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                <text>&lt;em&gt;A Primer for Teaching Digital History&lt;/em&gt; is a guide for teachers at the high school and college level looking to teach about digital history and offers different strategies for building a syllabus or wish to include the topic in their teachings. Along with discussing rudimentary digital methods such as digital source criticism, text analysis, and visualization, Guiliano also delves into scholarly topics like digital archives, exhibitions, and collections, storytelling, and crowdsourcing. &lt;i&gt;A Primer for Teaching Digital History&lt;/i&gt; is a well-crafted guide that eases individuals into the different approaches digital history can take.</text>
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                <text>Guiliano, Jennifer. &lt;em&gt;A Primer for Teaching Digital History: Ten Design Principles&lt;/em&gt;. Germany: Duke University Press, 2022.</text>
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                <text>Participation in digital archives and collaborative digital environments, according to Vetter, can lead to increased student motivation, rhetorical awareness, and an increased awareness of library resources and the concepts of public information, while serving as stewards of the genesis and preservation of public knowledge. The research project began through the desire to produce and evaluate an assignment that designed and measured “collaborative-digital pedagogy,” directly engaging composition students with library services and special collections with the aim of increasing student awareness and usage of library services, and special collections for future research. Vetter constructed the study with the hypothesis that Kenneth Bruffee’s concept of peer learning, a cornerstone of composition pedagogy, could be enacted and extended through the design and implementation of activities that utilize collaborative technologies in the classroom and eventually engage a broader network of collaborators in an online environment like Wikipedia. Citing one particular student’s experience as a case study, Vetter attempts to illustrate the pedagogic value of providing students with the opportunity to collaborate with multiple individuals during the course of a service learning project. Vetter also discusses the potential of such exercises to teach the rhetorical situation, notably the concepts of authority and authorship, as well as the factors of motivation that accompany such unique learning models and environments.</text>
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                <text>Brown, Caroline. 2014. Archives and Recordkeeping: Theory Into Practice. Facet Books for Archivists and Records Managers. London: Facet Publishing. https://search.ebscohost.com/login.aspx?direct=true&amp;db=nlebk&amp;AN=766210&amp;site=eds-live&amp;scope=site</text>
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                <text>Susan Wells’ "Claiming the Archive for Rhetoric and Composition" is broken into three sections where she outlines the “gifts” of “resistance,” “freedom,” and “possibility” that digital archiving technology affords composition and rhetoric students, and scholars. Her concept of resistance involves the tendency for archives to complicate, and challenge a researchers’ hypotheses forcing them to critically engage the(ir own) process of inquiry. She continues by offering the gift of “freedom,” where she argues that the proliferation of resources and archives pertaining to the humanities, and composition and rhetoric in particular serve as justification of the field, while challenging traditional conceptions of “text” and “scholarly” work. She defines the gift of “possibility” by suggesting that archives can, and should be used to review and revise the substance, and political positioning of composition and rhetoric departments in the face of reduced budgets, and the dismissal of the field as merely a service to other “legitimate” scholarly subjects. She further posits that archives allow for the emergence of new and important dialogistic relationships, seeing archives as a place for the voices of “others” to be discovered, studied, and engaged. She uses Jacqueline Jones Royster’s Traces of a Stream as an example of an archive of “other” voices, the study of which she suggests should lead to new perspectives of our own voices, and situations.</text>
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                <text>Wells, Susan. "Claiming the Archive for Rhetoric and Composition." In Rhetoric and Composition as Intellectual Work, 55-64. Carbondale, IL: Southern Illinois UP, 2002. </text>
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                <text>Wankel, Charles. Educating Educators with Social Media. Bingley, UK: Emerald Group Pub., 2011.&#13;
&#13;
https://books.google.com/books?id=TiBxjMnh5e4C&amp;dq=teaching%20strategies%20for%20digital%20humanities%20book&amp;source=gbs_similarbooks</text>
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                <text>From Text to Tags: The Digital Humanities in an Introductory Literature Course</text>
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                <text>Sarah H. Ficke. "From Text to Tags: The Digital Humanities in an Introductory Literature Course." CEA Critic 76, no. 2 (2014): 200-210. https://muse.jhu.edu/ (accessed April 20, 2016).</text>
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                <text>The class, titled “Introduction to Literary Study,” helps students build the foundational skills commonly used for the study of literature, including close reading, textual analysis, attention to genre and form, and attention to material and historical contexts. These are all skills that experts working in the digital humanities use to produce projects like digital scholarly editions, tools for large-scale analysis, and visual representations of texts and intertextual relationships. However, my students (largely sophomores), needed to work on honing those skills rather than applying them to a large-scale project or series of complex texts. With that in mind, I designed a digital humanities unit made up of a series of small assignments oriented towards experimenting with digitization and text analysis in a fairly low-stakes environment. &#13;
&#13;
The unit starts with identifying key elements of physical texts (rare books from the university library) and how those might translate into a digital environment. It then moves through digitization and into the ways that computers impact our reading and analysis of texts, focusing on some introductory text analysis tools and text markup. Though my assignments revolve around computers and bytes more than paper and highlighters, they share the goal articulated by Paul Fyfe in “Digital Pedagogy Unplugged”: “to keep students’ attention on the critical labor that digital resources seem to dissolve” (par. 12). By introducing my students to the process of creating familiar products like a digitized text or a word cloud, I hoped to demonstrate to them that the act of building a digital product or working tool is always an act of interpretation. (Provided by author)</text>
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