AJ Kelton, Director of the Center for the Digital Humanities, noticed this disparity and knew that creating a training course could potentially solve this issue. So for the Fall 2018, he asked the senior members, those who have completed their training the semesters prior, to help create a training module. His vision for the training course included having the students create, run, and monitored by the students. The students, who took the lead in creating the training course, used inspiration from their prior experience working at CDH and from other classes to create a hybrid of the two.��

Each module consists of a ‘genre’ or technology type, including video editing, audio manipulation, programming languages (HTML), etc. Within these modules consist of assignments that are more specific that each student must complete before moving on to the next module. There is a module dedicated to video manipulation that has assignments specifically tailored to video manipulation with programs like Imovie, Adobe After Effects, and Adobe Premiere Pro. Each module is set to train a specific field of skills but within the module are different programs used within that field. At the end of each module, there is a test that quizzes the trainees on everything contained in the respective module. Student trainees must pass in order to move to the next module.

Looking back at a year’s worth of work, the training modules are still being updated with corrections. The student team is constantly going back and making sure that the modules are error-free, which is something they consistently have to do because the work environment is always changing. The team in charge of the training course also receives input from the trainees after they finish the training modules. Within the last year, these modules have been completely rearranged. This allows for a better flow of the training course and so the modules don’t face issues.��

The team has created a space at the CDH where everyone has a consistent level of training. The impact of teaching ����vlog students these skills move beyond their years at this school. These are transferable skills that can be utilized anywhere and for almost all fields of work.��

It all started at CDH, where the team brainstormed alongside the Student Services department on a white board. The board contained ideas for “The Pulse” logo, where project members, Gregory Matos took the lead. He and other team members filmed talking head segments, B-roll scenes of various places on campus, as well as other necessary footage.��The scenes were filmed in our very own�� “Quiet Room” with a green backdrop, stands, and fluorescent lights. The initial scenes filmed for this project were rough cuts. �� �� �� �� �� �� �� �� �� �� �� �� �� �� �� �� �� �� �� �� �� �� �� �� ����

According to our team lead Gregory Matos, “A rough cut is usually the raw pieces of video and audio, edited to tell the story. There’s no color adjustments done or audio adjustments. It’s the most important cut, because once the rough cut is approved, you can set a “Picture Lock” which means the progression of story in the video has been seen as perfect/ready for audience. Now you just polish it with all the good stuff: color correction, color grade, audio mixing and audio mastering.”

The B-roll locations that��were planned and filmed were Dickson Hall, School of Business, University Hall, Blanton Hall, Schmitt Hall and the Student Center. In the rough cut of the video, additional�� B-rb roll was filmed, however, in each video, not all B-roll made it to the final cut of the video.

They also recorded audio for the video. Bridget Dodge aided in the project with video editing software such as Final Cut Pro X and Adobe Premiere Pro. Our Communications team, also participated by making motion graphics for the logo and other graphic overlays. The video, in and of itself, is brief, yet informative for all students, especially first year students for what upcoming events CHSS offers and is apart of for the month. Our team members worked hard on this project because it was collaborative from the filming to the graphics to the editing.

Gregory Matos had this to say about working on The Pulse, “Being able to provide engaging content that keeps the college’s student body informed is extremely fulfilling. As a member of the Center for Digital Humanities, I’ve been wanting to apply the skills I’ve developed, since I joined last year. And this ongoing project has been a complex and fun first opportunity to do that.”��

The Center for the Digital Humanities has many other exciting video-related projects planned for this year. Stay tuned.��

To see the latest “The Pulse” episodes, check out the .��

You can find the site at��

We are looking for contributors/editors, so if you have expertise you’d be willing to share, please do be in touch! ()

PS: You can find us on Facebook��. On Instagram����and on Twitter as��.

Why Mapping Dante

�ٲ��Գٱ�’s����dz�������is shaped by the structure of the three realms of afterlife (Hell, Purgatory and Heaven), conceived of according to late medieval geography, cosmology, and theology. Many diagrams and drawings have been made meant to supplement the reading of the poem. �ٲ��Գٱ�’s extreme precision in describing his journey as a living man through afterlife generated a multitude of diagrams and pictures meant to guide readers but also to illustrate �ٲ��Գٱ�’s all-encompassing vision. Yet, the construction of fictional spaces is just one aspect of �ٲ��Գٱ�’s geographical imagination. The path through��Inferno,��Purgatorio, and���ʲ������徱������is full of��references to places in��the “real” world. The portrait of Dante made by Domenico di Michelino in the cathedral of Santa Maria del Fiore (Florence, 1465) visualizes this two-fold geography by having in the same frame the pit of Hell, the mount of Purgatory, the spheres of Heaven, and the city of Florence: this world and the other, together.

