JADH2016

Proceedings of the 6th Conference ofJapanese Association for Digital Humanities“Digital Scholarship in History and the Humanities”
http://conf2016.jadh.org/
The University of Tokyo, September 12-14, 2016.

Hosted by:

JADH2016 Organizing Committee
under the auspices of the Japanese Association for Digital Humanities
Co-hosted by:Historiographical Institute, The University of Tokyo(UTokyo)
Graduate School of Humanities and Sociology / Faculty of Letters, UTokyo
Center for Integrated Studies of Cultural and Research Resources, National Museum ofJapanese History
Supported by:Construction of a New Knowledge Base for Buddhist Studies: Presentation of an Advanced Modelfor the Next Generation of Humanities Research (15H05725, Masahiro Shimoda)

Co-sponsored by:

IPSJ SIG Computers and the Humanities
Japan Art Documentation Society (JADS)
Japan Association for East Asian Text Processing (JAET)
Japan Association for English Corpus Studies
The Mathematical Linguistic Society of Japan
Japan Society of Information and Knowledge
Alliance of Digital Humanities Organizations

JADH 2016

Table of Contents

JADH 2016 Organization .............................................................................................. ⅴ
Time Table.......................................................................................................................... ⅵ
Pre-Conference Symposium ....................................................................................... ⅶ
Keynote Lecture•C r e d it w h e r e c r e d it is d u e : h o w d ig it a l s c h o la r s h ip is c h a n g in g h is t o r y in t h e
E n g lis h - s p e a k in g w o r ld a n d w h a t t h e A m e r ic a n H is t o r ic a l A s s o c ia t io n is d o in g
a b o u t it ................................................................................................................................................. ⅸ
Seth Denbo (American Historical Association)

Plenary panel session 1••

T h r e e D a t a b a s e s o n J a p a n e s e H is t o r y a n d C u lt u r e : a n E d it in g E x p e r ie n c e ......... ⅹ
Charlotte Von Verschuer (École Pratique des Hautes Études)
In t e lle c t u a l N e t w o r k s in T o k u g a w a J a p a n : t h e b e g in n in g s o f t h e E d o J a p a n
Database ......................................................................................................................................... ⅹⅲ
Bettina Gramlich-Oka (Sophia University)

Plenary panel session 2•

F u t u r e o f E a s t A s ia n D ig it a l H u m a n it ie s
Jieh Hsiang (National Taiwan University), Masahiro Shimoda (The University of Tokyo),
Ray Siemens (University of Victoria)

Session 1: Texts and Database (Long papers)
Chair: Akihiro Kawase•••( S 1 - 1 ) T h e K a n s e k i R e p o s it o r y : A n e w o n lin e r e s o u r c e f o r C h in e s e t e x t u a l s t u d ie s.................................................................................................................................................................. 1
Christian Wittern (Kyoto University)( S 1 - 2 ) M ig r a t io n , M o b ilit y a n d C o n n e c t io n : T o w a r d s a S u s t a in a b le M o d e l f o r t h e
P r e s e r v a t io n o f Im m ig r a n t C u lt u r a l H e r it a g e ....................................................................... 3
Paul Arthur, Jason Ensor (Western Sydney University), Marijke van Faassen, Rik
Hoekstra, Marjolein 't Hart (Huygens ING), Nonja Peters (Curtin University)( S 1 - 3 ) R e o r g a n is in g a J a p a n e s e c a llig r a p h y d ic t io n a r y in t o a g r a p h e m e d a t a b a s e
a n d b e y o n d : T h e c a s e o f t h e W a k a n M e ie n g r a p h e m e d a t a b a s e ............................... 5
Kazuhiro Okada (Tokyo University of Foreign Studies)

Session 2: History and Digital (Long papers)
Chair: Hilofumi Yamamoto••ii( S 2 - 1 ) E n h a n c in g IS O S t a n d a r d s o f t e m p o r a l a t t r ib u t e s in in f o r m a t io n s y s t e m s
f o r h is t o r ic a l o r a r c h a e o lo g ic a l o b je c t s .................................................................................. 8
Yoshiaki Murao (Nara University), Yoichi Seino, Susumu Morimoto (Nara National
Research Institute for Cultural Properties), Yu Fujimoto (Nara University)( S 2 - 2 ) T h e E c h o o f P r in t : O u t in g S h a k e s p e a r e ’ s S o u r c e C o d e a t S t P a u l’ s ........ 1 0
Thomas W Dabbs (Aoyama Gakuin University)

Session 3: Analyzing Cultural Resources (Short papers)

JADH 2016

Chair: Asanobu Kitamoto
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( S 3 - 1 ) C o m p a r in g T o p ic M o d e l S t a b ilit y a c r o s s L a n g u a g e a n d S iz e ....................... 1 3
Simon Hengchen (Université libre de Bruxelles), Alexander O'Connor (ADAPT Centre
School of Computing, Dublin City University), Gary Munnelly (ADAPT Centre, Trinity
College Dublin), Jennifer Edmond (Long Room Hub, Trinity College Dublin)( S 3 - 2 ) C a n a w r it e r d is g u is e t h e t r u e id e n t it y u n d e r p s e u d o n y m s ? : S t a t is t ic a l
a u t h o r s h ip a t t r ib u t io n a n d t h e e v a lu a t io n o f v a r ia b le s .................................................. 1 6Miki Kimura (Meiji University)( S 3 - 3 ) A s s o c ia t iv e N e t w o r k V is u a liz a t io n a n d A n a ly s is a s a T o o l f o r
U n d e r s t a n d in g T im e a n d S p a c e C o n c e p t s in J a p a n e s e ................................................ 1 8Maria Telegina (University of Oxford)( S 3 - 4 ) M e lo d ic S t r u c t u r e A n a ly s is o f T r a d it io n a l J a p a n e s e F o lk S o n g s f r o m
S h ik o k u D is t r ic t ............................................................................................................................... 2 0
Akihiro Kawase (Doshisha University)( S 3 - 5 ) V is u a liz in g J a p a n e s e C u lt u r e T h r o u g h P r e - M o d e r n J a p a n e s e B o o k
C o lle c t io n s — A C o m p u t a t io n a l a n d V is u a liz a t io n A p p r o a c h t o T e m p o r a l D a t a —................................................................................................................................................................ 2 3Goki Miyakita, Keiko Okawa (Keio University)

Poster slam & poster session
Chair: Christian Wittern
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( P - 0 ) [ In v it e d P o s t e r P r e s e n t a t io n ] A p p r o a c h t o N e t w o r k e d O p e n S o c ia l
S c h o la r s h ip ........................................................................................................................................ 2 5
Ray Siemens (University of Victoria) and the INKE Research Group( P - 1 ) V e r if y in g t h e A u t h o r s h ip o f S a ik a k u Ih a r a ’ s K o u s y o k u G o n in O n n a ............ 2 6
Ayaka Uesaka (Organization for Research Initiatives, Doshisha University)( P - 2 ) Q u a n t it a t iv e A n a ly s is f o r D iv is io n o f V io la P a r t s o f M o z a r t ’ s s y m p h o n ie s................................................................................................................................................................ 2 9Michiru Hirano (Tokyo Institute of Technology)( P - 3 ) C h a r a c t e r is t ic s o f a J a p a n e s e T y p e f a c e f o r D y s le x ic R e a d e r s ...................... 3 2
Xinru Zhu (University of Tokyo)( P - 4 ) D ig it a lly A r c h iv in g O k in a w a n K a id a C h a r a c t e r s ................................ ..................... 3 7Mark Rosa (Ph. D., University of Tokyo, 2016)( P - 5 ) A t t r ib u t e s o f A g e n t D ic t io n a r y f o r S p e a k e r Id e n t if ic a t io n in S t o r y T e x t s................................................................................................................................................................ 3 8
Hajime Murai (Tokyo Institute of Technology)( P - 6 ) T r e n d s in C e n t u r ie s o f W o r d s : P r o g r e s s o n t h e H a t h iT r u s t + B o o k w o r m
P r o je c t ................................................................................................................................................. 4 1
Peter Organisciak, J. Stephen Downie (University of Illinois at Urbana-Champaign)( P - 7 ) D e v e lo p m e n t o f t h e D ic t io n a r y o f P o e t ic J a p a n e s e D e s c r ip t io n .................... 4 4Hilofumi Yamamoto (Tokyo Institute of Technology), Bor Hodošček (Osaka University)( P - 8 ) H ig h - t h r o u g h p u t C o lla t io n W o r k f lo w f o r t h e D ig it a l C r it iq u e o f O ld J a p a n e s e
B o o k s U s in g C o m p u t e r V is io n T e c h n iq u e s ................................ ................................ ......... 4 7
Asanobu Kitamoto (National Institute of Informatics), Kazuaki Yamamoto (National
Institute of Japanese Literature)( P - 9 ) D e v e lo p m e n t o f G ly p h Im a g e C o r p u s f o r S t u d ie s o f W r it in g S y s t e m ......... 4 9
Yifan Wang (University of Tokyo)( P - 1 0 ) R e la t io n s h ip b e t w e e n f ilm in f o r m a t io n a n d a u d ie n c e m e a s u r e m e n t a t af ilm f e s t iv a l ........................................................................................................................................ 5 1

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JADH 2016

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Masashi Inoue (Yamagata University)( P - 1 1 ) L in k in g S c h o la r s a n d S e m a n t ic s : D e v e lo p in g S c h o la r - S u p p o r t iv e D a t a
S t r u c t u r e s f o r D ig it a l D ū n h u á n g .............................................................................................. 5 3Jacob Jett, J. Stephen Downie (University of Illinois at Urbana-Champaign), Xiaoguang
Wang (Wuhan University), Jian Wu, Tianxiu Yu (Dunhuang Research Digital Center),
Shenping Xia (Dunhuang Research Academy)( P - 1 2 ) A W e b B a s e d S e r v ic e t o R e t r ie v e H a n d w r it t e n C h a r a c t e r P a t t e r n Im a g e s
o n J a p a n e s e H is t o r ic a l D o c u m e n t s ........................................................................................ 5 7
Akihito Kitadai (J. F. Oberlin University), Yuichi Takata, Miyuki Inoue, Guohua Fang,
Hajime Baba, Akihiro Watanabe (Nara National Research Institute for Cultural
Properties), Satoshi Inoue (University of Tokyo)( P - 1 3 ) Im a g e r e c o g n it io n a n d s t a t is t ic a l a n a ly s is o f t h e G u t e n b e r g ’ s 4 2 - lin e B ib let y p e s .................................................................................................................................................... 5 8
Mari Agata (Keio University), Teru Agata (Asia University)( P - 1 4 ) C o m p a r is o n s o f D if f e r e n t C o n f ig u r a t io n s f o r Im a g e C o lo r iz a t io n o f
C u lt u r a l Im a g e s U s in g a P r e - t r a in e d C o n v o lu t io n a l N e u r a l N e t w o r k ....................... 6 0
Tung Nguyen, Ruck Thawonmas, Keiko Suzuki, Masaaki Kidachi (Ritsumeikan
University)

Session 4: Textual Analysis (Long papers)
Chair: Toru Tomabechi•••( S 4 - 1 ) D a t in g M in in g in t o t h e W o r k s o f M o n k a n ( 1 2 7 8 - 1 3 5 7 ) , a M o n k o f t h e
S h in g o n S c h o o l: U s in g D ig it a l H u m a n it ie s t o A s s e s s t h e C o n t e s t e d A u t h o r s h ip o f
T h r e e R e lig io u s T e x t s ................................ ................................ ................................ ................... 6 4
Gaetan Rappo (Waseda University)( S 4 - 2 ) S t y lis t ic A n a ly s is o f A g a t h a C h r is t ie ’ s W o r k s : C o m p a r in g w it h D o r o t h y
S a y e r s .................................................................................................................................................. 6 6
Narumi Tsuchimura (Osaka University)( S 4 - 3 ) J a n e A u s t e n in V e c t o r S p a c e : A p p ly in g v e c t o r s p a c e m o d e ls t o 1 9 t h
c e n t u r y lit e r a t u r e . ........................................................................................................................... 6 8
Sara J Kerr (Maynooth University)

Session 5: Modeling and Digitization (Short papers)
Chair: Hajime Murai
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( S 5 - 1 ) M E D E A ( M o d e lin g s e m a n t ic a lly E n h a n c e d D ig it a l E d it io n o f A c c o u n t s ) a s
H is t o r ic a l M e t h o d ........................................................................................................................... 7 0
Kathryn Tomasek (Wheaton College)( S 5 - 2 ) M o d e lin g N e w T E I/ X M L A t t r ib u t e s f o r t h e S e m a n t ic M a r k u p o f H is t o r ic a l
T r a n s a c t io n s , b a s e d o n ‘ T r a n s a c t io n o g r a p h y ’ ................................ ................................ .. 7 5
Naoki Kokaze (University of Tokyo), Kiyonori Nagasaki (International Institute for
Digital Humanities), Masahiro Shimoda, A. Charles Muller (University of Tokyo)( S 5 - 3 ) H Y U :M A - - A M o d e l f o r L ib r a r y - - S u p p o r t e d P r o je c t s in J a p a n e s e D ig it a l
H is t o r y ................................................................................................................................................. 7 8Peter Broadwell, Tomoko Bialock (University of California, Los Angeles)( S 5 - 4 ) g o r ic h :: g o m in im a l ................................ ................................ ................................ ........ 8 2Federico Caria (Cologne University)

JADH 2016 Organization

JADH 2016

JADH 2016 Organizing Committee:
A. Charles Muller (University of Tokyo, Japan)
Makoto Goto (National Museum of Japanese History, Japan)
Shuhei Hatayama (University of Tokyo, Japan)
Akihiro Hayashi (University of Tokyo, Japan)
Yasufumi Horikawa (University of Tokyo, Japan)
Naoto Ikegai (University of Tokyo, Japan)
Hidetaka Ishida (University of Tokyo, Japan)
Tatsuo Kamogawa (University of Tokyo, Japan)
Masato Kobayashi (University of Tokyo, Japan)
Kiyonori Nagasaki (International Institute for Digital Humanities, Japan)
Hiroaki Nagashima (University of Tokyo, Japan)
Yusuke Nakamura (University of Tokyo, Japan)
Makoto Okamoto (University of Tokyo, Japan)
Masahiro Shimoda (University of Tokyo, Japan)
Akira Takagishi (University of Tokyo, Japan)
Noriyuki Takahashi (University of Tokyo, Japan)
Shogo Takegawa (University of Tokyo, Japan)
Toru Tomabechi (International Institute for Digital Humanities, Japan)
Kana Tomisawa (University of Tokyo, Japan)
Taizo Yamada (University of Tokyo, Japan), Chair
Shunya Yoshimi (University of Tokyo, Japan)

JADH 2016 Program Committee:
Hiroyuki Akama (Tokyo Institute of Technology, Japan)
Paul Arthur (Australian National University, Australia)
James Cummings (University of Oxford, UK)
J. Stephen Downie (University of Illinois, USA)Øyvind Eide (University of Cologne and University of Passau, Germany)
Neil Fraistat (University of Maryland, USA)
Makoto Goto (National Museum of Japanese History, Japan)
Shoichiro Hara (Kyoto University, Japan)
Jieh Hsiang (National Taiwan University, Taiwan)
Asanobu Kitamoto (National Institute of Informatics, Japan)
Maki Miyake (Osaka University, Japan)
A. Charles Muller (University of Tokyo, Japan)
Hajime Murai (Tokyo Institute of Technology, Japan)
Kiyonori Nagasaki (International Institute for Digital Humanities, Japan), ChairJohn Nerbonne (University of Groningen, Netherlands)
Espen S. Ore (University of Oslo, Norway)
Geoffrey Rockwell (University of Alberta, Canada)
Susan Schreibman (National University of Ireland Maynooth, Ireland)
Masahiro Shimoda (University of Tokyo, Japan)
Raymond Siemens (University of Victoria, Canada)
Keiko Suzuki (Ritsumeikan University, Japan)
Takafumi Suzuki (Toyo University, Japan)
Tomoji Tabata (Osaka University, Japan)
Toru Tomabechi (International Institute for Digital Humanities, Japan)
Christian Wittern (Kyoto University, Japan)
Taizo Yamada (University of Tokyo, Japan)v

JADH 2016

Time Table

September 12, Day 0
13:00-14:30

15:00-18:00

Workshop•Management of Japanese Character Information and its Application•IIIF (International Image Interoperability Framework): Recent situation
Pre-conference symposium

September 13, Day 1
9:10-

Registration

10:00-11:30

Session 1: Texts and Database (Long papers)

9:45-10:00

11:30-11:50
11:50-12:50

12:50-14:20
14:20-15:20
15:20-15:30
15:30-17:00
17:00-17:10

17:10-18:40
19:00-

Opening
Break

Session 2: History and Digital (Long papers)
Lunch BreakKeynote Lecture
Break

Session 3: Analyzing Cultural Resources (Short papers)
Break

Poster slam & poster session
Reception

September 14, Day 2
9:30-11:00

Session 4: Textual Analysis (Long papers)

11:20-12:50

Plenary panel session1

11:00-11:20
12:50-14:20

14:20-15:40
15:40-16:00
16:00-17:30
17:30-17:50

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Break

Lunch Break --- JADH AGM

Session 5: Modeling and Digitization (Short papers)
Break

Plenary panel session2
ClosingPre-Conference Symposium

JADH 2016

15:00-15:10 Opening(Hiroshi Kurushima and Masahiro Shimoda)

15:10-16:10•

T h e H u m a n it ie s , t h e L ib e r a l A r t s a n d t h e U n iv e r s it y in a D ig it a l W o r ld ................... ⅷ
Peter K. Bol (Harvard University)

16:10-16:20 Break
16:20-16:50•

A c a d e m ic A s s e t s a n d D ig it a l A r c h iv e s
Noriko Kurushima (The University of Tokyo)

16:50-17:20•

M a k in g D a t a b a s e o f C it y L if e f r o m G e n r e P a in t in g s - P e r s o n s ' D a t a b a s e o f 1 6 t h
C e n t u r y R a k u c h u - r a k u g a i- z u B y o b u ( S c e n e s In a n d A r o u n d K y o t o S c r e e n s )Michihiro Kojima (National Museum of Japanese History)

17:20-17:40 Break
17:40-18:00 Panel discussion including audience
Chaired by Makoto Goto (National Museum of Japanese History)vii

JADH 2016

The Humanities, the Liberal Arts and the University in a
Digital WorldPeter K. Bol
Harvard University, USA

Abstract
What is the role of the humanities in education and why are the humanities central to the liberal
arts? The job of the humanities is to remember our past, both its best and its worst, when it iseasier to forget; to push us reflect on ourselves and question our present when it is easier to go
along. Above all else, the humanities continue our predecessors’ efforts to create and sustain
civilization. They remind us that, as Confucius said, “Learning without thinking is to deceive oneself;
thinking without learning is to endanger oneself 學而不思則罔, 思而不學則殆 .” When learning istreated as acquiring skills employers can use and thinking is reduced to following simplistic
ideologies, the humanities offer the antidote.
The digital world gives the humanities new possibilities to help us learn, reflect, and create. Its
tools allow us to see more, to think more clearly, and to communicate across cultures. We needto consider how the humanities can embrace these tools and skills without losing sight of its
mission and without forgetting its past.

BiographyPeter K. Bol is the Vice Provost for Advances in Learning and the Charles H. Carswell Professorof East Asian Languages and Civilizations. As Vice Provost (named in 2013/09) he is responsiblefor HarvardX, the Harvard Initiative in Learning and Teaching, and research that connects online
and residential learning. Together with William Kirby he teaches ChinaX (SW12x) course, one of
the HarvardX courses. His research is centered on the history of China’s cultural elites at thenational and local levels from the 7th to the 17th century. He is the author of "This Culture ofOurs": Intellectual Transitions in T'ang and Sung China, Neo-Confucianism in History, coauthor ofSung Dynasty Uses of the I-ching, co-editor of Ways with Words, and various journal articles in
Chinese, Japanese, and English. He led Harvard’s university-wide effort to establish support forgeospatial analysis in teaching and research; in 2005 he was named the first director of the Center
for Geographic Analysis. He also directs the China Historical Geographic Information Systems
project, a collaboration between Harvard and Fudan University in Shanghai to create a GIS for2000 years of Chinese history. In a collaboration between Harvard, Academia Sinica, and Peking
University he directs the China Biographical Database project, an online relational databasecurrently of 360,000 historical figures that is being expanded to include all biographical data in
China's historical record over the last 2000 years.

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[Keynote Lecture]

JADH 2016

Credit where credit is due: how digital scholarship ischanging history in the English-speaking world andwhat the American Historical Association is doing
about itSeth Denbo, Ph.D.
American Historical Association, USA
sdenbo@historians.org“The context of historical scholarship is changing rapidly and profoundly.” With these words theAmerican Historical Association launched its intervention into the problem of evaluating digitalscholarship by historians.
As historians, we are conducting our scholarship (research, teaching, writing, publishing) in a worldthat is changing rapidly. In every stage of historical research the digital context of our work istransforming what we do. Teaching is also being refigured by the use of digital tools and methods.
These methodologies are no longer the preserve of a small minority of digitally-trained historians.
Even scholars with limited technological skills use the web for finding primary and secondary
sources, doing basic computational analyses, and even publishing online. The use of digitaltechnologies gives us new ways to approach our traditional questions, provides more varied formsof expressing ideas, and allows us to reach new audiences.
While the conduct of our historical work has changed in many ways, we lag behind in evaluating
scholarship using non-traditional methods. Disciplinary imperatives limit forms of acceptablepublication to traditional outputs—journal articles and books. The peer review that underpins theentire process of scholarly publication often does not occur when work is published online. Lacking
peer review mechanisms, many departments are reluctant to open their requirements for tenure
and promotion to these new approaches and formats.
Developments in digital history are changing what we can express about the past. I will explore
how through looking at some exemplary uses of these approaches in the English-speaking
academic world. Digital history is not a new phenomenon. Economic and social historians realized
the power of computational tools for analyzing large-scale data as long ago as the 1970s. This
work suffered from making promises that were impossible to deliver on, and was overtaken by acultural and linguistic turn in the wider discipline of history. But it provided a foundation forconceptualizing how large-scale data sets covering broad swathes of historical time could become
an important methodological approach for our discipline.
Today the work of digital historians is much more varied and immersed in existing paradigms. It
is more of a set of lenses for viewing sources than a separate field within our discipline, but thoselenses are highly varied. Some provide very close and detailed interpretations of a small numberof sources, while others look at vast amounts of data to paint a picture of change over time. Other
approaches are primarily about historical education, both in and out of the classroom. In looking
at these projects my paper will examine how they contribute to the scholarly conversation in theirfield, explore some of the challenges they present to traditional modes of scholarship, and discuss
issues related to evaluating them for professional credit.

