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                  <text>Digital archiving is gaining increased attention by both the general public and the scholarly community. The proliferation of digital content through networked channels raises cultural awareness of the ephemeral as well as ubiquitous nature of digitization. This collection highlights critical arguments regarding the digital humanities and digital archiving. The featured studies provide a broad cultural context and essential questions for archive creation and scholarly digital humanities research.</text>
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                <text>This article juxtaposes the database and the archive, creating the idea of database as its own genre. Folsom, one of the editors of The Whitman Archive, begins discusses how photography for Walt Whitman was a form of database and how the archive is now akin to what Deleuze and Guattari like to a rhizome. Folsom clarifies that an archive will always hold more information than a database but that information in a database is more flexible and moveable. Using information on the creation of The Whitman Archive and decisions made provides an idea of the scope of a large archival digital humanities project. Understanding that you can take documents that could not previously be seen side by side due to physical locale can now be viewed together creates an understanding of the details one must plan for while deciding on the direction of an digital archive project.</text>
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                <text>Folsom, Ed. 2007. "Database as Genre: The Epic Transformation of Archives." PMLA, 2007. 1571. JSTOR Journals, EBSCOhost (accessed November 30, 2015).</text>
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                <text>This centers on the archiving and retrieval of digital material is an excellent resource for anyone who is responsible for preserving their personal and collective stories. It emphasizes the importance of capturing and preserving our stories and the resulting complications from digital impermanence.</text>
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                  <text>Items in this collection pertain to the ways one can use digital archives to teach digital humanities or related subjects. Specific pedagogies associated with the creation, management, preservation of archive content are also collected here.</text>
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                <text>Claiming the Archive for Rhetoric and Composition</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>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>Vetter, Matthew A. "Archive 2.0: What Composition Students and Academic Libraries Can Gain from Digital-Collaborative Pedagogies." Composition Studies 42, no. 1 (Spring 2014): 35-53. </text>
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                <text>Solberg suggests that new digital environments have the “potential to reorient us—both physically and conceptually,” allowing new methods and possibilities for research, and new opportunities to socio-politically reposition the field of rhetoric and composition. She charts the beginning of these opportunities by referencing a colleague who was at a meeting during the genesis of Google, then her realization of the power of emergent technologies while researching Frances Maule. Solberg continues that to preserve, and guide the field we must train students and faculty members to become experts in the use, and design, of digital information systems if we wish to produce responsible, and capable stewards of the field of the history of rhetoric and composition.  She outlines a heuristic for using new digital tools defined by “affective,” “geographical,” and “virtual proximity,” with which she defines the links between self (researcher) positioning, and the technological tools utilized by the researcher.&#13;
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                  <text>Teaching Strategies</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                <elementText elementTextId="26259">
                  <text>Items in this collection pertain to the ways one can use digital archives to teach digital humanities or related subjects. Specific pedagogies associated with the creation, management, preservation of archive content are also collected here.</text>
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          <element elementId="50">
            <name>Title</name>
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              <elementText elementTextId="26288">
                <text>Three Gifts of Digital Archives</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Digital humanities</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>James Purdy’s 2011 article builds on Susan Wells’ 2002 chapter "Claiming the Archive for Rhetoric and Composition,” in which Purdy discusses the importance of Wells’ previous “gifts” while extending and redefining it to include three new “gifts” afforded by emergent archiving technology: “integration”, “customization”, and “accessibility.” Purdy breaks the gift of integration into two key components; he suggests that the integration of the writing, and research space, and the integration of collaborative possibilities are both possible in new digital environments, allowing for new forms of creation, and interaction. Purdy describes that the customization of research spaces afforded by new digital archives are especially useful for novice academic researchers, and writers, but also offer the most advanced researchers new opportunities and conveniences such as the ability to save, bookmark, and access research from multiple sites and devices. Accessibility is defined as the ability for researchers to overcome “temporal and spatial” obstacles that restricted research prior to digital networks.</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="26291">
                <text>Purdy, James</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="26292">
                <text>2011-11</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="26293">
                <text>Foley, Christopher</text>
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            <name>Type</name>
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                <text>Purdy, James P. "Three Gifts of Digital Archives." Journal of Literacy &amp; Technology 12, no. 3 (November 2011): 24-29. </text>
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        <name>archive practices</name>
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        <name>collaboration</name>
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        <name>digital technologies</name>
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