定义与边界：数字人文领域的多学科交融

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《数字化人文：新兴领域中的边界工作》是Julie Thompson Klein撰写的一本由密歇根大学出版社出版的著作，探讨了人机关系在数字人文这一跨学科领域的核心议题。该书于2015年发行，并在Project MUSE平台上提供访问。作者通过引用多位参与者在"数字人文日"论坛上的观点，展示了对数字人文定义的多元性和开放性。乔治·威廉姆斯认为，数字人文是一种由实践者创造并不断演变的概念，他主张"它是我们赋予它的任何东西"，强调其灵活性和包容性。Elli Mylonas则将其视为理论与实践相结合的领域，强调了它在进行人文探究时的作用。Brian Croxall将数字人文视为一种实用工具，而Matthew Kirschenbaum则持保留态度，认为这个词更多是一种战术便利，带有一定被迫接受的意味。 Amanda French表达出对定义数字人文的疲惫感，Lou Bernard表现出抗拒，而Willard McCarty则明确表示自己尽力避免对其进行定义。这些不同的看法揭示了数字人文定义的挑战性，它不仅是一个技术或方法论的集合，更是学者们在不断尝试和讨论中塑造的一个动态概念。关键词如"人文计算"和"数字人文"反映出这本书关注的核心议题，即如何在信息技术快速发展的时代，将传统的人文研究方法与数字技术融合，创造出新的研究路径和理解世界的方式。书中可能涵盖了跨学科的合作、技术应用案例、方法论探讨、伦理问题以及未来趋势等丰富内容，深入剖析了人机关系在数字化人文领域的复杂性和前沿性。《数字化人文：新兴领域中的边界工作》提供了对这个快速发展的领域深刻洞察，对于理解人与技术之间的互动，以及如何构建和利用数字技术推动人文研究的发展具有重要意义。阅读这本书将有助于读者深化对数字人文的理解，认识到它既是理论探索，也是实际操作的实践平台。

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Deﬁning / 41

of archiving, data collection, manipulation, and searching. For the most

part, though, tools were created by experts or commercial interests. “Hu-

manities .” was characterized by new tools and relationships between

producers and consumers of tools, fostering a “many- to- many” model

marked by greater interactivity, user participation, and user- generated

content. is shift was apparent in the corporate and social networking

of Google and MySpace, collaborative knowledge building of Wikipedia,

user- generated photo- sharing of Flickr, video- posting of YouTube, and

blogs, wikis, and virtual environments. “If Web . was about democ-

ratizing access,” Davidson sums up, “Web . was about democratizing

participation” (“Humanities .,” ).

Steven E. Jones highlights a more recent timetable over a ten- year pe-

riod that gained momentum between  and . New digital prod-

ucts emerged along with social- network platforms and other developments

such as Google Books and Google Maps. e change was not so much a

“paradigm” shift as a “fork” in Humanities Computing that established

a new “branch” of work and a “new, interdisciplinary kind of platform

thinking.” Borrowing from William Gibson, Jones styles the shift an “ever-

sion” of cyberspace, a “turning itself inside out” marked by a diverse set of

cultural, intellectual, and technological changes. Eversion parallels Kath-

erine Hayles’s conception of new phase in cybernetics that moved from

“virtuality” to a “mixed reality.” is phenomenon is not isolated to the

academy: it is part of a larger cultural shift marked by emergence and

convergence. e new DH associated with this shift is evident in digital

forensics, critical code and platform studies, game studies, and a new phase

of research using linguistic data, large corpora of texts, and visualizations

documented in the latter half of this chapter in the disciplines of English,

history, and archaeology. A more layered and hybrid experience of digital

data and digital media, Jones adds, is occurring across contexts, from ar-

chived manuscripts to Arduino circuit boards. Conceptualized in terms of

Hayles’s notion of “intermediation” of humans and machines in “recursive

feedback and feedforward loops,” this experience is evident in new work-

ows and collaborative relationships examined more fully in chapter  (–

, , , – , , , ).

Statement  signals another benchmark event that appeared three years

after the Companion was published, the inaugural issue of Digital Humani-

ties Quarterly (DHQ):

42 / Interdisciplining Digital Humanities

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Statement 

Digital humanities is by its nature a hybrid domain, crossing disciplin-

ary boundaries and also traditional barriers between theory and prac-

tice, technological implementation and scholarly reection. But over

time this eld has developed its own orthodoxies, its internal lines of

aliation and collaboration that have become intellectual paths of least

resistance. In a world— perhaps scarcely imagined two decades ago—

where digital issues and questions are connected with nearly every area

of endeavor, we cannot take for granted a position of centrality.

— Julia Flanders, Wendell Piez, and Melissa Terras, “Welcome to Digital Humani-

ties Quarterly,” Digital Humanities Quarterly 1, no. 1 (2007): ¶3

In welcoming readers to the new journal, Flanders, Piez, and Terras

resist dening the eld as a discipline. ey also defer the underlying

question, “What is digital humanities?” Orthodoxies, codications, and

dominant practices had already formed, raising the danger of ossifying the

history of a young eld prematurely. ey argue instead for letting deni-

tion emerge from practice, allowing submissions to represent contours of

the eld in Humanities Computing, other varieties of digital work, and

initiatives and individuals not necessarily classied as “digital humanities.”

DHQ was conceived as an experimental model. Its innovative technical ar-

chitecture aorded online, open- access publication under a Creative Com-

mons license that allowed copying, distributing, and transmitting work

for non- commercial purposes. Copyright remained with authors, enabling

further publication or reuse. Giving all articles detailed XML encoding

also facilitated marking genres, names, and citations, while other features

fostered more nuanced searching, visualization tools, and other modes of

exploration and tracking the evolving nature of the eld. Moreover, the

editors were looking forward to testing whether the nature of argument

would change with the capacity for including interactive media, links to

data sets, diagrams, and audiovisual materials.

Mindful of the multiple organizations serving related interests by ,

the editors also hoped DHQ would become a meeting ground and space of

mutual encounter. ey hoped to bridge historic constituencies of Digital

Humanities represented by the sponsoring Alliance of Digital Humanities

Organizations (ADHO) and closely related domains that were emerging

at that point. e journal’s commitment to breadth has been borne out

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