traits help quickly establish a character’s nature.
For example, in "Great Expectations," Mr. Jaggers, a lawyer, is described with a "large head," "large shining bald forehead," and a "deep-set eye," with a firm and square chin reinforcing his authoritative and intimidating presence. In "Oliver Twist," Mr. Bumble's double chin emphasizes his gluttony and self-importance, adding to his comical and exaggerated portrayal.
In "Bleak House," Dickens writes, "I thought he was very strange, or at least that what I could see of him was very strange, for he was wrapped up to the chin, and his face was almost hidden in a fur cap with broad fur straps at the side of his head fastened under his chin; but I was composed again, and not afraid of him." Here, the mention of the chin underscores the narrator’s perception of the character as strange, reflecting the narrator's emotional state and adding to the atmosphere.
# The Use of Chin in 19th-Century Literature:-
In 19th-century literature, the chin was often used symbolically to convey character traits. A "firm chin" might suggest determination or stubbornness, while a "weak chin" could indicate timidity or indecision. For instance, in a passage describing Goisvintha's unattractive face, the "beardless, retreating chin" enhances the character's perceived lack of refinement or strength.
Noble or heroic characters often have a strong, prominent chin, symbolizing strength, decisiveness, and moral integrity. For example, in Oscar Wilde's "The Picture of Dorian Gray," Dorian Gray's youthful beauty includes a strong and attractive chin, symbolizing his outward charm and allure. Conversely, characters like Dickens’ Fagin from "Oliver Twist" or Conan Doyle’s Professor Moriarty in the Sherlock Holmes series might be described with less pronounced chins to emphasize their villainous nature.
# The Use of Chin in Jane Austen's Novels:-
In Austen’s novels, the chin can symbolize various aspects of a character’s social standing or demeanor. For example, in "Pride and Prejudice," Mr. Darcy’s "proud" chin reflects his aloofness and haughty demeanor. Austen also uses descriptions of the chin to reflect characters’ emotional states or moral qualities.
In "Sense and Sensibility," the contrasting physical descriptions of Elinor Dashwood and Marianne Dashwood include subtle details about their chins, hinting at their differing temperaments. In "Pride and Prejudice," Mr. Collins' "weak" chin emphasizes his obsequious and subservient nature, reinforcing his sycophantic character. Austen uses such descriptions to satirize social climbers who prioritize status over genuine morality.
In "Pride and Prejudice," Lydia's comment about a waiter's long chin is casual and superficial, indicative of her frivolous and immature nature. This focus on physical appearance underscores broader societal tendencies to judge people based on trivial attributes rather than character or actions.
By examining the use of physical features like the chin in Dickens and Austen, we see how 19th-century authors used these descriptions to deepen characterization, convey social commentary, and evoke specific emotional responses in their readers.
THANK YOU FOR READING...
HAPPY LEARNING...EXPLORING
.jfif)
