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As a longtime fan of Marie Lu-I bought her debut novel Legend on the day it released-I was excited and intrigued by the concept of , the first novel in this duology. It focuses on Emika Chen's selection for and participation in the Warcross Championships, an international esports tournament for a game that sounds like a more technologically-advanced version of Overwatch. Yet Warcross, for its focus on innovative technology, was itself not very innovative at all, containing a lot of predictable elements ranging from the romance to the "plot twists" at the end.

With the release of Wildcard, I was interested to see the direction Emika's story would take, and in many ways, Wildcard is a much better book, though it lacks the action-packed virtual reality sequences that make Warcross fun. Wildcard focuses much more on intrigue, taking Emika and the other members of the Phoenix Riders team on investigations and into thrillingly dangerous situations.

Spoilers for Warcross and Wildcard follow!

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As a longtime fan of Marie Lu-I bought her debut novel Legend on the day it released-I was excited and intrigued by the concept of , the first novel in this duology. It focuses on Emika Chen's selection for and participation in the Warcross Championships, an international esports tournament for a game that sounds like a more technologically-advanced version of Overwatch.

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Macalester College - Research Data Basics

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Macalester College - Research Data Basics

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All Guides: Data Module #1: What is Research Data?: Defining Research Data

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All Guides: Data Module #1: What is Research Data?: Defining Research Data

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Better Sharing, Brighter Future

"Twenty Years of Creative Commons (in Sixty Seconds)" by Ryan Junell and Glenn Otis Brown for Creative Commons is licensed via CC BY 4.0 and includes adaptations of the multiple open and public domain works. View full licensing and attribution information about all works included in the video on Flickr.

Creative Commons is an international nonprofit organization that empowers people to grow and sustain the thriving commons of shared knowledge and culture we need to address the world's most pressing challenges and create a brighter future for all.

Learn more

The nonprofit behind the licenses and tools the world uses to share

For over 20 years, Creative Commons has supported a global movement built on a belief in the power of open access to knowledge and creativity. From Wikipedia to the Smithsonian, organizations and individuals rely on our work to share billions of historic images, scientific articles, cultural artifacts, educational resources, music, and more!

Wikipedia

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Every one of Wikipedia's 55 million plus articles are shared openly and freely using a CC license.

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492,000+ images

All images of public-domain works in the Met's collection are openly available under Creative Commons Zero (CC0).

Khan Academy

100,000+ lessons

Many of the lessons found on Khan Academy are openly licensed under CC-BY-NC-SA.

Wikipedia

55+ million articles

Every one of Wikipedia's 55 million plus articles are shared openly and freely using a CC license.

The Met

492,000+ images

All images of public-domain works in the Met's collection are openly available under Creative Commons Zero (CC0).

Khan Academy

100,000+ lessons

Many of the lessons found on Khan Academy are openly licensed under CC-BY-NC-SA.

Wikipedia

55+ million articles

Every one of Wikipedia's 55 million plus articles are shared openly and freely using a CC license.

The Met

492,000+ images

All images of public-domain works in the Met's collection are openly available under Creative Commons Zero (CC0).

Khan Academy

100,000+ lessons

Many of the lessons found on Khan Academy are openly licensed under CC-BY-NC-SA.

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Open Culture
Cropped, Open Culture Strategic Workshop by Filipa Alfama, CC BY 4.0

One year after Creative Commons (CC) hosted an exploratory Open Culture Roundtable, in Lisbon, Portugal, which initiated the Towards a Recommendation on Open Culture (TAROC) global initiative, nearly 50 stakeholders from all continents gathered again for a strategic workshop, in Lisbon in May 2024. In this blog post, we share a snapshot of key highlights.

About CC

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Open Culture
Cropped, Open Culture Strategic Workshop by Filipa Alfama, CC BY 4.0

One year after Creative Commons (CC) hosted an exploratory Open Culture Roundtable, in Lisbon, Portugal, which initiated the Towards a Recommendation on Open Culture (TAROC) global initiative, nearly 50 stakeholders from all continents gathered again for a strategic workshop, in Lisbon in May 2024. In this blog post, we share a snapshot of key highlights.

About CC

Open Culture, Open Heritage

About CC, Community

About CC

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view

Le Sortie de l'opéra en l'an 2000 by A. Robida - Library of Congress Prints and Photographs Division - Public Domain.

" An Original Theory or New Hypothesis of the Universe. Plate XXXI. ". By Thomas Wright. Public Domain

" Community Needs Care" by Camila Leão for Fine Acts x OBI is licensed via https://creativecommons.org/licenses/by-nc-sa/4.0/.

CC staff photos are licensed under CC BY 4.0. Gratitude to Sara Jordan Photography.

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Creative Commons is an international nonprofit organization that empowers people to grow and sustain the thriving commons of shared knowledge and culture we need to address the world's most pressing challenges and create a brighter future for all.

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The following are sample questions for a user interview. Please note that your questions need to be tailored to each individual project.

Questions for Getting to know the user:

Please tell me about yourself and your relationship to Yale.

If they are student ask - major, year, school?

If they are employee ask - what type of employment, and for how long?

Please tell me about your relation to the [project topic]?

Describe your typical day at [role environment]?

When you are on a computer and the internet, are there any challenges you face accessing information?

Questions for gathering user behavior:

What are the most important tasks you or other people need to perform in using [project website or application]?

How would you describe your past and current experience with [project topic, website or application]?

How often do you use or see yourself using [project website or application]?

How do you normally get to [project website or application]?

If answer is direct URL ask - Do you use a bookmark for this?

If answer is web searching ask - What terms do you typical search for?

If answer is a link on another site ask - What sites?

If answer is a bookmarked link ask - Do you remember how you first obtained the URL?

What devices do you typically use when visiting [project website or application]?

Do you or did you in the past use other websites and resources for the same purpose as [project website or application]?

Is there anything you or your users often look for on [project website or application] that is missing or hard to find?

Is there any way [project website or application] isn't supporting your needs currently?

If you had a question regarding [project topic] do you know who to contact?

If yes - how do you know?

If no - how would you go about contacting someone?

Questions for gathering opinion:

What do you see as the primary function of the [project topic]?

What do you see as the primary function of the [project website or application]?

What do you like about the current [project website or application]?

What don't you like about the current [project website or application]?

Questions for gathering user awareness:

Are you aware that [project topic, website or application] offers [particular feature]?

Questions about the project goal:

What is your main goal when visiting the [project website or application]?
Ask follow up question - Do you have any secondary goals?

What would prevent you from achieving [project goal]?

What improvements could be made to make [project goal] easier or better?

Questions for projects that provide information:

How do you use the information on the [project website or application]?

Would you ever need to share these metrics with others?
If yes - who, what format and method of sharing?

Would you ever need to export [information or asset in project]?
If yes - when, why and in what format?

Questions for a project that has a process:
(ex: purchasing, submitting a request or creating assets)

How long do you expect the [process in the project] to take?

Do you remember the communication or any follow up after you performed the [process in the project]?

Under what circumstances would you want to receive an alert in [process in the project]?

Questions for closing out the interview:

What haven't we asked you today that you think would be valuable for us to know?

May I contact you if we have any other questions or for possible further research for this project?

# data[].attributes.attachment_link.description
The following are sample questions for a user interview. Please note that your questions need to be tailored to each individual project. Please tell me about yourself and your relationship to Yale. If they are student ask - major, year, school? If they are employee ask - what type of employment, and for how long?

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The Most Extensive Design Resources Library You'll Ever Need in 2021

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Enhance Your UI With These Typography Tips If you want to improve your typography skills or you're looking to get started on typography, this article covers 7 practical tips to improve your UI. Topics range from the ideal number of characters per line to utilizing grids.

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OMGLORD is a curated directory and newsletter by Gabby Lord, sharing thoughts on design, creativity and handy resources.

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Resources For Designer is a directory of all the best resources for designers and includes 200 resources across 15 categories such as Illustrations, Icons, Typography, Photography, Color, Sound and much more! Easily browse using categories or search for what you're looking for.

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More than 100 galleries of art make the Museum of Fine Arts one of the top things to do in Boston and one of the best art museums in the world.

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Monday September 20th, 7pm ET

Meet Elizabeth Greenberg (Provost), Howard Greenberg (MFA Chair), and Wayne Beach (Film Chair) along with recent MFA graduates to learn first-hand about this immersive, low - residency program. Through this interactive event, you will learn how the MFA program provides you the opportunity to intensely pursue your passion and build an authentic, sustainable creative practice under the guidance of accomplished artists. Register Now!

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Maine Media Workshops + College filmmaking and photography school

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Maine Media Workshops + College offers workshops and certificate programs for media artists in the areas of photography, filmmaking, creative writing and design, and a low-residency MFA degree. Our week-long and multi-week programs for visual storytellers are taught by world-renowned instructors and held in beautiful coastal Maine.

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NLTK is a leading platform for building Python programs to work with human language data. It provides easy-to-use interfaces to over 50 corpora and lexical resources such as WordNet, along with a suite of text processing libraries for classification, tokenization, stemming, tagging, parsing, and semantic reasoning, wrappers for industrial-strength NLP libraries, and an active discussion forum.

Thanks to a hands-on guide introducing programming fundamentals alongside topics in computational linguistics, plus comprehensive API documentation, NLTK is suitable for linguists, engineers, students, educators, researchers, and industry users alike. NLTK is available for Windows, Mac OS X, and Linux. Best of all, NLTK is a free, open source, community-driven project.

NLTK has been called "a wonderful tool for teaching, and working in, computational linguistics using Python," and "an amazing library to play with natural language."

Natural Language Processing with Python provides a practical introduction to programming for language processing. Written by the creators of NLTK, it guides the reader through the fundamentals of writing Python programs, working with corpora, categorizing text, analyzing linguistic structure, and more. The online version of the book has been been updated for Python 3 and NLTK 3. (The original Python 2 version is still available at https://www.nltk.org/book_1ed.)

Some simple things you can do with NLTK

Tokenize and tag some text:

Identify named entities:

Display a parse tree:

NB. If you publish work that uses NLTK, please cite the NLTK book as follows:

Bird, Steven, Edward Loper and Ewan Klein (2009), Natural Language Processing with Python. O'Reilly Media Inc.

Next Steps

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NLTK is a leading platform for building Python programs to work with human language data. It provides easy-to-use interfaces to over 50 corpora and lexical resources such as WordNet, along with a suite of text processing libraries for classification, tokenization, stemming, tagging, parsing, and semantic reasoning, wrappers for industrial-strength NLP libraries, and an active discussion forum.

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GitHub - maria-antoniak/goodreads-scraper: A Python scraper for Goodreads books and reviews.

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These Python scripts can be used to collect book reviews and metadata from Goodreads. We were motivated to develop this Goodreads Scraper because the Goodreads API is difficult to work with and does not provide access to the full text of reviews. The Goodreads Scraper instead uses the web scraping libraries Beautiful Soup and Selenium to collect data.

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We begin with a short example. How should we go about transferring into a computer a passage of prose, such as the start of the last chapter of Charlotte Brontë's novel Jane Eyre? We might start by simply copying what we see on the printed page, typing it in such a way that what appears on the screen looks as similar as possible, for example, by retaining the original line breaks, by introducing blanks to represent the layout of the original headings, page breaks, and paragraphs, and so forth. Of course, the possibilities are limited by the nature of the computer program we use to capture the text: it may not be possible for example to reflect accurately the typographic characteristics of our source with all such software. Some characters in the printed text (such as the accented letter a in faàl or the long dash) may not be available on the keyboard; some typographic distinctions (such as that between small capitals and full capitals) may not be readily accessible. Our first attempt tries to mimic the appearance of the former, and simply ignores the latter.

                                CHAPTER 38

READER, I married him. A quiet wedding we had: he and I, the par-
son and clerk, were alone present. When we got back from church, I
went into the kitchen of the manor-house, where Mary was cooking
the dinner, and John cleaning the knives, and I said --
  'Mary, I have been married to Mr Rochester this morning.' The
housekeeper and her husband were of that decent, phlegmatic
order of people, to whom one may at any time safely communicate a
remarkable piece of news without incurring the danger of having
one's ears pierced by some shrill ejaculation and subsequently stunned
by a torrent of wordy wonderment. Mary did look up, and she did
stare at me; the ladle with which she was basting a pair of chickens
roasting at the fire, did for some three minutes hang suspended in air,
and for the same space of time John's knives also had rest from the
polishing process; but Mary, bending again over the roast, said only --
   'Have you, miss? Well, for sure!'
   A short time after she pursued, 'I seed you go out with the master,
but I didn't know you were gone to church to be wed'; and she
basted away. John, when I turned to him, was grinning from ear to
ear.
   'I telled Mary how it would be,' he said: 'I knew what Mr Ed-
ward' (John was an old servant, and had known his master when he
was the cadet of the house, therefore he often gave him his Christian
name) -- 'I knew what Mr Edward would do; and I was certain he
would not wait long either: and he's done right, for aught I know. I
wish you joy, miss!' and he politely pulled his forelock.
   'Thank you, John. Mr Rochester told me to give you and Mary
this.'
   I put into his hand a five-pound note.  Without waiting to hear
more, I left the kitchen. In passing the door of that sanctum some time
after, I caught the words --
   'She'll happen do better for him nor ony o' t' grand ladies.' And
again, 'If she ben't one o' th' handsomest, she's noan faa\l, and varry
good-natured; and i' his een she's fair beautiful, onybody may see
that.'
   I wrote to Moor House and to Cambridge immediately, to say what
I had done: fully explaining also why I had thus acted. Diana and

                            474

                 JANE EYRE                      475

Mary approved the step unreservedly. Diana announced that she
would just give me time to get over the honeymoon, and then she
would come and see me.
   'She had better not wait till then, Jane,' said Mr Rochester, when I
read her letter to him; 'if she does, she will be too late, for our honey-
moon will shine our life long: its beams will only fade over your
grave or mine.'
   How St John received the news I don't know: he never answered
the letter in which I communicated it: yet six months after he wrote
to me, without, however, mentioning Mr Rochester's name or allud-
ing to my marriage. His letter was then calm, and though very serious,
kind. He has maintained a regular, though not very frequent correspond-
ence ever since: he hopes I am happy, and trusts I am not of those who
live without God in the world, and only mind earthly things.

⚓

This transcription suffers from a number of shortcomings:

the page numbers and running titles are intermingled with the text in a way which makes it difficult for software to distinguish them;

no distinction is made between single quotation marks and apostrophe, so it is difficult to be certain exactly which passages are in direct speech;

the preservation of the copy text's hyphenation means that simple-minded search programs will not find words broken across a line;

the accented letter in faàl and the long dash have been rendered by ad hoc keying conventions (faa\l) which follow no standard pattern and will be processed correctly only if the transcriber remembers to mention them in the documentation;

paragraph divisions are marked only by the use of white space, and hard carriage returns have been introduced at the end of each line. Consequently, if the size of type used to display the text changes, reformatting will be problematic.

We now present the same passage, as it might be encoded in TEI simplePrint. As we shall see, there are many ways in which this encoding could be extended, but as a minimum, the TEI approach allows us to represent the following distinctions in a standardized way:

Paragraph and chapter divisions are now marked explicitly by means of tags rather than implicitly by white space.

Apostrophes are retained, but the quotation marks indicating direct speech have been removed, and direct speech is now marked explicitly by means of a tag.

The accented letter and the long dash are accurately represented, using the appropriate Unicode character.

Page divisions have been marked with an empty pb tag; the page heading and running text have been suppressed.

The lineation of the original has also been suppressed and words broken by typographic accident at the end of a line have been re-assembled without comment.

For convenience of proof reading, a new line has been introduced at the start of each paragraph, but the indentation is removed.

<p>Reader, I married him. A quiet wedding we had: he and I, the parson and clerk, were
alone present. When we got back from church, I went into the kitchen of the
manor-house, where Mary was cooking the dinner, and John cleaning the knives, and I
said -</p>
<p>
<q>Mary, I have been married to Mr Rochester this morning.</q> The housekeeper and
her husband were of that decent, phlegmatic order of people, to whom one may at any
time safely communicate a remarkable piece of news without incurring the danger of
having one's ears pierced by some shrill ejaculation and subsequently stunned by a
torrent of wordy wonderment. Mary did look up, and she did stare at me; the ladle
with which she was basting a pair of chickens roasting at the fire, did for some
three minutes hang suspended in air, and for the same space of time John's knives
also had rest from the polishing process; but Mary, bending again over the roast,
said only -</p>
<p>
<q>Have you, miss? Well, for sure!</q>
</p>
<p>A short time after she pursued, <q>I seed you go out with the master, but I didn't
know you were gone to church to be wed</q>; and she basted away. John, when I
turned to him, was grinning from ear to ear. <q>I telled Mary how it would be,</q>
he said: <q>I knew what Mr Edward</q> (John was an old servant, and had known his
master when he was the cadet of the house, therefore he often gave him his Christian
name) - <q>I knew what Mr Edward would do; and I was certain he would not wait long
either: and he's done right, for aught I know. I wish you joy, miss!</q> and he
politely pulled his forelock.</p>
<p>
<q>Thank you, John. Mr Rochester told me to give you and Mary this.</q>
</p>
<p>I put into his hand a five-pound note. Without waiting to hear more, I left the
kitchen. In passing the door of that sanctum some time after, I caught the words
-</p>
<p>
<q>She'll happen do better for him nor ony o' t' grand ladies.</q> And again, <q>If
she ben't one o' th' handsomest, she's noan faàl, and varry good-natured; and i'
his een she's fair beautiful, onybody may see that.</q>
</p>
<p>I wrote to Moor House and to Cambridge immediately, to say what I had done: fully
explaining also why I had thus acted. Diana and Mary approved the step
unreservedly. Diana announced that she would just give me time to get over the
honeymoon, and then she would come and see me.</p>
<p>
<q>She had better not wait till then, Jane,</q> said Mr Rochester, when I read her
letter to him; <q>if she does, she will be too late, for our honeymoon will shine
our life long: its beams will only fade over your grave or mine.</q>
</p>
<p>How St John received the news I don't know: he never answered the letter in which I
communicated it: yet six months after he wrote to me, without, however, mentioning
Mr Rochester's name or alluding to my marriage. His letter was then calm, and though
very serious, kind. He has maintained a regular, though not very frequent
correspondence ever since: he hopes I am happy, and trusts I am not of those who
live without God in the world, and only mind earthly things.</p>
</div>

This encoding is expressed in TEI XML, a very widely used and standardized method of representing information about a document within the document itself. The transcribed words are complemented by special flags within angle brackets, called tags, which both characterise and mark the beginning and end of a string of characters. For example, each paragraph is marked by a tag <p> at its start, and a corresponding </p> at its end. We don't elaborate further on the syntax of TEI XML here.

Aside from its syntax, it is important to note that this particular encoding represents a set of choices or priorities. We have chosen to prioritize and simplify the representation of the words of the text over the representation of the typographic layout associated with them in this source document. This makes it easier for a computer to answer questions about the words in the document than about its typesetting, reflecting our research priorities. This priority also leads us to suppress end-of-line hyphenation. Conceivably Brontë (or her printer) intended the word 'honeymoon' to appear as 'honey-moon' on its second appearance, though this seems unlikely: our decision to focus on Brontë's text, rather than on the printing of it in this particular edition, makes it impossible to be certain. Similarly, our decision makes it impossible to use this transcription as a means of statistically analysing hyphenation practice. An encoding makes explicit all and only those textual features of importance to the encoder.

It is not difficult to think of ways in which the encoding of even this short passage might readily be extended to address other research priorities. For example:

a regularized form of the passages in dialect could be provided;

footnotes glossing or commenting on any passage could be added;

pointers linking parts of this text to others could be added;

proper names of various kinds could be distinguished from the surrounding text;

names could be classified as personal, geographical, or institutional

detailed bibliographic information about the text's provenance and context could be prefixed to it;

a linguistic analysis of the passage into sentences, clauses, words, etc., could be provided, each unit being associated with appropriate category codes;

the text could be segmented into narrative or discourse units;

systematic analysis or interpretation of the text could be included in the encoding, with potentially complex alignment or linkage between the text and the analysis, or between the text and one or more translations of it;

passages in the text could be linked to images or sound held on other media.

In the remainder of this document, we present a number of TEI-recommended ways of supporting these and other encoding requirements. These ways generally involve the application of specific TEI XML elements, selected from the full range of possibilities documented in the TEI Guidelines. Like every other TEI project, TEI Simple proposes a view of the TEI Guidelines. This document defines and documents that view.

A TEI-conformant text contains (a) a TEI header (marked up as a teiHeader element) and (b) one or more representations of a text. These representations may be of three kinds: a transcribed text, marked up as a text element; a collection of digital images representing the text, marked up using a facsimile element; or a literal transcription of one or more documents instantiating the text, marked up using the <sourceDoc> element.

These elements are combined together to form a single TEI element, which must be declared within the TEI namespace, and therefore usually takes the form <TEI xmlns="http://www.tei-c.org/ns/1.0"> .

Some aspects of the TEI header are described in more detail in section 15 The Electronic Title Page. In what follows, we will focus chiefly on the use of the text element, though we describe one way of using the facsimile element in combination with it or alone in section 14 Encoding a Digital Facsimile. We do not consider the <sourceDoc> element further, since it is mainly used in very specialised applications for which TEI simplePrint would not be appropriate.

A text may be unitary (a single work) or composite (a collection of single works, such as an anthology). In either case, the text may have optional front or back matter such as title pages, prefaces, appendixes etc. We use the term body for whatever comes between these in the source document. We discuss various kinds of composite text in section 12 Composite and Floating Texts below.

A unitary text will be encoded using an overall structure like this:

In each of the following sections we include a short list of the TEI elements under discussion, along with a brief description, and in most cases an example of how they are used. Throughout the text, element names are linked to their detailed reference documentation, as given in the TEI Guidelines. Note that most of the examples provided by the reference documentation, and all of the links, are not specific to TEI simplePrint.

For example, here are the elements discussed so far:

(TEI document) contains a single TEI-conformant document, combining a single TEI header with one or more members of the model.resource class. Multiple TEI elements may be combined within a TEI (or teiCorpus) element.

(TEI header) supplies descriptive and declarative metadata associated with a digital resource or set of resources.

(text) contains a single text of any kind, whether unitary or composite, for example a poem or drama, a collection of essays, a novel, a dictionary, or a corpus sample.

contains a representation of some written source in the form of a set of images rather than as transcribed or encoded text.

As indicated above, a unitary text is encoded by means of a text element, which may contain the following elements:

(front matter) contains any prefatory matter (headers, abstracts, title page, prefaces, dedications, etc.) found at the start of a document, before the main body.

(group) contains the body of a composite text, grouping together a sequence of distinct texts (or groups of such texts) which are regarded as a unit for some purpose, for example the collected works of an author, a sequence of prose essays, etc.

(text body) contains the whole body of a single unitary text, excluding any front or back matter.

(back matter) contains any appendixes, etc. following the main part of a text.

Elements specific to front and back matter are described below in section 13 Front and Back Matter. In this section we discuss the elements making up the body of a text. A text must always have a body.

3.1 Text Division Elements and Global Attributes

The body of a prose text may be just a series of paragraphs or similar blocks of text, or these may be grouped together into chapters, sections, subsections, etc. The div element is used to represent any such grouping of blocks.

(text division) contains a subdivision of the front, body, or back of a text.

The type attribute on the div element may be used to supply a conventional name for this category of text division in order to distinguish them. Typical values might be book, chapter, section, part, poem, song, etc. TEI simplePrint does not constrain the range of values that may be used here.

A div element may itself contain further, nested, div s, thus mimicking the traditional structure of a book, which can be decomposed hierarchically into units such as parts, containing chapters, containing sections, and so on. TEI texts in general conform to this simple hierarchic model.

Here as elsewhere the xml:id attribute may be used to supply a unique identifier for the division, which may be used for cross references or other links to it, such as a commentary, as further discussed in section 3.7 Cross References and Links. It is good practice to provide an xml:id attribute for every major structural unit in a text, and to derive its values in some systematic way, for example by appending a section number to a short code for the title of the work in question, as in the examples below.

The n attribute may be used to supply (additionally or alternatively) a short mnemonic name or number for a division, or any other element. If a conventional form of reference or abbreviation for the parts of a work already exists (such as the book/chapter/verse pattern of Biblical citations), the n attribute is the place to record it; unlike the identifier supplied by the xml:id attribute, it does not need to be unique.

The xml:lang attribute may be used to specify the language of the division. Languages are identified by an internationally defined code, as further discussed in section 3.5.3 Foreign Words or Expressions below.

The rendition attribute may be used to supply information about the rendition (appearance) of a division, or any other element, as further discussed in section 3.5 Marking Highlighted Phrases below. Note that this attribute is used to describe the appearance of the source text, rather than the appearance of any intended output when the encoded text is displayed. The two may of course be similar, or identical, but the TEI does not assume or require this.

These four attributes, xml:id, n, xml:lang, and rendition are so widely useful that they are allowed on any element in any TEI schema: they are called global attributes. Other attributes defined in the TEI simplePrint schema are discussed in section 3.7.3 Special Kinds of Linking.