To study �ٲ��Գٱ�’s geographical imagination, we can use a map to visualize of the places he mentions and observe their distribution both in the “real” world” and in the course of his long poem. Hell, Purgatory and Paradise cannot be incorporated into modern cartography (even if they could be marked put on pre-modern maps). What we can translate into a map are the cities, town, regions, mountains, rivers, lakes and seas Dante refers to.

Maps and repertoires��of��places are not a novelty in Dante studies: the effort of translating his geographical knowledge into spatial representations has been supplementing the reading of the����dz�������for a long time. ��The static nature of traditional maps and lists, however, has limited the potential of literary cartography: on a printed map (or an electronic map based on that model) only a small amount of information can be written, and very few connections can be drawn among a variety of elements. See for examples this map of �ٲ��Գٱ�’s Italy from Charles Singleton’s commentary of the��Inferno��(click to enlarge).��Other examples are available on the website��.

Digital tools give us the opportunity to create visualizations that are multi-layered and dynamic. A text can be approached from a variety of angles, with��different combinations of close and distant reading, of qualitative and quantitative analysis.��The text remains the center of the readers’ experience, but its discourse can branch off into a wider range of forms and directions. Digital literary mapping is one of them: it can enhance our approach to a text (or a corpus of texts) by extracting a network of references which, in turn, become part of the larger network of the “real’” world’s geography. This is not an automatic process: the task of a digital humanist working with literary maps is precisely to use cartography as an opportunity to explore the texts and ask them new questions (or ask old questions in a different way). At the same time, the potentialities and limitations of digital tools must be adapted to the structural and historical configuration of texts.

So what could be a possible effective way to write into a map the geographical data inscribed into a text such as �ٲ��Գٱ�’s��Comedy, whose narrative does not travel the surface of the real world and yet constantly refers to its landmarks? What could be the shape of a cartographic repertoire of a medieval literary text for XXI-century readers constantly turning from a printed page to a digital screen and back?

Here comes the idea of��Mapping��Dante.��With this interactive digital��, the first of its kind, users are able to visualize and sort places according to a number of literary, cultural, and geographical categories, in order to explore the connections between �ٲ��Գٱ�’s text and geography. The map allows both distant and close reading of the mentions of places in the��Comedy: on one hand it displays their overall distribution within an extent that goes from Scandinavia to Africa, and from Gibraltar to the Urals; on the other hand, the specificity of map����and the information included in pop-up cards describe in detail each Dantean reference to a place.

Dataset

The first step��was to compile a list of��. Taking note of every city, town, region, mountain, lake, river and sea mentioned over the poem’s 100��cantos, I put together a total of��340 items��and��724 mentions. Commentaries, both ancient and modern, have been essential to the identification of places, which are not always clearly identifiable on a map, for a number of reasons (ambiguity of textual reference, ambiguity of identification in �ٲ��Գٱ�’s time, destruction of a place, etc.). When multiple identifications are possible (i.e. “Tambernicchi” in��Inf. 32.28), or when the reference��is irremediably vague in cartographical terms (i.e. “montagne Rife” in��Pur. 26.43), I looked for��the most reasonable approximation in light not only of��Dantean commentaries but also of��gazetteers and repertoires out of the field of Dante Studies.

Constructing the spreadsheet of my database was an exercise in close reading. Any mention has been described through a series of categories which later served as a basis for the configuration of the map:��kind��of geographical��item (specific places like towns or mountains, extended areas like regions of different scale and mountain ranges, and waters like rivers, seas and lakes),��historico-cultural aspects��(visited by Dante, classical, mythological, biblical), and��rhetorical features��(mention by periphrasis, adjective, simile or��direct speech). For each entry I also took note of its cantica, canto and line, and transcribed its��terzina��both in the original Italian text and in the English translation (I chose to quote from Robert Durling’s version, clear in its prose and handy in its paragraph divisions corresponding to the original��terzine).

