9ĢIn spite of the great attention and interest that these editions enjoyed at the time of their publication, their acceptance and actual use by scholars was lower than expected: The preferred publishing medium during this phase was that of an optical support, CD or DVD, but there were already in existence not only interesting experimental editions on the Web, 8 but also more complex, hypermedia-based ones. 2 It was during this time that important editorial projects such as the Piers Plowman Electronic Archive, 3 the Electronic Beowulf, 4 the Canterbury Tales Project, 5 the Parzival-Projekt 6 and many more 7 published the results of their efforts. b (.)ġWhen Peter Robinson wrote ‘Current Issues in Making Digital Editions of Medieval Texts–Or, Do Electronic Scholarly Editions Have a Future?’, 1 he was looking back at what we may call the ‘pioneer era’ of digital editing and publishing: a time span of roughly ten years, from the early 90s to 2004. 9 The Complete Writings and Pictures of Dante Gabriel Rossetti: A Hypermedia Research Archive, ed.8 The Wanderer: Edition and Translation, ed.7 I will also cite Bernard James Muir’s The Exeter Anthology of Old English Poetry: An Edition of Ex (.).Galler Epenhandschrift: Parzival, Nibelungenlied und Klage, Karl, Willehalm (.) by Peter Robinson (Cambridge: Cambridge University Pres (.) 5 The Wife of Bath’s Prologue on CD-ROM, ed.Kiernan (London: British Library, 1999/2013).
#Textlab chapter 6 archive#
Duggan, ‘1994 Prospectus: Archive Goals’, The Piers Plowman Electronic Archive (1994–2003) (.) 2 Robinson’s article was received by the Digital Medievalist editors on January 6, 2005.1 Peter Robinson, ‘Current Issues in Making Digital Editions of Medieval Texts–Or, Do Electronic Sch (.).
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