Digital

INTRODUCTION
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services and other university centers to provide DH training and support
for faculty and students. Chapter 9, “Collaboration and Co Teaching: Librarians
Teaching Digital Humanities in the Classroom,” focuses on how
librarians can become involved in digital humanities instruction on several
different levels. The authors, Brian Rosenblum, Fran Devlin, Tami Albin,
and Wade Garrison (University of Kansas), describe efforts by librarians
with subject, instruction, and digital scholarship expertise to provide instruction
and training in DH to graduate students and faculty. In chapter
10, “Spaces, Skills, and Synthesis,” Anu Vedantham and Dot Porter (University
of Pennsylvania) discuss how the creation of library spaces can
facilitate collaboration in digital humanities. The authors describe the evolution
of support for DH work at Penn through the library’s adaptation of
spaces, facilities, technical support, and faculty advising.
Part 4, “Projects in Focus: From Conception to Completion and Beyond,”
provides case studies of individual projects that involve subject
librarians, including both the successes and failures of these projects.
Chapter 11, “A Digital Adventure: From Theory to Practice,” from Valla
McLean and Sean Atkins (MacEwan University), shows how a general
inquiry about digital storytelling led to a successful project. The chapter
offers both pedagogical theory and practical applications related to digital
humanities. In chapter 12, “‘And There Was a Large Number of People’:
The Occom Circle Project at the Dartmouth College Library,” Laura R.
Braunstein, Peter Carini, and Hazel-Dawn Dumpert discuss the project
management process for digitizing an important collection of primary
documents. The project provides a case study in organizational change and
an example of how subject specialists can work within their libraries’ existing
cultures to develop new skills and connections to support and foster
the digital humanities. Chapter 13, “Dipping a Toe into the DH Waters:
A Librarian’s Experience,” from Liorah Golomb (University of Oklahoma)
outlines the author’s efforts to teach herself more about the tools involved
in creating digital humanities projects. Golomb documents her experience
text-mining dialogue from the CW Network television show Supernatural,
including preparing transcripts for mining; locating, testing, and selecting
tools; the challenges of examining text in a visual medium; and sugges-