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JADH 2016

[Plenary panel session 1]

Three Databases on Japanese History and Culture:an Editing Experience
Charlotte von Verschuer
École Pratique des Hautes Études，France
Abstract
I will present three internet databases related to Japanese history and culture that I have co-edited
and co-authored.

Online Glossary of Japanese Historical Terms 日本史グロッサリー・データベース or:
On-line Glossary of Japanese Historical Terms 応答型翻訳支援システム .
The Online Glossary of Premodern Japanese Historical Terms is one of the sub-projects of theJapan Memory Project (JMP), designed and created with the support of the Ministry of Education,
Culture, Sports, Science and Technology (COE, 2000 – 2004), the Japan Society for the Promotionof Science (Grant-in-Aid for Scientific Research, 2005-2008) and a number of foreign scholars.
Project Director: Ishigami Eichi, Director of the Japan Memory Project (2000-2008);
Members of the Advisory Committee:
Martin Collcutt (Princeton University), Kate Wildman Nakai (Sophia University), Joan Piggott(University of Southern California), Detlev Taranczewski (Universität Bonn), Ronald P. Toby
（University of Illinois, Urbana Champagne), Hitomi Tonomura (University of Michigan), Charlotte
von Verschuer（École Pratiques des Hautes Études), Willy Vande Walle（Katholieke Universiteit
Leuven. All other Project members, Editorial staff, and Editorial assistants are listed on the site.
The purpose of this glossary is to select and list major existing translations for Japanese historicalterms and to make them available over the internet as a tool for assisting in the translation ofJapanese primary sources. The glossary consists of more than 25,000 entries. Instead of giving
set translations or any English standard terms, the glossary, as a special feature, provides avariety of translations for the same technical term and gives, for each translation, the author nameand publication. The glossary is drawing these translations from over 70 works written in English,
French, and German.
Dictionary of Sources of Classical Japan / Dictionnaire des sources du Japon classique
欧文日本古代史料解題データベース (Online Draft Version" December 2004)
B o o k V e r s io n :E d it o r s :C o - e d it o r s :A d v is o r s :x

Dictionnaire des sources du Japon classique/Dictionary of Sources of ClassicalJapan, Paris: College de France, 2006; distribution: De Boccard:
http://www.deboccard.com/
Joan Piggott, University of Southern California
Ineke Van Put, Catholic University of Leuven
Ivo Smits, Leiden University
Charlotte von Verschuer, École Pratiques des Hautes Études
Michel Vieillard-Baron, Institut National des Langues et Civilisations Orientales(INALCO)
Ishigami Eiichi, Historiographical Institute, The University of Tokyo (ShiryôHensanjo)
Yoshida Sanae, Historiographical Institute, The University of Tokyo (ShiryôHensanjo)
Horikawa Takashi, National Institute of Japanese Literature (NIJL; Kokubungaku
Kenkyû Shiryôkan) / Tsurumi University
Araki Toshio, Senshû University
Sano Midori, Gakushuin University
Brian Ruppert, University of Illinois, Urbana-Champaign

JADH 2016

Tabuchi Kumiko, National Institute of Japanese Literature (NIJL; Kokubungaku
Kenkyû Shiryôkan)Kikuchi Hiroki, Historiographical Institute, The University of Tokyo (ShiryôHensanjo)
C o lla b o r a t i o n :National Institute of Japanese Literature (NIJL; Kokubungaku Kenkyû Shiryôkan);
Centre de recherches sur les Civilisations chinoise, japonaise et tibetaine (UMRCNRS, EPHE, College de France, Universite de Paris 7)

S u p p o rt:- Japan Memory Project (JMP) at the Historiographical Institute, The University of Tokyo (ShiryôHensanjo)- École Pratique des Hautes Études (EPHE), Section des Sciences Historiques et Philologiques,

Traditional Agricultural Techniques: A Glossary in French-English-Chinese-Japanese(Grains and Horticulture) Preliminary Version 2013
農業技術用語集：仏・英・中・日（穀類）２０１３年暫定版（インターネット・データベース）
http://labour.crcao.fr

N e w T it le ( N o v e m b e r 2 0 1 6 ) :D i c t i o n a r y o f T r a d i t i o n a l A g r i c u lt u r e : E n g li s h - F r e n c h - C h i n e s e - J a p a n e s e
Dictionnaire de l’agriculture traditionnelle: français-anglais-chinois-japonais
法英汉日传统农业辞典
伝統農業技術：英日中仏用語辞典
Editors (2016): Cozette Griffin-Kremer (Conservatoire National des Arts et Métiers CNAM),
Guoqiang Li (Paris West University), Perrine Mane (Centre National de Recherches Scienfiques
CNRS), Charlotte von Verschuer (EPHE)
A u th o rs :Yoshio Abe (École des Hautes Études en Sciences Sociales EHESS), Carolina Carpinschi, Cozette
Griffin-Kremer, Guoqiang Li, Perrine Mane, Francois Sigaut (EHESS, CNAM), Eric Trombert (CNRS),Charlotte von Verschuer
Advisors: Michiaki Kono (Kanagawa University, Yokohama), Takeshi Watabe (Tokai University,
Tokyo), Yin Shaoting (Yunnan University, China)
Webmaster: Philippe Pons (EPHE)Technical Management: Elise Lemardelée (EPHE), Yves Cadot (Université de Toulouse)
Publisher: East Asian Civilisations Research Centre (CRCAO: EPHE, CNRS, Université Paris- Diderot,
College de France)
Date of publication: 2009, 2013, 2016
Collaboration: Research Group on the Comparative History of Agricultural Technology
Support: Fondation pour l’étude de la langue et de la civilisation japonaises (Fondation de France),
Paris; Fukushima Prefectural Museum, Japan; China Agricultural Museum, Beijing; Institute ofBotany (Chinese Academy of Sciences), Beijing, China.
• In contrast to a dictionary, this glossary is not meant to be exhaustive. It provides a
selection of technical terms, deliberately excluding most generic terms. The glossaryemphasizes technical specifics. We hope that it will enable users to avoid some common
errors of translation by refining the meanings given for equivalent items.
• With the exception of words noted as older (ANC.), the terms listed are contemporary.
• The glossary covers traditional agricultural techniques, as they were practiced around theworld up to this day. Terms that arose after industrialization have been excluded. (For theseterms, the user can refer to industrial machine and product catalogues.)• This glossary can contribute to safeguarding a wealth of technical information andknowledge about biodiversity, potentials for food production and wise utilization of
resources and energy.
• The glossary highlights cultural differences: many technical terms have no equivalent inanother cultural area. (The symbol @ attached to a word means that the term is specificto a particular language.)xi

JADH 2016

The entries are arranged by thematic category, so a search can be carried out either byword or by thematic category. Each entry has a window in which users can enter their own
comments.
T h e C o n te n ts :The Dictionary contains technical terms of agricultural traditions in a thematic arrangement. Manyterms are documented by pictures. The Draft Version published in 2013 comprises the techniquesof grain cultivation, vegetable and fruit agriculture, providing terms for agricultural operations andtools. The Dictionary is arranged in eleven thematic categories with a total of about ten thousand
entries, covering: Tillage, Water Management, Soil Improvement, Sowing, Harvesting, ThreshingDegraining, Cereal Grains, Fruit and Vegetables, Plant Morphology, Fields and Systems, andHorticulture. The parallel presentation of English, French, Chinese and Japanese terms will shedlight on the technical and cultural differences between the various linguistic areas. The Dictionary
comprises the basic techniques, both traditional and contemporary. It does however not include
the variants that involve the use of fuel, of chemicals, and of biotechnology, as these terms canbe found on commercial catalogues. The project espouses the need to protect natural resources
and preserve rural cultural heritage.
P e r s p e c t iv e :In an age of concern over saving the environment and bio-diversity, it seems timely to provide
information about agricultural techniques that support this aim. In light of the high stakes involvedin climate change, economic globalization and the industrialization of agriculture, traditional
agricultural techniques deserve to be considered as a universal asset of humankind. The
Dictionary has first been launched on-line in 2009. It is continuously expanding and will cover fields
other than grains, vegetable and fruit agriculture, such as cattle husbandry, viticulture, sylvicultureetc.
Aim: With the world wide concern for global Food Security, research on agricultural techniques is
progressing in European countries as well as in China and Japan. It is time to provide a working
tool for translations and international communication. It goes without saying that the generallanguage dictionaries do not provide precise enough information in the field. The Dictionary should
be used for translating technical works and catalogues. The Dictionary will enhance the study ofenvironmental ecology and be the safeguard of rural heritage. It should promote research andfieldwork by graduate students and curators and, last but not least, it encourages a dialogue
among the specialists of various countries.
•

Biography
Charlotte von Verschuer is Professor of Japanese history at École Pratique des Hautes Études in
Paris. Born in Bonn, Germany, she did her school education in Brussels at the European School, in
Belgium. She then studied Japanese at the International Christian University in Tokyo, Japaneseand Chinese languages, as well as Asian art history at Bonn University in Germany, and graduatedin Japanese studies at the Institut National de Langues Orientales (INALCO University) in Paris.
Thereafter she spent two years as a Japanese Government scholarship fellow at the Institute ofHistory (Kokushi kenkyushitsu) at The Tokyo University under the guidance of Tsuchida Naoshige
with his Ishii Masatoshi, and also spent eight months as a trainee at the Taiwan Palace Museum in
Taibei, and continued her Ph.D. studies in Paris, Ecole Pratique des Hautes Etudes (EPHE) under
the guidance of Francine Herail. She received her Ph.D. in Oriental Studies at INALCO University
with her thesis on ‘8th-9th Century Official Relations between Japan and China’, and an other
Ph.D. in History at Paris EPHE with her thesis on ‘The Economy of Ancient Japan’. She wasassociate researcher at Centre National de Recherches Scientifiques (CNRS) before becoming
Professor of Ancient and Medieval History of Japan at EPHE in 1995, at the East Asian Civilisations
Research Centre (CRCAO). Her publications in French, German, English, and Japanese include: Across the Perilous Sea: Japanese Trade with China and Korea from the seventh to sixteenthCenturies, translated from French by Kristen Lee Hunter, Ithaca (New York), Cornell University
Press, 2006; and - Rice, Agriculture, and the Food Supply in Premodern Japan, translated andedited by Wendy Cobcroft, London, Needham Research Institute Monograph Series, London, New
York, Routledge, 2016.

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[Plenary panel session 1]

JADH 2016

Intellectual Networks in Tokugawa Japan: thebeginnings of the Edo Japan Database
Bettina Gramlich-Oka, Ph.D.
Sophia University
Abstract
The project is a historical network analysis of the Tokugawa period (1600–1868). Our principal
actor is the scholar Rai Shunsui (1746–1816) and his many records. Shunsui’s diary, spanningover thirty-five years, his correspondence, and many other records are rich in information
regarding the wide intellectual network that Shunsui nurtured and that extended all over Japan.
The project offers thus a novel approach in that it is not simply an intellectual biography but
grounded in the notion that intellectual interactions among scholars of the Tokugawa period aremuch better described by the analogy of a network. Their correspondence, meetings and sharingof objects and manuscripts will help us to understand better the actual working of the various
levels of state administration, in which the scholars were involved. Therefore, intra-territorial andinter-territorial networks are keys to understanding how political reforms were discussed andimplemented in Tokugawa Japan. In more concrete terms, this project will investigate the networkof Rai Shunsui in order to document the intellectual environment of the late Tokugawa reforms intime and space by setting up a geo-database (GIS) containing the data collected from a broad
variety of sources.

Biography
Bettina GRAMLICH-OKA holds a Ph.D. (University of Tübingen, Germany) in Japanese history. She
is a professor for Japanese history at Sophia University, Tokyo, where she teaches courses inwomen history, Edo society, and upper level courses implementing “reacting to the past”
pedagogy. Her main publications are Thinking Like a Man: Tadano Makuzu (Brill, 2006; in Japanese2013), Economic Thought in Early Modern Japan (Brill, 2010; in Japanese 2013), and is currently
working on intellectual networks, marriage and adoption practices in the Edo period. In 2014 shebecame the editor and since 2016 the Chief Editor of Monumenta Nipponica. Since 2010, she is
the leader of the research unit “Network Studies” in the Institute of Comparative Culture of Sophia
University (network-studies.org). Part of the project is the development of the relational database
introduced here.

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The Kanseki Repository: A new online resource for
Chinese textual studies
Christian Wittern (Kyoto University)
Introduction
The Kanseki Repository (KR) has been developed by a research group at the Institute for Researchin Humanities, Kyoto University under the leadership of Author(s). It features a large compilationof premodern Chinese texts collected and curated using firm philological principles based on morethan 20 years of experience with digital texts. Among its unique features is the fact that the texts
can be accessed, edited, annotated and shared not only through a website, but also through aspecialized text editor, which thus morphes into a powerful workspace for reading, research andtranslation of Chinese texts. The Kanseki Repository includes all texts in the Daozang and Daozang
jiyao and a large collection of Buddhist material, including all texts created by the CBETA team,
where applicable enhanced through the inclusion of recensions from the Tripitaka Koreana, in
addition to a large selection from general collections like Sibu congkan and Siku quanshu.
The source texts of the Kanseki Repository are available at @kanripo on the website github.com.
These texts are displayed at www.kanripo.org and also used in the Emacs Mandoku (seewww.mandoku.org) package.
This presentation will outline the main considerations for creating this repository of texts and its
associated tools and methods. This includes•
Philological foundations•
Basic technologies•
Cooperative and collaborative research
These points are further discussed below

Philological foundations
In a seminal article, the Swiss scholar Hans Zeller[1] emphasised the fact that all scholarly editing
should make a clear distinction between the record of what is transmitted and the scholarlyinterpretation thereof. While this distinction is blurry at times, it has informed the design of the
Kanseki Repository, which arranges the editions of a text it represents into those that strive tofaithfully reproduce a text according to some textual witness ('record') and those that criticallyconsider the content and make alteration to the text by adding punctuation, normalizing
characters, collating from other evidence etc. ('interpretation').

Basic technologies
Git and GitHub
The distributed version control software git is used as a low-level transportation layer andmaintenance technology. It allows users to download texts and upload revised versions, create
their own versions and keep track of revisions. Github is a commercial web services based on git,that adds social-networking functions and cloud-services.
Emacs
Emacs is the main user interface for users that require a sophisticated and advanced editing
environment. On top of the Emacs package "Org mode" has an extension been developed that
adds additional functionality that facilitates interaction with the digital archive.

Web interface at www.kanripo.org
This website provides access to the texts, including full-text search, display of transcribed text
and facsimile(s) of different editions. Users can log in using their Github credentials and get accessto more advanced functions such as selecting lists of text of special interest, advanced sorting
functions by text category or date as well as cloning of texts to the Github user account andediting on site. The site went into testing mode in October 2015 and is scheduled to a first public
release in March 2016.

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JADH 2016

Towards a platform for text-based Chinese studies
All modes of interaction described above are based on the distributed version control system git,using the Github site as a 'cloud storage'. However, in addition to providing storage, Github also
provides a feedback mechanism through "pull-requests", where users can flag corrections to atext for the @kanripo editors to consider for inclusion in the canonical version, thus making it
available to all users.
The model outlined here is extensible and allows other developers of websites related to Chinesestudies to access the same texts, and provide specialized services to the user, for example byenhancing the text through NLP processing. These enhanced versions can be saved ("committed"
in git language) in the same way to the users account and are then also visible to the client1
programs described here .
This will open the door to an open platform of texts for Chinese studies, where the texts of interest
to the users form the center of a digital archive, with different services and analytical tools
interacting and enhancing it. The user, who makes a considerable investment in time and effort
when close reading, researching, translating and annotating the text, never loses control of thetext and does not need to worry about losing access to it when one of the websites goes offline.
By providing versioned access to the texts in question, it is also possible to make any analyticalresults reported in research publications reproducible[2] by indicating the additional tools andprocesses needed, ideally also in a Github repository in the same ecosystem.
The aim is not just to provide a static, completed, definitive edition of a text, but as fertile a groundas possible for the interaction between the text and its readers, hopefully improving both throughthis process.

References[1] Hans Zeller, "Befund und Deutung - Interpretation und Dokumentation als Ziel und Methodeder Edition", in: G. Martens and H. Zeller (ed.), Texte und Varianten : Probleme ihrer Edition undInterpretation. München, 1971, p. 45-89, translated as "Record and Interpretation: Analysis andDocumentation as Goal and Method of Editing" in: Hans H. W. Gabler, G. Bornstein, and G. B.
Pierce (ed.), Contemporary German Editorial Theory, Ann Arbor 1995, p. 17-58.
[2] Vikas Rawal, "Reproducible Research Papers using Org-mode and R: A Guide", athttps://github.com/vikasrawal/orgpaper [accessed 2016-05-04]

A “shadow” of the texts in the @kanripo account in a format suitable for text mining have been madeavailable for specialized processing in @kr-shadow (http://github.com/kr-shadow). These texts will be
updated from the master-branch of a corresponding text in @kanripo.
1

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JADH 2016

Migration, Mobility and Connection: Towards a
Sustainable Model for the Preservation of Immigrant
Cultural Heritage
Paul Arthur, Jason Ensor (Western Sydney University), Marijke vanFaassen, Rik Hoekstra, Marjolein 't Hart (Huygens ING), Nonja Peters(Curtin University)
All over the world migrants have influenced and changed the cultures of the countries where they
have settled, and they have built new communities that have retained connections, to differing
degrees and by various means, with their original homelands. The multiple traces that they haveleft in official and unofficial documents potentially provide a rich resource for supporting andcelebrating a sense of identity within such communities and for capturing and maintaining their
histories. The gathering and preservation of these histories are also fundamentally important for
enabling research on immigrant cultural heritage and thereby contributing to deeper
understanding of cross-cultural and multicultural issues in an era of unprecedented global
movement of people away from their homelands. In the case of migrants, collecting informationthat can provide relevant data is complicated by the fact that at least two countries are involved,
with different laws, policies and conventions for data storage and access, and also in most cases,
different languages.
In this project between two countries, via close collaboration the Digital Humanities ResearchGroup at the University of Western Sydney and the Huygens Institute for the History of theNetherlands in The Hague, sets up processes for overcoming barriers such as these that havestood in the way of cross-national research on migrant lives in the past.
The importance of cultural heritage to national economies and social capital is widely recognised.
In 2014 the Council of the European Union adopted the ‘Conclusions on Cultural Heritage’confirming cultural heritage as ‘a strategic resource for a sustainable Europe’. The ‘Conclusions’recognised the role of participatory governance in ‘triggering new opportunities brought byglobalisation, digitisation and new technologies which are changing the way cultural heritage is1
created, accessed and used’. It is these new opportunities that this ‘Migration, Mobility andConnection’ project responds to.
Documents and evidence of the history of migration are spread very widely, and in most cases
have been almost entirely inaccessible for research purposes in the past in Australia. This projectis a study on Dutch-Australian mutual cultural heritage. Its aim is to begin the process of finding,assembling and organising into accessible and searchable formats, information in selected keyarchival records, in both Australia and The Netherlands, relating to Dutch emigration to Australia.
The project is conceptualised as a pilot that addresses difficulties faced by transnational
collaboration of this kind and proposes ways of overcoming them. It will work through archival andcustodial challenges in the discovery, collection, preservation and content management of tracesfrom the past and propose new digital approaches that may lead to solutions. While the initial
focus will be on migration, in the context of the maritime and mercantile history that theNetherlands shares with Australia, the project aims to establish a model that can be utilised forfurther Netherlands–Australian mutual heritage work and, potentially, for other immigrant groups.
Joint activity is underway to design a database for the project that integrates data in Australia
with data in The Netherlands. Three digitised datasets contain representations of migrant travels:(a) Netherlands database (registration cards); (b) National Archives of Australia database(casefiles from several series); and (c) Nominal rolls / ships’ passenger lists (representing a highpercentage of digitisation in the National Archives of Australia). Items (a) and (b) are to be used
for the data backbone; item (c) can be used for a more geographic visualisation (migrant mobility
between the Netherlands and Australia and vice versa) and enrichment of the data backbone. The
three datasets are different sources of information about the same people and voyages; they cantherefore be used to determine where each of them has structural gaps (if any) and make it
See
http://eur-lex.europa.eu/legal-content/EN/TXT/?uri=CELEX%3A52014XG1223(01)(accessed 25 May 2016)
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JADH 2016

possible to produce a more detailed estimate of the numbers of people that migrated and theway they travelled.

4

JADH 2016

Reorganising a Japanese calligraphy dictionary into agrapheme database and beyond:
The case of the Wakan Meien grapheme database
Kazuhiro Okada
ILCAA, Tokyo University of Foreign Studies
Hiragana, a Japanese moraic script, had long had a variety of letters before standardisation in
1900. Our knowledge of the history of hiragana has been deepened from the historical
relationships to distinguishing letter usages of letters. However, little of our knowledge has beentranslated into machine-readable form. Consequently, the 1000-year-long tradition of hiragana
before 1900, or older hiragana, is still left underrepresented in the computational world. This paper
will address issues concerning reorganising a Japanese calligraphy dictionary, Wakan Meien, intoa grapheme database, and discuss its further use as a knowledge database of the older Japanesewriting system.
Wakan Meien is a calligraphy dictionary specialising in hiragana materials, compiled by To Koei
(birth and death dates unknown) and published in 1768 (Fig. 1). Hiragana developed from
cursivised Chinese characters. Today, it consists of 48 letters, whereas before the Meiji period, it
had many more. Its cursivised origin makes it diﬃcult to distinguish between levels of cursivisation,although some are distinguishable. Wakan Meien is one of the earliest kana dictionaries, and wascompiled to meet growing demand by calligraphy students. The dictionary is unique, in that itpresents examples grouped by similarity of shapes and not by genetic relationship. Geneticclassification is a method that groups according to the source of cursivisation, and is stillcommonly used in later dictionaries (Fig. 2).