As noted above, the value of every xml:id attribute must be unique within a document. One simple way of ensuring this is to make it reflect the hierarchic structure of the document. For example, Smith's Wealth of Nations as first published consists of five books, each of which is divided into chapters, while some chapters are further subdivided into parts. We might define xml:id values for this structure as follows:

A different numbering scheme may be used for xml:id and n attributes: this is often useful where a canonical reference scheme is used which does not tally with the structure of the work. For example, in a novel divided into books each containing chapters, where the chapters are numbered sequentially through the whole work, rather than within each book, one might use a scheme such as the following:

Here the work has two volumes, each containing two chapters. The chapters are numbered conventionally 1 to 4, but the xml:id values specified allow them to be regarded additionally as if they were numbered 1.1, 1.2, 2.1, 2.2.

3.2 Headings and Closings

Every div may have a title or heading at its start, and (less commonly) a trailer such as 'End of Chapter 1' at its end. The following elements may be used to transcribe them:

Some other elements which may be found at the beginning or ending of text divisions are discussed below in section 13.1.2 Prefatory Matter.

Whether or not headings and trailers are included in a transcription is a matter for the individual transcriber to decide. Where a heading is completely regular (for example 'Chapter 1') or may be automatically constructed from attribute values (e.g. <div type="chapter" n="1">), it may be omitted; where it contains otherwise unrecoverable text it should always be included. For example, the start of Hardy's Under the Greenwood Tree might be encoded as follows:

In prose texts such as the Brontë example above, the divisions are generally composed of paragraphs, represented as p elements, though in some circumstances it may be preferred to use the 'anonymous block' element ab. In poetic or dramatic texts different elements are used, representing stanzas and verse lines in the first case, and individual speeches or stage directions in the second:

We discuss each of these kinds of component separately below.

Here, for example, is the start of a poetic text in which verse lines and stanzas are tagged:

Note that the l element marks verse lines, not typographic lines: as elsewhere the original lineation of the source text is not therefore preserved by this encoding. The lb element described in section 3.4 Page and Line Numbers might additionally be used to mark typographic lines if so desired.

3.3.3 Other Kinds of Text Block

As mentioned above, the ab element may also be used in preference to the p element. It should be used for blocks of text which are not clearly paragraphs, verse lines, or dramatic speeches. Typical examples include the canonical verses of the Bible, and the textual blocks of other ancient documents which predate the invention of the paragraph, such as Greek inscriptions or Egyptian hieroglyphs. The element is also useful as a means of encoding more specialized kinds of textual block, such as the question and answer structure of a catechism, or the highly formalized substructure of a legal document (if div is not considered appropriate for these). In more modern documents, it can be used to encode semi-organized or fragmentary materials such as an artist's notebook or work in progress; or to faithfully capture the substructure of a file produced by an OCR system.

3.4 Page and Line Numbers

Page and line breaks etc. may be marked with the following elements:

The pb, lb, and cb elements are special cases of a general class of elements known as milestones because they mark reference points within a text. The generic milestone element can mark any kind of reference point: for example, a column break, the start of a new kind of section not otherwise tagged, a change of author or style, or in general any significant change in the text not enclosed by an XML element. Unlike other elements, milestone elements do not enclose a piece of text and make an assertion about it; instead they indicate a point in the text where something changes, as indicated by a change in the values of the milestone's attributes unit, which indicates the 'something' concerned, and n which indicates the new value.

When working from a paginated original, it is often useful to record its pagination, whether to simplify later proof-reading, or to align the transcribed text with a set of page images, as further discussed below.

Because pb and other milestone elements are empty, they may be placed freely within or between other elements. However, it is recommended practice always to put them at the beginning of whatever unit it is that their presence implies, and not to nest them within elements contained by that unit. For example, in the following example a page break occurs between two lines of a poem:

The pb element should be placed ahead of all the text encoded on the 13th page. Contrast this with the following less accurate encoding:

This is less accurate because it implies that the second verse line actually begins before the page break.

Similar considerations apply to line breaks ( lb), though these are less frequently considered useful when encoding modern printed textual sources. When transcribing manuscripts or early printed books, however, it is often helpful to retain them in an encoding, if only to facilitate alignment of transcription and original. Like pb, the lb element should appear before the text of the line whose start it signals.

If features such as pagination or lineation are marked for more than one edition, the edition in question may be specified by the ed attribute. For example, in the following passage we indicate where the page breaks occur in two different editions (ED1 and ED2):

<p>I wrote to Moor House and to Cambridge immediately, to say what I had done:
fully explaining also why I had thus acted. Diana and Mary
approved the step unreservedly. Diana announced that she would just give me time to get over the honeymoon, and then she would come and see
me.</p>

When transcribing from a paginated source, the encoder must decide whether to suppress such features as running titles, page signatures, catch words etc., to replace them by a simplified representation using the pb element, perhaps using the n attribute to preserve some of the information, or to preserve them entirely using the fw element. The latter strategy is appropriate in encodings which aim to retain as much information as possible about the original typography; it will however make more complex the processing of the source for other purposes, as in the following example:

The pb element is also used to align parts of a transcription with a digital image of the page concerned. This may be done in a very simple but inflexible way by using the facs attribute to point to each page image concerned:

<p>I wrote to Moor House and to Cambridge
immediately, to say what I had done: fully explaining also why I had thus acted.
Diana and Mary approved the step
unreservedly... </p>

The facs attribute can supply (as here) a filename, or any other form of URI, if for example the page image is stored remotely. One drawback of this simplistic approach is that there must be exactly one image file per page of text. It is not therefore suitable in the case where the available page images represent double page spreads, or where there are multiple images of the same page (for example at different resolutions).

A more powerful approach, discussed in section 14 Encoding a Digital Facsimile below, is to use the facsimile element to define the organisation of the set of images representing the text, and then use the facs attribute to point to individual components of that representation.

3.5 Marking Highlighted Phrases

3.5.1 Changes of Typeface, etc.

Highlighted words or phrases are those made visibly different from the rest of the text, typically by a change of type font, handwriting style, ink colour etc., which is intended to draw the reader's attention to some associated change.

The global rendition attribute can be attached to any element, and used wherever necessary to specify details of the highlighting used for it in the source. For example, a heading rendered in bold might be tagged <head rendition="simple:bold">, and one in italic <head rendition="simple:italic">.

The values used for the rendition attribute point to definitions provided for the formatting concerned. These definitions are typically provided by a rendition element in the document's header, as further discussed in section 15.2.3 Tagging Declaration.

It is not always possible or desirable to interpret the reasons for such changes of rendering in a text. In such cases, the element hi may be used to mark a sequence of highlighted text without making any claim as to its status.

(highlighted) marks a word or phrase as graphically distinct from the surrounding text, for reasons concerning which no claim is made.

In the following example, the use of a distinct typeface for the subheading and for the included name are recorded but not interpreted:

Alternatively, where the cause for the highlighting can be identified with confidence, a number of other, more specific, elements are available.

Some features (notably quotations, titles, and foreign words) may be found in a text either marked by highlighting, or with quotation marks. In either case, the element q (as discussed in the following section) should be used. Again, the global rendition attribute can be used to record details of the highlighting used in the source if this is thought useful.

As an example of the elements defined here, consider the following sentence: On the one hand the Nibelungenlied is associated with the new rise of romance of twelfth-century France, the romans d'antiquité, the romances of Chrétien de Troyes, and the German adaptations of these works by Heinrich van Veldeke, Hartmann von Aue, and Wolfram von Eschenbach. Interpreting the role of the highlighting, the sentence might be encoded as follows:

<p>On the one hand the
<title>Nibelungenlied</title> is associated with the new rise of romance of
twelfth-century France, the <foreign>romans d'antiquité</foreign>, the romances of
Chrétien de Troyes, ...</p>

Describing only the appearance of the original, it might be encoded like this:

<p>On the one hand the Nibelungenlied</hi> is associated with the new rise of
romance of twelfth-century France, the romans
d'antiquité</hi>, the romances of Chrétien de Troyes, ...</p>

3.5.2 Quotations and Related Features

Like changes of typeface, quotation marks are conventionally used to denote several different features within a text, of which the most frequent is quotation, though many other features are possible. The full TEI Guidelines provide additional elements such as <mentioned> or <said> to distinguish some of these features, but these more specialised elements are not included in TEI simplePrint. In TEI Simple however, we use the quote element for quotation only, and the q element for all other material found within quotation marks in the text.

Here is a simple example of a quotation:

<p>Few dictionary makers are likely to
forget Dr. Johnson's description of the lexicographer as <quote>a harmless
drudge.</quote>
</p>

As elsewhere, the way that a citation or quotation was printed (for example, in-line or set off as a display or block quotation), may be represented using the rendition attribute. This may also be used to indicate the kind of quotation marks used.

Direct speech interrupted by a narrator can be represented simply by ending the q element and beginning it again after the interruption, as in the following example:

<p>
<q>Who-e debel
you?</q> - he at last said - <q>you no speak-e, damme, I kill-e.</q> And so
saying, the lighted tomahawk began flourishing about me in the dark.
</p>

If it is important to convey the idea that the two q elements together make up a single speech, the linking attributes next and prev may be used, as described in section 3.7.3 Special Kinds of Linking.

Direct speech may be accompanied by a reference to the source or speaker, using the who attribute, whether or not this is explicit in the text, as in the following example:

Spaulding, he came down into the office just this day eight weeks with this very
paper in his hand, and he says:-I wish to the Lord, Mr.
Wilson, that I was a red-headed man.</q>
</q>

This example also demonstrates how quotations may be embedded within other quotations: one speaker (Wilson) quotes another speaker (Spaulding).

The creator of the electronic text must decide whether quotation marks are replaced by the tags or whether the tags are added and the quotation marks kept. If the quotation marks are removed from the text, the rendition attribute may be used to record the way in which they were rendered in the copy text.

3.5.3 Foreign Words or Expressions

Words, phrases, or longer stretches of text that are not in the main language of the texts may be tagged as such in one of two ways. The global xml:lang attribute may be attached to any element to show that it uses some other language than that of the surrounding text. Where there is no applicable element, the element foreign may be used, again using the xml:lang attribute. For example:

As these examples show, the foreign element should not be used to tag foreign words if some other more specific element such as title, or div applies.

The value of the xml:lang attribute on an element applies hierarchically to everything contained by that element, unless overridden:

Here we specify that the whole div element uses the language with the coded identifier la i.e., Latin. Since it is contained by that div there is no need to supply this information again for the first s element. The second s element however overrides this value, and indicates that its content is in English (the language with identifier en). The third s element is again in Latin.

The codes used to identify languages, supplied on the xml:lang attribute, are defined by an international standard, as further explained in the relevant section of the TEI Guidelines. Some simple example codes for a few languages are given here:

A note is any additional comment found in a text, marked in some way as being out of the main textual stream. A note is always attached to some part of the text, implicitly or explicitly: we call this its target, or its point of attachment. The element note should be used to mark any kind of note whether it appears as a separate block of text in the main text area, at the foot of the page, at the end of the chapter or volume, in the margin, or in some other place.

Notes may be in a different hand or typeface, may be authorial or editorial, and may have been added later. The attributes type and resp can be used to distinguish between different kinds of notes or identify their authors.

In a printed or written text, the point of attachment for a note is typically represented by a siglum such as an alphanumerical or other character, often in superscripted form. When encoding such a text, it is conventional to replace this siglum by a note element containing the annotation itself, as in the following example:

An alternative approach is to encode the point of attachment wherever it appears in the text, using for example the ref element discussed in the next section, and to place the note element anywhere convenient. The two can then be associated by using the target attribute on the ref element to point to the note element, as in the following example, in which the superscripted '7' indicating the point of attachment has been retained as part of the encoding:

It may however be problematic to determine the precise position of the point of attachment, particularly in the case of marginal notes. A marginal note may also be hard to distinguish from a label or subheading which introduces the text with which it is associated. Where the purpose of the note is clearly to label the associated text, rather than to comment on it, the element label may be preferable. Where it is clearly a subheading attached to a distinct subdivision, it may be preferable to start a new element div and encode the subheading as a head. Note however that a head cannot be inserted anywhere except at the beginning of a div. And where (as in some Early Modern English plays) marginal annotation is systematically used to identify speakers, it may be better to represent these using the speaker element introduced above. In cases of doubt, the encoder should decide on a clear policy and preferably document it for the use of others.

3.7 Cross References and Links

Any kind of cross reference or link found at one point in a text which points to another part of the same or another document may be encoded using the ref element discussed in this section. Implicit links (such as the association between two parallel texts, or that between a text and its interpretation) may be encoded using the linking attributes discussed in section 3.7.3 Special Kinds of Linking.

3.7.1 Simple Cross References

(reference) defines a reference to another location, possibly modified by additional text or comment.

Usually, the presence of a cross-reference or link will be indicated by some text or symbol in the source being encoded, which will then become the content of the ref element. Occasionally, however, and frequently in the case of a born digital document, the exact form and appearance of the cross reference text will be determined dynamically by the software processing the document. In such cases, the ref element will have no content, and serve simply to mark a point from which a link is to be made, along with the target of the link.

The following two forms, for example, are logically equivalent:

In both cases, there is a cross reference from the position in the source document immediately following the word especially to whatever element in the encoded document has the identifier SEC12. In the first case, the encoder has supplied the original form of the cross reference 'section 12 on page 34'; in the second, the task of generating an appropriate form of cross reference has been left to the formatting software. Perhaps the pagination and section numbers of the document in question are not yet determined; perhaps the cross reference should be replaced by a big red button. In either case, however, the value of the target attribute must be the identifier of some other element within the current document. Since the passage or phrase being pointed at must bear an identifier, it must be an element of some kind. In the following example, the cross reference is to a div element:

Because the xml:id attribute is global, any element in a TEI document may be pointed to in this way. In the following example, a paragraph has been given an identifier so that it may be pointed at:

Sometimes the target of a cross reference does not correspond with any particular feature of a text, and so may not be tagged as an element of some kind. If the desired target is simply a point in the current document, the easiest way to mark it is by introducing an anchor element at the appropriate spot. If the target is some sequence of words not otherwise tagged, the seg element may be used to mark them. These two elements are described as follows:

In the following example, ref elements have been used to represent points in this text which are to be linked in some way to other parts of it; in the first case to a point, and in the second, to a sequence of words:

This encoding requires that elements with the specified identifiers (ABCD and EFGH in this example) are to be found somewhere else in the current document. Assuming that no element already exists to carry these identifiers, the anchor and seg elements may be used:

The type attribute should be used (as above) to distinguish amongst different purposes for which these general purpose elements might be used in a text. Some other uses are discussed in section 3.7.3 Special Kinds of Linking below.

3.7.2 Pointing to other documents

So far, we have shown how the ref element may be used for cross-references or links whose targets occur within the same document as their source. The element may also be used to refer to elements in any other XML document or resource, such as a document on the web, or a database component. This is possible because the value of the target attribute may be any valid Uniform Resource Identifier (URI).

A URI may reference a web page or just a part of one, for example http://www.tei-c.org/index.xml#SEC2. The hash sign indicates that what follows it is the identifier of an element to be located within the XML document identified by what precedes it: this example will therefore locate an element which has an xml:id attribute value of SEC2 within the document retrieved from http://www.tei-c.org/index.xml. In the examples we have discussed so far, the part to the left of the sharp sign has been omitted: this is understood to mean that the referenced element is to be located within the current document.

It is also possible to define an abbreviated form of the URI, using a predefined prefix separated from the rest of the code by a colon, as for example cesr:SEC2. This is known as a private URI, since the prefix is not standardized (except that the prefix xml: is reserved for use by XML itself). A prefixDef element should be supplied within the TEI header specifying how the prefix (here cesr) should be translated to give a full URL for the link. This is particularly useful if a document contains many references to an external document such as an authority file.

Parts of an XML document can be specified by means of other more sophisticated mechanisms using a language called Xpointer, also defined by the W3C. This is useful when, for example, the elements to be linked to do not bear identifiers. Further information about this and other forms of link addressing is provided in chapter 16 of the TEI Guidelines but is beyond the scope of the present document.

3.7.3 Special Kinds of Linking

The following special purpose linking attributes are defined for every element in the TEI simplePrint schema:

links an element with its interpretation.

links an element with one or more other corresponding elements.

links an element to the next element in an aggregate.

links an element to the previous element in an aggregate.

The ana (analysis) attribute is intended for use where a set of abstract analyses or interpretations have been defined somewhere within a document, as further discussed in section 10 Analysis. For example, a linguistic analysis of the sentence 'John loves Nancy' might be encoded as follows:

This encoding implies the existence elsewhere in the document of elements with identifiers SVO, NP1, and VV1 where the significance of these particular codes is explained. Note the use of the seg element to mark particular components of the analysis, distinguished by the type attribute.

The corresp (corresponding) attribute provides a simple way of representing some form of correspondence between two elements in a text. For example, in a multilingual text, it may be used to link translation equivalents, as in the following example:

The same mechanism may be used for a variety of purposes. In the following example, it has been used to represent the correspondences between 'the show' and 'Shirley', and between 'NBC' and 'the network':

The next and prev attributes provide a simple way of linking together the components of a discontinuous element, as in the following example:

Who-e
debel you?</q> - he at last said - you no speak-e,
damme, I kill-e.</q> And so saying, the lighted tomahawk began flourishing about
me in the dark.

The process of encoding an electronic text has much in common with the process of editing a manuscript or other text for printed publication. In either case a conscientious editor may wish to record both the original state of the source and any editorial correction or other change made in it. The elements discussed in this and the next section provide some facilities for meeting these needs.

4.1 Correction and Normalization

The following elements may be used to mark corrections, that is editorial changes introduced where the editor believes the original to be erroneous:

The following elements may be used to mark normalization, that is editorial changes introduced for the sake of consistency or modernization of a text:

Consider, for example, the following famous passage as it appears in the first quarto printing of Shakespeare's Henry V:

in particular the phrase we might transcribe directly as

... for his Nose was as sharpe as a Pen, and a Table of greene fields⚓

A modern editor might wish to make a number of interventions here, specifically to modernize (or normalize) the Elizabethan spellings of a' and sharpe for he and sharp respectively. They might also want to emend table to babbl'd, following an editorial tradition that goes back to the 18th century Shakespearian scholar Lewis Theobald. The following encoding would then be appropriate:

... for his Nose was as <reg>sharp</reg> as a
Pen and
<reg>he</reg>
<corr resp="#Theobald">babbl'd</corr> of green fields

A more conservative or source-oriented editor, however, might want to retain the original, but at the same time signal that some of the readings it contains are in some sense anomalous:

... for his Nose was as
<orig>sharpe</orig> as a Pen, and
<orig>a</orig>
<sic>Table</sic> of green fields

Finally, a modern digital editor may decide to combine both possibilities in a single composite text, using the choice element.

choice (choice) groups a number of alternative encodings for the same point in a text.

This allows an editor to indicate where alternative encodings are possible:

... for his Nose was as <choice>
<orig>sharpe</orig>
<reg>sharp</reg>
</choice> as a Pen, and
<choice>
<orig>a</orig>
<reg>he</reg>
</choice>
<choice>
<corr resp="#Theobald">babbl'd</corr>
<sic>Table</sic>
</choice> of green fields

4.2 Omissions, Deletions, and Additions

In addition to correcting or normalizing words and phrases, editors and transcribers may also supply missing material, omit material, or transcribe material deleted or crossed out in the source. In addition, some material may be particularly hard to transcribe because it is hard to make out on the page. The following elements may be used to record such phenomena:

These elements may be used to record changes made by an editor, by the transcriber, or (in manuscript material) by the author or scribe. For example, if the source for an electronic text read 'The following elements are provided for for simple editorial interventions.' then it might be felt desirable to correct the obvious error, but at the same time to record the deletion of the superfluous second for, thus:

The
following elements are provided for <del resp="#LB">for</del> simple editorial
interventions.

The attribute value #LB on the resp attribute is used to point to a fuller definition (typically in a respStmt element) of the person or other agency responsible for correcting the duplication of for.

If the source read 'The following elements provided for simple editorial interventions.' (i.e. if the word are had been inadvertently dropped) then the scholar identified as LB might choose to encode the corrected text as follows:

The following
elements <add resp="#LB">are</add> provided for simple editorial
interventions.

These elements may also be used to record the actual writing process, for example to record passages which have been deleted, added, corrected etc., whether by the author of a literary text or by a scribe copying out a manuscript. An analysis of such documentary modifications may be essential before a reading text can be presented, and is clearly of importance in the editorial process.

The example is taken from the surviving authorial manuscript of a poem by the English writer Wilfred Owen, a part of which is shown here:

Owen first wrote 'Helping the worst amongst us', but then deleted it, adding 'Dragging the worst amongt us' over the top. In the same way, he revised the phrase 'half-blind' by deleting the 'half-' and adding 'all' above it. In the last line, he started a word beginning 'fif' before deleting it and writing the word 'five-nines'. We can encode all of this as follows:

<l>And towards our distant rest began to trudge,</l>
<l>
<subst>
<del>Helping the worst amongst us</del>
<add>Dragging the worst amongt us</add>
</subst>, who'd no boots
</l>
<l>But limped on, blood-shod. All went lame; <subst>
<del status="shortEnd">half-</del>
<add>all</add>
</subst> blind;</l>
<l>Drunk with fatigue ; deaf even to the hoots</l>
<l>Of tired, outstripped <del>fif</del> five-nines that dropped behind.</l>

The tags add and del elements are used to enclose passages added or deleted respectively. Additional attributes are available such as resp to indicate responsibility for the modification, or place to indicate where in the text (for example, above or below the line) the modification has been made. Where the encoder wishes to assert that the addition and deletion make up a single editorial act of substitution, these elements can be combined within a subst element as shown above.

A very careful examination of Owen's second modification shows that he really did write 'amongt' rather than 'amongst', presumably in error. An equally careful editor wishing to restore the missing 's' might use the supplied element to indicate that they have done so:

<add>Dragging the worst among<supplied resp="#ED">s</supplied>t us</add>

Here the resp attribute has been used to indicate that the 's' was not supplied by Owen but by someone else, specifically the person documented elsewhere by an element with the identifier ED.

The unclear element is useful where material in the source is so hard to read that the transcriber is uncertain as to whether they have done so correctly. The gap element by contrast should be used where the material is so illegible that the transcriber does not wish even to attempt it. The two may however be used together as in the following example:

One hundred &amp; twenty good regulars joined <unclear>to me and </unclear> instantly, would aid me signally in an
enterprise against Wilmington.

The del element marks material which is deleted in a source, but has been transcribed as part of the electronic text all the same, while gap marks the location of source material which is omitted from the electronic text, whether it is legible or not. A language corpus, for example, might omit long quotations in foreign languages. An extent attribute is available on the gap element to indicate how much material has been omitted. The desc element can be used inside the gap element to provide a brief characterisation of the omitted material, as in the following examples:

<p> ... An example of a list appearing in a fief ledger of <name type="place">Koldinghus</name>
<date>1611/12</date> is given below. It shows cash income from a sale of
honey.</p>
<gap extent="50 lines">
<desc>quotation from ledger (in Danish)</desc>
</gap>
<p>A description of the overall structure of the account is once again ...
</p>

(The name and date elements used in this example are discussed further below)

Language corpora (particular those constructed before the widespread use of scanners) often systematically omit figures and mathematics:

<p>At the bottom of your screen below the
mode line is the <hi>minibuffer</hi>. This is the area where Emacs echoes the
commands you enter and where you specify filenames for Emacs to find, values for
search and replace, and so on. <gap reason="graphic">
<desc>diagram of Emacs screen</desc>
</gap>
</p>

4.3 Abbreviation and their Expansion

Like names, dates, and numbers, abbreviations may be transcribed as they stand or expanded; they may be left unmarked, or encoded using the following elements:

The abbr element is useful as a means of distinguishing semi-lexical items such as acronyms or jargon:

Every
manufacturer of <abbr>3GL</abbr> or <abbr>4GL</abbr> languages is currently nailing on
<abbr>OOP</abbr> extensions

The type attribute may be used to distinguish types of abbreviation by their function.

The expan element is used to mark an expansion supplied by an encoder. This element is particularly useful in the transcription of manuscript materials. For example, the character p with a bar through its descender as a conventional representation for the word per is commonly encountered in Medieval European manuscripts. An encoder may choose to expand this as follows:

To record both an abbreviation and its expansion, the choice element mentioned above may be used to group the abbreviated form with its proposed expansion:

The elements expan and abbr should contain a full word, or the abbreviated form of a full word respectively. For a fuller discussion of abbreviations and the intricacies of representing them consult the section on Abbreviation and Expansion in the TEI Guidelines.

The TEI scheme defines elements for a large number of 'data-like' features which may appear almost anywhere within almost any kind of text. These features may be of particular interest in a range of disciplines; they all relate to objects external to the text itself, such as the names of persons and places, strings of code, formulae, or numbers and dates. These items may also pose particular problems for natural language processing (NLP) applications. The elements described here, by making such features explicit, reduce the complexity of processing texts containing them.