When it comes to the yes/no logic of computing, it is not always possible to account for nuances and ambiguities that lie within the real world or in the literary text. The classification of a place as classical or mythological, for instance, cannot be automatically applied to all of its mentions: that is the case with Rome, which may be recalled in classical/mythological terms but also as a post-classical/medieval place. Or how can a river be referred to as classical? My strategy was to read it as “classical” only when mentioned in a clearly classical context (as it happens for example in��Inf. 20 or��Par. 6). The very division between regions “large”, “medium”, and “small” is��a practical��compromise between the fluidity of medieval geography and need for differentiating the regions’ proportion. Striving for the best approximation is often the rule. In the case of places “visited ��by Dante” I had to deal with scarce historical documentation and some hypotheses of greater or lesser uncertainty, mostly following biographical evidence provided in Giorgio Inglese,��Vita di Dante. Una biografia possibile��(Roma: Carocci, 2015)��and in the entries of the��Enciclopedia dantesca��(Roma: Istituto dell’Enciclopedia Italiana, 1970).

Map-Making

The����was built through ArcGIS, a powerful and versatile GIS (Geographical Information System) software. The reason to choose it among various GIS options available today was it allows for high number of manageable layers as required by the project. The map was started with the Desktop version of ArcGIS, and then fully developed and finalized on the platform of��ArcGIS Online, with a free public account. I made a point of building��Mapping Dante��as a low-cost project, the outcome of which depended on experimentation and design more than on an abundance of resources. Choosing to use��a free version of the software posed some technical limitations, though: some have been overcome with effective workarounds, some other are still been worked on.��The��current version of the map includes everything except for rivers, lakes and seas, which will be added later. A look at the layers of��Inferno,��Purgatorio��and���ʲ������徱������on��the map will show that, while specific places like town and mountains are marked by a pin that gives an adequate idea of their limited extension, larger areas (from small valleys to large territories) are marked by a circle which obviously does not approximate��their real extension: the reason is two-fold, technical (the fractal nature of many borders would have consumed more than the amount of memory available to the map) and geo-historical (boundaries in medieval Europe were incomparably more ambiguous and fluid than today, thus not suitable to the precise identification protocol required by GIS-based mapping).

The layers of the map correspond to the descriptors included in the pop-up cards of each mention of a place. Every layer offers an overall view of the distribution of a feature; every marker on a layer on speak about a place and its mentions. To know more about the options allowed by the map, please read the instructions about��.

Graph and Charts

Further visualizations of the dataset are possible. to enhance the user’s experience in her/his exploration of the geographical encyclopedia of �ٲ��Գٱ�’s��Comedy. For now the website of��Mapping Dante��include a graph and a set of chats that translate in a different way the contents of the map. The����visualizes��the��network of��relations between places and cantos (in the network, places and cantos are represented as nodes: every time a mention occurs, a connection is drawn, with a node’s size proportioned to its number of connections). and gives visual priority to the geographically densest cantos and to the most frequently mentioned places.��The����offer additional representations of places and cultural/rhetorical features according to quantitative criteria.

Text

Pop-up cards on the map contain only a��terzina: more text would not be easily readable. Yet, to make sense of a mention in a specific passage it might be essential to have access to a larger portion of text. This is why I have added to the site the complete Italian text of the 100 cantos of the��Comedy. It can be accessed from the “Link to Canto” ��entry from the map pop-ups (directed to a specific canto and line), or it can be browsed from the����section. Before the beginning of each canto there is a list of places mentioned; clicking on one of them will lead you to the specific passage,

Andrea Gazzoni

Updates & News

• May 2016: launch of map and website.
• October 2016: complete text of��,��and��with links to passages where places are mentioned.
• November 2016: page with links to online����about Dante and digital mapping.
• December 2016: short����and����introducing the project (compiled and published by��OMNIA��All things Penn Arts &��Sciences).
• January 2017: paper��“Digital Mapping of���ٲ��Գٱ�’s��Comedy through Its Place-Names: An Experiment in Literary Geovisualization” presented at the MLA Convention, Philadelphia, January 5-8 (session:��Digital Editing and Medieval Texts).
• February 2017:��Mapping Dante��is awarded the��. Presentation of the project at the��, Rutgers University, New Brunswick, February 25.
• December 2017: article “” published in��Humanist Studies & the Digital Age��5 (2017): 82-95.