Figure 1. Wakan Meien

Figure 2. An example of genetic classificationin Kana Ruisan (Sekine Tametomi, 1768.
Holding of NDL Digital Collection)

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JADH 2016

Figure 3. Views of Sections, Groups, and Examples
The organisation of Wakan Meien surpasses later dictionaries with regards to grapheme
representation, the basic units of a writing system. Genetic classification is generally well regarded
amongst academics as an objective method, based on the fact that relationships between hiragana
and cursivised Chinese characters are philologically clear, and that, further, it does not refer tothe researcher’s distinction between graphemes. However, deep understanding of the distinction
between graphemes is essential, in order to ensure consistent computational encoding, such asUnicode. Conversely, the organisation of Wakan Meien means that these groups of examples
correspond to distinction of graphemes (Okada, 2016). Building a grapheme database fromgenetic classified dictionaries involves complex and uncertain diﬀerentiation: Thus, it is necessary
to build a grapheme database from attested graphemes, including those of Wakan Meien, forexample.
The dictionary appears not to be well organised. It collates examples by order of Iroha, a common
Japanese mnemonic of hiragana. Then, examples are ordered by similarity of shapes: a group of
more Japanised shapes includes solely similar shapes, whilst that of less Japanised — in otherwords, retaining more of the Sinitic original — shapes includes many more variations incursivisation, from barely to largely. These groups are not strictly ordered, other than that more
Japanised shapes tend to appear first. The source Chinese character is not considered in theordering. This ordering may give an impression for readers used to genetic classification, thatexamples are not well organised.
Reflecting that structure, the database recognises the following 3 entities: Sections, Groups (ofexamples), and Examples (Fig. 3). In the database, each group carries the possible variations, e.g.,
the distinction between graphemes. Considering that the original work is not strictly structured,
the database presents relationship between entities rather than structure of them like tree. In
addition, those entities have their own properties, such as heading images in Sections, source
characters in Groups, and locations and authors of the examples in Examples. Some of theseproperties, source characters and authors of the examples to name a few, may have two or more
sub-properties.
As will be discussed later, the database will be oﬀered as a reference of older hiragana. This nature
requires that points of reference to groups should not be excessively altered. Substantial updates
to Groups thus should not impact existing references to them, but be made through creating new
ones. This means that Examples can have relationship between two or more Groups.
A document(-oriented) database is employed to manage such data. Major advantages in
employing document databases, compared to relational databases, include that it allows
structured data to be stored as they are. Whilst relational databases can also manage such data
after normalisation, recalling the loose structure of the original work, allowing it at scheme level
would help development of better schemata.
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JADH 2016

The database will be provided as a reference source of older hiragana. It will include an educational
purpose, in learning to read materials that are written in older hiragana, manuscripts of JapaneseClassic for example, as well as a resource in corpus building, either in the form of linked data, or
simply a link in an HTML page. First, with recent advances in mobile applications for learning older
hiragana, such as ‘the Hentaigana app’ by the UCLA-Waseda alliance and ‘KuLA’ (Kuzushiji
Learning Application) by Osaka University, it is expected to increase the broader popularity ofolder hiragana. The database will provide supplemental materials for learners. Second, it will be areference for corpus building. Whilst older hiragana will be registered for Unicode in the near
future, its current specification declares that it will not deal with the detail of distinctions between
graphemes. Hence, building corpora in such a way that allows such a distinction must rely on otherresources. The database will provide a reference for detail via either graphemes or actual
examples, using stable IRI (Internationalized Resource Identifier). Moreover, accumulation of those
links to the database, or links to other databases, will enable the formation of a knowledge
database of older hiragana, and further the entire Japanese writing system, comprehending its
structure and history with firm examples.

Reference[1] Okada, Kazuhiro. 2016. Wakan Meien ni okeru hiragana jitai ninshiki [Hiragana graphemeawareness in Wakan Meien]. Paper presented at the 2016 Spring meeting, the Society forJapanese Linguistics, Gakushuin University, Tokyo, May 2016.

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JADH 2016

Enhancing ISO Standards of temporal attributes in
information systems for historical or archaeologicalobjects
Yoshiaki Murao (Nara University), Yoichi Seino, Susumu Morimoto (NaraNational Research Institute for Cultural Properties), Yu Fujimoto (Nara
University)
In this paper we attempt to implement the temporal attributes of historical or archaeologicalobjects in information systems by enhancing ISO 19108 standards.
There is no doubt about the importance of temporal attributes for humanities. And thestandardization of temporal attributes is also important to utilize IT for integrating or exchanging
data of humanities. From standardization’s point of view for the digital expression of temporal
attributes, there are some discussion points about the characteristics of them, which is fromsemantic concepts to encoded formats. CIDOC/CRM (its official standard is ISO 21127) defines
the semantic model of heterogeneous cultural heritage information, and contains the temporalelement as “E2 Temporal Entity”, “E51 Time Span”, “E62 Time Primitive” and so on. Thesesemantic common class definitions are valuable for the application area of cultural heritage andmuseum documentation, however CIDOC/CRM does not approach to build a general concept of
temporal attributes for information resources of humanities, nor cover the encoding specificationsof each class. A standardized implementation specification for E15 or E62 of CIDOC/CRM has tobe required, and our study is positioned there.
There are currently two major international standards for common temporal attributes. One is ISO
8601 titled “Data elements and interchange formats – Information interchange – Representationof Dates and Times”, which is based on Gregorian calendar and Coordinate Universal Time (UTC).
For example, the format of “2011-03-11” is conformed to ISO 8601. It is widely used in
representing date or time on information system. Although it provides convenient representation
forms for recent events or activities, it is not suit for describing historical events, as theysometimes cannot be applied Gregorian calendar, and are required to use complex temporal
expressions.
The other is ISO 19108 “Geographic information – Temporal schema”, which defines the schemain order to implement many types of calendars or eras. It also defines the ordinal era to support
the Jurassic period or the Cretaceous period, that are classified the order of periods. In contrary
to ISO 8601, it can potentially support complex temporal expressions. In addition, ISO 19108 links
to other encoding specifications in the same standards family. ISO 19118 “Geographic information– Encoding” provides basic encoding rules and ISO 19136 “Geographic information – Geography
Markup Language” provides a practical encoding specification based on XML.
“<gi:date8601>2011-03-11</gi:date8601>” and “<gi:ordinalPosition idref="NaraPeriod"/>” arecore parts of XML encoded examples conformed to ISO 19108 and ISO 19118.
ISO 19108 defines the common data model for temporal characteristics with varieties of temporal
expressions. However, it is not sufficient to express the temporal attributes of humanities’ objects,
especially for historical or archaeological objects. Because these objects sometimes cannot be
assigned the year of existence in any calendar, they sometimes use originally defined period orera, whose start or end time of their time span sometimes cannot specify clearly.
Then, we considered following cases of expressions: 1) Century 2) Age, Era, Period 3) Stage,
Phase, Subperiod 4) Ambiguous temporal expression 5) Cyclical temporal expression.
We have implemented above five cases with enhancements of ISO 19108 specifications, as follows.
(In following cases, class names that start with “TM_” are from ISO 19108)
For case 1): It is the common use to specify a century number as the temporal expressions, likeas “8th century”. Since ISO 19108 does not support the reference of the century number, wehave defined “Common Century System” class for century orders as a temporal reference system.
This class is inherited from the TM_Calendar class. And, to express a specific century number, wehave also defined "Common Century" class which is inherited from the TM_coordinate class.
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JADH 2016

For case 2): It is also the common use to specify Age/Era/Period name as the temporal
expressions, like as “Kamakura period (鎌倉時代)”. ISO 19108 defines the ordinal reference system
and its element, but it is not fit for the practical use of Age/Era/Period name as the temporal
expressions for historical or archaeological objects. We have defined “Chronological Reference
System” class to identify the chronological order. This class is inherited from the
TM_OrdinalRefenceSystem. And we have defined “Chronological Element” class, that is inheritedfrom the TM_OrdinalEra class, to express each age/era/period names.
Case 3) includes the expressions, e.g., “early stage (前期)”, “the beginning (初頭)”, “the first half(前半)”. This type of qualification defines the part in the range of original period. It is not definedin ISO 19108. We have implemented it by adding “periodical qualifier” attribute in the classdefinition for the period.
Case 4) includes the expressions, e.g., “from the end of 7th century to the beginning of 8th
century (7 世紀末から 8 世紀初頭)”, “from the last stage of Nara Period to the beginning of Heianperiod (奈良時代後期から平安時代初頭)”. We have defined a class that accepts two or more types of
the instance including case 3) with optional attribute of the estimated probability.
Case 5) includes the expressions, e.g., “kanoto-i year in Kofun period (古墳時代の辛亥の年)”, “winterin the latter portion of Meiji period (明治時代後葉の冬)”. In these examples, “kanoto-i” is a 48th year
in Jikkan (The Ten Stems: 十干) and Junishi (the Twelve Signs of the Chinese Zodiac: 十二支) in
the period for 60 years cycle, and “winter” is one of the four seasons in a year cycle. We haveadded the function expression at the “periodical qualifier” attribute in the class definition of
period. The rectangular wave function is a practical case for implementing cyclical temporal
expressions.
Our approach to enhancing ISO 19108 will be possible to lead the standardization of the temporal
expressions for historical or archeological objects on information system. It also will provide thecommon temporal specification not only for the history or archaeology such as the studies
treating the past, but also for the whole field of humanities.

Keywords
temporal attribute, history, archaeology, chronology

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JADH 2016

The Echo of Print: Outing Shakespeareʼs Source Codeat St Paulʼs
Thomas W Dabbs (Aoyama Gakuin University)
This talk will examine how digital platforms in development may be used to undo a scholarly dogmathat has historically restricted our understanding of Shakespearean drama. Traditionally thesedramas have been viewed as privileged primary literature that has been fused with lesser
secondary sources by a singular creative genius. The use of the term source suggests to us thatplot of Romeo and Juliet, for instance, was drawn from minor or obscure print editions that theBard of Avon molded into a fine literary work.
This line of reasoning is flawed. To view Ovid’s Metamorphoses and its popular Elizabethantranslation into English by Arthur Golding as secondary to Shakespeare’s frequent use of thisedition, is comparable to saying that J. R. R. Tolkien’s Lord of the Rings is secondary to the film
adaptations of the same story. Many of the so-call sources that Shakespeare and otherplaywrights used, for instance the popular collection of stories in William Painter’s Palace ofPleasure, were more prominent in the minds of the Elizabethan public than the plays adapted fromthem. By cross-referencing searchable databases and digital reconstructions of Elizabethan
London, we can see that Shakespearean drama was in fact keenly adapted to the popular
reception of printed works available in English, particularly in the St Paul’s precinct.
This talk will examine digital reconstructions of the St Paul’s cathedral precinct in the City of
London, the center of the book selling industry during the Elizabethan period. The cathedral’s
great and boisterous nave, Paul’s Walk, and the open churchyard full of bookshops at Paul’s Cross,were centers for broadcasting new print.
Until recently, however, it has been difficult to visualize this enormous locale as it existed during
the Elizabethan period. Digital reconstructions of the cathedral precinct show that Shakespeareanplays and many other plays were not crafted from obscure or lesser books. Instead such plays
echoed from local theatres the reception of popular printed works particularly in the public sphereat St Paul’s.
As a work sample, this talk will examine the single example of William Painter’s Palace of Pleasure.
This popular work comprised Painter’s translations of many classical and continental stories,
including, among other Shakespearean adaptations, the stories of Romeo and Juliet and Timon of
Athens. This publication was used by pre-Shakespearean playwrights to craft a spate of plays
after its popular reception in the City of London and specifically at St Paul’s. By the time
Shakespearean plays reached the public stage, theuse of Painter and other popular authors had
become something of a template for staging
successful productions.
Several digital initiatives will be used to show the
progress from the printing of Painter’s work to its
open public reception with stories from it being
adapted for the Elizabethan stage, including
adaptations by Shakespeare. The talk will begin
with the Agas Map of London online in order toshow how St Paul’s was positioned in the City of
London in relation to local theatres that came into
being within and on the outskirts of the city. The
reconstructions at the Virtual Paul’s Cross Project,
will show the physical environment of the cathedral
proper and also a reconstruction of Peter
Blayney’s (hard copy) map of the bookstores of
Figure 1. Cropped from a 17th-century Dutch
Paul’s Cross churchyard. These reconstructions
painting (Museum of London), showing thepoint to the fact that new printed works were often
enormity of St Paul’s and its proximity withthe public theatres flying their flags.
read and discussed in this locale. Such databases
10

JADH 2016as EEBO-TCP and the ESTC online will also be used to confirm the popular reception of Painter’s
work within the St Paul’s precinct.
Titles of extant plays will be used with titles in the Lost Plays Database to show how early modern
plays were crafted, not from singular inspirations drawn from independently selected source
material, but from playwrights, including Shakespeare, hearing the echoes of popular printed
works specifically in the St Paul’s precinct. The relationship between popular stories and plays canbe established by searching EEBO-TCP, the ESTC, and other online reference material and thencross-referencing stories with play titles. The presumed story in the lost play, ‘Cupid and Psyche’
will not show up in a reading of Painter’s table of contents, but ‘A Greek Maid’ will, if one
recognizes that the story of ‘Timoclea of Thebes’ is indeed about a Greek maiden and is theprobable source of ‘Greek Maid’. The methodology here is much easier to show in Powerpoint
than to describe in abstract, but the base method is to fill a reconstructed public gathering sitewith bookshops and popular stories that echoed into successful stage plays during the earlymodern period. The talk will conclude that such stories as those found in Painter are not source
material, per se, but well-known stories that were read and discussed in a central bookselling area
and that were later cherry picked because of their apparent popular appeal to be adapted forcommercial theatre events.
Along with showing how DH platforms can be collaborated, three suggestions will be made for the
future of early modern digital development and scholarship. The first concerns the singular
direction of DH projects and the current need to increase the interoperability between platforms.
For instance the Virtual Paul’s Cross Project recreates the environment at Paul’s Cross
churchyard to focus on a sermon by John Donne. It is not currently aimed to provide more
information about the churchyard bookstores that the project accurately reconstructs orinformation about printed editions on sale in these bookstores. This problem could be solved with
the inclusion of an interactive interface that would provide pop-up bubbles with information aboutchurchyard bookshop holdings. These bookshop holdings could in turned be linked to full texts(when available) at EEBO and to publication information at the ESTC.
The second suggestion concerns the unfinished nature of these projects. EEBO-TCP is slow indevelopment as are other projects. This subject will be mentioned only is passing as it could be
the focus of an entire DH conference, one that would focus on how to manage continuous andreliable data input for open access sites.
The third suggestion is rooted in the fact that some of our greatest resources are only preservedin hard copy, with no search-ability at all or just the ‘look inside’ option at Amazon or thefrustratingly narrowed options offered by Google Books. The future for digital research in theearly modern period is in seeing ways to continue the development and interoperability of existing
databases with interactive interfaces. We should find ways to finish and better collectivize what
has been started, and to digitalize information in hard copy texts in ways more elegant than simple
reproductions of the text.

References
Primary Texts (Modern spelling)[1] Bower, Richard? Apius and Virginia (London: Richard Jones, 1575). Full text: EEBO-TCP. Gosson,
Stephen. Plays Confuted in Five Actions (London: Thomas Gosson, 1582). Full text:
EEBO-TCP.
[2] Naso, Ovid. The XV Books of P. Ouidius Naso, entitled Metamorphosis. Trans. Arthur Golding(London: William Seres, 1567). Full text: EEBO-TCP.
[3] Painter, William. The Palace of Pleasure (London: Richard Tottell, 1566). Full text: EEBO-TCP.
[4] Shakespeare, William. The Most Excellent and Lamentable Tragedy of Romeo and Juliet(London: Cuthbert Burby, 1599). Full text: Internet Shakespeare Editions.
[5] Wilmot, Robert? The Tragedy of Tancred and Gismund (London: R. Robinson, 1591). Full text:
EEBO-TCP.
Lost Plays (Bibliographic Entries)[6] From Lost Plays Database. Ed. Roslyn L. Knutson and David McInnis (Melbourne: University of
Melbourn, 2009).
Anon.
‘A
Greek
Maid’
(1579).
Thomas
Dabbs.
Web.
https://www.lostplays.org/index.php?title=Greek_Maid,_A.
11

JADH 2016

Anon. ‘A Mask of Amazons’ (1579). (Forthcoming. See Wiggins below.)Anon. ‘Mutius Scaevola’ (1577). Thomas Dabbs (forthcoming).
Anon.
‘The
Story
of
Samson’(1576).
RoslynL.
Knutson.
https://www.lostplays.org/index.php?title=Samson.
Anon.
‘Timoclea
ofThebes’(1574).
John
H.
Astington.
https://www.lostplays.org/index.php?title=Timoclea_at_the_Siege_of_Thebes.

Web.
Web.

Digital Projects[7] Digital Renaissance Editions. Web. http://digitalrenaissance.uvic.ca.
[8] Internet Shakespeare Editions. Web. http://internetshakespeare.uvic.ca[9] Lost Plays Database. Web. https://www.lostplays.org/index.php?title=Main_Page.
[10] Map of Early Modern London (MoEML). Web. https://mapoflondon.uvic.ca.
[11] Shakeosphere. Web. https://shakeosphere.lib.uiowa.edu.
[12] Shakespeare Quartos Archive. Web. http://www.quartos.org/index.html Stow, John, A Surveyof London: From the Text of 1603 in (BHO). Web. http://www.british-history.ac.uk/noseries/survey-of-london-stow/1603.
[13] The Virtual Paul’s Cross Project. Web. https://vpcp.chass.ncsu.edu.
Databases[14] Database of Early English Playbooks (DEEP). Web. http://deep.sas.upenn.edu.
[15] Early English Books Online (EEBO-TCP). Web. http://quod.lib.umich.edu/e/eebogroup.
[16] English Short Title Catalogue (ESTC). Web. http://estc.bl.uk.
[17] Hamnet: Folger Library Catalog. Web. http://shakespeare.folger.edu.
[18] Records of Early English Drama (REED). Web. http://reed.utoronto.ca.
Workshop Resources[19] Early Modern Digital Humanities: Japan (EMDH: Japan). ‘Master List of Resources.’ comp.
John Yamamoto-Wilson Web. http://emdhjapan.blogspot.jp/2014/03/dh-database- links.html.
Hard Copy (limited digital search, Google)[20] Dabbs, Thomas. ‘Paul’s Cross and the Dramatic Echoes of Early-Elizabethan Print’ in Paul’s
Cross and the Culture of Persuasion in England, 1520-1640. Ed. Torrance Kirby and P. G.
Stanwood (Leiden: Brill, 2014).
[21] Gurr, Andrew. Playgoing in Shakespeare’s London (Cambridge: Cambridge UP, 1987; rpt.
2004). Morrissey, Mary. Politics and the Paul’s Cross Sermons, 1558-1642 (Oxford: Oxford UP,
2011). Shakespeare, William, Romeo and Juliet ed. René Weis (London: Arden, 2012).
[22] Wiggins, Martin. British Drama 1533-1642: A Catalogue. Vol. II and Vol. III (Oxford: Oxford UP,
2012).
Hard Copy Only (providing some scanned images)[23] Blayney, Peter M.W. The Bookshops in Paul’s Cross Churchyard. (London: The BibliographicalSociety, 1990).
[24] MacLure, Millar. The Paul’s Cross Sermons (Toronto: University of Toronto Press, 1958).
[25] Schofield, John. St Paul’s Cathedral before Wren (Swindon: English Heritage, 2011). St Paul’s.
The Cathedral Church of London:604-2004. Ed. Derek Keene, Arthur Burns, and Andrew Saint(New Haven: Yale UP, 2004).

12

JADH 2016

Comparing Topic Model Stability across Language andSize
Simon Hengchen (Université libre de Bruxelles), Alexander O'Connor(ADAPT Centre School of Computing, Dublin City University), Gary
Munnelly (ADAPT Centre, Trinity College Dublin), Jennifer Edmond (LongRoom Hub, Trinity College Dublin)
The rapid evolution of technology has freed the written word from the physical page. In the current
era, it can be argued that the primary means of access to text is digitally mediated. This has given
unprecedented reach to any individual with access to the Internet. However, the rate at which ahuman can absorb such information remains relatively unchanged, in particular in the case of
linguistically and/or culturally complex data. Results in computer science continue to advance inareas of linguistic analysis and natural language processing, facilitating more complex numericalinquiries of language. This commoditisation of analytical tools has led to widespreadexperimentation with digital tools within the humanities: recent initiatives such as DARIAH1,
CENDARI2 or TIC-Belgium3 try to foster the use of computational methods and the reuse of digital
data by and between researchers and practitioners alike.
A key question emerges: to what extent do these digital tools reveal signal, and to what extent are
they merely responding to noise? This is a question of particular import to human- ities
researchers, for whom the difference between signal and noise may shift from project to project
and from interpreter to interpreter, not to mention from linguistic context to linguistic context.
Scholars currently must resort to a vehicular language (in Europe and North Amer- ica, generally
English) in order to find patterns between cultural and linguistic contexts. This approach is notwholly satisfying, however, where the sensitivities surrounding the object of study are high,meaning that speakers would choose specific words and phrases with great care, aware of theresonances of the choices.
Discourse regarding cultural traumas, such as war, occupation, economic collapse, envi- ronmental
disaster, or other major disruption to national identity and social cohesion, present a clear exampleof this kind of issue: culturally specific, and yet present at some level or other in nearly every
cultural narrative. The international SPECTRESS network4 had hoped to provide
a new approach to fostering cross-cultural dialogue regarding the impact of and responses tocultural trauma by topic modelling discourse around traumas, and seeking similar clustering effectacross language- and event-specific contexts. The challenge with this approach was thatappropriate corpora were generally too small to produce reliable models and results. However,
initial experiments were not able to answer one key question of interest to both the computerscientists and the humanists in the project team: how small is too small?
We focus on the study of language and the semi-automatic discovery of topics in textual data. In
order to extract meaning we use two algorithms, both often referred to as “topic mod- elling
techniques”: Latent Semantic Analysis (LSA) (Landauer et al., 1998) and Latent Dirichlet Allocation(LDA) (Blei et al., 2003). Both algorithms construct matrices to try to determine topics within a setof texts by clustering similar words. These approaches both encode key assumptions about thestatistical properties of the language, with statistical and stochastic as- pects included. Whilst LDA
is the most widely used algorithm in the literature these past years, we believe that a benchmarking
study should include more than one take at the data, which is why we are comparing LDA and
LSA. Both models also need a certain pointed out by Greene et al (Greene et al., 2014).
Unfortunately, it is unclear how much data is enough. This lack of clear understanding of minimalfunctional corpus size poses a serious threat to topic modelling’s viability as humanistic
methodology. Topic modelling is currently an approach humanists are very aware of and see
potential uses for (following the work of Jockers (Jockers, 2013; Jock- ers and Mimno, 2013) andothers), but as many humanistic corpora are on the small side, the threshold for the utility of topic
1http://dariah.eu/
2http://cendari.eu/
3http://tic.ugent.be/

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JADH 2016

modelling across DH projects is as yet highly unclear. Unsta- ble topics may lead to research being
based on incorrect foundational assumptions regarding the presence or clustering of conceptual
fields on a body of work or source material. Stable topics, however, indicate that the random
component in the process has been minimised and the topics given do possess a coherence
worthy of further investigation by a trained human, as advocated by Chang et al (Chang et al.,2009).
Building on previous work by Munnelly et al (Munnelly et al., 2015), we propose a method- ology
to try to determine how large a corpus must be to establish a stable model, with an added twist:
whilst topic modelling techniques are language-independent, i.e. “use[] no manually- constructed
dictionaries, knowledge bases, semantic networks, grammars, syntactic parsers, or morphologies,
or the like.”(Landauer et al., 1998), the morphology of the language processed can influence thesize of the corpus required to build a stable set of topics. In order to do so, we compare French
and English topic models from a bilingual corpus of articles.