5.1 Names and Referring Strings

A referring string is any phrase which refers to some person, place, object, etc. A name is a referring string which contains proper nouns and honorifics only. Two elements are provided to mark such strings:

As the following example shows, the rs element may be used for a reference to a person, place, etc., which does not contain a proper noun or noun phrase:

Simply tagging something as a name is rarely enough to enable automatic processing of personal names into the canonical forms usually required for reference purposes. The name as it appears in the text may be inconsistently spelled, partial, or vague. Moreover, name prefixes such as van or de la, may or may not be included as part of the reference form of a name, depending on the language and country of origin of the bearer.

The ref attribute provides a way of linking a name with a description of the object being named, and may thus act as a normalized identifier for it. It is also very useful as a means of gathering together all references to the same individual or location scattered throughout a document:

The values used for the ref attribute here (#BENM1 etc.) are pointers; in this case indicating an element with the identifier BENM1 etc. somewhere in the current document, though any form of URI could be used. The element indicated will typically (for a person) be a person element, listed within a particDesc element, or (for a place) a place element, listed within a settingDesc element in the TEI header, as further discussed in 15.3 The Profile Description below.

This use should be distinguished from the case of the reg (regularization) element, which provides a means of marking the standard form of a referencing string as demonstrated below:

5.2 Formulae, Codes, and Special Characters

The following elements may be useful when marking up sequences of text that represent mathematical expressions, chemical formulae, and the like:

In many cases, a simple Unicode character suffices to represent the superscript or subscript digits and other symbols which may appear inside a mathematical formula:

In other more complex cases, the encoder may choose to use a different XML scheme (such as MathML) to encode the content of a formula, or a non-XML notation. These possibilities are not discussed further here.

The g element is useful in the case that no Unicode character exists to represent the character or glyph required. Its ref attribute can be used to point to a definition of the symbol intended, while its content (if any) represents a Unicode approximation to it:

The TEI header provides a number of additional elements for the definition of such non-Unicode characters, as further discussed in section 15.2.5 The character declaration below.

The following elements are useful for stretches of code or similar formal language appearing within a text:

This can be expressed in XML as follows:
<code>&amp;lt;date notBefore="2016-06-23"/></code> Contact the author at

Note in this example that characters which have a syntactic function in XML (such as the ampersand or the angle bracket) must be represented within a TEI simplePrint document by means of an entity reference such as &lt; or &amp;.

The element ref discussed in section 3.7 Cross References and Links should be used to represent a coded reference such as a link given as a URL within a text, either as content or as an attribute value:

The following elements are provided for the detailed encoding of times and dates:

These elements have a number of attributes which can be used to provide normalized versions of their values in various ways.

att.datable provides attributes for normalization of elements that contain dates, times, or datable events.

supplies pointers to one or more definitions of named periods of time (typically category s or <calendar>s) within which the datable item is understood to have occurred.

when [att.datable.w3c]

supplies the value of the date or time in a standard form, e.g. yyyy-mm-dd.

notBefore [att.datable.w3c]

specifies the earliest possible date for the event in standard form, e.g. yyyy-mm-dd.

notAfter [att.datable.w3c]

specifies the latest possible date for the event in standard form, e.g. yyyy-mm-dd.

The when attribute specifies a normalized form for the date or time, using one of the standard formats defined by ISO 8601. Partial dates or times (e.g. '1990', 'September 1990', 'twelvish') can be expressed by omitting a part of the value supplied, as in the following examples:

These attributes are typically used to make a date or time more easily processable, as in the following examples:

Given on the
Twelfth Day of June in the Year of Our Lord One Thousand
Nine Hundred and Seventy-seven of the Republic the Two Hundredth and first and of
the University the Eighty-Sixth.</date>

They are also useful in cases where the date concerned is uncertain or only vaguely specified:

in the weeks shortly before my
birth</date>

5.4 Numbers and Measurements

Like dates, both numbers and quantities can be written with either letters or digits and may therefore need to be normalized for ease of processing. Their presentation is also highly language-dependent (e.g. English 5th becomes Greek 5.; English 123,456.78 equals French 123.456,78).

The following elements are provided for the detailed encoding of numbers and quantities:

(number) contains a number, written in any form.

(measure) contains a word or phrase referring to some quantity of an object or commodity, usually comprising a number, a unit, and a commodity name.

It is often useful to distinguish bibliographic citations where they occur within texts being transcribed for research, if only so that they will be properly formatted when the text is printed out. The element bibl is provided for this purpose. Where the components of a bibliographic reference are to be distinguished, the following elements may be used as appropriate. It is generally useful to distinguish at least those parts (such as the titles of articles, books, and journals) which will need special formatting. The other elements are provided for cases where particular interest attaches to such details:

(bibliographic citation) contains a loosely-structured bibliographic citation of which the sub-components may or may not be explicitly tagged.

(author) in a bibliographic reference, contains the name(s) of an author, personal or corporate, of a work; for example in the same form as that provided by a recognized bibliographic name authority.

(scope of bibliographic reference) defines the scope of a bibliographic reference, for example as a list of page numbers, or a named subdivision of a larger work.

(date) contains a date in any format.

contains a secondary statement of responsibility for a bibliographic item, for example the name of an individual, institution or organization, (or of several such) acting as editor, compiler, translator, etc.

(publisher) provides the name of the organization responsible for the publication or distribution of a bibliographic item.

(publication place) contains the name of the place where a bibliographic item was published.

relatedItem contains or references some other bibliographic item which is related to the present one in some specified manner, for example as a constituent or alternative version of it.

(title) contains a title for any kind of work.

Consider, for example the following editorial note:

He was a member of Parliament for Warwickshire in 1445, and died March 14, 1470 (according to Kittredge, Harvard Studies 5. 88ff).

This might be encoded as follows:

The bibliographic elements listed above are particularly useful in a born digital document which contains a bibliography encoded using the listBibl element. Entries in the bibliography should be given an identifier, which can then be used as the target of cross references from elsewhere in the document:

A bibl element may contain simply text, with possibly a few of its components distinguished by tagging, and much use of conventionalized punctuation, as in this example:

Alternatively, each of the components of the bibliographic reference may be clearly distinguished by tagging; in this case there is no requirement for conventionalized punctuation, since the processor will be able to generate this appropriately:

The element biblFull is also provided for convience in cases where bibliographic citations following a more sophisticated model have been used; it is permitted only in the TEI header.

(fully-structured bibliographic citation) contains a fully-structured bibliographic citation, in which all components of the TEI file description are present.

(citation list) contains a list of bibliographic citations of any kind.

The listBibl element is used to group lists of bibliographic citations. It may contain a series of bibl or biblFull elements.

Not all the components of a document are necessarily textual. The most straightforward text will often contain diagrams or illustrations, to say nothing of documents in which image and text are inextricably intertwined, or electronic resources in which the two are complementary.

The encoder may simply record the presence of a graphic within the text, possibly with a brief description of its content, and may also provide a link to a digitized version of the graphic, using the following elements:

Any textual information accompanying the graphic, such as a heading and/or caption, may be included within the figure element itself, in a head and one or more p elements, as may any text appearing within the graphic itself. It is strongly recommended that a prose description of the image be supplied, as the content of a figDesc element, for the use of applications which are not able to render the graphic, and to render the document accessible to vision-impaired readers. (Such text is not normally considered part of the document proper.)

The simplest use for these elements is to mark the position of a graphic and provide a link to it, as in this example:

This indicates that the graphic contained by the file p412fig.png appears between pages 412 and 413.

The graphic element can appear anywhere that textual content is permitted, within but not between paragraphs or headings. In the following example, the encoder has decided to treat a specific printer's ornament as a heading:

More usually, a graphic will have at the least an identifying title, which may be encoded using the head element, or a number of figures may be grouped together in a particular structure, as in the following example:

The figure element provides a means of wrapping one or more such elements together as a kind of graphic 'block'. It may also include a brief description of the image:

<figure>
<graphic url="images/fezzipic.png"/>
<head>Mr Fezziwig's Ball</head>
<figDesc>A Cruikshank engraving showing Mr Fezziwig leading a group of
revellers.</figDesc>
</figure>

These cases should be carefully distinguished from the case where an encoded text is complemented by a collection of digital images, maintained as a distinct resource. The facs attribute may be used to associate any element in an encoded text with a digital facsimile of it. In the simplest case, the facs attribute on the pb element may be used to supply a location for an image file corresponding with that point in the text:

This method is only appropriate in the simple case where each digital image file page1.png etc. corresponds with a single transcribed and encoded page. If multiple images are provided for each page, or more detailed alignment of image and transcription is required, for example because the image files actually represent double page spreads, more sophisticated mechanisms are needed, as further discussed in 14 Encoding a Digital Facsimile below.

10.1 Orthographic Sentences

Interpretation typically ranges across the whole of a text, with no particular respect to other structural units. A useful preliminary to intensive interpretation is therefore to segment the text into discrete and identifiable units, each of which can then bear a label for use as a sort of 'canonical reference'. To facilitate such uses, these units may not cross each other, nor nest within each other. They may conveniently be represented using the following element:

(s-unit) contains a sentence-like division of a text.

As the name suggests, the s element is most commonly used (in linguistic applications at least) for marking orthographic sentences, that is, units defined by orthographic features such as punctuation. For example, the passage from Jane Eyre discussed earlier might be divided into s-units as follows:

Note that s elements cannot nest: the beginning of one s element implies that the previous one has finished. When s-units are tagged as shown above, it is advisable to tag the entire text end-to-end, so that every word in the text being analyzed will be contained by exactly one s element, whose identifier can then be used to specify a unique reference for it. If the identifiers used are unique within the document, then the xml:id attribute might be used in preference to the n attribute used in the above example.

10.2 Words and Punctuation

Tokenization, that is, the identification of lexical or non-lexical tokens within a text, is a very common requirement for all kinds of textual analysis, and not an entirely trivial one. The decision as to whether, for example, 'can't' in English or 'du' in French should be treated as one word or two is not simple. Consequently it is often useful to make explicit the preferred tokenization in a marked up text. The following elements are available for this purpose:

(word) represents a grammatical (not necessarily orthographic) word.

(character) represents a character.

(punctuation character) contains a character or string of characters regarded as constituting a single punctuation mark.

In this example, each token in the input has been decorated with an automatically generated part of speech code, using the ana attribute discussed in section 3.7.3 Special Kinds of Linking above. The system has also distinguished between tokens to be treated as words (tagged w) and tokens considered to be punctuation (tagged pc). It may also sometimes be useful to distinguish tokens which consist of a single letter or character: the c element is provided for this purpose.

The w also provides for each word to be associated with a root form or lemma, either explicitly using the lemma attribute, or by reference, using the lemmaRef attribute, as in this example:

10.3 General-Purpose Interpretation Elements

The w element is a specialisation of the seg element which has already been introduced for use in identifying otherwise unmarked targets of cross references and hypertext links (see section 3.7 Cross References and Links); it can be used to distinguish any portion of text to which the encoder wishes to assign a user-specified type or a unique identifier; it may thus be used to tag textual features for which there is no other provision in the published TEI Guidelines.

For example, the TEI Guidelines provide no 'apostrophe' element to mark parts of a literary text in which the narrator addresses the reader (or hearer) directly. One approach might be to regard these as instances of the q element, distinguished from others by an appropriate value for the who attribute. A possibly simpler, and certainly more general, solution would however be to use the seg element as follows:

The type attribute on the seg element can take any value, and so can be used to distinguish phrase-level phenomena of any kind; it is good practice to record the values used and their significance in the TEI header or in the documentation of the encoding system.

Some attributes are available on many elements, though not on all. These attributes are defined using a TEI attribute class, a concept which is discussed further in the TEI Guidelines. We list here some attribute classes which have been adapted or customized for use in TEI simplePrint.

The elements add, figure, fw, label, note and stage all take the attribute place to indicate whereabouts on the page they appear. In TEI simplePrint the possible values for this attribute are limited as indicated below:

att.placement provides attributes for describing where on the source page or object a textual element appears.

above the line

below the line

at the top of the page

at the top right of the page

at the top left of the page

at the top center of the page

bottom-right

at the bottom right of the page

bottom-left

at the bottom left of the page

bottom-centre

at the bottom centre of the page

at the foot of the page

tablebottom

underneath a table

margin-right

in the right-hand margin

in the outer margin

margin-inner

in the inner margin

margin-left

in the left-hand margin

on the opposite, i.e. facing, page

on the other side of the leaf

overstrike

superimposed on top of the current context

at the end of the volume

at the end of the current division

at the end of the current paragraph

within the body of the text

in a predefined space, for example left by an earlier scribe

formatted as an indented paragraph

The elements add, <am>, corr, date, del, <ex>, expan, gap, name, reg, <space>, subst, supplied, time and unclear all use the attribute unit to indicate the units in which the size of the feature concerned is expressed. In TEI simplePrint the possible values for this attribute are limited as indicated below:

att.dimensions provides attributes for describing the size of physical objects.

Very many TEI elements take the value type (see the specification for att.typed for a full list). In most cases, no constraint is placed on the possible values for this attribute. In the case of the element name however, the possible values for this attribute are limited as indicated below:

(name, proper noun) contains a proper noun or noun phrase.

characterizes the element in some sense, using any convenient classification scheme or typology.

A composite text, like a simple text, has an optional front and back matter. In between however, instead of a single body, it contains one or more discrete texts, each with its own optional front and back matter. The following elements are provided to handle composite texts of various kinds.

(group) contains the body of a composite text, grouping together a sequence of distinct texts (or groups of such texts) which are regarded as a unit for some purpose, for example the collected works of an author, a sequence of prose essays, etc.

floatingText (floating text) contains a single text of any kind, whether unitary or composite, which interrupts the text containing it at any point and after which the surrounding text resumes.

(TEI corpus) contains the whole of a TEI encoded corpus, comprising a single corpus header and one or more TEI elements, each containing a single text header and a text.

A typical example might be an anthology containing several distinct works, or any other kind of collection, encoded using an overall structure like this:

A different kind of composite text occurs when one text is embedded within another, as for example in the Arabian Nights or similar collections of stories, or in other cases where one narrative is interrupted by another. The element floatingText may be preferred to encode such materials as the following:

<p>The Gentleman having finish'd his Story, Galecia waited on him to the Stairs-head;
and at her return, casting her Eyes on the Table, she saw lying there an old dirty
rumpled Book, and found in it the following story:</p>
<floatingText>
<body>
<p>IN the time of the Holy War when Christians from all parts went into the Holy
Land to oppose the Turks; Amongst these there was a certain English Knight...</p>

<p>The King graciously pardoned the Knight; Richard was kindly receiv'd into his
Convent, and all things went on in good order: But from hence came the Proverb, We
must not strike <hi>Robert</hi> for <hi>Richard.</hi>
</p>
</body>
</floatingText>

<p>By this time Galecia's Maid brought up her Supper; after which she cast her Eyes
again on the foresaid little Book, where she found the following Story ....</p>

Note that there is only a single TEI header for composite texts of either kind, since the assumption is that the composite is at some level describable as a single work. However, it is also possible to define a composite of complete TEI texts, each with its own TEI header. Such a collection is known as a TEI corpus, and must itself have a TEI header:

It is also possible to create a composite of corpora -- that is, one teiCorpus element may contain many nested teiCorpus elements rather than many nested TEI elements, to any depth considered necessary.

For many purposes, particularly in older texts, the preliminary material such as title pages, prefatory epistles, etc., may provide very useful additional linguistic or social information.The TEI Guidelines provide a set of recommendations for distinguishing the textual elements most commonly encountered in front matter, which are summarized here.

The start of a title page should be marked with the element titlePage. All text contained on the page should be transcribed and tagged with the appropriate element from the following list:

Typeface distinctions should be marked with the rendition attribute when necessary, as described above though a very detailed description of the letter spacing and sizing used in ornamental titles is not easily done. Changes of language should be marked by appropriate use of the xml:lang attribute or the foreign element, as necessary. Names of people, places, or organizations, may be tagged using the name element wherever they appear if no other more specific element is available.

As elsewhere, the ref attribute may be used to link a name with a canonical definition of the entity being named. For example:

Major blocks of text within the front matter should be marked using div elements; the following suggested values for the type attribute may be used to distinguish various common types of prefatory matter:

A foreword or preface addressed to the reader in which the author or publisher explains the content, purpose, or origin of the text.

dedication

A formal offering or dedication of a text to one or more persons or institutions by the author.

A summary of the content of a text as continuous prose.

A formal declaration of acknowledgment by the author in which persons and institutions are thanked for their part in the creation of a text.

A table of contents, specifying the structure of a work and listing its constituents. The list element should be used to mark its structure.

frontispiece

A pictorial frontispiece, possibly including some text.

Where other kinds of prefatory matter are encountered, the encoder is at liberty to invent other values for the type attribute.

All text divisions, whether in front matter or elsewhere, may begin and end with one or more components which we term liminal elements, because they begin or end the division. A typical example is a heading or title of some kind which should be tagged using the head element; but there are many other possibilities:

13.2.1 Structural Divisions of Back Matter

Because of variations in publishing practice, back matter can contain virtually any of the elements listed above for front matter, and the same elements should be used where this is so. Additionally, back matter may contain the following types of matter within the back element. Like the structural divisions of the body, these should be marked as div elements, and distinguished by the following suggested values of the type attribute:

An ancillary self-contained section of a work, often providing additional but in some sense extra-canonical text.

A list of terms associated with definition texts ('glosses'): this should be encoded as a <list type="gloss"> element.

A section in which textual or other kinds of notes are gathered together.

A list of bibliographic citations: this should be encoded as a listBibl.

Any form of pre-existing index to the work

A statement appearing at the end of a book describing the conditions of its physical production.

13.2.2 Specialized Front and Back Matter

TEI simplePrint also provides elements for some additional components of front or back matter which are characteristic of particular kinds of text, in particular old play texts. These often include lists of dramatis personae and notes about the setting of a play, for which the following elements are provided:

(cast list) contains a single cast list or dramatis personae.

(cast list item) contains a single entry within a cast list, describing either a single role or a list of non-speaking roles.

(cast list grouping) groups one or more individual castItem elements within a cast list.

(role) contains the name of a dramatic role, as given in a cast list.

(role description) describes a character's role in a drama.

contains the name of an actor appearing within a cast list.

(setting) contains a description of the setting, time, locale, appearance, etc., of the action of a play, typically found in the front matter of a printed performance text (not a stage direction).

Note that these elements are intended for use in marking up cast lists and setting notes as they appear in a source document. They are not intended for use when marking up definitive lists of the different roles identified in a play, except in so far as that may have been their original purpose.

The following example shows one way of encoding the last part of Shakespeare's Tempest, as printed in the first folio:

The following elements may be used to encode a text represented by a collection of digital images, either alone or in conjunction with a textual transcription.

contains a representation of some written source in the form of a set of images rather than as transcribed or encoded text.

defines a written surface as a two-dimensional coordinate space, optionally grouping one or more graphic representations of that space, zones of interest within that space, and transcriptions of the writing within them.

defines any two-dimensional area within a surface element.

As mentioned in section 9 Figures and Graphics above, a TEI simplePrint document may reference a set of page images, alone, or in combination with a transcription. For ease of management, it is strongly recommended that the graphic elements representing those page images be grouped together within a facsimile element, as in the following example:

If a transcription is supplied in addition, the xml:id values can be used to align the page breaks within it with the relevant image, rather than using the URL given on the graphic element.

The surface element is useful in two situations: when it is desired to group different images of the same page, for example of different resolutions; and when it is desired to align parts of a page image with parts of a transcription. The zone element is used to define (and hence provide an identifier for) the location of a part of an image with reference to the surface on which it appears.

In this example, a thumbnail and a high resolution image are associated with the same surface:

In this example, the head element in the transcription is aligned with the top half of a square image:

A more detailed explanation of the use of these attributes and other associated elements is given in the full TEI Guidelines.

Unlike most other TEI customizations, TEI simplePrint includes documentation of the intended processing associated with the majority of elements. As noted above, the TEI provides components such as the rendition attribute to indicate the appearance of particular parts of a document in the non-digital source from which it is derived. With TEI simplePrint, it is also possible to indicate how in general an element should be processed, in particular its intended appearance when processed for display on a screen or on paper. This ability derives from a number of capabilities recently added to the TEI architecture for the specification of processing, which were developed as part of the project that defined the TEI simplePrint schema.

The key feature of this 'Processing Model' is a notation that allows the encoder to associate each element with one or more categories, which we call its behaviours. In addition, the Processing Model indicates how the element should be rendered, possibly differently in differing circumstances, using the W3C Cascading Style Sheets (CSS) mentioned above. It is consequently much easier to develop processors for documents conforming to TEI simplePrint, since the complexity of the task is much reduced.

Twenty-five different behaviours are currently defined by the TEI Processing Model. Their names indicate informally the categorization concerned, and should be readily comprehensible for most programmers. The following table indicates the TEI simplePrint elements associated with each:

break

cb lb pb

create a line, column, or page break according to the value of type

graphic

graphic

if URL is present, use it to display graphic, else display a placeholder image

inline

abbr actor add am author bibl biblScope c choice code corr date del desc docAuthor docDate docEdition docImprint editor email ex expan figDesc figure foreign formula fw g gap hi label measure milestone name note num orig pc q quote ref reg relatedItem rhyme rs s salute seg sic signed subst supplied time title unclear w

creates inline element out of content if there's something in <outputRendition>, use that formatting; otherwise just show text of selected content

Full documentation of the Processing Model is provided in section http://www.tei-c.org/release/doc/tei-p5-doc/en/html/TD.html#TDPM of the TEI Guidelines, and we do not describe it further here.

Like other TEI customizations, TEI simplePrint is defined by reference to the TEI Guidelines. The following reference documentation provides formal specifications for each element, model class, attribute class, macro and datatype it uses. These concepts are further explained in the TEI Guidelines.

Specifications are provided here for each component which has been modified for inclusion in TEI simplePrint. Almost every textual element has been modified, if only to include a processing model component. Note that the cross references included in these specifications are to the section of the full TEI Guidelines where the subject is treated, and not to sections of the present document.

Schema tei_simplePrint: Elements

# data[].attributes.attachment_link.description
We begin with a short example. How should we go about transferring into a computer a passage of prose, such as the start of the last chapter of Charlotte Brontë's novel Jane Eyre?

# data[].attributes.attachment_link.readable_text
Research into the enslaved community has been conducted at Montpelier for many years. Many members of the Montpelier African American Descendants Community have generously shared their family histories and genealogical research. The Naming Project relies as well on the documentary research not only of current Montpelier staff members, but also that of past staff members, interns, consultants, and colleagues, including Ann Miller, Douglas Chambers, Elizabeth Dowling Taylor, Whitney Martinko, Bob Vernon, C. Thomas Chapman, Amy Larrabee Cotz, Lisa Timmerman, Meg Kennedy, Tiffany Cole, Lydia Neuroth, Elizabeth Ladner, Hannah Scruggs, Zann Nelson, and many others.

We are grateful to build on and expand their work.

# data[].attributes.attachment_link.description
Research into the enslaved community has been conducted at Montpelier for many years. Many members of the Montpelier African American Descendants Community have generously shared their family histories and genealogical research.

# data[].attributes.attachment_link.description
Discover MOFAD, the museum where food is culture™, upstairs at 55 Water Street in DUMBO, Brooklyn, New York.

# data[].attributes.headline
University of Toronto Harley J. Spiller Collection (Menus)

# data[].attributes.subject
University of Toronto Harley J. Spiller Collection (Menus)

# data[].attributes.attachment_link.readable_text
Context area

Name of creator

Biographical history

Harley J. Spiller was born in 1959 in Buffalo, New York. He is a museum educator, collector and author and is known for his collections of menus and coins. Spiller graduated from Northwestern University and, in 1981, moved to New York to pursue a career in the museum field. Soon after his move, Spiller received a job as an administrative assistant for the curatorial department of the Jewish Museum.

Spiller first began collecting menus on his nightly walks up and down the streets of the Upper West Side, where he lived when he started working at the Jewish Museum. Harley, an English major, took advantage of the free and easily accessible mass printed take out menus available as a result of the "menuing" phenomenon occurring at this time. When Spiller moved to a new apartment in Manhattan, he continued his nightly walks and collecting menus. As others heard about his growing collection of menus they began to gift their own menus that they had accumulated. The collection of menus and Chinese cuisine related artifacts was augmented through eBay purchases made by Spiller.

Spiller's material, both menus and artifacts, have been featured in several museum displays and exhibits including the "A Million Menus" exhibit.

Immediate source of acquisition or transfer

Content and structure area

Scope and content

The collection is comprised of menus from around the world featuring a variety of cuisines including Afghan, American, Argentinian, Armenian, Asian, Bangladeshi, Brazilian, Burmese, Cambodian, Caribbean, Chinese (Peking, Szechuan, Shanghai, Yunnan, Mandarin, Cantonese, Hunan and Jiangnan), Colombian, Cuban, Dutch, Ecuadorian, Egyptian, European, Filipino, Finnish, French, Hong Kong style, Indian, Indochinese, Indonesian, Islamic, Israeli, Italian, Jamaican, Japanese, Korean, Laotian, Latin American, Lebanese, Malaysian, Mediterranean, Mexican, Middle Eastern, Mongolian, Moroccan, Mughlai, Nepalese, Pakistani, Pan-Asian, Peruvian, Russian, Scandinavian, Singaporean, Southwestern, Spanish, Taiwanese, Thai, Tibetan, Turkish, Venezuelan, Vietnamese, seafood and vegetarian.

