The COVE toolsets can be used in different disciplines and in several ways. Here, we will showcase how early adopters have engaged students with COVE, offering inspiration for instructors to develop dynamic modules of their own. Stay tuned for their stories!

Over the next months, we will publish articles discussing use of COVE tools by early adopters. As the articles are completed and copy-edited, links to the full articles will appear below.

Dino Franco Felluga discusses his efforts to test the temporal extension and collaborative potential of the timeline tool in two courses on the transition from the Medieval period to the Renaissance, one titled Making the Human, the other Leonardo da Vinci (both taught for Purdue’s Honors College).  Each class had about 20 students who undertook a collective timeline project, each student contributing a certain number of timeline elements as research preparation for their final papers.  As one student in Prof. Felluga’s Making the Human course put it spring 2017, echoing responses from the others in the class, “This type of collaboration was not only great for learning and providing a plethora of useful information, but was also very easy and was not stressful like some collaborations are.”  (This link shows off the class interface for Making the Human.)

Lorraine Janzen Kooistra discusses using the COVE toolset in her graduate class on Digital Publishing to create a collaborative digital edition of Clemence Housman’s The Were-Wolf as an open-access, peer-reviewed scholarly text for classroom use. Published by John Lane at The Bodley Head in 1896, the novella was itself the outcome of a collaborative process. In addition to authoring the story, Clemence engraved the illustrations created by her brother, Laurence, who also designed the book. The theme for this course was transformation. Just as the werewolf has long been a trope of transformation in the popular imagination, so too have the transformative powers of re-presentation and re-mediation always informed the ways we produce and read texts. Transformed into an editorial team, the class of 13 students worked together to prepare the copy-text for the edition, annotate its text and images, create temporal and geographic visualizations relevant to its content, and contribute to the edition’s editorial apparatus. The course used experiential learning and applied practice to develop students’ understanding of textual editing, the digital humanities, and Victorian publishing.

Kenneth C. Crowell outlines the structure of his blended delivery British Literature survey—the first course incorporating COVE Annotation Studio in the classroom—and details the remodel of this course as a fully online offering. He includes in discussion a commentary on cross-platform integration and user experience, the viability of Annotation Studio as a presentational software platform, and student responses to the use of Annotation Studio within a blended delivery course model. He notes the positive student feedback for Annotation Studio as a medium for collaborative learning revealed by comments such as “I really liked how we could see what everybody was writing instead of just the things I was. It was a lot easier to collaborate with each other having all of our thoughts on one central database” and “I liked that we could all work collectively on the same document (without the hassle of something like GoogleDocs).” In detailing the course redesign process from blended to fully online, he details development of comprehensive online user manuals for both the software and navigation between Annotation Studio and the Course Management System (Canvas™) serving as the primary platform for online instruction at Auburn University. Included is a discussion of how user feedback helped determine both course rebuild and which primary texts were selected for annotation and presentation purposes.

Rebecca N. Mitchell describes the ways that the COVE platform can be used to complement a brick-and-mortar exhibition that was partly curated by students. ‘Drawn to Books: Women Illustrators of the Birmingham School’ explores the role of the progressive Birmingham School of Art, England’s first municipal art school, in shaping the careers of women artists, designers, and illustrators. Built on the iconographic foundation of the Pre-Raphaelites, the Birmingham School style incorporated flattened perspective and medieval subjects with a fin de siècle emphasis on black space and orientalism. Students selected works for the exhibition and wrote captions and gallery notes for an exhibition held at Winterbourne House and Garden on the University of Birmingham campus. With the COVE toolset, students from the course are preparing a timeline and gallery that will showcase the Birmingham School works in a more widely accessible medium.

Joshua King describes how COVE can be used in two types of pedagogical projects and exercises.  First, he recounts how he and students are using COVE to compliment an in-depth exhibition about Elizabeth Barrett Browning's poem, "Cry of the Children."  Second, he describes using COVE in several live-annotation workshops with students, including one related to this exhibition project. This student-created exhibition focuses on the background, contexts, composition process, reception history, and enduring relevance of Elizabeth Barrett Browning's (EBB) influential protest against child labor in factories and mines.  The exhibition will be mounted at Baylor University's Armstrong Browning Library, which possesses the world's largest collection of manuscripts and rare items related to the Brownings, along with manuscripts and rare items of many other important nineteenth-century authors and cultural figures.  Eventually, the entire exhibition will be digitally linked to related exhibits created at the University of Victoria and the University of Strathclyde as part of a multi-site celebration of the 175th anniversary of EBB's poem (October 2018).  The exhibition combines traditional display cases (containing manuscripts, letters, rare books, and three-dimensional objects) with user-activated videos and two COVE stations: a timeline and geospatial map.