Methodology
We use the DBpedia (Auer et al., 2007) interlanguage links for the English lan- guage(interlanguage-links_en.nt) to search for every DBpedia URI existing in French and in English5.
With all DBpedia URIs having a match – and linked via the owl:sameAs predicate – in both languages,
we then parse both long_abstracts_en.ttl and long_abstracts_fr.ttl files toextract
theirrespective long abstracts.
This process carried through, we decompose the resulting files in a number of smaller files: onefor every DBpedia entity, each containing its abstract. With both corpus segments consti- tuted,
it is possible to apply LSA and LDA. The resulting models are stored and measured. The corpora
are reduced in size, LDA and LSA re-applied, models stored, and corpora re-reduced, iteratively,
each time recording the topic results.
Topic models are compared manually between languages at each stage, and programmati- callybetween stages, using the Jaccard Index (Real and Vargas, 1996), for both languages.
A large deviation between stages indicates a loss of representativeness between models.

Perspectives
By applying our methodology on parallel corpora, we try to determine whether the minimum
sample size for a representative topic model is consistent across the two lan- guages studied, i.e.
French and English. Using the built-in multilingualism of DBpedia, it be- comes possible to reapply
the methodology on most written languages.

References[1] Auer, S., Bizer, C., Kobilarov, G., Lehmann, J., Cyganiak, R., and Ives, Z. (2007). Dbpedia: A
nucleus for a web of open data. Springer.
[2] Blei, D. M., Ng, A. Y., and Jordan, M. I. (2003). Latent Dirichlet Allocation. Journal of Machine
Learning Research, 3:993–1022.
[3] Chang, J., Gerrish, S., Wang, C., Boyd-Graber, J. L., and Blei, D. M. (2009). Reading tea leaves:
How humans interpret topic models. In Advances in neural information processing systems,
pages 288–296.
[4] Greene, D., O’Callaghan, D., and Cunningham, P. (2014). How many topics? Stability
analysis for topic models. In Machine Learning and Knowledge Discovery in Databases, pages
498–513. Springer.
[5] Jockers, M. L. (2013). Macroanalysis: Digital methods and literary history. University of Illinois
Press.
[6] Jockers, M. L. and Mimno, D. (2013). Significant themes in 19th-century literature. Poetics,
41(6):750–769.
[7] Landauer, T. K., Foltz, P. W., and Laham, D. (1998). An introduction to latent semantic
analysis. Discourse processes, 25(2-3):259–284.
4https://spectressnetwork.wordpress.com/

5The files are freely available for download at http://wiki.dbpedia.org/Downloads2015-10.

14

JADH 2016[8] Munnelly, G., O’Connor, A., Edmond, J., and Lawless, S. (2015). Finding meaning in the chaos.
[9] Real, R. and Vargas, J. M. (1996). The probabilistic basis of jaccard’s index of similarity.
Systematic biology, 45(3):380–385.

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JADH 2016

Can a writer disguise the true identity underpseudonyms?: Statistical authorship attribution and theevaluation of variables
Miki Kimura (Meiji University)
This is a work-in-progress study on quantitative authorship attribution of a lesbian writer withmore than one pseudonyms, James Tiptree, Jr. and Raccoona Sheldon. Alice Bradley Sheldon(1915-1987) was a writer who published feminist science fiction stories for almost 20 years. As acommercial strategy, she hid her true identitiy under a male pseudonym, James Tiptree, Jr., forlittle over a decade. She also used a female pseudonym, Raccoona Sheldon, as the name offereda thematic change.
Brinegar (1963) inspected the distribution of word length in order to verify the author of the
QCS letters and concluded that the letters were not written by Mark Twain. Mosterller andWallace’s study of the Federalist papers verified the author of a collection of eighteenth-century
political documents, which argue for the Constitution of the United States, through thefrequencies of individual words such as prepositions, which are considered irrelevant to thecontent of the papers. Burrows (1987) examined intra-author variations in Jane Austen’s novels
by employing a statistical method called principal component analysis. In Japan as well, stylometry
has developed over the past 50-plus years. In particular, Jin, Kabashima, and Murakami (1993)
inspected intra-author variation in the works of a well-known Japanese author who used three
pseudonyms. They could not detect intra-author variation in the Japanese author’s works, butthey were able to show inter-author variation in comparison with the author’s contemporaries byusing the distribution of commas in Japanese.
In this research, I will examine intra/inter author variations in Alice Sheldon’s texts. As Le Guin
(1976) indicated Alice Sheldon’s works under the female pseudonym (Raccoona Sheldon) haveless control and wit compared to her works under the male pseudonym (James Tiptree, Jr.). Using
statistical analyses, this research primarily focused on the intra-author variation between her
works under these two pseudonyms. It not only distinguished Alice Sheldon’s works under the two
pseudonyms but also compares the results from this quantitative authorship attribution with theworks of literary criticism scholars such as Silverberg (1975), Lefanu (1989), Russ (1995), andLarbalestier (2002).
In addition to the examination of intra-author variasion within the works of one author, thisresearch also investigates inter-author variation between two authors. As Silverberg (1975),
Lefanu (1989), and Kotani (1994) noted, in contrast to Ernest Hemingway, James Tiptree’s mannerof writing is somewhat masculine. In order to address such criticisms, the Alice Sheldon’s Corpus,
which consists if all the works publish under her two pseudonyms, and the Hemingway Corpus,
which contains all his short stories, have been developed.
Juola (2013) recently inspected intra-author variation in the works of Joanne Rowling, who uses
the two pseudonyms J. K. Rowling and Robert Galbraith, and tries to attribute the works under
Robert Galbraith to those written under J. K. Rowling. This study used a specialized software called
JGAAP, and verified that the works under J. K. Rowling and those under Robert Galbraith have thesame style as other British female writers. Further, according to a case study on the quantitative
stylistics of Joanne Rowling presented by Kimura and Kubota (2015), the author skillfully
differentiates her writing style by genres and pseudonyms.
This result could possibly be useful for the analysis in the current study. However, anotherprobable assumption is that author discriminators chosen form the corpora developed for thiskind of research differentiate between the two authors, but fail to discriminate between Alice
Sheldon’s two pseudonyms. The latter result means that Alice Sheldon failed to disguise her true
identity by using the two pseudonyms James Tiptree, Jr. and Raccoona Sheldon.
As variables, the top 10, 25, 50 most common words, considered effective for this kind of
discrimination by, for example, Burrows and Hassall (1988) and Burrows (1992), are chosen for
the analysis. In addition to these lexical variables, this research has also selected syntactic
variables, especially the distribution of POS, which are considered effective for discrimination
based on Hirst and Feiguina (2007). I will apply two kinds of unsupervised statistical methods
16

JADH 2016(principal component analysis and hierarchical clustering analysis) and two supervisedclassification methods (discriminant analysis and support vector machines － SVM). If thediscrimination variables chosen from these two corpora have sensitivity as identifiers, the resultsfrom SVM will show that they can capture inter-author variation between works from Alice Sheldon
and works from Ernest Hemingway, but cannot detect intra-author variation between works under
Alice Sheldon’s two pseudonyms. In this analysis, the evaluation of the classification methods andthe variables, which are considered effective for such research, will be simultaneously conducted.

References[1] Burrows, J. F. (1987) Computation into Criticism: A study of Jane Austen's novels and an
experiment in method. Oxford: Clarendon Press.
[2] Burrows, J. F. (1992). Not unless you ask nicely: The interpretative nexus between analysis andinformation. Literary and Linguistic Computing, 7(2), 91-109.
[3] Burrows, J. F., & Hassal, A. J. (1988). Anna Boleyn and the authenticity of Fielding's feminine
narratives. Eighteenth Century Studies, 21, 427-453.
[4] Hirst, G. & Feiguina, O. (2007). Bigrams of syntactic labels for authorship discrimination ofshort texts. Literary and Linguistic Computing, 22(4), 405–417.
[5] Russ, J. (1995). To write Like a Woman. Bloomington: Indiana University Press.
[6] Silverberg, R. (1975). Who Is Tiptree, What Is He? Warm Worlds and Otherwise. New York,
Ballantine Books. ⅳ-ⅹⅷ
[7] 金明哲・樺島忠夫・村上征勝 (1993). 「読点と書き手の個性」 『計量国語学』 18(8), 382‒391.
[8] Juola, P. (2013, July 16). Language Log: Rowling and “Galbraith”: an authorial analysis.
Retrieved from http://languagelog.ldc.upenn.edu/nll/?p=5315[9]木村美紀・久保田俊彦 (2015). 「男女両名義を使用する作家の作品判別― Rowling と Sheldon」, 第41 回英語コーパス学会発表資料.
[10]小谷真理 (1994). 『女性状無意識: テクノガイネーシス―女性 SF 論序説』 東京: 勁草書房, 40-67[11] Larbalestier, J. (2002). The Battle of the Sexes in Science Fiction. Connecticut: Wesleyan
University Press.
[12] Lefanu, S. (1989). Who Is Tiptree, What Is She? : James Tiptree, Jr.. Feminism and Science
Fiction. Bloomington: Indiana University Press.
[13] Le Guin, U. K. (1978). Introduction. Star Songs of an Old Primate. New York: Ballantine Books.
ⅶ-ⅹⅱ[14] Mosteller, F., & Wallace, D. L. (1964). Inference and Disputed Authorship: The Federalist.
Reading, MA: Addison-Wesley.

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JADH 2016

Associative Network Visualization and Analysis as aTool for Understanding Time and Space Concepts inJapanese
Maria Telegina (University of Oxford)
The history of graph (network) theory (GNT) started with an attempt to find a single walking path,
which crosses, once and only once, each of the seven bridges of old Königsberg; this is known
as the Seven Bridges of Königsberg Problem. Since 1736, when Leonhard Euler proved the
problem to be unsolvable using a very simple graph, GNT was developed, and it rapidly come to
be used in a number of fields. Nowadays, GNT is actively used in a wide variety of disciplines frommathematics and physics to sociology and linguistics (e.g., Mehler, A., et al, 2016), as our world isfull of systems, which can be represented and analyzed as networks.
The main focus of this paper is a presentation of a network visualization and analysis, based on
an association network constructed on Japanese temporal and spatial lexical items. The network(Fig.1) is based on the results of an ongoing free word association experiment, the first stage of
which was conducted in Tokyo in 2015, involving 85 native Japanese speaking participants of two
different age groups (one in their 20s and one from their 50s to 70s).
Particular temporal and spatial lexical items for the experiment were selected on the basis of fourmain sources: A Frequency Dictionary of Japanese (2013), Japanese Word Association Databasever. 1 (2004), Associative Concept Dictionary (2004, 2005) and Japanese WordNet ver. 1.1. The
criteria for the selection were based on a variety of frequencies according to Frequency Dictionaryof Japanese (from Toki with 2514 occurrences per million words to Ima with 9 occurrences per
million words) and a variety of semantic relations within the stimuli set (synonyms, hyponyms,
antonyms).
Synonyms (partial synonyms) are represented by kuukan, supeesu, yochi, hirogari; basho, ba;
sukima, suki; ima, ribingu; aida, ma; jikan, toki, taimingu； kyuujitsu, yasumi, hima; basho, ba; wagaya,
mai hoomu; nagasa, kyori; hizuke, hi. Synonyms are chosen in accordance with WordNet.
The hyponyms and hypernyms in this study are heya, apaato, manshon/ie; aki, natsu/ kisetsu; jidai,
jiki, naganen, kisetsu, shunkan, hi/jikan; asa, yoru, hiruma/hi, oku, ie /kuukan ； mukashi/toki.
Hyponyms and hypernyms are selected in accordance with the Japanese Word Association
Database and the Associative Concept Dictionary.
Also, soto, uchi; mae, ushiro; kako, mirai; tonai, kougai were selected as antonyms or opposites inaccordance with the Japanese Word Association Database and the Associative Concept Dictionary.

Figure 1.

18

Figure 2.

JADH 2016

Ten fillers were chosen randomly with the criterion to cover approximately the same frequency
range as within the stimuli set. The fillers were added to the survey to serve as distraction from
temporal and spatial stimuli words and to inimize the number of deliberate responses; theresponses to the fillers are not included in the analysis.
The main purposes of this study are on three different levels: first, a macro-level, discussing thepossibility of utilizing the association network analysis to describe the conceptual structure of
the language in question; second, a meso-level, analyzing communities formed within the network;and third, a micro-level, investigating the usage of association networks to formulate thecognitive definitions of single words within the network by identifying their features based on theirconnections within the network.
At this stage of analysis, the findings suggest that the analysis of single word connections andtheir weight might be utilized for disambiguation of meanings of synonymic words for cognitive
definitions (Ostermann, C., 2015). It demonstrates information which could be also found in
traditional dictionary definitions or corpora materials, such as typical syntagmatic connections,e.g., sukima-kaze and suki-yudan. At the same time, culturally specific semantic features of thelexical items, which can hardly be predicted through the materials based on the common language
production, e.g., ushiro-kowai or both negative and positive emotional evaluation of hima, can befound.
At the meso-level, ten communities, e.g., abstract space, concrete (physical) space, life time,
dark/light time, home, etc., were detected within the network using the Order Statistics Local
Optimization Method. The stru cture of connections between the communities is complex withnumerous overlaps. However, on the basis of the inter-communities connections, it is still possible
to hypothesize about a macro-level conceptual structure of Japanese, e.g. based on this analysis,
it could be concluded that temporal and spatial concepts in modern Japanese are the most closely
connected to two concepts: emotional evaluation and daily life (Fig. 2).
Finally, on the basis of this analysis, I propose an associative network as an illustrative and effective
tool for planning further experimental work.

References[1] Caldarelli, G. (2007). Scale-free networks: Complex webs in nature and technology. Oxford:
Oxford: Oxford University Press.
[2] Dorogovtsev, S. N. (2010). Lectures on complex networks. Oxford: Oxford: Oxford University
Press.
[3] Japanese Wordnet (v1.1), copyright NICT, 2009-2010 Joyce, T. Large-scale Database ofJapanese Word Associations, Version1, http://www.valdes.titech.ac.jp/~terry/jwad.html[4] Lancichinetti, A., Radicchi, F., Ramasco, J.J., Fortunato S. (2011). Finding statistically significant
communities in networks. PLoS ONE 6: e18961.
[5] Mehler, A., Lücking, A., Banisch, S., Blanchard, P., & Job, B. (Eds.). (2016). Towards a theoreticalframework for analyzing complex linguistic networks. Berlin: Springer Berlin Heidelberg.
[6] Newman, M. E. J. (2010). Networks: An introduction. Oxford: Oxford: Oxford University Press.
[7] Okamoto, J., Ishizaki, S. (2004, 2005) Rensoogainenjisho. Associative Concept Dictionary
Ostermann, C. (2015) Cognitive Lexicography. A New Approach to Lexicography Making Useof Cognitive Semantics, Berlin, Boston: De Gruyter Mouton[8] Tono, Y., Yamazaki M., Maekawa K. (Eds.). (2013). A frequency dictionary of Japanese: Core
vocabulary for learners. London : Routledge

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JADH 2016

Melodic Structure Analysis of Traditional Japanese Folk
Songs from Shikoku District
Akihiro Kawase (Doshisha University)
Introduction
This study aims to grasp the regional differences in the musical characteristics inherent in the
traditional Japanese folk songs by extracting and comparing the characteristics of each area byconducting quantitative analysis in order to promote digital humanities research on traditional
Japanese folk songs.
In the previous studies, We have sampled 1,794 song pieces from 45 Japanese prefectures, andhave clarified the following three points by extracting and comparing their respective musicalpatterns (Kawase and Tokosumi 2011): (1) the most important characteristics in the melody ofJapanese folk songs is the transition pattern, which is based on an interval of perfect fourth pitch;(2) regionally adjacent areas tend to have similar musical characteristics; and (3) the differencesin the musical characteristics almost match the East-West division in the geolinguistics or in thefolkloristics from a broader perspective. However, to conduct more detailed analysis in order to
empirically clarify the structures by which music has spread and changed in traditional settlements,
it is necessary to expand the data and do comparisons based on the old Japanese provinces(ancient administrative units that were used under the ritsuryo system before the modern
prefecture system was established).
In this study, we analyzed all the songs listed from the Shikoku district (literally meaning four
provinces, located south of Honshu and east of Kyushu district) in order to build a digital analysis
platform for all the songs recorded in the Nihon Min’yo Taikan (Anthology of Japanese Folk Songs)
and execute quantitative comparisons of musical characteristics between neighboring regions(Kawase 2016a; 2016b).

ProcedureSpecifically, the procedures are as follows: (1) we digitized all the songs from the Shikoku district
and generated sequences that contain interval information from the song melodies;(2) extracted patterns that appear with high frequency in the generated sequences; and (3)summarized the musical characteristics of the folk songs from the Shikoku district by comparing
the patterns between provinces using statistical techniques.
In order to digitize the Japanese folk song pieces, we generate a sequence of notes by converting
the music score into MusicXML file format. We devised a method of digitizing each note in termsof its relative pitch by subtracting the next pitch height for a given MusicXML. It is possible togenerate a sequence T that carries information about the pitch to the next note: T = (t1, t2, … , ti,…, tn). An example of the corresponding pitch intervals for ti can be written as shown in Table 1.
We treat sequence T as a categorical time series, and execute N-gram analysis by conducting
unigram, bigram, and trigram patterns to clarify major transitions and their trends in the Shikoku
district.

Results
Based on the results of N-gram analysis, we found that folk songs from the Shikoku district havea strong tendency to form melodic leaps followed by progressions back to the first sung note or
perfect fourth intervals, as a characteristic of N=1, 2, 3 interval transition pattern. In particular,
patterns where the total of the elements themselves for N=2 form perfect fourth intervals are theascending and descending order for the four types of tetrachords that Fumio Koizumi proposed(Koizumi 1958). In addition, patterns that include N=3 tetrachords also were extracted remarkably
20

T a b le 1 : C o r r e s p o n d in g P it c h In t e r v a ls

JADH 2016often.
The tetrachord is a unit consisting of two stable outlining tones with the interval of a perfectfourth pitch, and one unstable intermediate tone located between them. Depending on the positionof the intermediate tone, four different types of tetrachords can be formed (Table2). Below aresome discussions about the features of folk songs, focusing on interval transitions that form
tetrachords.
T a b le 2 : F o r B a s ic T y p e s o f T e t r a c h o r d s

Discussion
Out of four types, we found that min’yo tetrachords were used with an extremely high frequency,
and the next highest was ritsu tetrachords. Furthermore, we conducted a cluster analysis(hierarchical clustering) based on the frequency of occurrences of the tetrachords to see thedifferences in each province (see Figure 1). When calculating distances between each element,
we normalized the frequency that the tetrachords appear, and used the Euclidean distance andthe algorithm from the Ward method.
Compared with our previous analysis on neighboring regions such as the Kyushu and Chugoku
districts (Kawase 2015; 2016ab), we find that folk songs from the eastern two provinces (Sanuki
and Awa) and western two provinces (Iyo and Tosa) of Shikoku district can be explained in termsof differences in melodic structures within tetrachords. In particular, for western provinces, there
is a tendency to create the ritsu and ryukyu tetrachords, which also appear frequently in Kyushu
district. In contrast, for eastern provinces, there is a tendency to create the miyakobushi
tetrachord, which is thought to be originated from music of urban areas such as in Kyoto. Thus,
the tetrachord turned out to be salient characteristic by which to classify the melodies of east
and west regions of Shikoku district.

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F ig u r e 1 : D e n d r o g r a m b a s e d o n t r a n s it io n p r o b a b ilit ie s o f t e t r a c h o r d s f o r f o u r p r o v in c e s

Acknowledgements
This work was mainly supported by the Japanese Society for the Promotion of Science (JSPS)
Grants-in-Aid for Scientific Research (15K21601) and the Suntory Foundation Research Grants
for Young Scholars.
References[1] Kawase, A. (2016a) Regional classification of traditional Japanese folk songs from the Chugoku
district, In Proceedings of the Digital Humanities 2016: DH2016 (in press).
[2] Kawase, A. (2016b) Extracting the musical schemas of traditional Japanese folk songs from
Kyushu district, In Proceedings of the 14th International Conference for Music Perception andCognition: ICMPC14 (in press).
[3] Kawase, A. and Tokosumi, A. (2011) Regional classification of traditional Japanese folk songs,
International Journal of Affective Engineering 10 (1): 19-27.
[4] Koizumi, F. (1958) Nihon dento ongaku no kenkyu (Studies on Traditional Music of Japan 1),
Ongaku no tomosha.
[5] Nihon Hoso Kyokai (1944-1993) Nihon Min’yo Taikan (Anthology of Japanese Folk Songs),
Nihon Hoso Kyokai Shuppan.
[6] MusicXML http://www.musicxml.com/for-developers/ [accessed 15 May 2016].