Menus are from restaurants located in Kenya, Morocco, South Africa, China (Beijing, Hangzhou and Shanghai), Egypt, Guam, Hong Kong, India, Indonesia, Israel, Japan, Malaysia, the Philippines, Singapore, South Korea, Taiwan, Thailand, Tibet, Turkey, Vietnam, Austria, Belgium, the Czech Republic, Denmark, England, Finland, France, Germany, Iceland, Ireland, Italy, Malta, the Netherlands, Norway, Poland, Portugal, Russia, Scotland, Slovenia, Spain, Sweden, Switzerland, Wales, Antigua and Barbuda, the Bahamas, Barbados Bermuda, Canada (British Columbia, Manitoba, Newfoundland and Labrador, Northwest Territories, Nova Scotia, Ontario, Quebec, Saskatchewan and Yukon Territory), Costa Rica, Cuba, Curaçao, El Salvador, Greenland, Guatemala, Mexico, Panama, the United States (Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Delaware, District of Columbia, Florida, Georgia, Hawaii, Idaho, Illinois, Indiana, Iowa, Kansas, Kentucky, Louisiana, Maine, Maryland, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Montana, Nebraska, Nevada, New Hampshire, New Jersey, New Mexico, New York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon, Pennsylvania, Rhode Island, South Carolina, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West Virginia, Wisconsin and Wyoming), Australia, New Caledonia (France) New Zealand, Argentina, Bolivia, Chile, Peru and Venezuela.

Menus types included placemat menus, single sheet menus, trifold and four fold menus, five fold, seven fold and menus in booklet style. Some menus are laminated while others are in vinyl enclosures. Menus range from take away and delivery, to eat in and include wine lists, menus for cafes, breakfast menus and menus for cafeteria lunches.

The material is divided into Series 1 Menus. The series is divided into 6 subseries: Africa, Asia, Europe, North America, Oceania and South America.

Appraisal, destruction and scheduling

Conditions of access and use area

Conditions governing access

Material is open for research. Some material may be restricted due to preservation concerns.

A portion of the menus may not be available due to ongoing digitization.

Language and script notes

Allied materials area
Existence and location of originals

Existence and location of copies

Note

Citation of the material should include the following elements:

University of Toronto Scarborough Library, Archives & Special Collections, Fonds/Collection title, Series Name - Box # File # - Item # (if applicable).

Alternative identifier(s)

Rules and/or conventions used

Accession area

# data[].attributes.attachment_link.title
Harley J. Spiller collection - Discover Archives

# data[].attributes.attachment_link.description
Context area Harley J. Spiller was born in 1959 in Buffalo, New York. He is a museum educator, collector and author and is known for his collections of menus and coins. Spiller graduated from Northwestern University and, in 1981, moved to New York to pursue a career in the museum field.

# data[].attributes.attachment_link.readable_text
Kitchen lithography is a fantastic technique that draws from the principles of traditional lithography but uses items found in your kitchen along with just a few standard printmaking items! You can even use a baren to take the print so you can try this at home without a press.

A piece of drypoint plastic works well as the base of your plate. When you're finished with the print the foil can be removed and the plastic can be used again. Pull out a piece of aluminium foil and lay it shiny side up on a clean cloth. Lay the plastic in the middle of the foil. Fold the foil around the plastic, being careful not to rip it. We are working with the back of the plate towards us. Do not touch the foil on the front side of the plate.

Tape the foil to the plate. make sure any openings are covered as these can collect water later if not sealed properly.

Turn the plate over and use a clean cloth to smooth out the front surface.

Lay a piece of carbon paper over the plate. Carefully draw your design on the back of the carbon paper. Thes greasy marks made by the carbon will become your print. You can also make marks with other greasy substances such as lithography crayons and fingerprints.

Still without touching the front of your plate, take it to the sink and pour coke over the front of the plate. Do this in a couple of directions, making sure the whole of the drawing has been covered. We used about 300ml for this plate. The coke can be collected up and poured over another plate.

Rinse the plate with water and then bring it back to your work surface. Use vegetable oil on a clean rag to wipe the plate until the drawing disappears.

Roll out some ink onto a slab. The ink needs to be oil-based or rubber-based. We used Cranfield Traditional Etching Ink in Carbon Black (which should be available from our shop soon!)
Wipe the plate with a damp sponge and then roll the ink over the drawing. Alternate between the damp sponge and the inky roller. Don't get the plate too wet or it will seize the ink.

Use the damp sponge to wipe off any unwanted areas of ink.

Print the drawing onto dampened paper using an etching press or by placing the paper on top of the plate and hand burnishing with a baren. Use a piece of greaseproof paper between the baren and the paper to stop it pilling and to allow for smoother movement.

Print from the plate again by wiping with a damp sponge and re-inking. The ink can be cleaned up with Zest-it.

To make your own kitchen lithograph you will need:

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Kitchen lithography is a fantastic technique that draws from the principles of traditional lithography but uses items found in your kitchen along with just a few standard printmaking items! You can even use a baren to take the print so you can try this at home without a press.

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Journal of Computational Literary Studies

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Journal of Computational Literary Studies

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The Journal of Computational Literary Studies (JCLS) is an international, open access, peer-reviewed online journal dedicated to all aspects of computational approaches to Literary Studies. JCLS responds to the increasing differentiation of subfields within the Digital Humanities, an ongoing process in which Computational Literary Studies has already gained considerable maturity and visibility.

JCLS provides a publishing platform for work on the development, the application,and the critique of computational approaches to Literary Studies. The journal seeks to expand the spectrum of computational methods for the analysis of literary texts and their (cultural, social, historical, performative) contexts with innovative methods appropriate to the subject. It provides a forum to address issues such as building literary corpora, identifying peculiarities of literary texts, domain adaptation of methods, operationalization of concepts, annotation of texts, evaluation of measures, interpretability and transparency of results, and reproducibility of research. JCLS also acknowledges the debatability of the core concepts of Computational Literary Studies, computationality and literarity, and encourages submissions addressing these from historical, cultural and other perspectives.

Please note the Call for Papers

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Journal of Computational Literary Studies

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The Journal of Computational Literary Studies (JCLS) is an international, open access, peer-reviewed online journal dedicated to all aspects of computational approaches to Literary Studies. JCLS responds to the increasing differentiation of subfields within the Digital Humanities, an ongoing process in which Computational Literary Studies has already gained considerable maturity and visibility.

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Before 'Farm to Table': Early Modern Foodways and Cultures is a collaborative research initiative in the humanities. Active from fall 2017 through summer 2021, the project was convened at the Folger Institute of the Folger Shakespeare Library. It was funded by the Andrew W. Mellon Foundation.

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This help function will be available throughout all pages of this website. It will provide hints on using the pages.

Access the website through the top menu:

Recipes takes you to an index of all recipes available.

Manuscripts: select collections via abbreviation and MS signature

Analysis takes you to the different modules to analyse our data

Models: verbal descriptions of editorial and semantic annotation model

Project: get information on our research goals

To-dos: work packages planned vs. finished

Access the single recipe collections through the tile gallery:

Index: provides a recipe index of the collection.

Recipes: show the semantically annotated recipes in the context of the collection

Transcription: provides a slightly normalized transcription of the collection including text image synopses.

Description: leads to the manuscript description

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CoReMA - Cooking Recipes of the Middle Ages

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This help function will be available throughout all pages of this website. It will provide hints on using the pages. Access the website through the top menu: Recipes takes you to an index of all recipes available.

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The Delta Flyers is a weekly podcast hosted by Garrett Wang and Robert Duncan McNeill from Star Trek Voyager. Listen along as Garrett and Robbie recap each episode of Voyager from the beginning. Join their Patreon for bonus audio, the video version of the podcast, special guest interviews and more.

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The Delta Flyers is a weekly podcast hosted by Garrett Wang and Robert Duncan McNeill from Star Trek Voyager. Listen along as Garrett and Robbie recap each episode of Voyager from the beginning. Join their Patreon for bonus audio, the video version of the podcast, special guest interviews and more.

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In addition to our bi-weekly episodes, we also host many live events (including an annual Buffy Prom!), and we've had the opportunity to interview many of the incredible cast members about their time on the show! We've sat down with James Marsters, Charisma Carpenter, Seth Green, Kristine Sutherland, Harry Groener, Armin Shimmerman, and so many others, and there will be many more to come!

If you are a part of our Patreon community, you can join us for a ton of fun extras including live Buffywatches, bonus episodes, advance ticket sales to live events, merchandise discounts, music & jingles, chord sheets, and more!

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In addition to our bi-weekly episodes, we also host many live events (including an annual Buffy Prom!), and we've had the opportunity to interview many of the incredible cast members about their time on the show! We've sat down with James Marsters, Charisma Carpenter, Seth Green, Kristine Sutherland, Harry Groener, Armin Shimmerman, and so many others, and there will be many more to come!

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AGE OF VICTORIA PODCAST HOME - AGE OF VICTORIA PODCAST

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Enjoy the best Victorian History Podcast on the net. LISTEN TO ALL THE EPISODES HERE ABOUT THE SHOW We live in a world shaped by the deeds of our ancestors. For good or ill, they made the world of today. The Age of Victoria Podcast is a monthly podcast that chronologically retells the history of [...]

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THIS WEEK: Bodily Autonomy Interstitial (rerelease)
Fated Mates is a romance novel podcast co-hosted by author Sarah MacLean and romance critic Jen Prokop. Weekly episodes include romance novel read-alongs and discussions of the work of the genre, highlighting the romance novel as a powerful tool in fighting patriarchy...with absolutely no kink shaming.

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Fated Mates is a romance novel podcast co-hosted by author Sarah MacLean and critic Jen Prokop. Weekly episodes include romance novel read-alongs and discussions of the work of the genre, highlighting the romance novel as a powerful tool in fighting patriarchy...with absolutely no kink shaming.

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The Art of Literary Text Analysis with Spyral Notebooks

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The Art of Literary Text Analysis with Spyral Notebooks

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Why do we tell stories to children through and about animals? Are there reasons why we shouldn't? Animals Are Us explores these questions and more through influential historic examples of anthropomorphism in dialogue with contemporary books drawn from the collection of Peter J. Solomon (Harvard College Class of 1960, MBA 1963) and the holdings of Houghton Library. The exhibition invites you to engage critically with animal anthropomorphism and delight in the artfulness of this enduring literary genre

Original drawings for book illustrations, manuscripts and letters by Beatrix Potter, Edward Lear, John Tenniel, Lewis Carroll, Jean de Brunhoff, Garth Williams, Maurice Sendak, and Nancy Ekholm Burkert.

The suppressed 1865 edition of Alice in Wonderland and Lewis Carroll's pocket watch that evokes the one consulted by the March Hare.

Contemporary children's books by Ashley Bryan, Brenda Child, Lulu Delacre, Julie Flett, Jessica Love, Jerry Pinkney, and Dan Santat.

Animals Are Us was made possible by the generous donation of Peter J. Solomon and Susan Solomon of their outstanding collection of children's literature to Houghton Library. Learn more about the Solomon collection in the accompanying exhibition catalog, available to read for free here.

The exhibition was guest curated by H. Nichols B. Clark (Harvard Class of 1969), founding director and chief curator (emeritus) of The Eric Carle Museum of Picture Book Art, and Meghan Melvin, Jean S. and Frederic A. Sharf Curator of Design in the Department of Prints and Drawings at the Museum of Fine Arts, Boston.

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Why do we tell stories to children through and about animals? Are there reasons why we shouldn't? Animals Are Us explores these questions and more through influential historic examples of anthropomorphism in dialogue with contemporary books drawn from the collection of Peter J. Solomon (Harvard College Class of 1960, MBA 1963) and the holdings of Houghton Library.

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The Carle is the international champion for picture books. We collect, preserve, and present picture books and picture-book illustrations for audiences passionate about children's literature.

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A museum devoted to collecting, preserving, and presenting picture books and picture-book illustrations for audiences passionate about children's literature.

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This grant will support our third year of an ongoing collaborative research program with Stanford's Poetic Media Lab, who designed Lacuna ( www.lacunastories.com), an online annotation platform designed to facilitate collaborative research and teaching. In our modification of the platform, we have adjusted it to support qualitative and collaborative inquiry for researchers looking to develop language and practices for the study of the Contemporary, including contemporary art, literature, and culture.

The staggering disparity between what cultural heritage collections hold in their storage facilities and what they are able to publicly display (typically 5% or less of their total holdings) is a well-known fact. For example, the Victoria and Albert Museum shares the following information on its website:

The Online Hate Index (OHI) research seeks to improve society's understanding of hate speech on YouTube, Reddit, and Twitter and beyond, including its prevalence over time, variation across regions and demographics, our ability to measure it through crowdsourcing and algorithms, and how to influence it through historical or future interventions.

The rise of large-scale digitized book collections-such as those provided by Google Books, the HathiTrust and the
Internet Archive-is enabling a fundamentally new kind of text analysis that exploits the scale of collections to ask
questions not possible with smaller corpora. Many of these research questions are driven by historically deep textual
collections-corpora that span several decades or centuries in their publication. Moretti (2007) analyzes the changing

RES ROMANAE: University of California, Berkeley Roman Material Culture Research Laboratory serves as the portal for reporting the activities and presenting the research results obtained by the members of the Berkeley Roman Material Culture Research Group, an informal grouping of faculty, graduate, and undergraduate students associated with UC Berkeley whose research interests focus on the investigation of the material culture of the Roman world. RES ROMANAE presents professional profiles of the group members, a description of the UC Berke

"Richard Pryor's Peoria" opens up the genre of biography for the digital age. Traditionally, biographers have done their research-rooted around in archives, conducted their interviews, sleuthed for missing puzzle pieces-and then streamlined that research to write the story of the person in question. Our site is an interactive archive of the first two decades of the life of Richard Pryor in Peoria, Illinois.

"The Berkeley Revolution" is a digital history website that dramatizes, through curated archives of primary documents from the time, the story of Berkeley's political and cultural transformation in the late-60s and 1970s. It was created primarily by Cal undergraduates, with the supervision of Professor Scott Saul, through an honors seminar in American Studies. Six research projects, with 300 primary source documents attached to them, were launched with the first iteration of the class in 2017; more projects will be launched with future iterations of the class.

The Future of Memory: Jewish Culture in the Digital Age is a new project of The Magnes Collection of Jewish Art and Life that includes an installation, exhibition, and digital research lab in which museum professionals, scholars, students, and the public, discuss the meaning of memory and the many facets of digital history.

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This grant will support our third year of an ongoing collaborative research program with Stanford's Poetic Media Lab, who designed Lacuna ( www.lacunastories.com), an online annotation platform designed to facilitate collaborative research and teaching.

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MALLET is a Java-based package for statistical natural language processing, document classification, clustering, topic modeling, information extraction, and other machine learning applications to text.

MALLET includes sophisticated tools for document classification: efficient routines for converting text to "features", a wide variety of algorithms (including Naïve Bayes, Maximum Entropy, and Decision Trees), and code for evaluating classifier performance using several commonly used metrics. [ Quick Start] [ Developer's Guide]

In addition to classification, MALLET includes tools for sequence tagging for applications such as named-entity extraction from text. Algorithms include Hidden Markov Models, Maximum Entropy Markov Models, and Conditional Random Fields. These methods are implemented in an extensible system for finite state transducers. [ Quick Start] [ Developer's Guide]

Topic models are useful for analyzing large collections of unlabeled text. The MALLET topic modeling toolkit contains efficient, sampling-based implementations of Latent Dirichlet Allocation, Pachinko Allocation, and Hierarchical LDA. [ Quick Start]

Many of the algorithms in MALLET depend on numerical optimization. MALLET includes an efficient implementation of Limited Memory BFGS, among many other optimization methods. [ Developer's Guide]

In addition to sophisticated Machine Learning applications, MALLET includes routines for transforming text documents into numerical representations that can then be processed efficiently. This process is implemented through a flexible system of "pipes", which handle distinct tasks such as tokenizing strings, removing stopwords, and converting sequences into count vectors. [ Quick Start] [ Developer's Guide]

An add-on package to MALLET, called GRMM, contains support for inference in general graphical models, and training of CRFs with arbitrary graphical structure. [ About GRMM]

The toolkit is Open Source Software, and is released under the Common Public License. You are welcome to use the code under the terms of the licence for research or commercial purposes, however please acknowledge its use with a citation:

  McCallum, Andrew Kachites.  "MALLET: A Machine Learning for Language Toolkit."
http://mallet.cs.umass.edu. 2002.

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MALLET is a Java-based package for statistical natural language processing, document classification, clustering, topic modeling, information extraction, and other machine learning applications to text. MALLET includes sophisticated tools for document classification: efficient routines for converting text to "features", a wide variety of algorithms (including Naïve Bayes, Maximum Entropy, and Decision Trees), and code for evaluating classifier performance using several commonly used metrics.

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NLTK is a leading platform for building Python programs to work with human language data. It provides easy-to-use interfaces to over 50 corpora and lexical resources such as WordNet, along with a suite of text processing libraries for classification, tokenization, stemming, tagging, parsing, and semantic reasoning, wrappers for industrial-strength NLP libraries, and an active discussion forum.

Thanks to a hands-on guide introducing programming fundamentals alongside topics in computational linguistics, plus comprehensive API documentation, NLTK is suitable for linguists, engineers, students, educators, researchers, and industry users alike. NLTK is available for Windows, Mac OS X, and Linux. Best of all, NLTK is a free, open source, community-driven project.

NLTK has been called "a wonderful tool for teaching, and working in, computational linguistics using Python," and "an amazing library to play with natural language."

Natural Language Processing with Python provides a practical introduction to programming for language processing. Written by the creators of NLTK, it guides the reader through the fundamentals of writing Python programs, working with corpora, categorizing text, analyzing linguistic structure, and more. The online version of the book has been been updated for Python 3 and NLTK 3. (The original Python 2 version is still available at https://www.nltk.org/book_1ed.)

Some simple things you can do with NLTK

Tokenize and tag some text:

Identify named entities:

Display a parse tree:

NB. If you publish work that uses NLTK, please cite the NLTK book as follows:

Bird, Steven, Edward Loper and Ewan Klein (2009), Natural Language Processing with Python. O'Reilly Media Inc.

Next Steps

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NLTK is a leading platform for building Python programs to work with human language data. It provides easy-to-use interfaces to over 50 corpora and lexical resources such as WordNet, along with a suite of text processing libraries for classification, tokenization, stemming, tagging, parsing, and semantic reasoning, wrappers for industrial-strength NLP libraries, and an active discussion forum.

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Welcome to Dialogica: Thinking-Through Voyant!

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Welcome to Dialogica: Thinking-Through Voyant!

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Welcome to Dialogica: Thinking-Through Voyant!

Dialogica: Thinking-Through Voyant (DTTV) is a textbook for learning computer-assisted text analysis with Voyant and Spyral. It complements our book Hermeneutica: Computer-Assisted Interpretation in the Humanities (MIT Press, 2016).

Dialogica was developed by Geoffrey Rockwell and Stéfan Sinclair in early 2020 to help those pivoting to online learning. We continue to add to it in memory of Stéfan who passed away in August, 2020.

Do you need online teaching ideas and materials? Dialogica was supposed to be a text book, but instead we are adapting it for use in online learning and self-study. It is shared here under a CC BY 4.0 license so you can adapt as needed.

Do you have a tutorial for Voyant you would like to adapt to Dialogica? Would you like to contribute? Send links and thoughts to Geoffrey Rockwell (grockwel at ualberta dot ca).

Contents

Introduction: What is Dialogica? What is our pedagogical philosophy and our model for using these?
Play an introductory video welcoming you to Voyant

E-Texts and Analysis: Introducing Voyant and text analysis.

Download: Walkthrough 1: What is an electronic text and how can we study it?

Studying a Text: How to prepare a text and explore it.

Download: Walkthrough 2: Studying a Text

Sharing Results: Exporting and Embedding: How to share interactive Voyant panels in an online paper.

Download: Walkthrough 3: Sharing Results: Exporting and Embedding

Managing Corpora with Spreadsheets or XML: How to use either spreadsheets or XML to manage a collection of documents.

Download: Walkthrough 4: Managing Corpora with Spreadhseets and XML

Exploring a Corpus with Text Mining Tools: How to use text mining tools to develop conjectures about a collection.

Download: Walkthrough 5: Exploring A Text

Salient Words: How to use the Visualizations, Corpus Terms and Document Terms tools to see what words stand out.

Download: Walkthrough 7: Salient Words

Other courses and useful links

Other chapters planned:

Following a theme through a text, The arc of a project, Clustering and comparing texts, The next step: introduction to Spryal

© Stéfan Sinclair & Geoffrey Rockwell

All materials on this site shared under a Creative Commons By Attribution license.

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Welcome to Dialogica: Thinking-Through Voyant!

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Dialogica: Thinking-Through Voyant (DTTV) is a textbook for learning computer-assisted text analysis with Voyant and Spyral. It complements our book Hermeneutica: Computer-Assisted Interpretation in the Humanities (MIT Press, 2016). Dialogica was developed by Geoffrey Rockwell and Stéfan Sinclair in early 2020 to help those pivoting to online learning.

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The Programming Historian

The Programming Historian

We publish novice-friendly, peer-reviewed tutorials that help humanists learn a wide range of digital tools, techniques, and workflows to facilitate research and teaching. We are committed to fostering a diverse and inclusive community of editors, writers, and readers.

Learn

Use our lessons to teach your self new technical skills or understand how humanists are using new digital tools, methods, and research processes.

Teach

Use the Programming Historian in your classes or workshops! Please let us know how we can improve our lessons to suit your needs, or if you run into trouble using one.

Our Team

As a volunteer, community-driven resource, we take pride in showing off and giving credit to the great many people who have contributed their time and energy to the Programming Historian.

The Programming Historian (ISSN: 2397-2068) is released under a CC-BY license.

This project is administered by ProgHist Limited, Company Number 12192946.

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The Programming Historian We publish novice-friendly, peer-reviewed tutorials that help humanists learn a wide range of digital tools, techniques, and workflows to facilitate research and teaching. We are committed to fostering a diverse and inclusive community of editors, writers, and readers.

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Founded in 1891, The Trustees of Reservations is the world's first land preservation non-profit and Massachusetts' largest conservation and preservation organization. We preserve and care for some of the Commonwealth's most treasured natural, scenic, and historic sites for public use and enjoyment. Every property and each acre protected by The Trustees has a rich history; it is our mission to preserve, document, and share those histories. Through our online collection catalog, we seek to bring these treasures to a wider audience. This catalog contains a broad selection of items from The Trustees diverse collections, and we look forward to sharing more materials over time as we continue to expand and deepen our digital offerings.

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Founded in 1891, The Trustees of Reservations is the world's first land preservation non-profit and Massachusetts' largest conservation and preservation organization. We preserve and care for some of the Commonwealth's most treasured natural, scenic, and historic sites for public use and enjoyment.

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British Library: Discovering Childrenʻs Books

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British Library: Discovering Childrenʻs Books

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Research Guides: Teaching Oceania: Open Access Resources: Home

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This guide provides access to freely available online resources, and is intended for students and instructors of Pacific Islands Studies and related fields.

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ʻŌlelo Hawaiʻi/ Hawaiian Language Resources : Home

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ʻŌlelo Hawaiʻi/ Hawaiian Language Resources : Home

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Skip to main content

It looks like you're using Internet Explorer 11 or older. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. If you continue with this browser, you may see unexpected results.

Introduction and Purpose

Image from: http://www.oiwi.tv/live/wp-content/uploads/2011/12/303913_282239381797246_282237761797408_969419_1983811707_n.jpg

Aloha mai kākou!

This guide was created with students of the Hawaiian language, Ka ʻŌlelo Hawaiʻi, in mind and is set up to help students discover more information about the language from a variety of sources. This should also serve as a launching point for those doing research on the Hawaiian language (different from those doing research IN the Hawaiian language), or for those students of the Hawaiian language. May the LibGuide further exploration of ʻŌlelo Hawaiʻi!

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Research Guides: ʻŌlelo Hawaiʻi/ Hawaiian Language Resources : Home

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Skip to main content It looks like you're using Internet Explorer 11 or older. This website works best with modern browsers such as the latest versions of Chrome, Firefox, Safari, and Edge. If you continue with this browser, you may see unexpected results. Image from: http://www.oiwi.tv/live/wp-content/uploads/2011/12/303913_282239381797246_282237761797408_969419_1983811707_n.jpg Aloha mai kākou!

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Access to image-based resources is fundamental to research, scholarship and the transmission of cultural knowledge. Digital images are a container for much of the information content in the Web-based delivery of images, books, newspapers, manuscripts, maps, scrolls, single sheet collections, and archival materials. Yet much of the Internet's image-based resources are locked up in silos, with access restricted to bespoke, locally built applications.

A growing community of the world's leading research libraries and image repositories have embarked on an effort to collaboratively produce an interoperable technology and community framework for image delivery.

IIIF (International Image Interoperability Framework) has the following goals:

To give scholars an unprecedented level of uniform and rich access to image-based resources hosted around the world.

