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Another model, typified by the Victorian Web, offers authoritative essays on the period. We recognize the value of such an approach, but ours was, by design, more experimental. As a Laboratory, we posed research questions and worked together to answer them. While we have expanded the chronological field of inquiry, we used a comparative method to address some of the following major research questions:.

That website became the nucleus for the Modernism Lab. His research has been supported by Hilles and Griswold fund grants at Yale. We were aiming to bring that approach to scholarly work. If we were doing it today, we would probably be interested in what is now called Web 3. I get very weary of that. I think that we should support the humanities because they are good in and of themselves, not because they serve this greater instrumental purpose.

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But — I think one way, if not to justify the humanities, in a way, make the inherent value of the humanities more obvious, is by writing for a broader audience, is by sharing your work with people outside the narrow coterie that is modernism. Since its original conception, the Modernism Lab has been widely used as a public resource for modernist research. For technical reasons, we have migrated the site to a new address and to WordPress. This version of the site, designed, assembled, and developed during the summer of , provides an archive of the original essays and collected media of the original site, which were primarily compiled between and Pericles would look at both of ours and offer suggestions.

One reason for this result was a concern with quality control—only about a hundred people had editing rights on the site—but another was probably the tendency of humanities scholarship towards sole authorship.

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After , Professor Lewis, the director of the project, largely stopped work on the Modernism Lab, in order to fulfill his new role as President of Yale-NUS College and aid in designing its curriculum. Here, he developed with his team a core curriculum which similarly strove for this spirit of collaboration and conversation in its approach to learning. On these pages, you can find course materials, readings, and other resources used in the teaching of these courses, which serve as useful guides for approaching these subjects, in addition to their use as a pedagogical record.

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Anthony Domestico, who was a PhD student at Yale and worked with Professor Lewis building and editing the Modernism Lab, explained that part of the intent originally was to profile non-canonical works, by canonical Modernist authors. This branched out into what the Modernism Lab is today, with essays on over 40 different modernist authors and artists, connected along the lines of time, correspondence, and collaboration.

In an interview with Domestico, he emphasized the liberating volume of content that was needed to create the Modernism Lab, explaining that it encouraged students and scholars alike to share more provisional content, and to open themselves up to feedback at an early, more vulnerable stage of composition. Generally, he explains, and particularly with graduate students, people can become isolated during the writing process, and unwilling to share their works-in-progress for fear of revealing flaws oropening themselves up to criticism prematurely.

Domestico argues this stems the flow of ideas which conversation and collaboration can facilitate, which is crucial to creating not only the most thorough end-product, but also a more enjoyable, community-based way of working. Because it forces you to do work, it forces you to be in conversation with other people, other ideas. Interestingly, this mode of creativity and collaboration replicates the way this period of literature was produced:. Eliot with Leonard, or something like that…talking to another modernist about another modernist.

So network theory is important to modernist studies right now, and modernists themselves were a very networked movement. The structure and collaborative nature of the Modernism Lab, though perhaps imperfectly realized, draws on this value for connectivity and conversation in writing and engaging with literature. It can be described in much the same way that these modernist circles can be described: a group of enthusiastic people talking to each other, printing each other, and connecting each other to friends who could help them.

The web-presence of the Modernism Lab enables a new kind of connectivity in scholarship, and particularly in humanities scholarship. One of the founding goals of this project was to tap into this spirit of collaboration and community and create a more outward-looking kind of humanities scholarship, as Domestico described. Both agree that the accessibility of the Modernism Lab online has generated a much wider and more informal audience, facilitating access to the material and breaking down the often insular nature of humanities academia.

In our conversation, Domestico stressed the importance of provisional work, and the accessibility of that provisional work to feedback, in addition to its being more accessible in terms of being useful and understandable to a broader audience of non-specialists. Students were enthusiastic, and it was readily understandable what this project was meant to accomplish.

Joseph Conrad. Maya Jasanoff. V S Naipaul. Harriet E. Ford Madox Ford. Nella Larsen. Adam Kay. Charlie Mackesy. Margaret Atwood.

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Jeff Kinney. Horace Greasley. Elton John. Maggie Stiefvater. Rod Campbell.

Listen to Nostromo: A Tale of the Seaboard by Joseph Conrad at

Yuval Noah Harari. William Dalrymple. Eckhart Tolle. Sally Rooney. Tara Westover. Amor Towles. Louie Stowell. Bill Bryson. James Clear. Lee Child. Heather Morris. Cassandra Clare. Craig Smith. Carol McCloud. Jamie Oliver. Mark Manson. Simon Sinek. Scott Pape. Julie Andrews. Anne Glenconner. Roald Dahl. Johann Hari.

Nostromo : A Tale of the Seaboard (Classic Reprint)

Neal Shusterman. Eric Carle. Lucinda Riley. Giles Andreae.

Bernardine Evaristo. Emily Winfield Martin. Erin Morgenstern. Elizabeth Strout. Yotam Ottolenghi. Gail Honeyman.