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JADH 2016

Visualizing Japanese Culture Through Pre-Modern
Japanese Book Collections̶A Computational andVisualization Approach to Temporal Data̶
Goki Miyakita, Keiko Okawa (Keio University)
This paper proposes a design of online digital collection of pre-modern Japanese books by using
computational and visualization approach to open a new vision of Japanese culture through books.
Digital collections as an emerging field has made significant changes in the way we interact withbooks from physical to virtual, however, most collections places their emphasis on only digitization
and academic uses, and focuses less on its visualization and use by the general public. Therefore,
the aim of this research is to explore historical temporal data, namely rare Japanese books fromthe 8th to the 19th century with advanced computer-based visualization approach, and to reveal
the cultural history, trends, and fashion in Japan in narrative form. This research will examine themethod of digitization and visualization in a coherent manner, in order to enable diverse audienceto access, browse, and interact with the vast collection from Keio University’s collection of premodern Japanese books.
During the past few years, there is a dramatic shift in the way we preserve books. This shift
allows books to exist not only as a genuine artifact but also as a replicated or restructured digital
artifact that exists in the virtual world. Ever since the emergence of the Internet and the World
Wide Web, printed books—especially, the books that is distinguished by its early printing date,namely rare and pre-modern book collections—has transformed an ontology from physical to thevirtual space by offering the promise of new forms and content delivery that exceed the limitationsof printed. However, most researches in Japan remains in developing their digitization techniques,creating a database or an online-archive for academic usage. Therefore, it is difficult for thegeneral audiences—especially for those who does not understand Japanese or does notpossesses knowledge related to Japan—to improve their understanding of Japanese culture
through pre-modern Japanese books.
The research presented in this paper proposes a new conception of digital collection throughpractice-led research. I work with the collection from Keio University’s Institute of Oriental Classics,
which keeps extensive collection specialized in pre-modern Japanese books from the 8th to the19th century, combine and adapt computational and visualization approaches to interpret
information of the books and to promote understanding of Japanese culture for the audiencesfrom a wide range of nationalities and backgrounds. Furthermore, the digital collections are
implemented to a Massive Open Online Course (MOOC): Japanese Culture Through Rare Books
which launches from July 2016, and approaches to diverse MOOC audiences, regardless of theirbaseline differences in ethnic, regional, or educational.i The MOOC program runs for three weeks
and features the collection from the Institute of Oriental Classics as well as the visual materials
from the Keio University Library collection. The course covers the various fields in bibliographicalstudies, such as bookbinding styles, types of manuscripts and illustrated books, and the historyof book publishing in Japan. Along with these course topics, the aim of this research is to design
and implement an online digital collection, which allows general audiences at different
level to accessandinteract with the vast collection from Keio University, using the combination of computational
analysis and narrative visualization methods to provide a deeper understanding of pre-modern
Japanese books.
The design process for developing aesthetically pleasing yet insightful digital collection is highdimensional and inherently complex. Methods and tools are widespread in the scholarly community,
not only in the scientific disciplines but also in the humanities within the framework of digital
humanities. However, the most important area in digital collection is the quality and efficacy of its
design. Effective design and experience must be accessible to a plurality of people, and hence
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JADH 2016

this research advances the discussion with integrating digital curation strategies and narrativevisualization format to the design in aiming to provide effective and intuitive experience for thediverse audience.
Through digitizing and visualizing temporal data in a narrative format, and focusing on both verbal
and nonverbal aspects of the books, this research allows general audiences to interact with its
diverse elements of Japanese culture, from micro to macro level. The implementation of digitalcollection provides practical and comprehensive insights of Japanese culture through books.
Furthermore, this paper expects to prove that gaining new insights through historical temporal
data does not only require technological advancement, but also an appropriate transformationand interpretation of the data through the combination of computational and visualization
approach.

i FutureLearn, Japanese Culture Through Rare Books, https://www.futurelearn.com/courses/japanese-rarebooks-culture (May 2016.)

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JADH 2016

[Invited Poster Presentation]
Approach to Networked Open Social Scholarship
Ray Siemens (University of Victoria) and the INKE Research GroupAs elements of our digital scholarly ecosystem continue to expand and evolve, there is anincreasing necessity to serve both expert and public need for open access to information. The
ubiquity of mobile technologies, the development of augmented reality, virtual reality, and locationbased technologies, the challenge and influence of big data and, increasingly important, broad
public participation in the production and use of digital knowledge repositories ― these exemplify
areas of challenge that present opportunities for those working in the area, toward leveraging
these technologies and creating shared and integrated digital environments that will engage andbenefit everyone, expert and general public alike. In this context, this poster presentation explores
the next steps of the Implementing New Knowledge Environments Partnership for Networked
Open Social Scholarship (INKE; inke.ca), itself united by the goal to explore, research, and build
environments for open social scholarship in Canada and beyond, enhancing national andinternational research, digital infrastructure, and dispersed resources to develop innovative
publishing and communication environments that connect those who share need for access tothe information produced by our academic communities."

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JADH 2016

Verifying the Authorship of Saikaku Iharaʼs Kousyoku
Gonin Onna

Ayaka Uesaka (Organization for Research Initiatives, Doshisha University)
INTRODUCTION
Saikaku Ihara (c.1642～93) was a haikai poet and fiction writer of the Genroku period (1688～1704) in Japan. After publishing the maiden works of Koushoku ichidai otoko (Life of a Sensuous
Man;1682), he became the leading author of Ukiyozoushi. In the late eighteenth century, there
was a Saikaku revival, inspiring many modern Japanese writers. Saikaku’s works are known for
their significance in developing Japanese novels today (Emoto and Taniwaki, 1996).
In this paper, we focus on Kousyoku gonin onna (Five Sensuous Women;1686). This work is wellknown from Saikaku’s work. According to Teruoka (1949), Kousyoku gonin onna did not have apreface, signature and epilogue but it must be Saikaku’s work. Tsutsumi (1957) mentioned that
Kousyoku gonin onna did not have a signature but it was evident it was Saikaku’s work. Emoto(1984) also has argued that Kousyoku gonin onna did not have a preface, signature and epilogue
but it is recognized as Saikaku’s work, and I agree with the opinion. These researchers stated
Kousyoku gonin onna was written by Saikaku but there is no evidence to support it is Saikaku’s
work. The first edition of the work did not have a preface, epilogue, handwritten signature andsignature seal, namely it is not described that Kousyoku gonin onna was written by Saikaku.
Moreover, Kigoshi (1996) stated that particular information should be stated about theuncertainty of author because material did not exist that described Kousyoku gonin onna was
Saikaku’s work before Meiji period (1868～1912).
The aim of this paper is to evaluate the writing style of Kousyoku gonin onna using quantitative
analysis. In this paper, we investigate Saikaku’s twenty-four novels. A comparison was needed inorder to more accurately characterize the Saikaku’s writing style. In this research we also used
Saikaku’s student Dansui Houjyou (1663～1711) ’s three novels.

DATASET
Saikaku’s database was developed with his researchers, who are editors of Shinpen Saikaku
Zenshu (Shinpen Saikaku Zenshu Henshu Inkai, 2000). Since Japanese sentences are notseparated by spaces, we added spaces between the words in all of the sentences. In addition,
information was added for the analysis. We also used Dansui’s database for comparison, which isdeveloped by Professor Hidekazu Banno and Professor Takayuki Mizutani. TABLE 1 shows a listof works in our database and the number of words in each work. According to our database, there
are 572,231 words contained in twenty-four of Saikaku’s works and 53,172 words contained inthree of Dansui’s works.

26

Table 1. Work name and the number of words

Saikaku's works

Kousyoku ichidai otoko

Shoen Okagami

Wankyu Isse no monogatari36,781 words

45,753 words

7,702 words

20,184 words

26,581 words

16,444 words

18,419 words

50,452 words

49,019 words

20,866 words

22,839 words

29,547 words

11,895 words

21,456 words

8,727 words

25,157 words

26,466 words

Saikaku oki miyage

Seken hume zanyou
21,260 words
Saikaku oridome

22,576 words

17,204 words

29,617 words

13,966 words

16,940 words

12,380 words

Shikidou otsuzumi

Chuya youjin ki

Budou hariai okagami

11,494 words

21,508 words

20,170 words

Kousyoku gonin onna
Honchou nijyu hukou
Kousyoku seisui ki
Irozato motokoro setai
Shin kashou ki
Ukiyo eiga ichidai otoko
Saikaku zoku turezure

Kousyoku ichidai onna
Nanshoku ookagami
Hutokoro suzuri
Buke giri monogatari
Honchou nijyuu hukou

Yorozu no humihougu

Dansui's works

JADH 2016

Saikaku shokoku hanashi
Budou denraiki
Nihon eitaigura
Arashi ha mujyou monogatari

Saikaku nagori no tomo

ANALYSIS AND RESULT
We examined the appearance rate of the particles and auxiliary verbs. These variables have a highappearance frequency and do not relate to the contents of a work.

Figure 1. PCA results of the nineteen particles (95.575% of all the particles) for Saikaku’s works
and Dansui’s works
FIGURE 1 shows the results of the analysis on the appearance rate of the particles using thePrincipal Component Analysis (PCA). PCA reduces the dimensionality of a data set consisting ofa large number of interrelated variables, while retaining as much of the variation present in the27

JADH 2016

data set as possible (Jolliffe, 2002). When applied to the frequencies of high-frequency items intexts, PCA often successfully reveals the authorial structure in a data set (Kestemont et al., 2013).
The proportion of variance of the first principal component is 0.22838, it is 0.19375 for thesecond, while it is 0.15655 for the third; the cumulative proportion up to the third principal
component is 0.57868. In this figure, Kousyoku gonin onna is in close proximity to the other
Saikaku’s works. This result revealed that Saikaku and Dansui’s works differed in the appearance
rate of the particles. Kousyoku gonin onna was far from Dansui’s works. Furthermore, we obtained
similar result of the auxiliary verbs.

CONCLUSION
We conducted the quantitative analysis among Saikaku twenty-four works and Dansui threeworks. This result revealed that Kousyoku gonin onna possessed the same characteristics as
Saikaku's works. From that viewpoint, Kousyoku gonin onna's author is Saikaku. In this study, weused Saikaku’s works and Dansui’s works as datasets and particles and auxiliary verbs as variables.
Thus, we need to analyze and compare this issue to the other author's works and variables.

ACKNOWLEDGEMENTS
We would like to thank Professor Masakatsu Murakami, Professor Hidekazu Banno and Professor
Takayuki Mizutani for their help on our research.
REFERENCES[1] Emoto, Y. and Taniwaki, M. (1996). Saikaku Jiten. Ouhu.
[2] Teruoka, Y. (1949). Teihon Saikaku Zenshu Vol.2. Explanation Kousyoku gonin onna. Chuo
Koron Shuppan.
[3] Tsutsumi, S. (1957). Nihon Koten Bungaku Taikei Saikaku Jyo. Explanation Kousyoku gonin
onna. Iwanami Shoten.
[4] Emoto, H. (1984). Explanation Kousyoku gonin onna. Koudansha Gakujutsu Bunko.
[5] Kigoshi, O. (1996). The Uncertainty of the Authorship: Who Should Decide Koshoku-goninonna Belong to Saikaku?. Nihon Bungaku Vol. 45 No.10. pp.59～69.
[6] Shinpen Saikaku Zenshu Henshu Inkai. (2000). Shinpen Saikaku Zenshu. Bensei shuppan.
[7] Jolliffe, I.T. (2002). Principal Component Analysis. New York: Springer.
[8] Kestemont, M., Moens, S., and Deploige, J. (2013). Collaborative authorship in the twelfth
century: A stylometric study of Hildegard of Bingen and Guibert of Gembloux. Literary and
Linguistic Computing. pp.1～26.

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JADH 2016

Quantitative Analysis for Division of Viola Parts ofMozartʼs symphonies
Michiru Hirano (Tokyo Institute of Technology)
Introduction
This study focuses on the fact that some of the symphonies by Wolfgang Amadeus Mozart(17561791) include two viola parts. More specifically, the goal of the study is to examine whether
separating out viola parts influences the orchestration of violin parts.
Symphony refers to a genre of orchestral composition, that has been actively composed since
the eighteenth century [1]. Mozart composed in excess of forty symphonies throughout his life[2]. While symphonies are usually composed for orchestras comprised primarily from four string
parts (two violin parts, a viola part and a cello part), some of Mozart’s symphonies require twoviola parts. We refer to this phenomenon as a separation of the viola parts within this paper. Whileacknowledging that the notion of separating the violas within symphonies is not common, still,there has been little discussion of its potential significance and of what Mozart might have been
pursuing.
Even for works that contain two viola parts, the parts are frequently played the same and only
rarely are the individual notes assigned to the respective viola parts. On the other hand, violins
that are basically assumed to be played two distinct parts, are occasionally played together.
Separating the violas means that the number of parts increases. For sections where violas are
separated, if the ratio for the separation of violins is higher than usual, then separating the violas
seem to intentionally increase the number of parts. In contrast, if the ratio is lower, then separating
the violas does not imply an intention to increase the number of parts, but rather to give the violas
the roles that violins ought to have. If the ratio does not change when violas are separated, then,separating the violas does not influence the orchestration of the violins, which would imply anotherobjective. This study utilizes computational methods to examine whether separating the violas
influences the ratio of separation for violins.

MethodThere are 17 Mozart symphonies where the initial movement is divided into two viola parts, andthis study targets those 17 initial movements.
The following procedure is done for each of the 17 works. First, the scores were obtained from
“The New Mozart Edition” by B¨arenreiter Vertrag, which contains the most authoritative scores1
for all of Mozart’s compositions currently available . Next, the scores were exported into theMusicXML format, which is a textural representation of the musical notation suitable for
digitization. Then, every measure is examined to determine whether or not paired parts (for both
violins and violas, respectively) are consistent. Consistency for paired parts means that they are
not separated, which inconsistency means that the parts are separated. The durations and pitchesof notes are used in determining consistency. If any diﬀerences in terms of note durations or pitch
are observed within a measure, the parts of the measure would be regarded as being inconsistent.
Notes with pitch belonging to the same pitch class, however, are regarded as being consistent,even if there is a gap between octaves. Every measure was examined for the correspondences
between consistencies and inconsistencies for the violins and the violas and the frequencies ofmeasures falling under the various conditions are listed in Table 1. Finally, Fisher’s exact tests
were conducted to identify whether any significant diﬀerences exist between the ratios of A (bothviolins and violas are separated) to B (violins are not separated but violas are) and between theratios C (separated violins but violas are not separated) to D (neither violins nor violas are
separated) in Table 1.

Andr´e Hodeir. Les formes de la musique. Presses Universitaires de France, 1951. ([In Japanese.] Ongaku
no keishiki [The forms of the music], Hidekazu Yoshida, trans.,Hakusuisha(1973)).
1

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JADH 2016

Results

Table 2 presents the separation ratios and p-values obtained from the Fisher’s exact tests. There
are 11 of the 17 works that have p-values that are lower than the 0.05 significance level (K.43,
112, 114, 132, 173dB, 189k, 385, 425, 543, 550, and 551). Thus, for those works, it is possible
to reject that null hypothesis that the separation ratio is not influenced by separating the violas
parts.

Discussion
The analyses results failed to observe significant relations between the ratios for separating violins
and violas for six of the 17 works (K.133, 162, 173dA, 319, 338, 504). Moreover, of the 11 works
for which significant diﬀerences between the ratio for separating violins when violas are separated,
five works (K.43, 173dB, 385, 425, 543) have greater ratios between A and B compared to theratio between C and D. For those works, separating the violas would seem to intentionally increase
the number of parts. For the remaining six works (K.112, 114, 132, 189k, 550, 551), however,there are higher ratios between B and A. In those cases, separating the violas would appear to
inhibit any separation for violins. Accordingly, it would seem that Mozart did not have a single
reason for separating the viola parts, and the objective varied across diﬀerent works.

Conclusion
This study conducted a quantitative analysis of Mozart’s symphonies that include two viola parts.
Specifically, we examined whether the ratio for separation of the violin parts is influenced whenthe viola parts are separated. Such influences were found to be significant for 11 of the 17 works.
Five works exhibited a tendency for the violins to be separated more frequently when the violas
are separated, with the opposite trend observed in the remaining works. Consequently, it would
seem that Mozart had different objectives in mind when he separated the viola parts of his
symphonies.

References[1] Andr´e Hodeir. Les formes de la musique. Presses Universitaires de France, 1951. ([InJapanese.] Ongaku no keishiki [The forms of the music], Hidekazu Yoshida,trans.,Hakusuisha(1973)).
Table 1: Frequency distribution for thecorrespondences between the consistencies andinconsistencies for violins and violas: The cells
labeled A, B, C and D indicate the numbers ofmeasuresconforming
totherespective
conditions.

30

Table 2: List of materials and their measured
values: The number assigned to each work is fromthe sixth edition of the K¨ochel catalogue, which isachronologicalcatalogue
ofMozart’s
compositions. Items labeled A, B, C and D
correspond to the conditions presented in Table 1.
The rightmost item is the p-value derived fromrelevant Fisher’s exact test.

JADH 2016[2] Neal Zaslaw. Mozart’s symphonies: context, performance practice, reception. Oxford University
Press, 1989. ([In Japanese.] Mozart no symphony: context, ensou jissen, juyou, Tadashi Isoyama
and Miho Nagata, trans.,Tokyo shoseki(2003)).

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JADH 2016

Characteristics of a Japanese Typeface for Dyslexic
Readers
Xinru Zhu (University of Tokyo)
Introduction
Evidence shows that 3%–5% of the population have developmental dyslexia in Japan [1], andproviding them with assistive environment is essential. While it is held that typefaces have impacts
on dyslexic readers [2], Japanese typefaces for dyslexic readers have not been created, mainly
because it is not easy to provide a special typeface that fits everyone with dyslexia.
Against this backdrop, we are developing (i) a Japanese typeface for people with developmental
dyslexia and (ii) a typeface customization system, targeting the situation in which people readarticles or textbooks.
This poster presents the Japanese typeface we designed for dyslexic readers. In designing thetypeface, we analysed Latin typefaces designed for dyslexic readers and extracted characteristics
they have, defined desiderata for Japanese typefaces for dyslexic readers by mapping thesecharacteristics to Japanese char- acters, and created a Japanese typeface for dyslexic readers
by applying these desiderata for dyslexic readers. We elaborate on each of these steps in our presentation.
1

Characteristics of Latin Typefaces for Dyslexic Readers
There are several Latin typefaces specially designed for dyslexic people, includ- ing Dyslexie,
OpenDyslexic, Lexie Readable, Sylexiad and Read Regular. We examined the characteristics ofDyslexie, OpenDyslexic and Lexie Readable for the reason that they are relatively widely used andevaluated in several studies. Studies show that typefaces have significant impacts on readers withdyslexia [3] and with specially designed typefaces, dyslexic readers either was able to read withless errors [4, 5, 6] or preferred the specially designed typefaces compared to normal typefaces[7].
2
In order to identify the characteristics of the special designed typefaces, we measured the3letterforms of 3 special typefaces and 6 normal sans-serif type- faces and summarized them
4parametrically based on PANOSE classification , numerically based on the sizes and ratios of thetypefaces and visually based on the direct comparison. The font data was converted to the Unified
5
Font Object from commonly used format to make it easy to access to coordinates of points
constructing glyphs from Python scripts. The methods adopted ensure repro- ducibility andobjectivity of the study.
Table 1 describes PANOSE numbers and the characteristics of typefaces they show. Table 2 andTable 3 show the PANOSE values of Arial and Dyslexie and Figure 1 and Figure 2 shows theaverage sizes and ratios of the typefaces. Figure 3 is a part of the visual comparison of Arial andDyslexie in the same size, in which blue letters are in Arial and red ones are in Dyslexie.
The results show that Latin typefaces for dyslexic readers have the following characteristics.
1. The characteristics of the entire typeface:(a) Rounded sans-serif typefaces,(b) Larger letters in the same size,(c) Larger height/width ratios,
Developmental dyslexia is defined as “a specific learning disability that is neurobiological in origin. It ischaracterized by difficulties with accurate and/or fluent word recognition and by poor spelling and decoding
abilities” according to the International Dyslexia Association.

1

Measurements and modification of typefaces were conducted using the programming lan- guage Python and
RoboFont, a Python based font editor (http://doc.robofont.com/).
3
They are Arial, Calibri, Verdana, Trebuchet, Comic Sans, and Sassoon Primary. These type- faces are selected basedon the recommendation of the British Dyslexia Association.
4
PANOSE is “a system for describing characteristics of Latin fonts that is based on calculable quantities” [8].
5The Unified Font Object is a human readable XML format for storing font data. http:// unifiedfontobject.org/.
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(d) Standard x-heights,(e) Longer descenders and ascenders,(f) Bolder strokes,(g) Contrast in stroke width.
2. The characteristics related to identifying similar letters:(a) Similar letters slanted or rotated to opposite directions,(b) Uppercase “I, J” and numeric character “1” with serifs,(c) Numeric character “0” with a dot inside the counter,(d) Asymmetry letterforms of lowercase “p, q” and “b, d”,(e) Handwritten style of lowercase “a, y” and numeric character “9”,(f) Larger counter sizes of lowercase “a, c, e, s”.

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Table 1: PANOSE Number and Characteristics of Typefaces

Table 2: PANOSE Values of Arial

Table 3: PANOSE Values of Dyslexie

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Figure 1: Sizes of the Typefaces

Desiderata for Japanese Typefaces for Dyslexic Readers
A Japanese font set includes Latin characters, Kana characters and Kanji char- acters, notmentioning punctuation marks and other symbols, in which Latin characters and Kana characters
are phonograms while Kanji characters are lo- gograms [9]. Neuropsychological studies indicatethat phonograms and logograms are processed differently in human brains [10], which makes it
reasonable to dis- cuss possible characteristics of Kana characters and Kanji charactersseparately.

Figure 2: Ratios of the Typefaces
Since Kana characters are phonograms same as Latin characters, the hypoth- esis is that somecharacteristics of the Latin typefaces for dyslexic readers can be applied directly to the entire
Kana typeface. It is indicated that forms of some Kana characters are similar to one another whichleads to confusion during char- acter recognition [11]. The characteristics related to identifying
similar letters hence can be applied to those characters. The possible characteristics of Kana
typefaces are listed below.
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JADH 2016

1. The characteristics of the entire typeface:(a) Maru gothic typefaces[*6],(b) Larger characters in the same size,(c) Larger height/width ratios,(d) Bolder strokes,(e) Contrast in stroke width,(f) Larger counters.
2. The characteristics related to identifying similar characters:(a) Hiragana characters “ら, う”, “る, ろ”, “は, ほ” [11], “い, こ”, “め, ぬ”, and “へ, く” [12]modified distinguishable,(b) Katakana characters “ス, ヌ”, “セ, ヤ”, “ウ, ワ”, “ワ, フ”, “ワ, サ”, “ソ, ン” and “ユ, エ”[11] modified distinguishable.
As for Kanji characters, there are two possible strategies. First, Kanji charac- ters can be treatedin the similar way as Kana characters since the visual aspects of Kanji characters are considered
to play an important role in character recog- nition [13]. The second strategy is to emphasize thestructure of Kanji characters inside the typeface according to widely adopted assistive practices.

Figure 3: Visual Comparison of Arial and Dyslexie

A Prototype of Japanese Typefaces for Dyslexic Readers
We selected all the Hiragana and Katakana characters and 80 Kanji characters instructed to betaught in the first grade in elementary schools by the Ministry of Education, Culture, Sports,
Science and Technology of Japan to be included in the first prototype of the typeface. Since eachKanji character is constructed with certain strokes, the idea is to start from the characters withfewer strokes and expand gradually. Kanji characters will be expanded to 2136 characters of Jo¯yo¯ Kanji, commonly used Kanji characters announced by the Government of Japan, in the final
design.
The first prototype of the Japanese typefaces for dyslexic readers is modi- fied based on an open
source Japanese typeface. We converted it to the Unified Font Object and applied the possible
characteristics summarized above by run- ning Python scripts on the data of glyphs. The resultsof modification will be demonstrated in the poster. The prototype will be put on evaluation incooperation with dyslexic readers in further studies and the results will be reflected to thecharacteristics of the Japanese typefaces for dyslexic readers.

