Teaching

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.

Teaching Time

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.)


Teaching Transformation

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.


The Echoing Cry

Joshua King describes how COVE can be used in two types of pedagogical projects and exercises.  First, he recounts how he and students used COVE to bring coherence to an in-depth exhibition about Elizabeth Barrett Browning's (EBB) poem, "Cry of the Children."   The exhibition combines traditional display cases (containing manuscripts, letters, rare books, and three-dimensional objects) with user-activated videos and, crucially, two COVE stations: a timeline and geospatial map. Second, he describes how this and other learning objectives can be supported through live-annotation sessions with students using COVE studio. The COVE-supported student exhibition focuses on the background, contexts, composition, reception, and enduring relevance of EBB's protest against child labor in factories and mines.  Entitled "'Orphans of earthly love': Elizabeth Barrett Browning's Protest for Working Children," it will be mounted at Baylor University's Armstrong Browning Library (ABL, Waco, Texas), which possesses the world's largest collection of manuscripts and rare items related to the Brownings, along with artifacts of many other important nineteenth-century authors and cultural figures.  The exhibition opening will coincide with a multi-site, digitally interconnected symposium in honor of the 175th anniversary of EBB's poem (October 2018) hosted by the ABL, the University of Victoria (Canada), and the University of Strathclyde (Scotland).  A long-term digital version of the exhibition will be loaded to this event's website, where it will be synthesized with materials provided by Victoria and Strathclyde. 


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.


Megha Anwer discusses her use of the Digital Mapping tool on COVE as a way to  spatially map Victorian women’s habitation of the city and their encounters with urban violence. Scholarship on nineteenth-century London has extensively addressed the dramatic, spectacular moments of sexual-violence against women. This is best epitomized in the studies of the serial killer Jack the Ripper, and his impact on the lives of women in East End. What demands further investigation, however, are the more mundane ways in which women experienced crime and violence in the city  – the general air of dread in streets, hostile glances, leering comments, and ‘flirtatious’ sexual advances that women had to contend with, experiences that in contemporary vocabulary would be called "microaggressions." This project proposes to diversify the discourse around “violence against women” by excavating/mapping these quotidian violations. These may not have led to a gruesome murder or a sensational assault; yet, they constitute a crucial, but overlooked, dimension of gendered urban life. In order to draw attention to these non-eventful, everyday forms of gendered urban-violence this project will examine novels, periodicals and photographs between 1850-1900. My undergraduate researchers and I create and analyze digitally mapped intra-city journeys undertaken by both fictional and historical women of Victorian London. This will entail plotting and tracking, onto real Victorian maps, the streets, alleys, and neighborhoods charted by women. These maps will also geographically identify what I call “forgotten-flashpoints” – the un-remembered spaces where women encountered non-evental violence on their daily routes.  In doing so, we will be able to produce geospatial data that can help us visualize what women’s mobility, and navigation of hostile urban environments looked like.