To define a set of common application programming interfaces that support interoperability between image repositories.

To develop, cultivate and document shared technologies, such as image servers and web clients, that provide a world-class user experience in viewing, comparing, manipulating and annotating images.

For more details, please see the IIIF FAQ.

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Access to image-based resources is fundamental to research, scholarship and the transmission of cultural knowledge. Digital images are a container for much of the information content in the Web-based delivery of images, books, newspapers, manuscripts, maps, scrolls, single sheet collections, and archival materials.

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Version 4.2.2. Last updated on 9th April 2021, revision 609a109b1

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Material Girls: An Interview with Caroline Moss

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American Indians in Childrenʻs Literature

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American Indians in Childrenʻs Literature

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American Indians in Children's Literature (AICL)

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Designed to help readers develop a critical eye about representations of American Indians in children's and young adult books

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PeloFondo is a community event for Peloton Riders, focused on long distance mileage. There is no fee to join the event and riders can choose their distance goal between 35 and 120 miles. If you haven't already, head on over and Register For The Event.

DO

Pick an achievable distance goal

Train Smart & have fun

Strive to be your best

Stretch as time permits

Have a nutrition plan

Push hard, but know your limits

Encourage your fellow teammates

DON'T

Be a hero

Hurt yourself

Shoot for a PR the day before the event

Try adjusting your position on the bike

Use new padded shorts

Eat a big meal right before the ride

How To Prepare

REGISTER FOR THE EVENT

This event is free and open to all. Just click the link below to secure your spot on the leaderboard!

Register Now

EXECUTE YOUR TRAINING PLAN

Extended endurance training before the event is highly recommended to help ensure your success.

Training Plans

PLAN YOUR DAY-OF GOALS AND NUTRITION

Having a nutrition plan is incredibly important to ensure your body has the energy it needs.

About Nutrition

SHOW UP AND RIDE HARD!

The only way to lose is to not show up! Bring your best and show off your Pelo-strength.

Ride Schedule

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PeloFondo | A Long Distance Event For Peloton Riders

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PeloFondo is a community event for Peloton Riders, focused on long distance mileage. There is no fee to join the event and riders can choose their distance goal between 35 and 120 miles. If you haven't already, head on over and Register For The Event.

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Either plan ahead by entering your destination or find places near your current location. New restaurants listed every day all across the world!

Find dedicated GF places and celiac friendly spots with one tap!

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Find Me Gluten Free: Find gluten-free friendly restaurants near you

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The best rated gluten-free app for iPhone and Android. Download our FREE APP now.

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Smithsonian Asian Pacific American Center

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Smithsonian Asian Pacific American Center

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Home | Smithsonian Asian Pacific American Center

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The Smithsonian Asian Pacific American Center tells Asian Pacific American stories through innovative museum experiences.

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It's a new kind of museum-and a whole new way to experience our world.

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Bishop Museum is temporarily closed due to Mayor Caldwell's "Stay at Home/Work from Home" order. Learn more .

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About Michelle

Hello! My name is Michelle Tam, and I love to eat. I think about food so much that it borders on obsession. I've always loved the sights and smells of the kitchen; my mother was (and is) an excellent cook, and as a kid, I was her little shadow as she prepared supper each night. From her, I gained a deep, abiding love for magically transforming pantry items into mouth-watering family meals!

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Nom Nom Paleo - Award-Winning Paleo Recipes by Michelle Tam

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Paleo, gluten-free, grain-free, dairy-free, and Whole30-friendly recipes from New York Times bestselling author Michelle Tam, creator of Nom Nom Paleo!

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Gluten Dude: Celiac advocate, gluten free-guru, author, app owner

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I've had celiac disease since 2008. I started this website in 2011 to be a resource for the gluteb-free community and for my own sanity.

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Museum of New Zealand Te Papa Tongarewa, Wellington, NZ

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There are over 100 species of orchids in Aotearoa New Zealand and come in a variety of shapes, colours, and dimensions. They thrive in diverse habitats across the country. Take a look at Te Papa's research and work with orchids as well as highlights from our collections.

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Radcliffe Institute for Advanced Study at Harvard University

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HOLLIS is the Harvard Library's catalog. Search HOLLIS for articles, books, manuscript materials, media, and more.

With HOLLIS for Archival Discovery, search for letters, photographs, film and video, print items, digital materials, objects, and other primary sources.

HOLLIS Images is the Harvard Library's dedicated image catalog. It includes content from archives, museums, libraries, and other collections throughout Harvard University.

Use Ask a Librarian to request materials and to confirm availability. To locate materials, use the HOLLIS catalog to start your search. You can limit results to Schlesinger Library holdings in the advanced search mode.

Request Archival Collections has detailed information about what to include when contacting our librarians.

Consult our Research Guides for an introduction by subject to various holdings. The guides are meant to help you begin your research on select topics and are not complete lists of relevant material.

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Schlesinger Library | Radcliffe Institute for Advanced Study at Harvard University

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HOLLIS is the Harvard Library's catalog. Search HOLLIS for articles, books, manuscript materials, media, and more. With HOLLIS for Archival Discovery, search for letters, photographs, film and video, print items, digital materials, objects, and other primary sources. HOLLIS Images is the Harvard Library's dedicated image catalog.

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Fostering the study of books and other textual artifacts in traditional and emerging formats since 1904.

Announcements

BSA membership offers many great benefits (including some new ones for members only!), most of which we make available to the greater bibliographical public: our , Fellowships, the New Scholars Program, and more. The Society has been working hard to bring our vision of a broader, more inclusive, and exciting bibliographical community to life. To do this, we want to bring more people in! To strengthen and develop the membership of the Bibliographical Society of America, today we are launching our first-ever membership drive!

We are delighted to announce that the new editors of Papers of the Bibliographical Society of America will be Dr. Jesse R. Erickson and Dr. Sarah Werner.

The Bibliographical Society of America is looking for a new President and two new Council Members who will be elected at our Annual Meeting on 28 January 2022. The President serves for a two-year term, renewable once, and Council members serve for a three-year term, renewable once. Please consider nominating yourself or other possible candidates! We strongly value the expertise and collegiality of all of our members and especially welcome nominees who represent the racial and ethnic diversity of bibliographic communities in the United States. The Nominating Committee seeks individuals who are committed to helping the Society fulfill the goals laid out in its Equity Action Plan.

This is a special year for the BSA Annual Fund! A group of Council members has banded together to offer a $21,000 matching grant challenge for the 2021 Annual Fund! Help us to earn that matching gift by making your donation today.

We are so pleased to announce that Eric Ensley (General Editor, University of Iowa), Adriana Cásarez (University of Texas at Austin), and Emma M. Sarconi (Princeton University Library Special Collections) have been appointed to form the BibSite Editorial Group. Erin McGuirl, Scott Ellwood (BibSite Project Manager), and the Digital Strategy Working Group are delighted to collaborate with this group as we work toward the BibSite launch this fall.

Click through to read the original call for volunteers and for more on BibSite.

The Bibliographical Society of America (BSA) seeks a new Editor or co-Editors of the Papers of the Bibliographical Society of America ( PBSA). The Editor is responsible for the editorial direction of the journal, which serves to fulfill the mission of the BSA to foster the study of the material text.

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The Bibliographical Society of America -

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Fostering the study of books and other textual artifacts in traditional and emerging formats since 1904. BSA membership offers many great benefits (including some new ones for members only!), most of which we make available to the greater bibliographical public: our , Fellowships , the New Scholars Program , and more.

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Latest Release

A freeware corpus analysis toolkit for concordancing and text analysis.

[ AntConc Homepage] [ Screenshots] [Help] [ License]

Downloads:

Official releases

AntConc 3x series

Older versions

PayPal Donations and Patreon Supporters:

Click one of the following if you want to make a small donation to support the future development of this tool.

Older Versions

All previous releases of AntConc can be found at the following link. <*.exe> and <*_win.zip> are for Windows. <*.dmg>, <*.zip> and <*.pkg> files are for Macintosh OS X. <*.tar.gz> files are for Linux.

Frequent asked questions (FAQ)

What is the difference between the Windows-Installer and Windows-Portable versions?
The Windows-Installer version will place the AntConc software in a safe location on your machine and put links to the software in the Start menu and on your desktop (if you want). This is the most common way to get software onto your computer. However, in cases where you are not allowed to install software on the computer (e.g. in a school environment) or when you want to put the software on a portable device like a USB stick, the Windows-Portable version is needed. In this version, all files are stored in a single folder. Open the folder and double click on the AntConc.exe to start. These packaging options were newly introduced with the release of AntConc 4.0.

How do I get AntConc to work on a Apple Macintosh computer?
AntConc should work with the latest version of Apple's operating system. Double click the AntConc.dmg icon and follow the instructions to put the software into the Applications folder on your computer. You can then launch the software by double-clicking the icon in the Applications folder or from the Launchpad. This packaging option was newly introduced with the release of AntConc 4

Can I use AntConc on a mobile device (e.g. iPhone, Android phone, iPad, or Chromebook)?
No. AntConc can only run on desktop computers.

How can I search for a question mark (or other wildcard characters) in my corpus?
The question mark (?) is a wildcard character in AntConc meaning "any one character". To search for an actual question mark or any other wildcard character, just escape the character (e.g. \?) in the search query box. Note that you need to add these characters to the token definition when creating your corpus to be able to search for them later.

When creating my own corpus, I get the following error: "Error: UnicodeDecodeError: 'utf-8' codec can't decode byte XXX in position YYY: invalid start byte". What should I do?
This error is telling you that the file is not properly encoded in the default UTF-8 encoding used by AntConc and so it cannot be read. To address this problem, either resave your file using the UTF-8 encoding (recommended) or change the encoding setting of AntConc to match the encoding of the file (assuming you know what encoding your file is saved in). Many users don't know what encoding they are using which is why I recommend that the files are resaved with the UTF-8 encoding. You should be able to set the encoding in any standard text editor, e.g. NotePad or NotePad++.

User Support

Latest Help files

Discussion groups

Video tutorials

YouTube Tutorials (by Laurence Anthony)

YouTube Tutorials (by Umair Ibne Abid of Umair Linguistics)

Youku Tutorials (by Laurence Anthony)

Downloadable guides

Guide by Warren Tang (Hiroshima University, Japan)

Help file translations

Common Statistics Used In Corpus Linguistics

The following document lists common statistics that are used in corpus linguistics focusing on those that appear in AntConc. The document is largely based on an unpublished paper written by Andrew Hardie of Lancaster University in 2014.

Development Road Map

My current tentative plans.

Status

Description

Under development

Plans for 2022
and beyond

Improve tag handling (XML/Part-Of-Speech/...)

Your suggestions come here...

Citing/Referencing AntConc

Use the following method to cite/reference AntConc according to the APA style guide:

Anthony, L. (YEAR OF RELEASE). AntConc (Version VERSION NUMBER) [Computer Software]. Tokyo, Japan: Waseda University. Available from https://www.laurenceanthony.net/software

For example if you download AntConc 4.2.0, which was released in 2022, you would cite/reference it as follows:

Anthony, L. (2022). AntConc (Version 4.2.0) [Computer Software]. Tokyo, Japan: Waseda University. Available from https://www.laurenceanthony.net/software

Word frequency lists

These 'wordlist' corpora can be loaded into AntConc (4.0 and later) via the Corpus Manager and used as reference corpora to create keyword lists.

These lists can be imported into AntConc (3.5.9 and earlier) and used as reference corpora word lists to create keyword lists.

BE06 corpus and AME06 corpus frequency lists.

Brown Corpus frequency lists.

Lemma lists

Lemma lists. These lists can be imported into AntConc (3.5.9 and earlier) to create lemma word lists. From AntConc 4.0, it is recommended that you Part-Of-Speech (POS) tag and lemmatize your files, e.g. using TagAnt, before loading them into AntConc. Then, the lemma forms can be displayed through menu options.

AntBNC Lemma List (ver. 004)
An automatically generated English lemma list based on all words in the BNC corpus with a frequency greater than 2 (created by Laurence Anthony). To use this list, *append* a hyphen (-) character to the AntConc token definition to ensure the processed correctly (see global settings). This list is extensively revised from the previous version, with all words with overlapping headwords combined into a single entry and all words including an apostrophe removed. As this process conflates words of different word classes into the same entry, the list serves more as a flemma list. The automatic generation process naturally introduces some erroneous entries, so the list should be checked before use, depending on the purpose.

Someya Lemma List (no hypens)
An edited version of the Someya English lemma list with no hypenated words (original list created by Yasumasa Someya).

Someya Lemma List

The original Someya English lemma list (created by Yasumasa Someya).

To use this list, *append* a hyphen (-) and apostrophe (') character to the AntConc token definition (see global settings).

French Lemma List
A French lemma list (created by Benoît Sagot).

Spanish Lemma List
A Spanish lemma list (developed by Laurence Anthony based on the list provided here).

Books/papers/websites related to AntConc

References to works citing AntConc can by found on Google Scholar here.

Interesting applications of AntConc

Here are a random collection of projects that use AntConc in interesting ways.

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A freeware corpus analysis toolkit for concordancing and text analysis. [ AntConc Homepage] [ Screenshots] [ Help] [ License] Official releases AntConc 3x series Older versions Click one of the following if you want to make a small donation to support the future development of this tool.

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Exploring Culinary Traditions of Africa, African America and the African Diaspora

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Kitchen lithography is a fantastic technique that draws from the principles of traditional lithography but uses items found in your kitchen along with just a few standard printmaking items! You can even use a baren to take the print so you can try this at home without a press.

A piece of drypoint plastic works well as the base of your plate. When you're finished with the print the foil can be removed and the plastic can be used again. Pull out a piece of aluminium foil and lay it shiny side up on a clean cloth. Lay the plastic in the middle of the foil. Fold the foil around the plastic, being careful not to rip it. We are working with the back of the plate towards us. Do not touch the foil on the front side of the plate.

Tape the foil to the plate. make sure any openings are covered as these can collect water later if not sealed properly.

Turn the plate over and use a clean cloth to smooth out the front surface.

Lay a piece of carbon paper over the plate. Carefully draw your design on the back of the carbon paper. Thes greasy marks made by the carbon will become your print. You can also make marks with other greasy substances such as lithography crayons and fingerprints.

Still without touching the front of your plate, take it to the sink and pour coke over the front of the plate. Do this in a couple of directions, making sure the whole of the drawing has been covered. We used about 300ml for this plate. The coke can be collected up and poured over another plate.

Rinse the plate with water and then bring it back to your work surface. Use vegetable oil on a clean rag to wipe the plate until the drawing disappears.

Roll out some ink onto a slab. The ink needs to be oil-based or rubber-based. We used Cranfield Traditional Etching Ink in Carbon Black (which should be available from our shop soon!)
Wipe the plate with a damp sponge and then roll the ink over the drawing. Alternate between the damp sponge and the inky roller. Don't get the plate too wet or it will seize the ink.

Use the damp sponge to wipe off any unwanted areas of ink.

Print the drawing onto dampened paper using an etching press or by placing the paper on top of the plate and hand burnishing with a baren. Use a piece of greaseproof paper between the baren and the paper to stop it pilling and to allow for smoother movement.

Print from the plate again by wiping with a damp sponge and re-inking. The ink can be cleaned up with Zest-it.

To make your own kitchen lithograph you will need:

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Kitchen lithography is a fantastic technique that draws from the principles of traditional lithography but uses items found in your kitchen along with just a few standard printmaking items! You can even use a baren to take the print so you can try this at home without a press.

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To learn more, click HERE

We are very pleased to announce the lecturers for this summer's virtual lecture series. The lectures are free and open to the public to register; there is room for the first 300 registrants for each event to attend the live Zoom presentation. All lectures will take place at 5:30 p.m. ET via Zoom. Lectures will last 30-40 minutes with 10 minutes for Q&A, and will be followed by a reception in Gather.town. [...]
Posted 1 month, 11 days ago byLaura Eidam

The Andrew W. Mellon Society of Fellows in Critical Bibliography at Rare Book School (SoFCB) is delighted to announce the winner of our second annual essay prize:

Elizabeth Neswald, "Things that Don't Talk Much and Things That Feel: Developing a Material Culture Methodology for 'Black Box' Medical Devices," Nuncius 35 (2020): 632-59.

In "Things that Don't Talk Much and Things That Feel," Elizabeth Neswald offers an incisive analysis of objects often overlooked by material culture studies. Neswald takes late twentieth-century home diabetes monitors--slim, black, about the size of a credit card and relatively featureless--as her objects of study. [...]
Posted 2 months, 4 days ago byLaura Eidam

VIEW ALL NEWS "

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To learn more, click HERE We are very pleased to announce the lecturers for this summer's virtual lecture series. The lectures are free and open to the public to register; there is room for the first 300 registrants for each event to attend the live Zoom presentation.

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The SAA-ACRL/RBMS Joint Task Force on the Development of Guidelines for Primary Source Literacy (hereafter "Task Force") is responsible for the development of guidelines (hereafter "Guidelines") that will provide competency standards for primary source literacy. Guidelines will consider and address students' ability to interpret and analyze primary sources and students' understanding of and ability to apply effective research skills across multiple disciplines. The Guidelines might also address ethical uses of primary sources, the understanding of legal and social implications of records, the cultivation of historical empathy, the contextualization of documents into broader historical frameworks, and the curiosity and appreciation for the past.

The Guidelines will be submitted for approval by the appropriate standards review committees and executive bodies of SAA and the Association of College and Research Libraries (ACRL) and ACRL's Rare Books and Manuscripts Section (RBMS). The Task Force will recommend a plan for maintenance and review of the Guidelines at the time the Guidelines are submitted to SAA and ACRL/RBMS for approval.

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SAA-ACRL/RBMS Joint Task Force on Primary Source Literacy

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The SAA-ACRL/RBMS Joint Task Force on the Development of Guidelines for Primary Source Literacy (hereafter "Task Force") is responsible for the development of guidelines (hereafter "Guidelines") that will provide competency standards for primary source literacy. Guidelines will consider and address students' ability to interpret and analyze primary sources and students' understanding of and ability to apply effective research skills across multiple disciplines.

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Mapping

We strive to map Indigenous territories, treaties, and languages across the world in a way that goes beyond colonial ways of thinking in order to better represent how Indigenous people want to see themselves.

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Native Land is a resource to learn more about Indigenous territories, languages, lands, and ways of life. We welcome you to our site.

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LibraryThing is a free, library-quality catalog to track reading progress or your whole library.

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"If you love books, and love people who love books, LibraryThing is for you."

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LibraryThing | Catalog your books online | LibraryThing

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LibraryThing catalogs yours books online, easily, quickly and for free.

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Culinary Library BU Gastronomy Italian Site

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Culinary Library BU Gastronomy Italian Site

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LibraryThing è un sito di catalogazione e socializzazione per gli amanti dei libri

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Boston University Gastronomy Program Blog Post

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Boston University Gastronomy Program Blog Post

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Just Food: because it is never Just Food, the 2021 Joint Annual Conference of the Association for the Study of Food and Society ( ASFS); the Agriculture, Food & Human Values Society ( AFHVS); the Canadian Association for Food Studies ( CAFS); and the The Society for the Anthropology of Food and Nutrition ( SAFN) will run from June 9 to June 15, hosted by the Culinary Institute of America and New York University.

In this most unusual time, four academic organizations engaged in food studies are hosting a virtual conference centered on the theme of Food Justice. The title, Just Food: because it is never Just Food, highlights how food is ensconced in systems of exclusion, oppression, and power. Papers, presentations and roundtables will grapple with cultural and historical entanglements of food with social justice by examining the production, distribution, and consumption of food while keeping in mind power differentials in local and global world systems. In particular, we have invited submissions that reveal and/or seek to challenge the systemic injustices of the industrial and alternative food systems that marginalize the food histories, practices, and experiences of diverse communities including Indigenous, Black, and people of color. In addition, this conference seeks to highlight the ways people use food for pleasure and autonomy. The conference hopes to make connections between diverse perspectives, to center historically marginalized voices, and to work towards building a greater understanding of how to achieve food justice on Turtle Island (North America) and globally."
Boston University Gastronomy faculty, students and alumni will be presenting in the following conference panels:
Dana Ferrante: June 14th, 9am-10am, 6A3. Roundtable: Disabling Food Scholarship & Activism: Future Prospects at the Intersections of Food Studies and Disability Studies

Jose López Ganem: June 13th, 4:30pm- 6pm, 5E6. Workshop: Mesoamerica, race, and the reminisces of Iberian colonialism through chocolate

Laura Kitchings: June 9th, 9am-10:30am, 1A1. Panel: Cookbooks

Salma Serry: June 10th, 9am-10:30am, 2A1. Panel: (De)Coloniality of Food: Global Cases of Power and Resistance

Hannah Spiegelman & Ariana Gunderson: June 9th & June 14th, 8pm-9:30pm, 1G4 & 6G4. Workshop: Vermouth Storytelling Part 1 & 2

Ariana Gunderson: June 9th, 4:30pm-6pm, 1E3. Panel: Covid Foodways: changing urban food cultures in the coronavirus pandemic

Valerie Ryan: June 15th, 9am-10:30am, 7A3. Panel: Food Pedagogies during and after the pandemic, Part 1 of 2 (Tasting food virtually)

Esther Martin: June 12th, 4:30-6pm, 4E2. Panel: On Whose authority with Whose permission? Authorship, Power, and Privilege in Food media and Art
Kerri LaCharite:
June 9th, 9am-10:30am, 1A4. Roundtable: Staying, Going, or Zooming? The Impact of Covid-19 on Food Studies Abroad

June 10th, 11am-12:30pm, 2B1. Roundtable: Teaching Kitchens: Challenges and Lessons Learned in their Creation, Management, and Operation

June 10th, 8pm-9:30pm, 2G2. Panel: Food System Pedagogy

Katherine Hysmith: June 12th, 4:30pm-6pm, 4E2. Panel: On Whose authority with Whose permission? Authorship, Power, and Privilege in Food media and Art
Megan Elias:
June 9th, 9am-10:30am, 1A3. Roundtable: How to Get Published

June 12th, 11am-12:30pm, 4B2. Roundtable: Listening Session: How Can Food Studies Journals Promote Food Justice?

Netta Davis: June 12th, 9am-10:30am, 4A4. Roundtable: "A Decent and Just Social Order": A Transdisciplinary Conversation on Disability and Food, Part 1 of 2.

Marie-Louise Friedland, Altamash Gaziyani, and Amy Johnson: June 13th, 8pm-9:30pm, 5G4. Workshop: The Curse of Connoisseurship: Othering of Taste in the Beverage Industry

Jared Kaufman, June 14, 9-10:30am, 6A1. Panel: Constructing Taste.

The full conference program is available for download here.

...And how to get a postcard with the artwork!

Meet the artist behind our stunning conference art, Kimberly Barzola.

Born and raised on the North Shore of Massachusetts, Kimberly is a first-generation Quechua artist and librarian/archivist in training. Her primary mediums include muralism, relief printmaking, and acrylic painting; some of her vibrant murals can be found in nearby towns of Chelsea and Salem, Mass. Through her work, she responds to the social movements here in the US and across Latin America.

In describing her inspiration for the piece, Kimberly writes, "For this piece I was inspired by my photographs of the New England coastline and in particular, my hometown Salem's rocky beaches. Cranberries, stinging nettle, barnacles, mussels, acorns, and clams are featured because they are just some of the coast's wild foods that can be foraged! The earth is so abundant and claims that say otherwise speak to the incredibly wasteful system of production and distribution that prioritize profit and exploitation over ecological alignment and native stewardship of the land. We owe it to the stewards of this land before us and those who will live many generations after us to do everything we can to forcefully and radically take the action needed to align society with earth's resilient systems."

Kimberly's piece was made through a process called printmaking, in which the artist transfers the sketch onto a piece of linoleum, carves out the negative space by hand, inks the block, and prints the final design onto paper. See Kimberly's initial sketch for the print below, where she labeled some of the landscapes' components, including: leaves, acorns, barnacles, mussels, clams, waves, and the rocky shoreline.

In the image below, check out the different local wild and foraged foods in the final image.

Since we started planning this conference last fall, we knew this conference would be more than a gathering of traditional 'academic' speakers. In addition to the uncertainties of COVID, the conference's focus on the intersections of environmental stewardship and social justice required us to reflect on how to actively center people, voices, ideas, and practices that have traditionally been excluded from 'the Academy.'

Art is a powerful way to make provoking, transformative ideas tangible, present alternative ways of seeing, and engage a broader audience. We are grateful for Brain Arts Org/ Dorchester Art Project -a multi-pronged nonprofit with the mission to realize creative independence in systematically undervalued communities-for connecting us with Kimberly. We are also super grateful for Kimberly's willingness to not only turn the conference's broad ideas into a visual reality, but to share her own relationship to the local landscape(s) with all of us.

In thinking about other ways in which we could expand the impact of the conference, we asking folks to make a donation to a community organization upon registering for the Living Landscapes conference. If you can, make a donation and send us your receipt to receive a (snail-mail!) postcard with Kimberly's awesome artwork on it.

Here's how it works:

Register for Living Landscapes.

Donate any amount to one of the following orgs, many of which were recommended by our speakers:

Send your receipt and full address to bugastronauts@gmail.com.