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JADH 2016

References[1] Tomonori Karita, Satoshi Sakai, Rumi Hirabayashi, and Kenryu Nakamura. Trends in Japanese
Developmental Dyslexia Research [in Japanese]. Journal of Developmental Disorder of Speech,
Language and Hearing, 8:31–45, 2010.
[2] Shinji Iizuka. A Classification of Assistive Technologies for Reading Disor- der Based on theProcess of Language Understanding [in Japanese]. IEICE Technical Report. Welfare Information
Technology, 106(612):43–48, 2007.
[3] Luz Rello and Ricardo Baeza-Yates. Good Fonts for Dyslexia. In Proceed- ings of the 15th
International ACM SIGACCESS Conference on Computers and Accessibility, page 14. ACM,
2013.
[4] Maya Grigorovich-Barsky. The Effects of Fonts on Reading Performance for Those with
Dyslexia: A Quasi-Experimental Study, 2013.
[5] Tineke Pijpker. Reading Performance of Dyslexics with a Special Font and a Col- ored
Background. Master thesis, University of Twente, 2013.
[6] Renske De Leeuw. Special Font For Dyslexia? Master thesis, University of Twente, 2010.
[7] Robert Alan Hillier. A Typeface for the Adult Dyslexic Reader. PhD thesis, Anglia Ruskin
University, 2006.
[8] Yannis Haralambous. Fonts & Encodings. O’Reilly Media, 2007.
[9] Florian Coulmas. Writing Systems: An Introduction to Their Linguistic Analy- sis. Cambridge
University Press, 2003.
[10] Makoto Iwata and Mitsuru Kawamura. Neurogrammatology [in Japanese]. Igaku-Shoin, 2007.
[11] Tatsuya Matsubara and Yoshiro Kobayashi. A Study on Legibility of Kana- letters [in Japanese].
The Japanese Journal of Psychology, 37(6):359–363, 1967.
[12] Nobuko Ikeda. Research on Educational Support of Japanese Language Learners with
Developmental Dyslexia [in Japanese]. Journal of the Study of Japanese Language Education
Practice, (2):1–15, 2015.
[13] Cecilia W. P. Li-Tsang, Agnes S. K. Wong, Linda F. L. Tse, Hebe Y. H. Lam, Viola H. L. Pang,
Cathy Y. F. Kwok, and Maggie W. S. Lin. The Effect of a Visual Memory Training Program on
Chinese Handwriting Performance of Primary School Students with Dyslexia in Hong Kong.
Open Journal of Therapy and Rehabilitation, (3):146–158, 2015.

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JADH 2016

Digitally Archiving Okinawan Kaida Characters
Mark Rosa (Ph. D., University of Tokyo, 2016)
The native Okinawan kaida writing system, created in the Yaeyama islands in the 17th to 19th
centuries to track tax payments and record family holdings and contributions, and developed mosthighly on Yonaguni at the end of this period, has never been encoded digitally. This short paper
will use two newly-discovered records, one stored in the archives of the National Museum of
Ethnology in Suita, Osaka, and another in the library at the University of the Ryukyus, Okinawa, asa sample of the kinds of texts that digital encoding can be valuable for.
“Full writing,” in which any verbal utterance can be expressed, was never developed for the various
languages of the Okinawan islands. A system of partial writing called sūchūma was used for simple
tallies of money, food, firewood, and other items, and combined with families creating symbols(called yaban on most islands and dahan on Yonaguni) to indicate their names, made basic recordkeeping possible. In the southwesternmost islands – the Yaeyamas and Yonaguni – glyphs weredevised for animals and foodstuffs, creating the kaida writing system in which more detailed
records became possible: names, dates, items taken or possessed, and numbers.
The number of available samples of kaida writing is still – and might always be – small. The systembegan to fall out of favor when the first Japanese school was built on the island in 1885, anddeclined further when the hated capitation tax came to an end in 1903. The last reports of active
use of this system date from the 1920s, and today only a small handful of islanders, all bornaround this time or earlier, can remember how to write it even partially: one such is Nae Ikema,born in 1919 and aged 96 at the time of writing. (Many more islanders of all ages can write theirfamilies’ dahan.)No attempt has previously been made to encode these characters so that they can be preserved
and transmitted digitally. The more primitive sūchūma, being basic shapes such as circles, squares,
triangles, crosses, and lines, could conceivably be covered by existing Unicode characters, but thenumerals are distinctive enough from Japanese/Chinese to warrant their own encoding, and thepictographs are unlike anything seen in those two languages.
This work will introduce a TrueType font for kaida characters, created by the author, and will
explore the above-mentioned records from the University of the Ryukyus and National Museumof Ethnology and attempt to recreate them digitally. The addition of private individuals’ dahan in
the Private Use Area will be necessary for the records to be complete.
The next stage will be to make ordinary speech digitizable by creating an input method editor forthe language in general, written in today’s Japanese- based kanji and kana, and not just thehistorical writing system. This presentation will conclude with a brief introduction to this future
step.

Keywords
kaida writing, yonaguni, native okinawan writing, partial writing, unicode37

JADH 2016

Attributes of Agent Dictionary for Speaker
Identification in Story Texts
Hajime Murai (Tokyo Institute of Technology)
Introduction
In order to interpret and to analyze story structure automatically, it is necessary to identify who
the agents are that appear in the story. This involves identifying general expressions in story text
for story agents and analyzing pronouns, omissions, and the aliases of agents.
These goals assumes use of natural language processing techniques such as morphologicalanalysis [1] and dependent analysis [2]. After morphological information and dependent
relationships were obtained, the next step would be identification of agents and those behaviors
in order to analyze the narratological structure of the story texts.
In this article, agents in story texts are generally proactive beings who have a will, though there
may be some exceptions. In many cases, the agents are human beings. However, there are also
various other agents, such as aliens, space creatures, devils, ghosts, robots, and automatedmachines, depending on the genre of the stories.
In general texts, some agents may be called by proper nouns at first time. However in many cases,
they would be called by pronouns after second time. Moreover, most of agents have several
aliases as a nickname, an official position, or a role in the family. Therefore it is necessary to
identify the relationships between proper nouns and pronouns and other expressions about
agents in a story text.
Moreover in Japanese text, the omission of agent vocabulary in sentences occurs frequently.
Therefore, it is also necessary to estimate the omitted agent words in order to extract the story
structure. In addition to that, the speaker and listener are not clarified in the dialogue texts ofmany stories. In such cases, the estimation of agents is also necessary.

Attributes for Agent Estimation
These estimation tasks regarding agents are very complex and the accuracy of the results is not
sufficient even with recent technologies [3]. However, there are some clues to identify thoseagents. At first, types of pronouns give information about referring agent words. For example,“He” signifies that referred agent is male and singular. For instances, if there is “He” in some text
and also if there is only one male singular proper noun, that “He” probably matches to the malesingular proper noun.
In addition to those, honorific expressions are frequently appeared in dialogues in story texts. If
hierarchical relationships between appeared agents in some story text can be extracted, honorificexpressions become important clue to estimate and to identify agents. Moreover, calling
expression such as “Honey” in dialogue also show relationships between agents. Therefore,
general knowledge about relationships between agents should be stored as some database for
precise agent estimation.
For instance, there are agent words in story texts that indicate family relationships (father, mother,sister, brother, etc.), vocational relationships (president, employee, etc.), and general nature of
relationships (enemy, ally, friend, etc.). In some stories, it is not only individuals but also specificgroups, organizations, regions, states, tribes, and nations that become agents. At first those agent
words should be collected and should be categorized. In the next step, attributes for agent
estimation could be granted to those words.
Table 1 shows current list of necessary attributes for agent estimation. It is desirable to extract
those attributes from some elements in story texts.

38

Table 1: Attributes and Potential Clues for Agent Estimation

JADH 2016

Structures for Agent Dictionary
In order to utilize attributes of agent words in agent estimation tasks, it is neccesary to constructsome dictionary or database which contains those information about agent attributes.
As shown above, there is a wide range of agent vocabulary indicating proactive beings in the story
text. Nevertheless, it is possible to extract these agent words from the story text and to construct
a database list. Moreover, it may be possible to make a machine-readable, structured database
based on the categorization of type of vocabulary and relationship.
Table 2: Category for Agent Words

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JADH 2016

Table 3: Example of Attributes of Agent Words

Therefore, agent vocabulary appearing in story texts and general vocabulary from dictionaries
that can be used as agent vocabulary were collected. The vocabulary was then categorized and astructured list of agent vocabulary was developed [4] (Table 2)．
In addition to the category, attributes are granted to those collected agent words. Table 3 shows
an example of stored attributes for each agent word. In table 3, agent words about family were
granted attributes about family.

Conclusions and Future Works
In order to estimate relationships between agent words in story texts, relevant attributes were
examined and those were structured with the category of agent words. By utilizing the developed
database of agent vocabulary, candidates for text expressions which may indicate agents in story
text can then be easily identified. If likely candidates for agents can be detected, they will become
the foundation for more precise story structure analysis.

References[1] Matsumoto Y, Kitauchi A, Yamashita T, Hirano Y, Matsuda H, Takaoka K, Asahara M. Japanesemorphological analysis system ChaSen version 2.0 manual. NAIST Techinical Report. Apr. 1999.
[2] Daisuke Kawahara, Sadao Kurohashi. A fully-lexicalized probabilistic model for Japanesesyntactic and case structure analysis, In Proceedings of the main conference on Human
Language Technology Conference of the North American Chapter of the Association ofComputational Linguistics, pages 176-183, June 2006.
[3] Hua He, Denilson Barbosa, and Grzegorz Kondrak. Identification of speakers in novels. In
Proceedings of the 51st Annual Meeting of the Association for Computational Linguistics,
pages 1312–1320, Sofia, Bulgaria, August 2013.
[4] Hajime Murai. Creating a subject vocabulary dictionary for story structure extraction. IPSJ
Symposium Series, 2015:111–116, December 2015 (In Japanese).

40

JADH 2016

Trends in Centuries of Words: Progress on the HathiTrust+Bookworm
Project
Peter Organisciak, J. Stephen Downie (University of Illinois at UrbanaChampaign)
The HathiTrust+Bookworm (HT+BW) project is providing quantitative access to the millions ofworks in the HathiTrust Digital Library. Through a tool called Bookworm, digital humanities scholars
can use outofthebox exploratory visualization tools to compare trends in all or parts of thecollection, or use the API directly to query for more advanced questions. In this poster, we present
the progress of the HT+BW project and discuss both its potential value to the digital humanities
scholars and its current limitations.
HT+BW is a quantitative text analytics tool built on top of the HathiTrust collection throughimprovements to a tool called Bookworm. HathiTrust, a consortium of library and cultural heritage
institutions around the world, holds nearly 15 million scanned volumes, about 39% of which are in
the US public domain. The current stage of HT+BW allows access to these public domain works,
with ongoing work toward representing incopyright works and those of unknown status.
1

Figure 1: HT+BW in its simplest form: comparing different words over-time, corpus-wide
The tool underlying HT+BW is called Bookworm, a spiritual successor to the Google Ngrams
Viewer (Michel et al. 2011). As with the earlier tool, the primary unit of analysis in Bookworm is
the word token and the most common interface is a time series line chart.
Likewise, against the HathiTrust collection, the trends visualized also span centuries and millionsof published works. However, HT+BW is significantly more robust than its popular predecessor:
allowing more nuanced forms of inquiry, different visual interfaces for exploring results, and an
application programming interface (API) that enables direct access to counts.
First, HT+BW can be queried by subsets of the data, rather than simply by year. Rather than only
searching for trends of a word over time, one can compare that words trends for different classesof books, different genres, and different geographic provenance.
Faceting by metadata opens the door to much more nuanced questions. With HT+BW, one does
not even have to use a word as a query: one could simply compare text counts between facets.

1[*1] http://bookworm.htrc.illinois.edu

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JADH 2016

For example: what subject areas are seen in texts published in the United States? What genres
are popular in Japanese texts? How did the popularity of serials grow between countries?

Figure 2: Clicking on the visualization calls up links to the original works in the HathiTrust Digital
Library

Figure 3: Comparing the same word over different subsets: it this case, books published in the
US version versus those in the UK.
Another area where HT+BW moves beyond its antecedent is that not all questions need to be
structured along years. Subsequently, visualization does not need to be structured as a time seriesline chart, and alternate visualizations are in development (Schmidt 2016).
However, the raw quantitative counts for highly customized queries can be returned using a public
API, providing a path for scholars to move from exploration to more indepth questions.
HT+BW includes books from all around the world in 345 different languages. The materials held
by HathiTrust are contributed to mainly from western institutions, meaning that English is the
bestrepresented language in the collection, followed by other European languages. The bestrepresented Asian language is Japanese, with 73 thousand books, followed by Chinese with 32
thousand books. Bookworm supports extended Unicode characters, so Japanese is supported in
42

JADH 2016the various uses of HT+BW. One limiting factor for scholars working with Japaneselanguage texts
is that their metadata and coverage will not be as strong as for betterrepresented languages. For
example, nearly no Japanese texts in the current HT+BW have a subject class assigned.
The current coverage of the HT+BW is of public domain works, biasing the collection toward older
works. This is a temporary limitation, and the ongoing project is prioritizing an expansion of thedata to all 15 million works. Another limitation being addressed in future work is that current
searches can only be done on single word phrases.
HT+BW provide quantitative, flexible access to the millions of texts in the HathiTrust Digital Library.
Currently it supports single word queries against 4 million public domain works, with support for
facets over a variety of metadata fields and even visualization of personal collections of texts. This
poster describes the current state of the HT+BW, and outlines its future work in supporting more
words for more books.

References[1] Michel, JeanBaptiste, Yuan Kui Shen, Aviva Presser Aiden, Adrian Veres, Matthew K. Gray,
Joseph P. Pickett, Dale Hoiberg, et al. 2011. “Quantitative Analysis of Culture Using Millions ofDigitized Books.” Science 331 (6014): 176–82. doi:10.1126/science.1199644.
[2]
Schmidt,
BenjaminM.
2016.
"BookwormD3".
Tool.
Github. https://github.com/bmschmidt/BookwormD3.

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JADH 2016

Development of the Dictionary of Poetic Japanese
Description
Hilofumi Yamamoto (Tokyo Institute of Technology), Bor Hodošček (Osaka
University)
Introduction
The main purpose of this project is to de- velop a dictionary for Yamato Japanese description(Yamamoto et al. 2014). To this purpose, the present study proposes a method of extracting
sub communities as classical Japanese poetic vocabu- lary. The analysis is based on co-occurrencepat- terns defined as any two words appearing in the same poem.
Many scholars of classical Japanese poetry have tried to explain constructions of poetic vocabulary based on their intuition and experience. As scholars can only describe constructions thatthey can consciously point out, those that they are un- conscious of will never be uncovered. When
we de- velop a dictionary of poetic vocabulary using only our intuitive knowledge, the description
will lack important lexical constructions. We believe that in order to conduct more exact andunbiased de- scriptions, it is necessary to use computer-assisted descriptions of poetic word
constructions using co-occurrence weighting methods on corpora of classi- cal Japanese poetry.
A typical item in a general dictionary con- tains the item’s definition, part of speech, expla- nation,and example sentences. An item in the proposed dictionary contains not only the abovementioned four types of information, but also in-cludes lists of words grouping sub communities,
which allows one to better grasp the construction of poetic words.
In terms of lexical study, many quantitative studies of vocabulary are focused on the frequencyof the occurrences of words. However, research re- lying on word frequency alone does notcontribute to the analysis of mid-range words—words with not too high but not too low
frequencies (Hodoˇsˇcek and Yamamoto 2013). We therefore use the R package ‘linkcomm’ tocalculate network centrality between collocations (Freeman 1978). In the context of lexi- calanalysis, we regard this calculation of sub com- munity discovery as a way to describe the poetic
roles of mid-range words.

Methods
We will attempt to extract all of the sub com- munities of ume (plum), sakura (cherry), and1tachibana (mandarin orange) from the Hachidaishu¯ database . We will use ‘linkcomm’ procedure
to calculate word centrality to uncover the key sub communities (Csardi and Nepusz 2006, Ahn
et al. 2010). As materials of this research we will use the Hachidaishu¯ (ca. 905–1205). We mainlycollect the data from Kokkataikan (Shin-pen Kokkataikan Henshu¯ Committee 1996),
Niju¯ichidaishu¯ database published by NIJIL (Nakamura et al. 1999), Shin- Nihon Koten Bungaku
Taikei (Kojima and Arai 1989), and Shin-kokinshu¯ (Kubota 1979).

Results
Table 1 and Figure 1 were extracted based on the network of tachibana (mandarin orange). We
found that the three methods, average, McQuitty, and single, are not diﬀerent in terms ofcommunity discovery. We discovered the largest community, mukashi, (old times) which includes
15 nodes in the graph of tachibana.

Discussion
Table 1 lists the centrality values given by the three methods, which show similar tendencies
among the three methods. These words are clearly relating to the poem which is famous for its

1

We will report only on tachibana because of limited space.

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JADH 2016

Figure 1: Network of tachibana (mandarin orange)
Table 1: The sub-cluster of tachibana (mandarin or- ange): Top 10 words having higher den- sity
values are extracted; we used the aver- age, McQuitty, and single clustering meth- ods; values inparentheses indicate maxi- mum partition density.

tachibana flowers written by an anonymous author but commonly at- tributed to Ariwara no
Narihira.
All poems have some supporting words sup- porting a key word acting as the central player, which
can be extracted by the function getCommu- nityCentrality(). However, the proper number ofwords to be extracted are not known in the present study.
2Conclusion
The present paper proposes to further the develop- ment of a dictionary of classical Japanese
poetry using pairwise term information which is generated by the community centrality procedure.
Satsuki matsu / hana tachibana no / ka o kageba / mukashi no hito no / sode no ka zo suru of No. 13 inChap- ter 3: Summer, the Kokinshu¯ (ca. 905) which appear in the Tales of Ise (ca. 800) as well.

2

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JADH 2016

We con- ducted an experiment using the R package “linked communities” and showed that themethods in the experiment extracted similar sub cluster terms which contribute to the descriptionof classical Japanese poetry.

References[1] Ahn, Yong-Yeol, James P Bagrow, and Sune Lehmann Jrgensen (2010) “Link communities reveal multiscale complexity in networks.”, Nature, Vol. 466, No. 7307, pp. 761–764.
[2] Csardi, Gabor and Tamas Nepusz (2006) “The igraph software package for complex network
re- search”, InterJournal, Vol. Complex Systems, p. 1695.
[3] Freeman, Linton C. (1978) “Centrality in social networks conceptual clarification”, Social Networks, pp. 215–239.
[4] Hodoˇsˇcek, Bor and Hilofumi Yamamoto (2013) “Analysis and Application of Midrange Termsof Modern Japanese”, in Computer and Humanities 2013 Symposium Proceedings, No. 4, pp.
21–26.
[5] Kojima, Noriyuki and Eiz¯o Arai (1989) Kokin- wakashu¯, Vol. 5 of Shin-Nihon bungaku taikei(A new collection of Japanese literature), Tokyo: Iwanami shoten.
[6] Kubota, Jun (1979) Shinkokinwakashu¯, Shincho Ni- hon Koten Shu¯sei, Tokyo: Shinchosha.
[7] Nakamura, Yasuo, Yoshihiko Tachikawa, and Mayuko Sugita (1999) Kokubungaku
kenkyu¯shiryo¯kan d¯etab¯esu koten korekushon (Database Collection by National Institute ofJapanese Literature “Niju¯ichidaishu¯” the Sh¯oho edition CD-ROM): Iwanami Shoten.
[8] Shin-pen Kokkataikan Henshu¯Committee ed.(1996) Shimpen Kokka-taikan: CDROM Ver- sion:
Kadokawa Shoten.
[9] Yamamoto, Hilofumi, Hajime Murai, and Bor Ho- doscek (2014) “Development of an Asymptotic
Word Correspondence System between Classi- cal Japanese Poems and their Modern Translations”, in Proceedings of Computer and Human- ities 2014, Vol. 2014, pp. 157–162.

46

JADH 2016

High-throughput Collation Workflow for the Digital
Critique of Old Japanese Books Using Computer Vision
Techniques
Asanobu Kitamoto (National Institute of Informatics), Kazuaki Yamamoto(National Institute of Japanese Literature)
Massive digital image collection of about 300,000 pre-modern Japanese books is expected to bereleased as open data in coming years thanks to the effort of the project “Building International
Collaborative Research Network for Pre-modern Japanese Texts” lead by National Institute ofJapanese Literature. One of the fundamental tasks in such a massive collection is collation, or
more specifically, comparison of books to identify different editions and their relationship. Books
with the same title may have different content, not only in terms of textual content, but also interms of variants and impressions evidenced by small differences that are difficult to notice byhuman inspection. The goal of our research is to develop a high-throughput workflow forcomparing different editions of books at the pixel level of digital images.
In contrast to text-based comparison, image-based comparison has advantages as follows. First,
it does not require transcription of books before comparison. Second, it is also effective for nontextual comparison such as difference of paintings, or quality of printing, as long as books incomparison have the same layout with minor differences. Although text-based comparison is
powerful to allow comparison beyond different physical layout, we believe that image-based
comparison is relevant because this simple but tedious task is what computers can perform better
than humans. This work, however, is still in a preliminary phase, and the following result is more of
preliminary than comprehensive.
The whole workflow can be summarized as follows. First, a page divider tries to divide a digitizedimage into a set of page images for a page-to-page comparison. But the page divider heavily
depends on specific capturing condition, so we can choose either automatic or manualapproaches for this task. Second, using computer vision techniques, feature points areautomatically extracted from page images of different editions. Extracting feature points is anactive area of research in computer vision, and they generally give us satisfactory results. Please
note, however, that an unsolved problem remains in comparison across images of different quality,
such as full-color, gray-scale, and (nearly) binary images. Third, feature points are used as
reference points for registration using rigid or non-rigid registration techniques. Rigid registration,
which only involves shift, rotation and scale, usually gives satisfactory results for the purpose of
inspecting minor difference, but non-rigid registration may be required for advanced analysis,
such as local distortion of woodblock. Fourth, after registration, two images are superimposedand compared for each pixel to color-code intensity difference to highlight large difference. A
useful color scale for a human inspector.is to assign red and blue color for large difference andwhite color for small difference.
Figure 1 shows a preliminary result about comparing two editions of the same book. The left panel
shows the result of correspondence between reference points on two images. The right panel
shows the color-coded difference between two editions after registration, illustrating that most of
the pixels become white or gray due to cancelation of same characters on two editions. A humaninspector can easily identify large differences in two editions represented by red or blue color,
namely stamps in different locations.
Even if two editions are the same, however, two editions cannot be totally canceled to produce apurely white image due to following reasons. First, a page image contains not only characters but
also other noises, such as stain on the paper, or partial transparency of the paper showing
characters on the other side. Second, local variation cannot be removed by a simple rigid
registration, such as local distortion of the woodblock at the edge, or intensity variation of the ink
in the middle. A human inspector, however, can quickly filter out those noises, and can easily
identify meaningful differences without influence of subjectivity in human reading.

