how i use movable type for educational purposes

Jason‘s the Shepherd for the Wordherders, and he’s already posted an entry on how the changes in MT’s payment schedule will affect our multiple blogs.

However, I also maintain a bunch of blogs over on Jeff‘s CHLT server, so I thought I’d describe how I use MT there and whether these changes will push me to adopt another content management system.

First of all, I’ve adopted Liz Lawley‘s brilliant MT Courseware hack for my classes. I’m sort of confused as to what the new pricing scheme is for MT 3.0, but my understanding is that the free version will allow for one author and three blogs. I like to leave my course websites online even after the course is finished, however, and so I’ll hit the three-blog limit pretty quickly if I upgrade.

Additionally, I have frequently assigned a game of Ivanhoe, using MT as the game platform. This requires me to add, temporarily, all 30 or so students as authors to my MT installation. I don’t think I’d be able to do this at all under the new rules.

For the above applications, two tasks are very inconvenient using MovableType. First, adding thirty new authors to the Ivanhoe games takes way too long; I’d prefer an HTML form that allows me to enter all thirty at once in a grid, rather than clicking my way through the same one-author-at-a-time form thirty times. Second, adding all the content for Liz’s MT Courseware takes way too long; again, a grid that allows you to enter multiple entries using one form would cut back on a very onerous task.

As long as MovableType was free, I was willing to put up with these inconveniences on the backend in exchange for the elegant beauty of the frontend. But if I’m going to be asked to pay, I’d have to think twice about whether such shortcomings were acceptable.

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intro to shakespeare: fall 2004

The site’s not quite ready for primetime, but tonight I’ve been working on a page for the Shakespeare course that I mentioned over on Palimpsest.

Watch this space for more thoughts about the course to be posted.

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ellen ullman, the bug

I’ve just finished Ellen Ullman’s The Bug. I’m considering teaching the novel next spring in my honors section of English 225, the second course in the composition sequence at UMKC. Ullman describes the interaction between human and machine with a remarkably poetic voice, such as this passage where programmer Ethan Levin reads an email from a technical consultant and then ponders a software bug he’s trying to solve:

It all presented itself as a continuum: hardware at the bottom, with all its miniature mechanics and electronics, becoming at each step upward more abstract, becoming software. It produced in him a certain vertiginous pleasure–this glimpse into the slip-space between the hard and soft, the physical and mental worlds, layer upon layer of human thought turned into chips, circuit boards, programs. And it struck him, as it sometimes did these days, how briefly physical the computer was. All software on the top, then just a small layer where it was only dumb wire and plastic and silicon–beneath which everything immediately turned abstract again: the intelligence of the circuits, “logic gates” designed with software and etched into chips, through which moved the bits of stuff human beings had named “electrons.” (45)

Coincidentally, I’m dealing with my own bug as the university’s “Microsoft Office Outlook Web Access” email server is only letting me log in about one out of every twenty attempts. The very patient folks in the university IT department can’t find anything wrong. As for me, I miss telnet and pine, and I’m very tired of Microsoft. Apple is selling 12″ iBooks for under a thousand bucks, and I’m very tempted. I’m using OpenOffice for my office-related tasks, GIMP for my image editing, MovableType for most of my website management tasks lately, and jEdit for my text encoding. Hmm. If only I could remember why I decided to go with this laptop running m$.

Matt first piqued my interest in The Bug, btw.

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william blake’s technology

This is really just a “Hey, isn’t this cool?” kind of post, and I guess I’ve had a lot of those lately. Take a look at Joseph Viscomi’s chapter on William Blake’s “Illuminated Printing” techniques.

ìIlluminated Printingî was first published in The Cambridge Companion to William Blake, edited by Morris Eaves, 2003. It is republished here by permission of Cambridge University Press. While the text remains the same, the electronic version has 95 illustrations versus 9 in the printed version. The illustrations demonstrate in detail the stages of both Blakeís relief etching (ìilluminated printingî) and conventional intaglio etching according to the six ìChambersî in the ìPrinting house in Hell,î from Blakeís The Marriage of Heaven and Hell. The comparison of these two methods of etching will help reveal what was borrowed, altered, invented, and radical in Blakeís new mode of graphic production. The illustrations, which are linked to enlargements that have detailed captions, supplement the text but also function autonomously as slide shows on the technical and aesthetic contexts in which illuminated printing was invented, and as tutorials in the production of engravings, etchings, and relief etchings.

Fascinating stuff. Without the Blake Archive, I would not be able to teach Blake the way that I do.

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fall course description

The following is the description for my Fall 2004 permutation of “Histories of Reading, Writing, and Publishing,” a course that I proposed back in September:

Lo! thy dread Empire, Chaos! is restored;
Light dies before thy uncreating word:
Thy hand, great Anarch! lets the curtain fall;
And universal Darkness buries All.

ñAlexander Pope

We tend to have such faith in books that we assume the printing press brought with it a wave of enlightenment, as publishing restrictions loosened and print production escalated over the course of the early modern period. As the above quote from Pope demonstrates, eighteenth-century observers were not always so optimistic. This course will explore the profound changes taking place from the seventeenth century into the eighteenth as Britain transformed into a print culture.

We will consider several questions. What are the cultural and theoretical implications of different forms of verbal communication and representation, such as speech, manuscript, or print? How did the practices of authorship, readership, and publishing change during this period? What effect did these changes have on the production, distribution, and reception of such traditionally literary materials as essays, novels, and poetry as well as of other materials such as newspapers, magazines, and dictionaries? How did these changes affect, or engender, the fields of journalism, evangelicalism, politics, and literary studies? We will address these issues through a reading of several different seventeenth- and eighteenth-century texts as well as of key contemporary scholarly works. We are likely to read works by Addison & Steele, Behn, Barker, Blake, Donne, Haywood, Hogarth, Johnson, Milton, Pope, Wesley, and Whitefield.

Students can expect to complete class presentations, a take-home exam, an annotated bibliography, and a final research paper building upon the research completed for the annotated bibliography. Graduate students should expect to complete more in-depth research and writing than undergraduate students.

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