We'll mail you a postcard!

Register today!

A Conference Using Foraging to Explore the Intersections of Environmental Stewardship, Racial Justice & Food Sovereignty
Join the Boston University Gastronomy community for in-depth discussions and (remote) hands-on foraging experiences!
Since the start of the pandemic, the connections between environmental racism, climate change, land (in)access, social justice, and food sovereignty have become clearer than ever.

A pandemic that has killed hundreds of thousands in the US, with Black, Indigenous, and Latinx communities affected at the highest rates. Civil unrest brought on by racialized state violence. Uncontrolled wildfires in the Western US due to climate change and suppression of indigenous land practices; incarcerated individuals forced to put their bodies in harm's way to battle the fires, while prisons failed to protect them from the coronavirus. Racialized rhetoric that has fanned the flames of violent xenophobia towards AAPI communities, as equally racialized discourse on the "wet markets" in China circulated throughout popular media.

While these phenomena may seem unrelated on a superficial level, these on-going issues can be traced back to the White, settler colonialism notions that shape this country's understanding of the land and 'wild' foods. Living Landscapes was developed with these overlapping issues in mind.

This conference will use foraging as a tangible entry point into the nexus of these issues, bringing together people from a wide variety of backgrounds-including foragers, researchers, and activists-for critical conversations. Through this two-day, virtual micro-conference, we hope to interrogate the landscape(s) of Boston and beyond, and the unequal experiences of those that live, eat, and grow there.
Living Landscapes Conference Program This conference is free and open to the public. Please register today.

Accessibility & Inclusion

The BU Gastronomy Program strives to be accessible, inclusive, and diverse in all of our programming. Your experience at this event is important to us! If you have a disability (including but not limited to learning or attention, mental health, concussion, vision, mobility, hearing, physical or other health-related), require communication access services for Deaf or hard of hearing persons, or believe that you require a reasonable accommodation for another reason please contact Dana ( dferr@bu.edu) upon registration.

This event is funded by a BU Diversity & Inclusion Catalyst Grant and BU Sustainability and Innovate@BU Sustainability Innovation Seed Grant. In addition, this event would not be possible without the generous support of the BU Gastronomy Fund, the Gastronomy Program faculty and staff, and the Gastronomy Students Association.

Our summer term course, MET ML 611, Archaeology of Food, with Dr. Karen Metheny, introduces students to the archaeological study of food and foodways in prehistoric and historic-period cultures, with a specific focus on how food was obtained, processed, consumed, and preserved in past times, and the impact of diet upon past human populations in terms of disease and mortality. Students will learn how archaeologists use a wide range of artifacts, plant remains, human skeletal evidence, animal remains, and other data to recover information about food use and food technology over time to reconstruct past foodways practices. This introduction will be followed by a survey of the archaeological evidence of foodways from the earliest modern humans to the first farmers to more recent historical periods. Key topics will include the domestication of plants and animals, feasting, the role of households in food production, and the archaeological evidence for gender and status in cooking, preparation areas, serving vessels, and consumption. The course highlights specific foodstuffs, staples, and beverages, such as cacao and chocolate, maize, wheat, barley, beer, wine, sugar, and tea in order to show not only the range of evidence that can be brought to bear, but also how the reconstruction of foodways can reveal critical information about past cultural practice, social structure, identities, and meaning across time and space.

We will hear from experts on the origin of beer and bread, and then debate the question of which came first. Students will select a specific food or beverage to study during the semester and will engage in weekly projects to investigate how that food or beverage was prepared and served during a daily meal or in ritual context, what tools and cooking techniques were used, what ingredients were needed, who would have prepared and/or consumed this food, and its social and cultural significance. Finally, students will research and prepare a food or duplicate a food technology.

MET ML 611, Archaeology of Food meets on Tuesday and Thursday evenings from 5:30 to 9 pm, EST, from May 25 to July 1, 2021.

This class will be offered in fully remote format. Non-degree seeking students will find registration instructions here.

Reducing Meat Waste by Learning to Love Organs and Accepting Other Cultures
Students in MET ML 626, Food Waste: Scope, Scale, & Signals for Sustainable Change, are contributing posts this month. Today's is from Gastronomy student Samantha Maxwell.
The often-cited Sustainable Development Goal Target 12.3 aims to reduce global food waste by 50 percent by 2030. However, according to all metrics, the world is woefully behind schedule when it comes to meeting this goal.

Perhaps the most egregious of our food waste sins is the wasting of meat products. That's because when we waste meat, we're not just wasting the flesh of the animal itself-we're also wasting the huge number of resources that went into raising and housing that animal and preparing it for slaughter. If we feel guilty about throwing out that shriveled cucumber in the back of our fridge, we should be concerned about pitching out that half-eaten package of ground turkey even more.

But some meat waste happens not because we forget to cook the pork that gets lost in the back of our fridge. Instead, it happens before the food even reaches our homes. Particularly in the U.S., offal meats, organs including tripe, liver, and kidney, are unpopular cuts of meat. Instead, we'd rather opt for the chicken breast and legs instead of the liver. Wondering what happens to those organ meats? They often go to waste completely, since grocery stores know that there is limited demand for them. In fact, can you remember the last time you saw kidneys sold at your local chain supermarket?

Our disdain of organ meats is largely cultural, though. During WWII, when rationing was viewed as an important part of the war effort, organ meats were mainstream and considered enjoyable. A cookbook from this era entitled What Do We Eat Now? provides several offal recipes that are framed as neither exotic or undesirable: They were just normal cuts of meat. But as Americans got wealthier and had more access to more "desirable" cuts of meat, offal fell out of fashion. That's a shame considering the nutritional content of many types of offal. Liver, for example, is an excellent source of iron, a mineral that many are deficient in.

Other cultures, though, continue to embrace offal and even treat it as a delicacy. The French make pate, which is considered a luxury food item by many. Many in east Asian countries eat tendon, which has a lovely soft, chewy texture when cooked in broth or marinated with flavorful fats. And in places like Spain and Panama, pig's ears and trotters are considered a delicious appetizer, full of flavor and interesting textures.

The younger generations alive today are crossing cultural barriers like none before them. It's easier than ever to connect with people on opposite sides of the world, and the relatively low prices of plane travel these days make international travel an option to more and more people across the world. As people in the United States and the rest of the non-offal-eating world gain greater access to parts of the planet where people do eat offal, we should start to question our own food habits. Why wouldn't we adopt the practice of eating offal, especially when other cultures make it taste so good? International food is gaining more widespread acceptance in the U.S., which makes this a prime time for chefs and food influencers to make a push to make offal delicious again.

According to a 2019 study from Germany, choosing offal instead of more "conventional" meat just one or two times a week could "reduce livestock emissions by as much as 14 percent." This sort of change doesn't require people to give anything up to make a change-instead, it simply encourages them to try something new. And since people don't like to feel like they're being restricted, the idea of adding something into their diet is likely to seem more appealing than taking something out.

Of course, while reaching the goal of reducing food waste by 50 percent by 2030 is going to require a lot of changes to policy, we must also encourage individuals to change their habits. This doesn't always have to be an unpleasant experience. When we can get eaters to expand their culinary horizons by eating offal, we're not just reducing food waste-we're also encouraging more cultural acceptance between different ethnic groups and nationalities. If we can do both at the same time and make it delicious in the process, why wouldn't we?

Boston University Metropolitan College (MET) and the Gastronomy and Food Studies Program invite you to a special event, Accelerating Food Waste Reduction.

It is hard to believe that in our modern and increasingly connected world, billions of pounds of food are lost or wasted annually, depriving needed nutrition to hundreds of millions of global citizens while accelerating pollution, biodiversity loss and climate change.

At the same time, Covid-19 has exposed the fragility of the global food system, initially leading to an increase in food loss and waste, while the linkage between food waste, biodiversity loss, and the potential for pandemics clearly signals the need to change our wasteful ways and create a regenerative food system.

The prior decade saw the emergence of a global food waste movement with considerable emphasis on awareness-raising, education, and budding innovation efforts, and while we entered the current decade with emphasis on moving from awareness to action at scale, we have much work to do to achieve broad-based transformational change. The pressing question remains:

How can we ignite efforts to truly make this a pivotal decade of action for global food waste reduction?
Join us on April 13th:
Join our webinar for a discussion with a panel of global experts as we build on the food waste reduction successes of the past decade with a "go-forward" view toward accelerating progress in the current "decade of action" anchored by a goal of halving global food waste by 2030. In this conversational session we will review progress on food waste reduction to date, assess key successes, initiatives, and linkages to leverage now, identify remaining barriers to change, and focus on how to advance food waste reduction in a more transformational manner within a more systemic frame.

Please register for the webinar here.
Panelists
Tristram Stuart is an international award-winning author, speaker, campaigner and expert on the environmental and social impacts of food . His books have been described as "a genuinely revelatory contribution to the history of human ideas" (The Times) and his TED talk has been watched over a million times. The environmental campaigning organisation he founded, Feedback, has spread its work into dozens of countries worldwide. He is also the founder of Toast Ale, which upcycles millions of slices of unsold bread into award-winning craft beer and donates its profits to charity.

Dana Gunders serves as ReFED's Executive Director. Dana is a national expert on food waste and one of the first to bring to light just how much food is lost throughout the food system. For almost a decade, she was a Senior Scientist at the Natural Resources Defense Council (NRDC). She then launched Next Course, LLC to strategically advise on the topic. Some of her career highlights include authoring the landmark Wasted report and Waste-Free Kitchen Handbook, launching the Save the Food campaign with the Ad Council, testifying in Congress, consulting to Google, appearing on Last Week Tonight with John Oliver, and being a founding Board Member of ReFED.

Jonathan Deutsch, Ph.D., CHE, CRC is Professor in the Department of Food and Hospitality Management in the College of Nursing and Health Professions at Drexel University and Director of the Drexel Food Lab. He is the President of the Upcycled Food Foundation and previously was the inaugural James Beard Foundation Impact Fellow, leading a national curriculum effort on food waste reduction for chefs and culinary educators. He directs the Drexel Food Lab, a culinary innovation and food product research and development lab focused on solving real world food system problems in the areas of sustainability, health promotion, and inclusive dining. He is the author or editor of eight books including Barbecue: A Global History (with Megan Elias),and Gastropolis: Food and Culture in New York City (with Annie Hauck-Lawson) and numerous articles in journals of food studies, public health and hospitality education.

Andrew Shakman is a food waste prevention advocate and the CEO of Leanpath, a technology solutions provider for the foodservice industry based in Portland, Oregon. In 2004, Leanpath invented the world's first automated food waste tracking technology and today provides a complete food waste prevention platform including data collection hardware tools, cloud-based waste analytics and behavior change coaching. Leanpath technology is installed in more than 40 countries with clients including Sodexo, Google, and Aramark. Since 2014 alone, Leanpath has empowered culinary teams to prevent more than 63 million pounds of food from being wasted. Andrew is a member of ReFED's Advisory Council and serves on the Board of Directors for Every Woman Treaty.

Students in MET ML 626, Food Waste: Scope, Scale, & Signals for Sustainable Change, are contributing posts this month. Today's is from Gastronomy student Sabina Michelle Säfsten Routon.
It was an issue of convenience. Or, rather, one of inconvenience - wrapping that much fish just to store it for "some guy" to come pick it up later would cost 20 minutes of employee time twice a week, and that just didn't make sense for the department. "Those minutes add up," explained the Meat & Seafood manager, annoyed. I obviously didn't understand the importance of the bottom line.

So, I watched them throw it away. It was "only" about $400-worth of fish, retail - $300 on a good winter sales week, $250 in the summer. In the trash bin, every Tuesday and Thursday evening at 9. No discounted food sales allowed to store patrons - and donating it, as previously explained, "didn't make sense."

I'm not sure how much fish mongers made per hour in Utah in 2013, but it must have been a pretty penny if 40 minutes of time wasn't worth an $800-per-week tax write-off, or even a few hundred dollars in discounted sales. After briefly considering a career change, I instead decided to persuade them to change this wasteful behavior.

To be clear, I don't even like fish. The only seafood I like is salmon (likely on account of being allergic to much of the rest of it). I was taking care of my mother at the time and receiving help from the community to pay for most of the grocery bill, so I certainly couldn't afford to buy the fish. My self-righteous indignation was growing steadily, fueled by passive-aggressive jabs about wasted food.

Then, one day in April, it was too much to handle. We ended Thursday with over ten pounds of fresh halibut fillet. Caught on Tuesday, delivered Wednesday morning. The next shipment of fish was due to arrive Friday morning, so this leftover halibut was destined for the trash. Something inside me couldn't handle that - so I bargained.

"What if I wrap it up for you? Will you not throw it away?" I asked Jonathan*, the fishmonger. He laughed. "And what am I going to do with ten pounds of halibut fillet? I don't even like halibut!" he responded. "Well," I said, feeling bold, "what would it take?"

After a few minutes of haggling, he presented his final offer: If I wrapped the fish, cleaned the fish case (off-the-clock), and bought everything left in the case, I could have the fish for 90% off. I immediately agreed.

"Wait, what are YOU going to do with ten-plus pounds of halibut fillet??" he asked, incredulously. I told him not to worry about it. When the time came, I clocked out, put on a mask and gloves (I'm allergic to the shellfish), and scrubbed the fish case. I figured a job well-done could lead to future bargains, so I went all-out. Thirty minutes later, I wrapped up my fish and took $267 worth of halibut home, instead of the groceries I'd planned.

Mom was more than a bit surprised, but was enthusiastic when I explained what had happened. Turns out my mom loved fish, and so did many of her family in the area. We had some very happy friends that weekend, and Mom was thrilled to be able to help them out. I explained to Mom that I wanted to make this a regular thing, and we crunched some numbers. There was no way we could afford it. I hit on another idea: if we were careful with accounts and numbers, we could buy the fish and then sell what we didn't need to select friends and neighbors at 50-75% off. That way they still got a bargain, and we got our fish for free.

I started calling around to some trusted friends and we made our network. The next time Jonathan didn't want to clean the fish case, I was ready. It soon became a pretty regular thing. While I didn't love fish, I was in culinary school and was able to arrange to take my fish and seafood class during that time. We "rescued" thousands of dollars' worth of seafood in those 5 months.

While it turned into a huge benefit for my family, this "fish-case fiasco" never should have happened. There was a combination of many factors at play, some more obvious than others: cultural expectations, including instant gratification and impulse buying, rather than planning or ordering ahead, leading to a lack of a pre-sale structure for grocers; overabundance, resulting in too much fish being ordered, just to have a large fish case that looked "full" (a full case sells better); and variety, where people expect lots of different kinds of food/fish to be available at any time, leading to more being purchased overall by retailers. We have a generation of people out-of-touch with seasonality and geographical boundaries of cuisine, leading to massive amounts of fresh fish shipped express to the Utah desert, and a culture of convenience, where throwing fish away was preferrable to spending the extra minutes wrapping it up. There are more drivers, but these are a few.

Perhaps the biggest invisible culprit is that America has developed a culture of quality without educational backing: we want the best and the finest, but we don't always know what that is, especially when it comes to food. Additionally, we want to eat luxuries as staples and sideline traditional staple foods. The world as a whole is leaning in this direction.

This can change. If we are to meet Target 12.3, it has to change. We may need to focus on adult behaviors in the short-term, but accurate education of coming generations is key for successfully rebalancing our planet. As the old adage goes, "Give a man a fish, he'll eat for a day; teach a man to fish, he'll eat for a while and then take shortcuts and ruin the system. Teach a man to love to fish, and he will find a way to keep fishing for a lifetime, teach his children sustainable practices, and become a functional part of the world's ecosystem instead of destroying it for profit."

And he might even stop overstocking the fish case.
Sabina Michelle Säfsten Routon

Discussions of the Boston Beverage Landscape

With its focus on expensive luxury goods, gatekeeping, and arcane learning, the world of wine and spirits is largely exclusive. The elitism associated with these products contributes to class differentiation, with some groups gaining from the involvement while others become marginalized. The field of beverage studies offers a platform to consider these intricate and previously unexplored aspects of classmaking.

To explore the related pitfalls in today's beverage industry, Gastronomy students Amy Johnson and Altamash Gaziyani have organized a conference, The Curse of Connoisseurship: Discussions of the Boston Beverage Landscape. The program is hosted and funded by the Boston University Office of Diversity & Inclusion as part of the 2020-2021 Learn More series focused on the theme of social class.

Structured as a series of six webinars to be held on Tuesday and Thursday evenings during the month of March, the conference will address who is othered and made invisible as a result of underrepresentation in the wine and spirits industry. Gastronomy students and alumni will host these conversations, bringing together industry professionals from across the Boston beverage scene to discuss the existing barriers present within this community.

Conference sessions will foster conversations about the language, rhetoric, spaces, and events used to discuss, share, and sell wine and spirits. This virtual conference is broken down into six different discussions which are free and open to the public. Please register here to join in the conversation.

Tuesday March 2, 6 pm: Crafting the Back Bar: Capitalism vs. Classism, with Jared Sadoian, General Manager, Craigie on Main

Thursday, March 4, 6 pm: One Foot in the Saloon: Recreating Classist Spaces, with Kayla Quigley, local representative of Flor de Cana, a fair trade certified, natural rum company.

Tuesday, March 9, 6 pm: Creating Hospitality Through Diversity, with TJ & Hadley Douglas, owners of the award-winning wine shop Urban Grape, in Boston's South End.

Thursday, March 11, 6 pm: We Deserve, with Ty-Juana Flores, Creator/Founder, Suhayl Ramirez, Industry Attaché, and Charlene Chinn, Business Strategist, TFLUXÈ. The TFLUXÈ mission is to diversify, disrupt, and demystify the landscape of the wine industry one sip at a time through curated virtual events for a growing community of BIPOC consumers.

Tuesday, March 16, 6 pm: Reckoning with Power Dynamics in the Wine World, with Marie-Louise Friedland (Sommelier & Graduate Student) & Liz Mitchell (Advanced Sommelier, CMS)

Thursday, March 18, 6 pm, conference De-Brief Session: Let's Discuss: Inclusivity in the Beverage Industry

Conference Registration link: https://bostonu.zoom.us/meeting/register/tJcrd-itpj0rHdbSpyOOrUvjB_6JhsAfr6Uz

Professor Benjamin Siegel will speak in our Spring 2021 Pépin Lecture Series in Food Studies & Gastronomy on his book Hungry Nation: Food, Famine, and the Making of Modern India.

Hungry Nation: Food, Famine, and the Making of Modern India

Friday, March 26 at 12 pm, EST.

Online program: please register here to receive a link to the webinar.

Hungry Nation: Food, Famine, and the Making of Modern India is an ambitious and engaging new account of independent India's struggle to overcome famine and malnutrition in the twentieth century traces Indian nation-building through the voices of politicians, planners, and citizens. Siegel explains the historical origins of contemporary India's hunger and malnutrition epidemic, showing how food and sustenance moved to the center of nationalist thought in the final years of colonial rule. Independent India's politicians made promises of sustenance and then qualified them by asking citizens to share the burden of feeding a new and hungry state. Foregrounding debates over land, markets, and new technologies, Hungry Nation interrogates how citizens and politicians contested the meanings of nation-building and citizenship through food, and how these contestations receded in the wake of the Green Revolution. Drawing upon meticulous archival research, this is the story of how Indians challenged meanings of welfare and citizenship across class, caste, region, and gender in a new nation-state.

Benjamin Siegel is Assistant Professor of History at Boston University. His transnational archival work places South Asia at the center of global economic, environmental, and bodily transformations. Professor Siegel's work has been published in the Caravan, the Christian Science Monitor, Contemporary South Asia, Humanity, the International History Review, the Marginalia Review of Books, Modern Asian Studies, the World Policy Journal, VICE, and other journals and edited volumes. He received his B.A. from Yale University and his A.M. and Ph.D. from Harvard University, where his dissertation won the 2014 Sardar Patel Award given by the Center for India and South Asia at UCLA, honoring "the best doctoral dissertation on any aspect of modern India."
We thank the Jacques Pépin Foundation for sponsorship of this lecture series.

The Gastronomy Program is pleased to announce that the first program in the Spring 2021 Pépin Lecture Series in Food Studies & Gastronomy will feature Gastronomy Program alumna Emily J. H. Contois (MLA 2013), speaking on her recently published book, Diners, Dudes & Diets: How Gender and Power Collide in Food Media and Culture.

Diners, Dudes & Diets: How Gender and Power Collide in Food Media and Culture

Friday, February 19 at 12 pm, EST.

Online program: please register here to receive a link to the webinar.

The phrase "dude food" likely brings to mind a range of images: burgers stacked impossibly high with an assortment of toppings that were themselves once considered a meal; crazed sports fans demolishing plates of radioactively hot wings; barbecued or bacon-wrapped . . . anything. But there is much more to the phenomenon of dude food than what's on the plate. This provocative book begins with the dude himself-a man who retains a degree of masculine privilege but doesn't meet traditional standards of economic and social success or manly self-control. In the Great Recession's aftermath, dude masculinity collided with food producers and marketers desperate to find new customers. The result was a wave of new diet sodas and yogurts marketed with dude-friendly stereotypes, a transformation of food media, and weight loss programs just for guys.

In a work brimming with fresh insights about contemporary American food media and culture, Contois shows how the gendered world of food production and consumption has influenced the way we eat and how food itself is central to the contest over our identities.

Emily J.H. Contois is an Assistant Professor of Media Studies at The University of Tulsa. Her research and writing span the breadth of food, health, and identity in popular culture and media. She has appeared on CBS This Morning, BBC Ideas, and Ugly Delicious with David Chang on Netflix. She earned her PhD in American studies at Brown University and holds master's degrees in public health from UC Berkeley and gastronomy from Boston University. She lives in Tulsa with her husband and their rescue pup, Raven.

Note: anyone interested in purchasing a copy of Diners, Dudes & Diets from UNC Press can get a 40% discount using code 01DAH40.
We thank the Jacques Pépin Foundation for sponsorship of this lecture series.

Just Food: because it is never Just Food, the 2021 Joint Annual Conference of the Association for the Study of Food and Society ( ASFS); the Agriculture, Food & Human Values Society ( AFHVS); the Canadian Association for Food Studies ( CAFS); and the The Society for the Anthropology of Food and Nutrition ( SAFN) will run from June 9 to June 15, hosted by the Culinary Institute of America and New York University.

In this most unusual time, four academic organizations engaged in food studies are hosting a virtual conference centered on the theme of Food Justice. The title, Just Food: because it is never Just Food, highlights how food is ensconced in systems of exclusion, oppression, and power. Papers, presentations and roundtables will grapple with cultural and historical entanglements of food with social justice by examining the production, distribution, and consumption of food while keeping in mind power differentials in local and global world systems. In particular, we have invited submissions that reveal and/or seek to challenge the systemic injustices of the industrial and alternative food systems that marginalize the food histories, practices, and experiences of diverse communities including Indigenous, Black, and people of color. In addition, this conference seeks to highlight the ways people use food for pleasure and autonomy. The conference hopes to make connections between diverse perspectives, to center historically marginalized voices, and to work towards building a greater understanding of how to achieve food justice on Turtle Island (North America) and globally."
Boston University Gastronomy faculty, students and alumni will be presenting in the following conference panels:
Dana Ferrante: June 14th, 9am-10am, 6A3. Roundtable: Disabling Food Scholarship & Activism: Future Prospects at the Intersections of Food Studies and Disability Studies

Jose López Ganem: June 13th, 4:30pm- 6pm, 5E6. Workshop: Mesoamerica, race, and the reminisces of Iberian colonialism through chocolate

Laura Kitchings: June 9th, 9am-10:30am, 1A1. Panel: Cookbooks

Salma Serry: June 10th, 9am-10:30am, 2A1. Panel: (De)Coloniality of Food: Global Cases of Power and Resistance

Hannah Spiegelman & Ariana Gunderson: June 9th & June 14th, 8pm-9:30pm, 1G4 & 6G4. Workshop: Vermouth Storytelling Part 1 & 2

Ariana Gunderson: June 9th, 4:30pm-6pm, 1E3. Panel: Covid Foodways: changing urban food cultures in the coronavirus pandemic

Valerie Ryan: June 15th, 9am-10:30am, 7A3. Panel: Food Pedagogies during and after the pandemic, Part 1 of 2 (Tasting food virtually)

Esther Martin: June 12th, 4:30-6pm, 4E2. Panel: On Whose authority with Whose permission? Authorship, Power, and Privilege in Food media and Art
Kerri LaCharite:
June 9th, 9am-10:30am, 1A4. Roundtable: Staying, Going, or Zooming? The Impact of Covid-19 on Food Studies Abroad

June 10th, 11am-12:30pm, 2B1. Roundtable: Teaching Kitchens: Challenges and Lessons Learned in their Creation, Management, and Operation

June 10th, 8pm-9:30pm, 2G2. Panel: Food System Pedagogy

Katherine Hysmith: June 12th, 4:30pm-6pm, 4E2. Panel: On Whose authority with Whose permission? Authorship, Power, and Privilege in Food media and Art
Megan Elias:
June 9th, 9am-10:30am, 1A3. Roundtable: How to Get Published

June 12th, 11am-12:30pm, 4B2. Roundtable: Listening Session: How Can Food Studies Journals Promote Food Justice?