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JADH 2016

A future work is to build an edition comparison service for comprehensive image-based analysisof book editions. When an image of one edition is uploaded to the service, the server compares
the uploaded image with other editions in the storage, and suggest that it is one of the existing

Figure 1: Matching two images using reference points extracted from two images, and thecomparison of two images using red/white/blue color scale.
editions or is a new one. This may be a killer app for the archive of old Japanese books because
having more editions, variants, and impressions in the storage means higher accuracy ofcomparison, which is the reason to attract more users. This kind of positive feedback is known as
network effect.
Lastly, we would like to emphasize that the target of this research is at the level of text critique,but not at the level of text interpretation. This is one example of our proposed concept “digitalcritique” which uses information technology to enhance a traditional human-based criticism. We
expect that this workflow is beneficial to scholars because it will reduce the burden of scholars
who need to perform a tedious text critique task of character-by-character comparison, and it willallow them to focus more on a higher level of research such as text interpretation.

Acknowledgment
The project was supported by collaborative research grant from National Institute of Japanese
Literature. Registration is performed using open source software, OpenCV. The books used in theexperiment is (1) 枕草子春曙抄, 国文研高乗, and (2) 春曙抄, 国文研鵜飼.

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JADH 2016

Development of Glyph Image Corpus for Studies of
Writing System
Yifan Wang (University of Tokyo)
We have built a software suite to auto-generate, edit, and annotate glyph image databases in order
to serve our text / glyph image integrated corpus of dictionaries Yiqiejing Yinyi (一切經音義) andXu Yiqiejing Yinyi (續一切經音義) in a printed Chinese Buddhist canon Taishō Tripiṭaka (大正新脩大藏經).
The software has three main components. 1) Character isolation system (fig. 1), which
automatically detects and crops each character from digital facsimiles of the books. The program
has processed all input images with approx. 94% accuracy, where existing commercial OCR
programs failed to correctly detect vertical lines and/or warichu style (inserting in-line annotationin double lines of smaller size characters) layout. 2) Glyph image editor (fig. 2), which has mainly
been used to correct auto-generated character coordinates output by the isolation system. The
program allows users to visually browse each page and quickly find errors. 3) Glyph comparison
and annotation interface (fig. 3), that runs as web application, and on which users can search acertain character to compare all (or some of) appearances en masse in images stored in the
corpus. It is also designed to quickly add metadata to correctly categorize glyphs into each groupthat consists of those regarded as the same shape. All aforementioned programs, including the
corpus itself are built upon open-source libraries (OpenCV, Qt, Ruby etc.), thus easily customizableaccording real use cases. They, as well as their dependencies, also maintain high portability, being
functional in all Windows, Mac OS X, and Linux platforms. The programs enabled us to reduce
considerable amount of time and manual work, efficiently develop the corpus, and continuously
maintain and improve the data set without expert knowledge in computing.
The corpus is focused on analyzing and obtaining statistical data on the internal graphemic system(i.e. whether two distinct glyphs are considered same in quality) in those documents, and consistsof text data derive from SAT Project (providing digitalized text of Taishō Tripiṭaka) and thegenerated glyph DB. Yiqiejing Yinyi and Xu Yiqiejing Yinyi in Taishō Tripiṭaka show unique featureseven compared with other parts of the collection. Despite the fact that the tripiṭaka is a letterpress
printing, they embrace a vast number of character variants; est. 30,000 different glyph types ofvaried degree of similarity are recognized, with approx. 3,000 characters are preliminary found tobe subject of addition in the Unicode character set, roughly as many as the number we proposed
to Unicode from all other portions of the publication. This exceptional diversity is accounted forby complicated aspects such as their fidelity to Tang-dynasty handwriting convention, multiplereferences with mixed collation history used during edition, and interaction of them with modern
interpretation and possibly technical errors in editing. As we are preparing for Unicode proposal
to encode characters in Taishō Tripiṭaka, it is urgently needed to understand the structure of theentangled writing system from the sections, which contain over 1,000,000 characters in total,
hence difficult for small group of researchers to conduct an exhaustive analysis. And this is thereason we introduced automatic processing.
As we are now working on accurate glyph categorization using the programs, we will share someof our findings at the conference in September.
We believe that the system we use is also applicable to other grammatological or philologicalstudies that require fine-grained analysis of each single character and use printed East Asian
documents with vertical layout as materials.

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Figure 1:

Figure 2:

Figure 3:50

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Relationship between film information and audiencemeasurement at a film festival
Masashi Inoue (Yamagata University)
Abstract
This paper presents the results of an analysis on the relationship between film information andaudience measurement at a film festival. The aim of the analysis is to create a model that can
predict attendance at the halls and the congestion rate of halls and identify the important
attributes at screenings. The results of the analysis revealed that the categorization of films
screened is the most important factor for the audience to attend film screenings.

Introduction
Artistic contents are delivered to audiences more often in digital format via digital networks. In
stark contrast to convenient consumption through digital transmission, live performances are
sometimes considered a better way to fully enjoy artistic content, a notion that has gained
popularity in recent times. When the contents are films, film festivals are considered a form of live
performance (Bordwell, Thompson, & Ashton, 2004). During the festival, both the creators andthe audiences get together and discuss the films that are screened. Until now, little has been
known about film festivals as a media beyond the publically known festival organization and theofficial statistics provided by the organizers. Exceptions are the analysis of film selection
processes in a film festival (Inoue & Sakuma, 2014) and the special journal issue focusing on thehistorical and geographical diversities in film festivals (Papadimitriou & Ruoff, 2016). The current
work is an attempt to understand the properties of film festivals in terms of audience participation
by building prediction models of hall attendance and congestion rates. A similar attempt has been
made to predict box-office revenues from the search statistics on upcoming films (Google, 2013).
However, compared with major commercial films, artistic films shown in a film festival have little
information on the potential audiences. Therefore, we focused on the information about the films
and the organization of the film festival for building the prediction model.

Data
We considered the Yamagata International Documentary Film Festival (YIDFF) as the target event.
YIDFF is held biennially. We used data from the 174 films screened in the year 2011. The
information about the films were either provided by the organizers or retrieved by Web crawlingon the festival website.

MethodWe used multiple regression and random forest to construct the prediction models. Thesemethods were chosen prioritizing interpretability over accuracy of prediction. The dependent
variables were either the raw data on the number of the audience or the congestion rate of thehall. We mainly discuss the congestion rate model here. The independent variables were as follows:
number of countries involved in film production (real number), running time (real number), capacityof the halls (real number), talk held after screening (binary), weekday or holiday (binary), numberof films the director appeared in previous YIDFFs (real number), program (one of 8 categories),
starting time (real number), and the number of audience in the previous film in the same hall (realnumber). The 8 programs considered are as follows: IC (International Competition: 15 outstanding
films selected from entries from around the world); NAC (New Asian Currents: Introducing upand-coming Asian documentary filmmakers); NDJ (New Docs Japan: A selection of new Japanese
documentaries); IS (Islands/I Lands, NOW—Vista de Cuba: A program focusing on Cuba as an“Island”); MT (My Television: A program featuring Japanese TV documentaries, with a focus onworks from the 1960s and 1970s); TJ (A Reunion of Taiwan and Japanese Filmmakers: 12 Years
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Later: Filmmakers from YIDFF New Asian Currents ’99 return with old and new films); FY: (Films
about Yamagata: The third edition of this regular program that looks at Yamagata and its relation
to cinema); CU (Great East Japan Earthquake Recovery Support Screening Project “Cinema with
Us”).

ResultWhen multiple regression analysis was used, the adjusted coefficient of determination was foundto be 0.43. When random forest was used, the adjusted coefficient of determination was 0.37.
Both values are lesser than 0.5, which is often the threshold for reliability. Therefore, we could not
obtain a reliable prediction model from the available data. The factors contributing to theprediction of congestion rates were the capacities of the halls (as per the regression analysis) andthe programs (as per both methods).

Conclusion
We analyzed film popularity based on audience measurement in the Yamagata International
Documentary Film Festival (YIDFF). This analysis based on multiple regression and random forest
methods indicated that the programs as part of which the films are screened are an importantfactor for predicting higher audience participation. For example, the organizers had assigned hallswith similar capacities to two special programs: CU (Great East Japan Earthquake) and IS (Cuba).
However, the program CU had more audience participation than the program IS, probably because
the audiences were more attracted to a familiar and current topic.

Acknowledgements
This work is based on an analysis performed by Yuri Koseki. Kazunori Honda helped to improve
this abstract.
References[1] Bordwell, D., Thompson, K., & Ashton, J. (2004). Film art: An introduction (7 ed.). New York:
McGraw-Hill.
[2] Google. (2013, 6). Quantifying Movie Magic with Google Search.
[3] Inoue, M., & Sakuma, S. (2014). Analysis of the film selection process for a film festival. The
7th International Workshop on Information Technology for Innovative Services (ITIS-2014), (pp.
582- 587). Victoria, Canada.
[4] Papadimitriou, L., & Ruoff, J. (2016). Film festivals: origins and trajectories. New Review of Filmand Television Studies, 14 (1), 1-4.

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Linking Scholars and Semantics: Developing ScholarSupportive Data Structures for Digital Dūnhuáng
Jacob Jett, J. Stephen Downie (University of Illinois at UrbanaChampaign), Xiaoguang Wang (Wuhan University), Jian Wu, Tianxiu Yu(Dunhuang Research Digital Center), Shenping Xia (Dunhuang Research
Academy)Introduction
The Digital Dūnhuáng Project (Wu, 2015; Zhou 2015) is a very large-scale field digitization projectin the process of digitizing the contents of the Mògāo Caves, Dūnhuáng’s vast system of 492
Buddhist temples and cave sites. The caves contain thousands of sculptures, murals, and othercultural artifacts that were fashioned during the thousand years (~400-1400 CE) that the city
served as a crossroads on the Silk Road and vital Buddhist cultural center. The Mògāo Caves are
a UNESCO World Heritage Site and are of interest to both scholars and the general public alike.
The level of interest in this cultural treasure is reflected by the 1.1 million visitors to the caves in2015 alone.
There has been a great deal of effort, realized through the International Dūnhuáng Project 1 (IDP),
to digitally preserve and publish the many manuscripts found in Cave 17. More recently, the Digital
Dūnhuáng project of the Dūnhuáng Academy has been digitally capturing the sculptures, paintings,
and other important cultural artifacts found within the caves. They are creating high resolution
images so that they may be made more accessible to scholars worldwide and shared with thoseunable to physically travel to Dūnhuáng (Wang, 2015). Thus far the project has only digitized thecontents of 120 of the 492 caves. Despite the modest number of caves photographed, the Digital
Dūnhuáng project has already produced 941,421 digital images of the cultural artifacts. We
estimate that by the project’s end, almost four million digital images will have been produced.

Digital Infrastructure
In this poster abstract, we present a proposed formal metadata model designed to improve theutility of the soon-to-be millions of Dūnhuáng cave images with the special intention of enhancing
the impact of these important resources on digital and traditional humanities and religion
scholarship worldwide. The process of digitization—the production of digital photographs—of theMògāo Caves rich repository of cultural heritage is an ongoing process.

Figure 1. Persistent identifiers and base taxonomic classification
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We assert that the digital annotation of the Dūnhuáng photographs and the things denoted inthem is a key aspect for providing remote scholars the means to interact with this treasure troveof historic works. Thus, before any digital annotation can take place, we propose that a necessary
first step is to inventory and identify the cultural artifacts in the caves (Downie, 2015). Figure
1 (above) illustrates one method in which this can be done, creating a rich interlinked web of manmade objects and the conceptual objects they depict.
The creation of persistent identifiers for all of the caves’ contents at their various intellectuallevels of scholarly interest is the cornerstone upon which our proposed interactive digital
infrastructure is to be built. Once an inventory of persistent, web-accessible objects has been put
into place, then scholars may interact with the various intellectual targets for scholarship by adding
their own unique layers of digital annotations.

Figure 2. Simple scholarly annotation

1

As Wang et al. (2016) observe, metadata, deep semantic analysis and topical indexing are among
the kinds of annotation taking place with regards to the digital photographs being produced byDigital Dūnhuáng. Figure 2 (above) illustrates a simple scholarly annotation scenario. In thisexample, a scholar has labeled the target conceptual object (the disciple) in the red box with a
name, “Kaspaya.”

Figure 3. Direct scholarly discourse through digital annotation
Note that for the sake of readability, many core annotation properties concerning the annotations’provenance, such as date created, have been left out of these illustrated examples. The annotation model’s
full property set can be found at: https://www.w3.org/TR/annotation-model/
1

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These technologies make use of linked data (Berners-Lee, 2006; Bizer et al., 2009) through RDF 3
conformant ontologies and serialization formats, such as JSON-LD . Once a digital foundation of
persistent identifiers and basic categorization has occurred and annotation infrastructure has
been implemented, the scholars may interact directly or indirectly with one another through theact of annotating (illustrated in Figures 3 (above) and 4 (below)). In this example, a second scholar
adds a dissenting view of what the disciple’s name should be, saying “no, this disciple’s name is‘Maudgalyayana’.”2

Figure 4. Indirect scholarly discourse through digital annotation
These illustrative examples merely showcase one of the many scholarly discourse use cases—
promoting discourse—digital annotations of this kind can play. These annotations may also bepart of a process for arriving at a consensus for the identity of the monk depicted by the statueor they might record a narrative of discussions about the caves’ contents. Digital annotations likethese might also be applied in classroom settings, permitting students and instructors with means
to interact with the cultural objects that they would not normally have.
Of course, the mechanics and limitations of digital systems are such that it is not always apparent
that the annotators are actually naming the same entity. As Arms (1995) observes, the scholarly
users of the Digital Dūnhuáng’s images do not want to interact with the digital photographs asmuch as they would like to make assertions regarding the things denoted within the photographs.
One potential method for remedying this problem is to extend the framework with properties thatare designed to operate in parallel to process of anchoring annotations to their targets. An
example of this appears in Jett et al. (2016) and is illustrated in Figure 5 (below).
In this case the property, “hasTargetFocus” is used to preserve the fact that the two scholars are
discussing the same abstract thing, the old disciple, even though their annotations are anchored
to two completely different entities (i.e., to a region of a photograph and to an annotation of theregion of that photograph, respectively). This level of representation is useful even if theirannotations where anchored to precisely the same target because it clarifies that their annotations
are about the monk depicted by the statue and not the statue itself or the photograph that depictsit.
Another advantage that digital knowledge representation systems bring is the flexibility ofextensible frameworks. Not only do extensible frameworks allow more of a scholar’s intentions tobe preserved they also permit choice of domain vocabularies for description of resources (e.g.,
4
CIDOC-CRM ) and the ability to support specialized digital tools. For example, scholars using Digital

https://www.w3.org/RDF/
http://json-ld.org/
4
http://www.cidoc-crm.org/html/5.0.4/cidoc-crm.html
2
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Figure 5. Preserving the intellectual focus of scholarly discourse
Dūnhuáng might wish to use the International Image Interoperability Framework’s image selector ,which allows them to rotate the subject of an image in three dimensions as well as specifying
some particular part of an image. Similarly, the use of this framework, will allow scholars to gather
up all of the annotated instances of, for example, the disciple “Kaspaya” from all of the Dūnhuáng
caves across time and space. Persistent identifiers and a basic categorical framework are thecornerstone for building a digital scholarly workplace.
5

References[1] Arms, W. Y. (1995). Key concepts in the architecture of the digital library. D-Lib Magazine 1(1).
Available via: http://www.dlib.org/dlib/July95/07arms.html[2] Berners-Lee, T. (2006). Linked data. Designed Issues: Architectural and Philosophical Points.
Accessible via: https://www.w3.org/DesignIssues/LinkedData.html[3] Bizer, C., Heath, T. & Berners-Lee, T. (2009). Linked data—The story so far. International Journal
on Semantic Web and Information Systems 5(3), pp 1-22. DOI: 10.4018/jswis.2009081901[4] Downie, J. S. (2015). “Enhancing the impact of Digital Dunhuang on digital humanities
scholarship.” Panel presentation given at DH 2015 (Sydney, Autralia, 30 June – 3 July 2015).
[5] Jett, J., Cole, T. W., Dubin, D. & Renear, A. H. (under review). “Discerning the intellectual focusof annotations.” Paper submitted to Balisage: The Markup Conference 2016 (North Bethesda, MD,
2-5 August 2016).
[6] Wang, E. (2015). “Explicating the potentials of Digital Dunhuang on scholarship and teaching.”
Panel presentation given at DH 2015 (Sydney, Autralia, 30 June – 3 July 2015).
[7] Wang, X., Song, N., Zhang, L., Jiang, Y. & Marcia, Z. (2016). Understanding the subject
hierarchies and structures contained in Dunhuang murals for deep semantic annotation: A content
analysis. Unpublished working paper to be submitted.
[8] Wu, J. (2015). “Introducing the ‘real’ Dunhuang and the Digital Dunhuang project.” Panelpresentation given at DH 2015 (Sydney, Autralia, 30 June – 3 July 2015).
[9] Zhou, P. (2015). “Digital Dunhuang: Digitally capturing, preserving, and enhancing real
Dunhuang.” Panel presentation given at DH 2015 (Sydney, Autralia, 30 June – 3 July 2015).

http://iiif.io/api/annex/openannotation/#status-of-this-document
56
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JADH 2016

A Web Based Service to Retrieve Handwritten
Character Pattern Images on Japanese Historical
Documents
Akihito Kitadai (J. F. Oberlin University), Yuichi Takata, Miyuki Inoue,
Guohua Fang, Hajime Baba, Akihiro Watanabe (Nara National ResearchInstitute for Cultural Properties), Satoshi Inoue (University of Tokyo)
We present a web based service to retrieve handwritten character pattern images written on
historical Japanese documents.
Digital images of handwritten character patterns are important research products of history andarchaeology. We have been providing two digital archives of the images. One of them contains
the images extracted from mokkans written in and around 8th century. The mokkan is a Japanesename of a type of historical documents. Wooden tablets were used as the recording media, andbrushes with Indian ink were used to write the character patterns of the documents. The othercontains the images from paper documents written in and around 9-18th century. Every image ofthe character pattern is selected by experts of Japanese history, archaeology and calligraphy.
Information retrieval methods and technologies are critical factors for digital archives of history
and archaeology. Employing a character code as a key of the retrieval is a reasonable
implementation for digital archives of character pattern images. We are providing a crossover
retrieval system of the two digital archives in which both the archives output the images thatbelong to the key code (http://r- jiten.nabunken.go.jp/kensaku.php). However, the character codes
for historical languages have not been defined clearly yet. The definitions are ongoing research
activities of history and archaeology. For the reason, we need to provide alternative methods that
employ other information as the retrieval key.
The web based service Mojizo that we present in this abstract is one of the alternatives. As sameas our system previously mentioned, Mojizo provides cross over retrieval of the two digitalarchives, but it employs a handwritten character pattern image as the key.
Mojizo has a shape evaluation engine consisting of pattern matching technologies. This engine
calculates similarity between the key and the images on the digital archives. Since the evaluationneeds a large amount of calculation, we designed and implemented the engine and the othermodules of Mojizo to run on server side. Therefore, we can use Mojizo via small portable terminal
devices with network connection and low computing power only. Digital cameras commonly
equipped on such portable terminal devices work well to capture the key images of handwritten
character patterns on historical documents. We have opened Mojizo on our web site(http://mojizo.nabunken.go.jp/). Web browsers provide user interfaces to input the key images
and to see the similar handwritten character pattern images. Mojizo also provides the links to metadata sets for each of the similar images. The meta data sets are results of decoding processes ofhistorical documents performed by historians and archaeologists. Therefore, we expect that
Mojizo supports users who have unreadable handwritten character pattern images.
To broaden application ranges of the digital archives is an aim of our research activities. The usersof Mojizo need no keyboard to input the character codes. This means that Mojizo can provide
ubiquitous gateways to the digital archives. Activating usage of digital archives is important toinherit the history of the human behavior in our modern society. Mojizo is providing about 28,000
images of handwritten character pattern with the link to their meta data sets, and the number isincreasing.
Our presentation will display the detail design and implementation of our web based service
including the shape evaluation engine. Also, we will present some examples of information retrieval
using Mojizo.

Acknowledgment
This work was supported by the Grants-in-Aid for Scientific Research (S)-25220401, (A)26244041 and (C)-15K02841.
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Image recognition and statistical analysis of the
Gutenbergʼs 42-line Bible types
Mari Agata (Keio University), Teru Agata (Asia University)
Traditionally, analyses of types used in the early printed books have been conducted by naked
but trained eyes of bibliographers. The types of the Gutenberg 42-line Bible (hereafter “B42”), theearliest printed book in Europe with movable metal type, is no exception.
In 1900 Paul Schwenke published results of his minute and painstaking investigation of the B42
1type. He identified and listed two hundred ninety types. The reasons for such a large number oftypes are the existence of abbreviations, contractions, and secondary forms, or abutting types, ofalmost every letter of the alphabet. The left side of an abutting type was flat, without the diamondshaped spur, so it could be placed close to the preceding type according to defined rules.
Schwenke observed that after letters c, e, f, g, r, t, x, and y, this abutting type was used.
This composition rule was so strict that some deviations were even corrected during the actual
print run, as the collation using superimposition of digital images by the present author
2
demonstrated. The collation also raised new questions about the composition rules. For example,
four stop-press corrections concern a shorter abutting “r”; its usage has not been previously
studied in detail and thus need further analysis. In addition, collation results suggest that the types
were not perfectly locked up but set loosely, resulting in many variations of word spacing, shifted
lines, and both inclined and drifted letters.
Furthermore, other scholars had identified a different number of types of B42. Schwenke’s close
observation may require several amendments.
3
In 2000, Paul Needham and Blaise Agüera y Arcas questioned how Gutenberg cast his types. A
traditional view is that he produced types by steel punch, copper matrix, and adjustable handmould, and thus he could produce thousands of “identical” types, from a single matrix. Needhamand Agüera y Arcas made a clustering analysis of the lower case “i”s used in a 20-page Papal Bull
printed in the DK type, which was made earlier than the B42 types and closely resemble to them.
Several hundred “i” clusters were discovered; a far greater number than expected. They claimed
that these “i” types could not have been made from a common punch and matrix and suggested
that many matrices had been used in parallel, or equivalently, the matrix had been temporary andneeded to be re-formed between castings. This is a significant question to shake to thefoundations of the printing history. In spite of the considerable attention their research attracted,
4
there have been few substantial follow-up studies.
The adoption of computer-based research now allows us to conduct experiments on a much larger
scale that was previously possible. The present authors have developed a new method of semiautomatic image recognition of the B42 types and demonstrated that it have explanatory power
beyond the influence of inking and photographic conditions when applying to data of a large
5
scale.