Netta Davis: June 12th, 9am-10:30am, 4A4. Roundtable: "A Decent and Just Social Order": A Transdisciplinary Conversation on Disability and Food, Part 1 of 2.

Marie-Louise Friedland, Altamash Gaziyani, and Amy Johnson: June 13th, 8pm-9:30pm, 5G4. Workshop: The Curse of Connoisseurship: Othering of Taste in the Beverage Industry

Jared Kaufman, June 14, 9-10:30am, 6A1. Panel: Constructing Taste.

The full conference program is available for download here.

...And how to get a postcard with the artwork!

Meet the artist behind our stunning conference art, Kimberly Barzola.

Born and raised on the North Shore of Massachusetts, Kimberly is a first-generation Quechua artist and librarian/archivist in training. Her primary mediums include muralism, relief printmaking, and acrylic painting; some of her vibrant murals can be found in nearby towns of Chelsea and Salem, Mass. Through her work, she responds to the social movements here in the US and across Latin America.

In describing her inspiration for the piece, Kimberly writes, "For this piece I was inspired by my photographs of the New England coastline and in particular, my hometown Salem's rocky beaches. Cranberries, stinging nettle, barnacles, mussels, acorns, and clams are featured because they are just some of the coast's wild foods that can be foraged! The earth is so abundant and claims that say otherwise speak to the incredibly wasteful system of production and distribution that prioritize profit and exploitation over ecological alignment and native stewardship of the land. We owe it to the stewards of this land before us and those who will live many generations after us to do everything we can to forcefully and radically take the action needed to align society with earth's resilient systems."

Kimberly's piece was made through a process called printmaking, in which the artist transfers the sketch onto a piece of linoleum, carves out the negative space by hand, inks the block, and prints the final design onto paper. See Kimberly's initial sketch for the print below, where she labeled some of the landscapes' components, including: leaves, acorns, barnacles, mussels, clams, waves, and the rocky shoreline.

In the image below, check out the different local wild and foraged foods in the final image.

Since we started planning this conference last fall, we knew this conference would be more than a gathering of traditional 'academic' speakers. In addition to the uncertainties of COVID, the conference's focus on the intersections of environmental stewardship and social justice required us to reflect on how to actively center people, voices, ideas, and practices that have traditionally been excluded from 'the Academy.'

Art is a powerful way to make provoking, transformative ideas tangible, present alternative ways of seeing, and engage a broader audience. We are grateful for Brain Arts Org/ Dorchester Art Project -a multi-pronged nonprofit with the mission to realize creative independence in systematically undervalued communities-for connecting us with Kimberly. We are also super grateful for Kimberly's willingness to not only turn the conference's broad ideas into a visual reality, but to share her own relationship to the local landscape(s) with all of us.

In thinking about other ways in which we could expand the impact of the conference, we asking folks to make a donation to a community organization upon registering for the Living Landscapes conference. If you can, make a donation and send us your receipt to receive a (snail-mail!) postcard with Kimberly's awesome artwork on it.

Here's how it works:

Register for Living Landscapes.

Donate any amount to one of the following orgs, many of which were recommended by our speakers:

Send your receipt and full address to bugastronauts@gmail.com.

We'll mail you a postcard!

Register today!

A Conference Using Foraging to Explore the Intersections of Environmental Stewardship, Racial Justice & Food Sovereignty
Join the Boston University Gastronomy community for in-depth discussions and (remote) hands-on foraging experiences!
Since the start of the pandemic, the connections between environmental racism, climate change, land (in)access, social justice, and food sovereignty have become clearer than ever.

A pandemic that has killed hundreds of thousands in the US, with Black, Indigenous, and Latinx communities affected at the highest rates. Civil unrest brought on by racialized state violence. Uncontrolled wildfires in the Western US due to climate change and suppression of indigenous land practices; incarcerated individuals forced to put their bodies in harm's way to battle the fires, while prisons failed to protect them from the coronavirus. Racialized rhetoric that has fanned the flames of violent xenophobia towards AAPI communities, as equally racialized discourse on the "wet markets" in China circulated throughout popular media.

While these phenomena may seem unrelated on a superficial level, these on-going issues can be traced back to the White, settler colonialism notions that shape this country's understanding of the land and 'wild' foods. Living Landscapes was developed with these overlapping issues in mind.

This conference will use foraging as a tangible entry point into the nexus of these issues, bringing together people from a wide variety of backgrounds-including foragers, researchers, and activists-for critical conversations. Through this two-day, virtual micro-conference, we hope to interrogate the landscape(s) of Boston and beyond, and the unequal experiences of those that live, eat, and grow there.
Living Landscapes Conference Program This conference is free and open to the public. Please register today.

Accessibility & Inclusion

The BU Gastronomy Program strives to be accessible, inclusive, and diverse in all of our programming. Your experience at this event is important to us! If you have a disability (including but not limited to learning or attention, mental health, concussion, vision, mobility, hearing, physical or other health-related), require communication access services for Deaf or hard of hearing persons, or believe that you require a reasonable accommodation for another reason please contact Dana ( dferr@bu.edu) upon registration.

This event is funded by a BU Diversity & Inclusion Catalyst Grant and BU Sustainability and Innovate@BU Sustainability Innovation Seed Grant. In addition, this event would not be possible without the generous support of the BU Gastronomy Fund, the Gastronomy Program faculty and staff, and the Gastronomy Students Association.

Our summer term course, MET ML 611, Archaeology of Food, with Dr. Karen Metheny, introduces students to the archaeological study of food and foodways in prehistoric and historic-period cultures, with a specific focus on how food was obtained, processed, consumed, and preserved in past times, and the impact of diet upon past human populations in terms of disease and mortality. Students will learn how archaeologists use a wide range of artifacts, plant remains, human skeletal evidence, animal remains, and other data to recover information about food use and food technology over time to reconstruct past foodways practices. This introduction will be followed by a survey of the archaeological evidence of foodways from the earliest modern humans to the first farmers to more recent historical periods. Key topics will include the domestication of plants and animals, feasting, the role of households in food production, and the archaeological evidence for gender and status in cooking, preparation areas, serving vessels, and consumption. The course highlights specific foodstuffs, staples, and beverages, such as cacao and chocolate, maize, wheat, barley, beer, wine, sugar, and tea in order to show not only the range of evidence that can be brought to bear, but also how the reconstruction of foodways can reveal critical information about past cultural practice, social structure, identities, and meaning across time and space.

We will hear from experts on the origin of beer and bread, and then debate the question of which came first. Students will select a specific food or beverage to study during the semester and will engage in weekly projects to investigate how that food or beverage was prepared and served during a daily meal or in ritual context, what tools and cooking techniques were used, what ingredients were needed, who would have prepared and/or consumed this food, and its social and cultural significance. Finally, students will research and prepare a food or duplicate a food technology.

MET ML 611, Archaeology of Food meets on Tuesday and Thursday evenings from 5:30 to 9 pm, EST, from May 25 to July 1, 2021.

This class will be offered in fully remote format. Non-degree seeking students will find registration instructions here.

Reducing Meat Waste by Learning to Love Organs and Accepting Other Cultures
Students in MET ML 626, Food Waste: Scope, Scale, & Signals for Sustainable Change, are contributing posts this month. Today's is from Gastronomy student Samantha Maxwell.
The often-cited Sustainable Development Goal Target 12.3 aims to reduce global food waste by 50 percent by 2030. However, according to all metrics, the world is woefully behind schedule when it comes to meeting this goal.

Perhaps the most egregious of our food waste sins is the wasting of meat products. That's because when we waste meat, we're not just wasting the flesh of the animal itself-we're also wasting the huge number of resources that went into raising and housing that animal and preparing it for slaughter. If we feel guilty about throwing out that shriveled cucumber in the back of our fridge, we should be concerned about pitching out that half-eaten package of ground turkey even more.

But some meat waste happens not because we forget to cook the pork that gets lost in the back of our fridge. Instead, it happens before the food even reaches our homes. Particularly in the U.S., offal meats, organs including tripe, liver, and kidney, are unpopular cuts of meat. Instead, we'd rather opt for the chicken breast and legs instead of the liver. Wondering what happens to those organ meats? They often go to waste completely, since grocery stores know that there is limited demand for them. In fact, can you remember the last time you saw kidneys sold at your local chain supermarket?

Our disdain of organ meats is largely cultural, though. During WWII, when rationing was viewed as an important part of the war effort, organ meats were mainstream and considered enjoyable. A cookbook from this era entitled What Do We Eat Now? provides several offal recipes that are framed as neither exotic or undesirable: They were just normal cuts of meat. But as Americans got wealthier and had more access to more "desirable" cuts of meat, offal fell out of fashion. That's a shame considering the nutritional content of many types of offal. Liver, for example, is an excellent source of iron, a mineral that many are deficient in.

Other cultures, though, continue to embrace offal and even treat it as a delicacy. The French make pate, which is considered a luxury food item by many. Many in east Asian countries eat tendon, which has a lovely soft, chewy texture when cooked in broth or marinated with flavorful fats. And in places like Spain and Panama, pig's ears and trotters are considered a delicious appetizer, full of flavor and interesting textures.

The younger generations alive today are crossing cultural barriers like none before them. It's easier than ever to connect with people on opposite sides of the world, and the relatively low prices of plane travel these days make international travel an option to more and more people across the world. As people in the United States and the rest of the non-offal-eating world gain greater access to parts of the planet where people do eat offal, we should start to question our own food habits. Why wouldn't we adopt the practice of eating offal, especially when other cultures make it taste so good? International food is gaining more widespread acceptance in the U.S., which makes this a prime time for chefs and food influencers to make a push to make offal delicious again.

According to a 2019 study from Germany, choosing offal instead of more "conventional" meat just one or two times a week could "reduce livestock emissions by as much as 14 percent." This sort of change doesn't require people to give anything up to make a change-instead, it simply encourages them to try something new. And since people don't like to feel like they're being restricted, the idea of adding something into their diet is likely to seem more appealing than taking something out.

Of course, while reaching the goal of reducing food waste by 50 percent by 2030 is going to require a lot of changes to policy, we must also encourage individuals to change their habits. This doesn't always have to be an unpleasant experience. When we can get eaters to expand their culinary horizons by eating offal, we're not just reducing food waste-we're also encouraging more cultural acceptance between different ethnic groups and nationalities. If we can do both at the same time and make it delicious in the process, why wouldn't we?

Boston University Metropolitan College (MET) and the Gastronomy and Food Studies Program invite you to a special event, Accelerating Food Waste Reduction.

It is hard to believe that in our modern and increasingly connected world, billions of pounds of food are lost or wasted annually, depriving needed nutrition to hundreds of millions of global citizens while accelerating pollution, biodiversity loss and climate change.

At the same time, Covid-19 has exposed the fragility of the global food system, initially leading to an increase in food loss and waste, while the linkage between food waste, biodiversity loss, and the potential for pandemics clearly signals the need to change our wasteful ways and create a regenerative food system.

The prior decade saw the emergence of a global food waste movement with considerable emphasis on awareness-raising, education, and budding innovation efforts, and while we entered the current decade with emphasis on moving from awareness to action at scale, we have much work to do to achieve broad-based transformational change. The pressing question remains:

How can we ignite efforts to truly make this a pivotal decade of action for global food waste reduction?
Join us on April 13th:
Join our webinar for a discussion with a panel of global experts as we build on the food waste reduction successes of the past decade with a "go-forward" view toward accelerating progress in the current "decade of action" anchored by a goal of halving global food waste by 2030. In this conversational session we will review progress on food waste reduction to date, assess key successes, initiatives, and linkages to leverage now, identify remaining barriers to change, and focus on how to advance food waste reduction in a more transformational manner within a more systemic frame.

Please register for the webinar here.
Panelists
Tristram Stuart is an international award-winning author, speaker, campaigner and expert on the environmental and social impacts of food . His books have been described as "a genuinely revelatory contribution to the history of human ideas" (The Times) and his TED talk has been watched over a million times. The environmental campaigning organisation he founded, Feedback, has spread its work into dozens of countries worldwide. He is also the founder of Toast Ale, which upcycles millions of slices of unsold bread into award-winning craft beer and donates its profits to charity.

Dana Gunders serves as ReFED's Executive Director. Dana is a national expert on food waste and one of the first to bring to light just how much food is lost throughout the food system. For almost a decade, she was a Senior Scientist at the Natural Resources Defense Council (NRDC). She then launched Next Course, LLC to strategically advise on the topic. Some of her career highlights include authoring the landmark Wasted report and Waste-Free Kitchen Handbook, launching the Save the Food campaign with the Ad Council, testifying in Congress, consulting to Google, appearing on Last Week Tonight with John Oliver, and being a founding Board Member of ReFED.

Jonathan Deutsch, Ph.D., CHE, CRC is Professor in the Department of Food and Hospitality Management in the College of Nursing and Health Professions at Drexel University and Director of the Drexel Food Lab. He is the President of the Upcycled Food Foundation and previously was the inaugural James Beard Foundation Impact Fellow, leading a national curriculum effort on food waste reduction for chefs and culinary educators. He directs the Drexel Food Lab, a culinary innovation and food product research and development lab focused on solving real world food system problems in the areas of sustainability, health promotion, and inclusive dining. He is the author or editor of eight books including Barbecue: A Global History (with Megan Elias),and Gastropolis: Food and Culture in New York City (with Annie Hauck-Lawson) and numerous articles in journals of food studies, public health and hospitality education.

Andrew Shakman is a food waste prevention advocate and the CEO of Leanpath, a technology solutions provider for the foodservice industry based in Portland, Oregon. In 2004, Leanpath invented the world's first automated food waste tracking technology and today provides a complete food waste prevention platform including data collection hardware tools, cloud-based waste analytics and behavior change coaching. Leanpath technology is installed in more than 40 countries with clients including Sodexo, Google, and Aramark. Since 2014 alone, Leanpath has empowered culinary teams to prevent more than 63 million pounds of food from being wasted. Andrew is a member of ReFED's Advisory Council and serves on the Board of Directors for Every Woman Treaty.

Students in MET ML 626, Food Waste: Scope, Scale, & Signals for Sustainable Change, are contributing posts this month. Today's is from Gastronomy student Sabina Michelle Säfsten Routon.
It was an issue of convenience. Or, rather, one of inconvenience - wrapping that much fish just to store it for "some guy" to come pick it up later would cost 20 minutes of employee time twice a week, and that just didn't make sense for the department. "Those minutes add up," explained the Meat & Seafood manager, annoyed. I obviously didn't understand the importance of the bottom line.

So, I watched them throw it away. It was "only" about $400-worth of fish, retail - $300 on a good winter sales week, $250 in the summer. In the trash bin, every Tuesday and Thursday evening at 9. No discounted food sales allowed to store patrons - and donating it, as previously explained, "didn't make sense."

I'm not sure how much fish mongers made per hour in Utah in 2013, but it must have been a pretty penny if 40 minutes of time wasn't worth an $800-per-week tax write-off, or even a few hundred dollars in discounted sales. After briefly considering a career change, I instead decided to persuade them to change this wasteful behavior.

To be clear, I don't even like fish. The only seafood I like is salmon (likely on account of being allergic to much of the rest of it). I was taking care of my mother at the time and receiving help from the community to pay for most of the grocery bill, so I certainly couldn't afford to buy the fish. My self-righteous indignation was growing steadily, fueled by passive-aggressive jabs about wasted food.

Then, one day in April, it was too much to handle. We ended Thursday with over ten pounds of fresh halibut fillet. Caught on Tuesday, delivered Wednesday morning. The next shipment of fish was due to arrive Friday morning, so this leftover halibut was destined for the trash. Something inside me couldn't handle that - so I bargained.

"What if I wrap it up for you? Will you not throw it away?" I asked Jonathan*, the fishmonger. He laughed. "And what am I going to do with ten pounds of halibut fillet? I don't even like halibut!" he responded. "Well," I said, feeling bold, "what would it take?"

After a few minutes of haggling, he presented his final offer: If I wrapped the fish, cleaned the fish case (off-the-clock), and bought everything left in the case, I could have the fish for 90% off. I immediately agreed.

"Wait, what are YOU going to do with ten-plus pounds of halibut fillet??" he asked, incredulously. I told him not to worry about it. When the time came, I clocked out, put on a mask and gloves (I'm allergic to the shellfish), and scrubbed the fish case. I figured a job well-done could lead to future bargains, so I went all-out. Thirty minutes later, I wrapped up my fish and took $267 worth of halibut home, instead of the groceries I'd planned.

Mom was more than a bit surprised, but was enthusiastic when I explained what had happened. Turns out my mom loved fish, and so did many of her family in the area. We had some very happy friends that weekend, and Mom was thrilled to be able to help them out. I explained to Mom that I wanted to make this a regular thing, and we crunched some numbers. There was no way we could afford it. I hit on another idea: if we were careful with accounts and numbers, we could buy the fish and then sell what we didn't need to select friends and neighbors at 50-75% off. That way they still got a bargain, and we got our fish for free.

I started calling around to some trusted friends and we made our network. The next time Jonathan didn't want to clean the fish case, I was ready. It soon became a pretty regular thing. While I didn't love fish, I was in culinary school and was able to arrange to take my fish and seafood class during that time. We "rescued" thousands of dollars' worth of seafood in those 5 months.

While it turned into a huge benefit for my family, this "fish-case fiasco" never should have happened. There was a combination of many factors at play, some more obvious than others: cultural expectations, including instant gratification and impulse buying, rather than planning or ordering ahead, leading to a lack of a pre-sale structure for grocers; overabundance, resulting in too much fish being ordered, just to have a large fish case that looked "full" (a full case sells better); and variety, where people expect lots of different kinds of food/fish to be available at any time, leading to more being purchased overall by retailers. We have a generation of people out-of-touch with seasonality and geographical boundaries of cuisine, leading to massive amounts of fresh fish shipped express to the Utah desert, and a culture of convenience, where throwing fish away was preferrable to spending the extra minutes wrapping it up. There are more drivers, but these are a few.

Perhaps the biggest invisible culprit is that America has developed a culture of quality without educational backing: we want the best and the finest, but we don't always know what that is, especially when it comes to food. Additionally, we want to eat luxuries as staples and sideline traditional staple foods. The world as a whole is leaning in this direction.

This can change. If we are to meet Target 12.3, it has to change. We may need to focus on adult behaviors in the short-term, but accurate education of coming generations is key for successfully rebalancing our planet. As the old adage goes, "Give a man a fish, he'll eat for a day; teach a man to fish, he'll eat for a while and then take shortcuts and ruin the system. Teach a man to love to fish, and he will find a way to keep fishing for a lifetime, teach his children sustainable practices, and become a functional part of the world's ecosystem instead of destroying it for profit."

And he might even stop overstocking the fish case.
Sabina Michelle Säfsten Routon

Discussions of the Boston Beverage Landscape

With its focus on expensive luxury goods, gatekeeping, and arcane learning, the world of wine and spirits is largely exclusive. The elitism associated with these products contributes to class differentiation, with some groups gaining from the involvement while others become marginalized. The field of beverage studies offers a platform to consider these intricate and previously unexplored aspects of classmaking.

To explore the related pitfalls in today's beverage industry, Gastronomy students Amy Johnson and Altamash Gaziyani have organized a conference, The Curse of Connoisseurship: Discussions of the Boston Beverage Landscape. The program is hosted and funded by the Boston University Office of Diversity & Inclusion as part of the 2020-2021 Learn More series focused on the theme of social class.

Structured as a series of six webinars to be held on Tuesday and Thursday evenings during the month of March, the conference will address who is othered and made invisible as a result of underrepresentation in the wine and spirits industry. Gastronomy students and alumni will host these conversations, bringing together industry professionals from across the Boston beverage scene to discuss the existing barriers present within this community.

Conference sessions will foster conversations about the language, rhetoric, spaces, and events used to discuss, share, and sell wine and spirits. This virtual conference is broken down into six different discussions which are free and open to the public. Please register here to join in the conversation.

Tuesday March 2, 6 pm: Crafting the Back Bar: Capitalism vs. Classism, with Jared Sadoian, General Manager, Craigie on Main

Thursday, March 4, 6 pm: One Foot in the Saloon: Recreating Classist Spaces, with Kayla Quigley, local representative of Flor de Cana, a fair trade certified, natural rum company.

Tuesday, March 9, 6 pm: Creating Hospitality Through Diversity, with TJ & Hadley Douglas, owners of the award-winning wine shop Urban Grape, in Boston's South End.

Thursday, March 11, 6 pm: We Deserve, with Ty-Juana Flores, Creator/Founder, Suhayl Ramirez, Industry Attaché, and Charlene Chinn, Business Strategist, TFLUXÈ. The TFLUXÈ mission is to diversify, disrupt, and demystify the landscape of the wine industry one sip at a time through curated virtual events for a growing community of BIPOC consumers.

Tuesday, March 16, 6 pm: Reckoning with Power Dynamics in the Wine World, with Marie-Louise Friedland (Sommelier & Graduate Student) & Liz Mitchell (Advanced Sommelier, CMS)

Thursday, March 18, 6 pm, conference De-Brief Session: Let's Discuss: Inclusivity in the Beverage Industry

Conference Registration link: https://bostonu.zoom.us/meeting/register/tJcrd-itpj0rHdbSpyOOrUvjB_6JhsAfr6Uz

Professor Benjamin Siegel will speak in our Spring 2021 Pépin Lecture Series in Food Studies & Gastronomy on his book Hungry Nation: Food, Famine, and the Making of Modern India.

Hungry Nation: Food, Famine, and the Making of Modern India

Friday, March 26 at 12 pm, EST.

Online program: please register here to receive a link to the webinar.

Hungry Nation: Food, Famine, and the Making of Modern India is an ambitious and engaging new account of independent India's struggle to overcome famine and malnutrition in the twentieth century traces Indian nation-building through the voices of politicians, planners, and citizens. Siegel explains the historical origins of contemporary India's hunger and malnutrition epidemic, showing how food and sustenance moved to the center of nationalist thought in the final years of colonial rule. Independent India's politicians made promises of sustenance and then qualified them by asking citizens to share the burden of feeding a new and hungry state. Foregrounding debates over land, markets, and new technologies, Hungry Nation interrogates how citizens and politicians contested the meanings of nation-building and citizenship through food, and how these contestations receded in the wake of the Green Revolution. Drawing upon meticulous archival research, this is the story of how Indians challenged meanings of welfare and citizenship across class, caste, region, and gender in a new nation-state.

Benjamin Siegel is Assistant Professor of History at Boston University. His transnational archival work places South Asia at the center of global economic, environmental, and bodily transformations. Professor Siegel's work has been published in the Caravan, the Christian Science Monitor, Contemporary South Asia, Humanity, the International History Review, the Marginalia Review of Books, Modern Asian Studies, the World Policy Journal, VICE, and other journals and edited volumes. He received his B.A. from Yale University and his A.M. and Ph.D. from Harvard University, where his dissertation won the 2014 Sardar Patel Award given by the Center for India and South Asia at UCLA, honoring "the best doctoral dissertation on any aspect of modern India."
We thank the Jacques Pépin Foundation for sponsorship of this lecture series.

The Gastronomy Program is pleased to announce that the first program in the Spring 2021 Pépin Lecture Series in Food Studies & Gastronomy will feature Gastronomy Program alumna Emily J. H. Contois (MLA 2013), speaking on her recently published book, Diners, Dudes & Diets: How Gender and Power Collide in Food Media and Culture.

Diners, Dudes & Diets: How Gender and Power Collide in Food Media and Culture

Friday, February 19 at 12 pm, EST.

Online program: please register here to receive a link to the webinar.

The phrase "dude food" likely brings to mind a range of images: burgers stacked impossibly high with an assortment of toppings that were themselves once considered a meal; crazed sports fans demolishing plates of radioactively hot wings; barbecued or bacon-wrapped . . . anything. But there is much more to the phenomenon of dude food than what's on the plate. This provocative book begins with the dude himself-a man who retains a degree of masculine privilege but doesn't meet traditional standards of economic and social success or manly self-control. In the Great Recession's aftermath, dude masculinity collided with food producers and marketers desperate to find new customers. The result was a wave of new diet sodas and yogurts marketed with dude-friendly stereotypes, a transformation of food media, and weight loss programs just for guys.

In a work brimming with fresh insights about contemporary American food media and culture, Contois shows how the gendered world of food production and consumption has influenced the way we eat and how food itself is central to the contest over our identities.

Emily J.H. Contois is an Assistant Professor of Media Studies at The University of Tulsa. Her research and writing span the breadth of food, health, and identity in popular culture and media. She has appeared on CBS This Morning, BBC Ideas, and Ugly Delicious with David Chang on Netflix. She earned her PhD in American studies at Brown University and holds master's degrees in public health from UC Berkeley and gastronomy from Boston University. She lives in Tulsa with her husband and their rescue pup, Raven.

Note: anyone interested in purchasing a copy of Diners, Dudes & Diets from UNC Press can get a 40% discount using code 01DAH40.
We thank the Jacques Pépin Foundation for sponsorship of this lecture series.

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Just Food: because it is never Just Food , the 2021 Joint Annual Conference of the Association for the Study of Food and Society ( ASFS); the Agriculture, Food & Human Values Society ( AFHVS); the Canadian Association for Food Studies ( CAFS); and the The Society for the Anthropology of Food and Nutrition ( SAFN) will run from June 9 to June 15, hosted by the Culinary Institute of America and New York University.

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Melegueta pepper or grains of paradise, is a spice with a sometimes limited, sometimes complicated history. In West Africa where it originates, it goes by many different names, which are dependent on tribe, language, and geographic location. Some of its contemporary uses much like its historical ones, include flavoring alcoholic beverages such as Bacardi's Bombay Sapphire Gin and Sam Adam's Pale Ale. And yet, it is a spice that is still relatively unknown (in some parts) which begs the question how, especially when its valorization historically was the equivalent of gold (if not more).

"That was delicious," the man, a well-respected pastor of a local church said to my mother at a community gathering. It would later be revealed that he was a philanderer (he'd had multiple affairs with women in his church), but that is a story for another day. My brother, who was sitting quietly at a table eating met my gaze when he overheard this exchange. When my mother joined us, he whispered, "but he didn't even eat your food, so how would he know it was delicious?"

The mbuzi is a rather common sight along the coconut laden Indian ocean coast. It is how coconuts are processed for domestic use. Ask around, and no one seems to know its history. Where did it come from? why does it share its name with a goat? If I were to speculate as to a place of origin, I'd point to Indonesia for the general structure, but to the Arabs for the interlocking portion which seems to resemble a Quran holder.

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Melegueta pepper or grains of paradise, is a spice with a sometimes limited, sometimes complicated history. In West Africa where it originates, it goes by many different names, which are dependent on tribe, language, and geographic location. Some of its contemporary uses much like its historical ones, include flavoring alcoholic beverages such as Bacardi's Bombay Sapphire Gin and Sam Adam's Pale Ale.

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Bodega advocate, empanada embracer, collard green connoisseur chasing Mister Softee trucks down these Brooklyn streets. I know you're here for the deviled eggs but stay for the noodles, cake and most importantly the controversial conversation at the dinner party.

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Alicia Kennedy is a food and drink writer living in San Juan, Puerto Rico.

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As of April 2021, the reading room is closed to the public until further notice. However, we are still working to bring the Society to you. Learn more

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Ice Cream Inspired by People and Places in the Past

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Ice Cream Inspired by People and Places in the Past

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My research explores food, the body, health, and identities in contemporary U.S. media and popular culture. I'm Chapman Assistant Professor of Media Studies at The University of Tulsa, author of Diners, Dudes & Diets: How Gender & Power Collide in Food Media & Culture, and co-editor of Food Instagram: Identity, Influence & Negotiation.

Montana is called "the last best place," a long-cherished refrain that applies now more than ever to its increasingly innovative restaurants. Here, beneath an expansive blue sky, diners can taste not just Montana ingredients, but the spirit of the state itself. Expressed through food, the Montana identity values the land and landscape, direct communication and unpretentiousness, affordability and responsibility, and an ironclad sense of...

In my editor's note in the fifth issue of the Graduate Journal of Food Studies I considered how to define food studies, particularly during our current political climate.

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My research explores food, the body, health, and identities in contemporary U.S. media and popular culture. I'm Chapman Assistant Professor of Media Studies at The University of Tulsa, author of Diners, Dudes & Diets: How Gender & Power Collide in Food Media & Culture, and co-editor of Food Instagram: Identity, Influence & Negotiation.

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One year after Creative Commons (CC) hosted an exploratory Open Culture Roundtable, in Lisbon, Portugal, which initiated the Towards a Recommendation on Open Culture (TAROC) global initiative, nearly 50 stakeholders from all continents gathered again for a strategic workshop, in Lisbon in May 2024. In this blog post, we share a snapshot of key highlights.

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Creative Commons is an international nonprofit organization that empowers people to grow and sustain the thriving commons of shared knowledge and culture we need to address the world's most pressing challenges and create a brighter future for all.

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I'm a Food Researcher and Artist studying the ways cultural, political, and environmental processes are lived out through embodied food experiences. San Francisco is my new hometown as I make vermouth and conduct research on eating in public. I graduated with my Master's degree in Gastronomy (Food Studies) from Boston University in 2019, having hosted a series of Nostalgia Dinners and written my thesis on how food is used in response to trauma. My pronouns are she/her/hers. I believe everyone has food stories to tell, and that eating is learning.

To see what I'm thinking and writing about lately, check out my blog on this site.

All photos on this site are taken by Ariana Gunderson unless otherwise attributed.

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

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I'm a Food Researcher and Artist studying the ways cultural, political, and environmental processes are lived out through embodied food experiences. San Francisco is my new hometown as I make vermouth and conduct research on eating in public. I graduated with my Master's degree in Gastronomy (Food Studies) from Boston University in 2019, having hosted...

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Digital scholarship (DS) and digital humanities (DH) projects take many forms, including digital exhibits, multimedia essays, text analysis, data visualizations, interactive maps, comparative timelines, and more. Below is a long list of software, digital tools, frameworks, tutorials, and other resources used by scholars engaged in DS and DH research.

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In the Northern Hemisphere, we are on the brink of spring, which means gardens and picnics! But don't be fooled - this is no egg salad sandwich amid blooming tulips. Explore the selections and maybe find a new favorite sandwich.

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In the Northern Hemisphere, we are on the brink of spring, which means gardens and picnics! But don't be fooled - this is no egg salad sandwich amid blooming tulips. Explore the selections and maybe find a new favorite sandwich.

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Tropy is free open-source software that allows you to organize and describe photographs of research material.

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Discover MOFAD, the museum where food is culture™, upstairs at 55 Water Street in DUMBO, Brooklyn, New York.

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Feeding America is an online collection of some of the most important and influential American cookbooks from the late 18th to early 20th century. The digital archive includes 76 cookbooks from the MSU Libraries' collection as well as searchable full-text transcriptions.

The aim of the online collection is to highlight an important part of America's cultural heritage for teachers, students, researchers investigating American social history, professional chefs, and lifelong learners of all ages.

View all 76 cookbooks

Or start with these randomly selected cookbooks from the collection.

Hand-book of practical cookery, for ladies and professional cooks : containing the whole science and art of preparing human food

La cuisine creole : a collection of culinary recipes from leading chefs and noted Creole housewives, who have made New Orleans famous for its cuisine

The international Jewish cook book : 1600 recipes according to the Jewish dietary laws with the rules for kashering : the favorite recipes of America, Austria, Germany, Russia, France, Poland, Roumania, etc., etc.

Miss Beecher's domestic receipt book : designed as a supplement to her treatise on domestic economy

About the Collection

In addition to cookbooks, the original Feeding America site features a glossary of cookery terms and images of antique cooking implements from the collections of the MSU Museum.

Learn more about the project:

Feeding America was made possible with funds from a 2001 IMLS National Leadership Grant. The project began September 1, 2001 and was completed on August 31, 2003.

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Feeding America is an online collection of some of the most important and influential American cookbooks from the late 18th to early 20th century. The digital archive includes 76 cookbooks from the MSU Libraries' collection as well as searchable full-text transcriptions.

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About This Site

This site provides access to photographs, manuscripts, books, audio recordings, and other materials of historical interest that have been digitized and made available by members of Digital Commonwealth, a statewide consortium of libraries, museums, archives, and historical societies from across Massachusetts.

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About This Site This site provides access to photographs, manuscripts, books, audio recordings, and other materials of historical interest that have been digitized and made available by members of Digital Commonwealth, a statewide consortium of libraries, museums, archives, and historical societies from across Massachusetts.

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The year of reckoning with the twin pandemics of racism and COVID-19 increasingly reminds us to attend to the relationships between health status and narrative experiences - how, for example, art and artists can express and contextualize our understanding of health experiences and inequities. Yet current research shows us the linguistic and cultural gaps still... Read more →

By Agnes Arnold-Forster, and Caitjan Gainty *

The pandemic has prompted a proliferation of newspaper articles, think-pieces, and other public writing on the history of medicine. Some have been quite thoughtful, offering new perspectives on the past and present of science, technology, and healthcare, and making radical suggestions for the post-coronavirus future. Others, however, have indulged some of our worst instincts about... Read more →

The HBO crime drama Mare of Easttown captivated viewers, who flocked to social media with theories about who killed Erin McMenamin. The show follows detective Mare Sheehan (Kate Winslet) as she investigates this and other cases in Easttown, a suburb of Philadelphia. Billed as "an authentic examination of how family and past tragedies can define... Read more →

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The year of reckoning with the twin pandemics of racism and COVID-19 increasingly reminds us to attend to the relationships between health status and narrative experiences - how, for example, art and artists can express and contextualize our understanding of health experiences and inequities. Yet current research shows us the linguistic and cultural gaps still...

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https://contingentmagazine.org/

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Gastronomica is pleased to introduce a new journal section with an exclusive focus on translation(s).

Even recipes written in English a century ago need contextualization (if not actual translation of now-obsolete words and/or ingredients) for readers today. Such a task is even more complicated when it comes to translating and adapting centuries-old works from other languages into English, be they cookbooks, primers to survive famine or to cook with rationed foods, guides to "healthy" eating, or similar texts. Despite these challenges, making such primary sources more accessible to students and researchers around the world is critical to stimulating and maintaining the growth of diverse voices in global food studies.

We therefore invite submission of

translations into English of key culinary texts originally written in any language (though currently not available in English), and from all regions of the world. Translations can be of entire texts, or part(s) thereof with critical commentary;

essays reflecting on the challenges and opportunities relating to such translations (for example, the need to develop new vocabularies to express indigenous concepts; how translators engage with historical non-English texts like recipes that may assume more information and insight than they provide, and how culinary terminology has changed over time in tandem with other historical developments and shifts);

collaborative works featuring two or more scholars in dialogue about a specific translation, and/or (but not limited to) any of the issues outlined above.

We envision clustering translations and other accepted submissions thematically or geographically, with an introduction by one or more contributors, or other invited subject-matter experts.

Essays or translations (with introductions, reference lists, and notes) should be between 4000-8000 words, and should be submitted via the journal's ScholarOne platform and should otherwise follow the submission guidelines for Scholarly Submissions.

* Please note that we continue to invite all other forms of Scholarly and Food Phenomena submissions, including creative visual works such as photo essays (see art submission guidelines here), and pieces with a focus on food, justice and activism.

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Gastronomica is pleased to introduce a new journal section with an exclusive focus on translation(s). Even recipes written in English a century ago need contextualization (if not actual translation of now-obsolete words and/or ingredients) for readers today.

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Search the World of Food

A Tool for Food History Research

Welcome to The Sifter!

The Sifter is a free website for searching and comparing authors, their works and the details of their works regarding food and related topics around the world and throughout history.

Browse and search through thousands of historical cookbooks and manuscripts dating back to the Middle Ages!

New! We are now partnering with The Oxford Food Symposium which is hosting a monthly live, virtual session, as part of their Kitchen Table series, The Ask, about the Sifter and various aspects of using it. James Edward Malin, Engineering and Science Librarian at The Cooper Union Library, will lead the discussion and demonstration walking the user through techniques for searching, editing and getting the most from this resource. The discussion is free but please register here first.

The collection includes hundreds of community cookbooks and Medieval French and German recipes and their details were added from CoReMa (Univ. of Graz)

We welcome your suggestions and comments.
Click here to write to us!

Search Thousands of Historical Cookbooks

Discover Trends in Food History

Contribute New Resources

About Us

The Sifter
Mission Statement

The Sifter is a public database, free to all users. It is a tool for finding and comparing historical and contemporary writing on food and food-related topics. It is overseen by an advisory board composed of members from The Oxford Symposium on Food and Cookery as well as other friends of food history. As with Wikipedia, the Sifter will be populated by its users. All entries will have an English translation, enabling users to search languages they cannot read. Soon, we will have over 100 languages represented. Registered users will be able to make corrections and add new information. Future releases will include a data visualization component. We also plan to include more resources linking to digitized photographs, artworks, television and film. With the aid of this tool, it is our hope that what has been invisible will come into focus.

Frequently Asked Questions

Register Now!

Save your searches

Add new authors, books, recipes, etc.

Correct any mistakes you find

Receive emails regarding updates to the website

Be part of our community

(Note: we do not share your information)

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The Sifter - A Food History Research Tool

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A Tool for Food History Research Welcome to The Sifter! The Sifter is a free website for searching and comparing authors, their works and the details of their works regarding food and related topics around the world and throughout history. Browse and search through thousands of historical cookbooks and manuscripts dating back to the Middle Ages!

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Find a Grave - Millions of Cemetery Records

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Find a Grave is a free resource for finding the final resting places of famous folks, friends and family members. With millions of names, it is an invaluable tool for genealogist and history buffs.

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First, we should tell you about The Data-Sitters Club, how it works, and who we are. It all started one day when Quinn Dombrowski was on vacation in Las Vegas and started getting nostalgic about Ann M. Martin's iconic series about girlhood in the upper-middle-class American suburbs of the 1990s. There's been very little scholarship written on the series, and Quinn started wondering what she might find by applying digital humanities computational text analysis tools and methods to that corpus. And it'd be even better to share those findings alongside a detailed description of how she went about the process of doing the text analysis, spelling out all the steps and decisions along the way! Quinn found some friends on DH (digital humanities) Twitter who wanted to join her, and together, we started The Data-Sitters Club.

The Data-Sitters (Main Series)

Lee Skallerup Bessette (Georgetown University) has long, dirty blond hair that she now dyes a deep shade of red (her current favorite color; it used to be purple, as you can see from the photo). She used to read The Baby-Sitters Club books so fast, without breaking the spine, so she could return them to the bookstore once she was done for a full refund, to save for the next one that came out a month later. She'd have been a Kristi, too loud and athletic. And when Mallory stumbled into the picture, labeled a "spaz," Lee finally found someone else in the books she could really relate to. She has a PhD in Comparative Literature, focusing on the translation of Québécois literature. She now works at Georgetown University, working in digital pedagogy. Working on the Data-Sitter's Club is an opportunity to use her PhD research and knowledge about Québécois culture, something that she never thought she would ever do again in any sort of professional capacity, and her love of BSC.

Katia Bowers (University of British Columbia) has wavy-curly light brown hair, brown eyes, and glasses. She is an Associate Professor at the University of British Columbia, and her research focus is on nineteenth-century Russian literature, particularly Dostoevsky. She's interested in questions about genre, narrative, and authorship. Katia most readily identifies as a kind of Mary Anne-Stacey hybrid. Like Mary Anne, she is quiet and shy, likes genre fiction and classical music, prefers listening to others to speaking herself, and didn't own jeans until she was 12, but like Stacey she feels most comfortable in an urban setting.

Maria Sachiko Cecire (Bard College) is half-Japanese and half-Italian, and has dark brown hair, brown eyes, and olive skin that turns a deep toast color in the summer. She is an Associate Professor of Literature at Bard College, and is so into children's literature that she wrote a book about it! It's called Re-Enchanted: The Rise of Children's Fantasy Literature in the Twentieth Century. Maria is also the founding director of the interdisciplinary curriculum and center in Experimental Humanities at Bard, which focuses on how technology mediates what it means to be human. She is interested in how people read, think through big humanities questions, and learn - and especially what this means for people and approaches that have been historically excluded from academia. She loves Claudia for her heritage, creativity, and style, but can also relate to Kristy's passion for starting things and Dawn's love of healthy food and warm weather!

Quinn Dombrowski (Stanford University) is short (about the size of a 10-year-old), with short blue and purple hair (since the pandemic), off-the-wall glasses, and light-blue eyes that match her three kids'. Quinn works as an Academic Technology Specialist in the Division of Literatures, Cultures, and Languages at Stanford University, supporting non-English DH scholarship. She identifies as non-binary in English, but doesn't have any preferences about pronouns (just gender-neutral nouns, like "person" and "parent"). The Data-Sitters Club is Quinn's first and only text analysis project in English. Usually, "not English" is the one major unifying thread in the projects she works on, which range from comparative multilingual Harry Potter fanfic, to machine learning models for transcribing Spanish and Nahuatl manuscripts, to working on improving natural-language processing resources for Russian. Quinn is something like a profoundly unathletic Kristy, if you substitute computers for sports, and add Claudia's fashion sense.

Anouk Lang (University of Edinburgh) was introduced to The Baby-Sitters Club books in sixth grade in Sydney, when their candy-bright spines lit up the shelf of sensible whites and creams that made up the rest of the class lending library, and the race to beat everyone else through the series was on. Anouk is probably closest to being a mixture of Mallory's glasses-wearing awkwardness and Dawn, always figured as geographically other. Her Australian twang has faded after 20-odd years in the UK into a more generic learnt-English-somewhere-other-than-England accent. She has no hopes of keeping up either with Claudia's barrette and earring game, or with Quinn's sartorial creativity in the DH-dress department, but does pull out her beloved Bernina sewing machine from time to time to make things, most recently a black plush Toothless dragon.

Roopika Risam (Salem State University) has beautiful, clear, Bit-O-Honey-colored skin and black hair, which she wears in a graduated bob with blonde highlights. Everyone calls her Roopsi. She's an Associate Professor of Secondary and Higher Education and English at Salem State University. Roopsi is a computational textual analysis skeptic, a secret subplot of her book New Digital Worlds: Postcolonial Digital Humanities in Theory, Praxis, and Pedagogy, but she loves digital humanities and thinks it has a lot of possibilities for African diaspora, postcolonial, and critical ethnic studies. She is also a walking encyclopedia of Baby-Sitters Club knowledge. Roopsi wants to be Stacey but sympathizes with Jessi's experience with microaggressions and Claudia's inferiority complex with her sister.

Mark Algee-Hewitt (Stanford University) is an Associate Member of the Data-Sitters Club, just like Logan Bruno. He has a goatee, red hair that he wears in a ponytail, and sense for fashion that makes him the Claudia Kishi of male academics. Mark has an amazing assortment of colorful and interesting sports coats, and a penchant for creative cowboy boots. He's an Assistant professor of English at Stanford University and Director of the Stanford Literary Lab. Mark babysat growing up in Nova Scotia, with an hourly rate that would've worked out to $\3.50 USD.

Guest Data-Sitters

Elisa Beshero-Bondar (Penn State University, the Behrend Campus) is 3/4s Lebanese and 1/4 Irish. She has thick wavy black hair that she usually pulls back from her face, and looks very Mediterranean with an olive complexion and big brown eyes behind spectacles. Like Jessi in Jessi's Secret Language, she started learning as much as she could about text encoding after working with a student who couldn't see and needed to read poetry with her fingers on a fascinating braille monitor. Elisa loves all things geeky about electronic documents and the Text Encoding Initiative because it's a super supportive community that works together around the world and cares deeply about curating metadata and document data modeling. She tends to get involved in lots of projects at once and enjoys hanging out as a consultant with the Data-Sitters Club; read more in DSC #5: The DSC and the Impossible TEI Quandaries.

Heather Froehlich (Penn State University) has wavy-curly red hair and a more than passing similarity in style to the famed missing Waldo. She has an affinity for stripes, and like the babysitters spent her tween years in New England. She spends a lot of time pondering computers and how they understand language. She spends even more time thinking about what people's brains can do with the resulting data, because as she will be the first to tell you, "computers are dumb boxes of plastic and metal". In her position as Literary Informatics Librarian at Penn State University, she has the opportunity to consult with a range of scholars in diffuse fields about all the ways people can work smartly with the data computers give us and how to get them to give it to us. She loves a good corpus. Read more in DSC #10: Heather Loves Principal Component Analysis!

Annie K. Lamar (Stanford University) has warm gray eyes and an affinity for purple clothing. She has long hair that is almost always twisted and copiously pinned on the top of her head. She studies ancient languages and artificial intelligence, which- although it sounds quite serious- often results in the creation of chat bots so she can talk to her favorite ancient authors. Read more about what we learned from Annie about machine learning in DSC #9: The Ghost in Anouk's Laptop.

Matthew Sag (Loyola University Chicago) has friendly blue eyes, a diamond shaped face, and an Australian accent smoothed over from 20 years living in the United States. He had blonde floppy hair like John Denver when he was a kid, but now he looks more like a clean shaven Jude Law. He is a law professor at Loyola University Chicago School of Law and a leading expert on copyright law and fair use - just the guest data-sitter we needed in DSC #7: The DSC and Mean Copyright Law!

Jeff Tharsen (University of Chicago) is like a cross between a Viking and a Confucian scholar. He's tall, with dark eyes and a long beard that once was blond and is now turning an off-white color like Mary Anne's blouses. He's the University of Chicago's resident expert in humanities-based research computing but spends much of his time thinking about sound systems in premodern rhetoric and poetry, social justice and savage inequities, playing guitar like Rico from the California Diaries series, Minecraft mods, and finding infinite combos for his Magic: the Gathering deck builds. Read more about what he's been up to with machine learning in DSC #9: The Ghost in Anouk's Laptop.

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First, we should tell you about The Data-Sitters Club, how it works, and who we are. It all started one day when Quinn Dombrowski was on vacation in Las Vegas and started getting nostalgic about Ann M. Martin's iconic series about girlhood in the upper-middle-class American suburbs of the 1990s.

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The ASFS was founded in 1985, with the goal of promoting the interdisciplinary study of food and society. It has continued that mission by holding annual meetings; the first was in 1987 and since 1992, the meetings have been held jointly with the organization: Agriculture, Food & Human Values.

Working with Routledge Publishing, the organization produces the journal, Food Culture & Society.
Join ASFS
New Members Current Member Renewal

The Graduate Association for Food Studies

As of January 1, 2017, the Graduate Association for Food Studies (GAFS) is now the student caucus of the ASFS! All ASFS members who are students will automatically be part of the student caucus. For more information on the GAFS, please visit their website.

2022 Conference
Cultivating Connections: Exploring Entry Points into Sustainable Food Systems
Hosted by The University of Georgia (Athens, GA, USA)

May 18-21, 2022

More Information Coming Soon!
2023 Conference
Hosted by Boston University

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Association for the Study of Food and Society

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The ASFS was founded in 1985, with the goal of promoting the interdisciplinary study of food and society. It has continued that mission by holding annual meetings; the first was in 1987 and since 1992, the meetings have been held jointly with the organization: Agriculture, Food & Human Values.

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The Agriculture, Food, & Human Values Society (AFHVS) is a prominent professional organization which provides an international forum to engage in the cross-disciplinary study of food, agriculture, and health, as well as an opportunity for examining the values that underlie various visions of food and agricultural systems. From a base of philosophers, sociologists, and anthropologists, AFHVS has grown to include scientists, scholars, and practitioners in areas ranging from agricultural production and social science to nutrition policy and the humanities. AFHVS encourages participation by the growing community of researchers and professionals exploring alternative visions of the food system from numerous perspectives and approaches, including local and regional food systems; alternative food movements; agricultural and food policies, agricultural sustainability, food justice, issues of local and global food security, and food sovereignty.

In a series of visioning sessions and membership surveys between 2012 and 2015, the Agriculture, Food, and Human Values Society has collaboratively discussed its vision and values as a learning community, putting our mission into practice more operationally via an emphasis on:

Interested in AFHVS membership?
Already a member?

AFHVS provides members the opportunity to meet and discuss programs, theories, and research ideas of common interest. We do this through annual conferences and professional communications and networking. Agriculture and Human Values is the official journal of the Society. Like the Society, it seeks to create educational and scholarly affiliations among the humanities, the social sciences, food and nutrition studies, and the agricultural disciplines, and to promote an ethical, social, and ecological understanding of agricultural and food systems.

2021 ASFS-AFHVS-CAFS-SAFN Virtual Conference, June 9-15, 2021

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The Agriculture, Food, and Human Values Society - Home

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The Agriculture, Food, & Human Values Society (AFHVS) is a prominent professional organization which provides an international forum to engage in the cross-disciplinary study of food, agriculture, and health, as well as an opportunity for examining the values that underlie various visions of food and agricultural systems. From a base of philosophers, sociologists, and anthropologists, AFHVS has grown to include scientists, scholars, and practitioners in areas ranging from agricultural production and social science to nutrition policy and the humanities.

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The Food Truck Scholar Podcast is a weekly discussion about all things in the food truck industry. Join your host, Ariel D. Smith M.Ed, a Ph.D. student studying the food truck movement in the United States as she discusses food truck civic engagement and activism, ordinances and restrictions, as well as cultural and economic implications of the food truck industry with food truck owners, public policy officials and academic scholars.

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Last year, skin powders and purees occupied my thoughts. Tomatoes, peaches, plum and lemons are firm favourites. Here are my notes for tomato skin powder What is it? Dried tomato skins, ground and used as seasoning. I combine mine with salt, pepper and other spices Why do you skin the tomatoes? I use tomatoes in [...]

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Last year, skin powders and purees occupied my thoughts. Tomatoes, peaches, plum and lemons are firm favourites. Here are my notes for tomato skin powder What is it? Dried tomato skins, ground and used as seasoning. I combine mine with salt, pepper and other spices Why do you skin the tomatoes?

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Ben Franklin's World - A Podcast About Early American History

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Welcome to Ben Franklins World - see blog posts

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HawaiiHistory.org - Hawaii History - Home