Paul Schwenke, Untersuchungen zur Geschichte des ersten Buchdrucks. Berlin, Behrend, 1900.
Author. Stop-press Variants in the Gutenberg Bible: The first report of the collation. The Papers of the
Bibliographical Society of America. 2003, vol. 97, no. 2, p. 139-165; Author. デジタル書物学事始め：グーテン
ベルク聖書とその周辺. 勉誠出版, 2010 [Author. Introduction to digital bibliography: the Gutenberg Bible andbeyond. Bensei Shuppan, 2010.]; Author. “Improvements, corrections, and changes in the Gutenberg Bible."
Scribes, Printers, and the Accidentals of their Texts. Frankfurt am Main, Peter Lang, 2011, p. 135-155.
3
Agüera y Arcas, Blaise. “Temporary Matrices and Elemental Punches in Gutenberg’s DK Type.” Incunabulaand Their Readers: Printing, Selling and Using Books in the Fifteenth Century, Jensen, Kristian, ed. London,
British Library, 2003, p. 1-12.
4
Pratt, Stephen. The myth of identical types: A study of printing variations from handcast Gutenberg type.
Journal of the Printing Historical Society. 2003, new series 6, p. 7-17.
5
Authors. 活字の識別とその応⽤：グーテンベルク聖書の活字のクラスタリング. ⽇本図書館情報学会 2014 年度研究⼤会. 2014-11-29, 梅花⼥⼦⼤学（⼤阪府）. 第 62 回⽇本図書館情報学会研究⼤会発表論⽂集. 2014, p. 117-120[Authors. Recognition of types and its bibliographical application. Annual conference of Japan Library andInformation Science. 2014-11-29, Baika Women’s University.]; Authors. A newapproach to image recognition
12

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The purpose of this study is to make further analysis of the B42 types with an improved methodof image recognition reinforced by machine learning. The image data of B42 held in the Keio
Gijuku Library was used for analysis. Information about X and Y coordinates, pixel width and height,
and transcribed characters of each type image data are collected and used for the statisticalanalysis.
To analyze the vertical alignments, the average variance of the Y coordinate for each type imageof each line, excluding types with descenders and capitals, were calculated. When doing a pageby-page variance analysis, pages that were thought to have been printed earlier exhibited greater
variance.
The width data of each type image provided us useful information. A frequency distribution of thewidth of several types had two mild peaks; the wider types were those of primary forms, while themore narrow ones were those of secondary, abutting forms. Transcribed character data showedthat the narrower ones positioned after letters c, e, f, g, r, t, x, and y. This result supports one of
the composition rules observed in Schwenke’s study.
Further statistical analyses enable to investigate such characteristics as variance in the body size,
the relative distance between a contraction bar and a main letter, and more. A close examinationof these characteristics will lead to identify type variants and their distribution in the book. An
accumulation of the results could give further clues to questions regarding specific details of thefirst printing shop in Europe, and, hopefully, of Gutenberg’s casting method.

and clustering of the Gutenberg’s B42 types. Memory, the (Re-)Creation of Past and Digital Humanities.2016-03-15, Keio University (Tokyo).

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Comparisons of Different Configurations for Image
Colorization of Cultural Images Using a Pre-trained
Convolutional Neural Network
Tung Nguyen, Ruck Thawonmas, Keiko Suzuki, Masaaki Kidachi(Ritsumeikan University)
Introduction
This paper describes image colorization of cultural images, such as ukiyo-e, by which colors areadded to grayscale images. This is done in order to make them more aesthetically appealing,
culturally meaningful, or even inspiring. Importance of this task can be seen, for example, by arelatively large portion of grayscale images in the archive portal of the Art Research Center (ARC),
Ritsumeikan University, e.g., 1600 grayscale images out of 4588 images of the type Yakusha-e(actor painting) publicly accessible.
In this work, we followed the same approach as Gatys et al. [1] that uses a pre-trained convolutional
neural network (CNN), called VGG-19 [2], for transferring the style of an image to another image
while maintaining the content of the latter one. In particular, using ukiyo-e images from theaforementioned archive, we investigated a number of configurations for setting VGG-19’s layers,
weighting between the style loss and the content loss, and optimizing the parameters. Discussions
are done that give insights to future work.

Methodology
The content of a grayscale image is combined with the style of a color image, resulting in colorizing
the grayscale image. For a layer 𝑙𝑙 in the network, we denote the number of feature maps and thesize of each feature map in that layer as 𝑁𝑁# and 𝑀𝑀# , respectively. The content loss is then calculatedby1
5
𝑃𝑃12# − 𝐹𝐹12# ,𝐿𝐿&'()*() 𝑝𝑝, 𝑥𝑥 =𝑁𝑁# 𝑀𝑀#
1,2

where 𝑃𝑃 # ∈ ℝ : : and 𝐹𝐹 # ∈ ℝ : : are the content representations, i.e. the features, of the content
image 𝑝𝑝 and the output image 𝑥𝑥, respectively. On the other hand, the style representation at layer
9 ×<
𝑙𝑙 is given by the Gram matrix 𝐺𝐺 # ∈ ℝ : : :𝐺𝐺 # = 𝐹𝐹 # 𝐹𝐹 # >and the style loss at layer 𝑙𝑙 is calculated by
𝐴𝐴#12 𝐺𝐺12#
1
𝐸𝐸# = 5−,
𝑀𝑀# 𝑀𝑀#
𝑁𝑁#
9 ×<

9 ×<

1,2

where 𝐴𝐴# and 𝐺𝐺 # are the style representations of the style image aa and the output image 𝑥𝑥 ,respectively. Then the style loss function is defined considering style losses at multiple layers:
𝐿𝐿A)B#* 𝑎𝑎, 𝑥𝑥 =#𝑤𝑤# 𝐸𝐸# ,where 𝑤𝑤# is the weighting factor of 𝐸𝐸# , and equals to one divided by the number of layers. In addition,
to smoothen the output image, we make use of the total variation regularizer given below:
𝐿𝐿)E 𝑝𝑝, 𝑎𝑎, 𝑥𝑥 =1,2

𝑥𝑥1FG,2 − 𝑥𝑥1,2

5

Finally, the total loss is calculated as the weighted average of the aforementioned losses:
𝐿𝐿 𝑝𝑝, 𝑎𝑎, 𝑥𝑥 = 𝛼𝛼𝐿𝐿&'()*() 𝑝𝑝, 𝑥𝑥 + 𝛽𝛽𝐿𝐿A)B#* 𝑎𝑎, 𝑥𝑥 + 𝛾𝛾𝐿𝐿)E 𝑥𝑥 .

Evaluation

We conducted various experiments to compare different configurations. Two layer settings by
Gatys et al. [1, 3] and one by Yin [4] were considered. We also compared the use of stochastic
gradient descent (SGD) [1] with that of LBFGS [3], as an optimization algorithm for finding a60

Table 1. Description of configuration names.

JADH 2016

Figure 1. Relative error of each configuration at the last iteration.
minimum of LL. Moreover, we investigated the effect of decreasing 𝛽𝛽 𝛼𝛼 by 0.25% after each
iteration [5].
Combing the aforementioned layer settings, optimization methods and different valuesof 𝛽𝛽 𝛼𝛼 leads to 36 different configurations in total. We use the format configX_Y_Z for naming
each configuration; the value and meaning of each index X, Y, Z are provided in Table 1. For eachconfiguration, we performed colorization 100 times, combining each content of 10 grayscale
images with each style of 10 color images. 𝛾𝛾 was set to 0.001 and the output image was initializedwith the content image as done in [5].
Because the range of the total loss varies considerably depending on the set of layers, we instead
used the relative error defined below as a metric to compare different configurations:
𝐸𝐸𝐸𝐸𝐸𝐸 𝑝𝑝, 𝑎𝑎, 𝑥𝑥 = 𝐸𝐸𝐸𝐸𝑟𝑟&'()*() 𝑝𝑝, 𝑥𝑥 + 𝐸𝐸𝐸𝐸𝑟𝑟A)B#* 𝑎𝑎, 𝑥𝑥 ,where 𝐸𝐸𝑟𝑟𝑟𝑟&'()*() and 𝐸𝐸𝐸𝐸𝑟𝑟A)B#* are the relative content error and the relative style error respectively.
𝑃𝑃12# − 𝐹𝐹12#
𝐸𝐸𝐸𝐸𝑟𝑟&'()*() 𝑝𝑝, 𝑥𝑥 =𝑃𝑃12# + 𝐹𝐹12# /2
𝐸𝐸𝐸𝐸𝑟𝑟A)B#* 𝑎𝑎, 𝑥𝑥 =

1,2

#

𝑊𝑊#

1,2

𝐴𝐴#12 −𝐺𝐺12#

𝐴𝐴#12 + 𝐺𝐺12#/2

Figure 1 shows the relative error of each configuration at the last iteration of the colorization
process. The best configurations in terms of relative content error, relative style error and relative
error are config3_1_4, config2_3_1, and config3_3_1 respectively. However, because from cultural
viewpoints, it is important to maintain the original content, we visually compared images generated
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Figure 2. Sample images generated with different configurations: config3_1_4 (the smallest
relative content error), config2_3_1 (the smallest relative style error), config3_3_1 (the smallest
relative error), config3_3_4 (the visual best).
by the best five configurations in terms of the relative content error and finally selectedconfig3_3_4 as the visual best.
Figure 2 show results for three typical content-style pairs. Both config2_3_1 are config3_3_1 arecolorful, but texture information in the content image, in particular kimono patterns andJapanese letters, is distorted. Visual comparisions reveal that while not as colorful asconfig2_3_1 or config3_3_1, config3_3_4 best preserves the original content while having color
essence of the style image. As this kind of colorization is not only aesthetically appearing but
also culturally meaningful, it may inspire the CNN user's artistic creativity.

Conclusions
In this paper, we compared a number of configurations for colorizing grayscale images by utilizinga pre-trained CNN, VGG-19. Our finding is that config3_3_4 leads to the best visual results
regarding both original content preservation and color essence introduction. This work was basedon existing work using VGG-19 for style transfer, not specifically for color transfer. In the future,
we plan to develop loss functions and other settings that can ignore texture information andtransfer only color information from the style image while preserving the content in the original
image.

References[1] Gatys, L.A., Ecker, A.S. and Bethge, M., 2015. A neural algorithm of artistic style. arXiv preprint
arXiv:1508.06576.
[2] Simonyan, K. and Zisserman, A., 2014. Very deep convolutional networks for large-scale image
recognition. Presented at International Conference on Learning Representations 2015.
[3] Gatys, L., Ecker, A.S. and Bethge, M., 2015. Texture synthesis using convolutional neuralnetworks. In Advances in Neural Information Processing Systems (pp. 262-270).
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JADH 2016[4] R. Yin, 2016. Content Aware Neural Style Transfer. arXiv preprint arXiv:1601.04568.
[5] Nguyen, T., Mori, K., and Thawonmas, R., 2016. Image Colorization Using a Deep Convolutional
Neural Network. In Proc. of ASIAGRAPH 2016, Toyama, Japan (pp. 49-50).

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Dating Mining into the Works of Monkan (1278-1357),
a Monk of the Shingon School: Using Digital Humanities
to Assess the Contested Authorship of Three Religious
Texts
Gaetan Rappo (Waseda University)
Temples belonging to the esoteric schools of Buddhism in medieval Japan have produced an
extremely vast and elaborate religious literature, called the “sacred teachings” (shôgyô). Althoughsuch texts have received little attention from historians, the last few years have seen, especiallywith the research team based in the Shinpukuji temple in Nagoya, a renewed interest in them aswell as the publication of many manuscripts. However, the use of such texts as historical sources
presents a series of challenges. The “sacred teachings” were mostly composed in Japanese
kanbun (classical Chinese read in the Japanese word order), and consist in ritual procedures,
doctrinal or canonical commentaries, or records of oral traditions and various events. Their writing
style is fragmentary, almost cryptic at times, and they are not designed to be comprehended by
the non-initiated. So, in order to understand their contents and to use them as proper historicalsources, one has to reconstruct the vast knowledge network they were built upon.
Digital humanities can provide particularly helpful tools to clarify this stream of ideas and to
determine patterns in the diffusion of rituals, symbols, or doctrinal interpretations among themonks of the time. They can also help us assess the veracity of traditional claims of authorship,
or even evaluate the boundaries between schools or rival branches. For example, in a bookpublished in 2015, Ishii Kôsei was able to prove the authenticity of several texts attributed to
Shôtoku Taishi, relying on computer-assisted vocabulary analyses based on text mining andespecially n-gram. This presentation aims to build on his research and to devise a method andtools applicable to the study of medieval “sacred teachings.” It will first examine the issue of theauthorship of two texts, the Daijingû honji and the Ben’ichisan kuketsu, and assess its implications.
According to their colophons, the Ben’ichisan kuketsu and the Daijingû honji were written aroundthe middle of the 13th century. However they both mention a ritual called the "Ritual combining
the Three Worthies (Sanzon gôgyô hô)," a practice that recent scholarship has proved to havebeen created by Monkan (1278-1357), a monk active mostly during the 14th century. In the
medieval esoteric schools, ritual and doctrinal authenticity has always been a major issue, andmonks imagined various ways to assess their superiority over rival schools and practices. One ofthem was for a monk to attribute his own work to an eminent figure from the past. According to
the research by Abe Yasurô, Monkan did this with the text called Goyuigô hiketsu, which was
attributed, most certainly by Monkan himself, to the Daigoji master Jichiun, active in the early 13th
century. So it is quite probable that a similar process was at work with the Daijingû honji andBen’ichisan kuketsu.
The main hypothesis of this presentation, based on an analysis of the texts’ contents and their
historical contexts, is that they may well have been written by Monkan, or at least by a member ofthe same school of thought, and attributed voluntarily to previous masters in order to assert theirauthenticity.
I will first create a database of Monkan’s known works, including the Goyuigô hiketsu (whose
authorship will surely be proved in the process). The main goal is to use data mining in order toisolate linguistic pattern and analyze their frequency, mostly via python language n-gram scripts,
and then to compare such data with the Ben’ichisan kuketsu and the Daijingû honji. However,occurrences of series of Chinese characters do not always have the same relevance, and, as apreliminary step, it will be necessary to organize the data.
Concretely, I will use recent editions of manuscripts and transcribe them into digital data, following
the guidelines of the Text Encoding Initiative. Since I will work on a defined number of documents,
I will try to create coherent metadata categories for this type of text (categories for “paragraphs”
could include canonical citations, ritual procedures, opinions of their author, etc.) and apply themto the data. This will give a clearer picture of the significance of each linguistic pattern in Monkan’s
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works, and help determine the topics discussed in the text, the type of references, and, mostimportantly in the writer’s style.
The next step will be to confront this data with the Ben’ichisan kuketsu and Daijingû honji, which
will first be analyzed with the same method. The results should give us a clearer picture of thedegree of similitude, or maybe the differences, between them and other works by Monkan. If
possible, we will also try to identify the author of another similar text, the Shinzô zuzôkan, as recent
research by Uchida Keiichi has shown that the name appearing in its colophon might well refer toMonkan. However, this text is not fully available, and we would have to work with partial data.
As a whole, this research will not only help answer the question regarding the authorship of theaforementioned texts, but also shed new light on Monkan’s thought as a whole, and especially his
links to the medieval Shintô tradition, which for now remain uncharted territory. On a longer-termbasis, this method will also prepare deeper investigations into the transmission process of rituals
and ideas in the Middle Ages. Furthermore, if expanded to other texts from a similar period, it canclarify the actual diffusion of doctrinal arguments between rival schools, as Shingon and Tendai,or spiritual lineages inside the same school, allowing us not only to understand the position of a
figure such a Monkan, who has the particularity to have been rejected as a heretic after his death,in the history of his school as well as in the history of ideas as a whole, but also to question the
traditional divisions inherited from later periods and their influence on our understanding of thesituation in medieval Japan.

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Stylistic Analysis of Agatha Christieʼs Works:
Comparing with Dorothy Sayers
Narumi Tsuchimura (Osaka University)
This study aims to clarify the stylistic characteristics in works of Agatha Christie, a female mystery
writer in the UK, comparing with those of Dorothy Leigh Sayers, who was also a renowned
contemporary female mystery writer in the UK from the same period.
Agatha Christie is one of the most successful female mystery writers in history, and her novels
are read all over the world now. Dorothy Leigh Sayers is likewise one of the most successful female
mystery writers, and had a relationship with Christie. Christie and Sayers are called the two
mistresses of mystery. Sayers’ mystery novels are not as popular as Christie’s. However,according to Mori (1998), Sayers had better writing ability and was better at describing charactersin novels than Christie, and leading female mystery writers today, including P. D. James and Ruth
Rendell, say that Sayers, not Christie, is the ideal writer. On the other hand, Christie has often
been recently criticised by contemporary mystery writers, saying that the characters in her novels
are in a fixed form, and that her style is too plain. At this point Christie forms a great contrast to
Sayers. The purpose of this study is to examine how Christie’s style differs from Sayers’ one bycomparing their works using statistical analysis.
While quantitative researches on Christie’s works, such as those of Lancashire & Hirst (2009) and
Le et al. (2011), do exist, but these researches are based on simple statistics like word frequencies
and Type/Token ratio. In addition, such researches do not deal with all of her works.
This study aimed to answer the following questions:(1) Can we distinguish Christie’s works from Sayers’ by using statistical methods?
(2) What are the stylistic difference between the works of Christie and Sayers?
The data used in this study consists of Christie’s (221 texts, 5,230,256 words) and Sayers’ works(55 texts, 1,430,257 words). This study applies Random Forests for classifying the two writers’
works and extracting characteristic words from each writer’s works. Random Forests, which was
proposed by Breiman (2001), is an ensemble learning method for classification and regression. In
recent studies it has been used for classifying texts and authorship attribution. For example in Jin& Murakami (2007), Random Forests was employed for authorship identification of three different
types of texts (novels, compositions and diaries), and it is shown that this method is more effective
than other classifiers. In Tabata (2012), Random Forests was used to extract marker words that
distinguish Charles Dickens from Wilkie Collins. Tabata reported that Random Forests overcame
common problems in key word measures such as Log Likelihood or Chi-squared score, andRandom Forests was proposed as the alternative method. Following Tabata, this study employed
Random Forests to extract characteristic words that differentiate Christie from Sayers.
The variables used in Random Forests are the most frequent words. Random Forests is trainedand validated on the 276 texts with different numbers of most frequent words ranging from 1000
to 100 in 100 word steps. The Christie texts and the Sayers texts were correctly classified into
two different groups with an accuracy of 92.7%-95.3%. These texts were classified the mostaccurately with the top 600 words. Out of these, the 100 the most characteristic words wereidentified. The results of this analysis revealed that Christie’s use of characteristic words contrasts
with Sayers’, especially between synonyms: Christie tends to use anyone, someone and until while
Sayers tends to use anybody, somebody and till. Moreover, it revealed that Christie tends to use
words related to the female gender, movement and visual. We discuss how these words are useddifferently in the texts of the two authors, and attempt to reveal the stylistic characteristics ofChristie when compared with her contemporary.

References[1] Breiman, L. (2001). Random forests. Machine Learning, 45: pp.5-23.
[2] Jin, M. and Murakami, M. (2007). Authorship Identification Using Random Forests. Proceedingsof the Institute of Statistical Mathematics, 55(2): pp.255-26

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[3] Lancasire, I. and Hirst, G. (2009, March). Vocabulary Changes in Agatha Christie’s Mysteries
as an Indication of Dementia: A Case Study. Paper presented at the 19th Annual Rotman
Research Institute Conference, Cognitive Aging: Research and Practice, Toronto.
[4] Le, X., Lancashire, I., Hirst, G. and Jokel, R. (2011). Longitudinal detection of dementia throughlexical and syntactic changes in writing: a case study of three British novelists. Literary and
Linguistic Computing, 26(4): pp.435-461.
[5] Mori, H. (1998). Sekai Mystery Sakka Jiten: Honkakuha-hen. Tokyo: Tosho Kankoukai.
[6] Tabata, T. (2012). Stylometry of co-authorship: Charles Dickens and Wilkie Collins. The Special
Interest Group Technical Reports of Information Processing Society of Japan, CH-93(3): pp.17.

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Jane Austen in Vector Space: Applying vector spacemodels to 19th century literature.
Sara J Kerr (Maynooth University)
Jane Austen is known as one of the founders of the modern English novel. Traditionally she has
been seen as a writer who focused on the minutiae of domestic life, but more recent critics havebeen finding ideas which challenge this view, positioning her as a far more political writer thanpreviously thought.
An exploration of Austen’s ideology is challenging for a number of reasons. A lack of contextual
material means that no reliable, first person account exists. The historical representation of Austen
has been heavily mediated by her family. With the publication of A Memoir of Jane Austen in 1869,
some fifty years after her death by her nephew James Edward Austen-Leigh, Austen’s reputation
as a skilled but uncontroversial writer, in keeping with the Victorian ideal of conservative, religious,
womanhood, was set.
Yet, there is a disconnect between the Austen presented by her family and the Austen we glimpse
through her novels. Most modern scholars agree that there are some political elements in Austen’swork, but there is considerable disagreement as to their nature. Austen was writing with the goalof publication and was clearly aware that publishers and the public had clear expectations ofnovels and that openly contentious works were unlikely to be published. Her writing, first andforemost, aimed to entertain and as a result, it is perhaps unsurprising that her political ideology
is to hard to identify. This research takes a quantitative view of Austen’s novels, focusing on her
representation of independence and dependence at a personal, social and political level, to explore
her political ideas in detail.
Traditional close reading by necessity focuses on the detailed analysis of small sections of text.
Although the corpus of Austen’s novels is not large, scholars have identified very different politicalviews using the same source material. For example, Butler (Jane Austen and the War of Ideas.
Oxford: Clarendon Press, 1997. Print.) presents Austen as a conservative writer whereas Johnson(Jane Austen: Women, Politics, and the Novel. University of Chicago Press, 1990. Print.) and Neill(The Politics of Jane Austen. Macmillan, 1999. Print.) claim that she is more radical in her views.
In searching for insight into the traces of Austen’s political views, we need to look for more subtle
patterns within and across the texts. In effect, we are looking for an understanding which goesbeyond the individual novel, and in Moretti’s words “close reading will not do it” (Distant Reading.
London: Verso, 2013. Print. p48).
The advent of distant and scaled reading techniques within literary studies has enabled the
exploration of texts in a manner which “defamiliarize…making them unrecognizable in a way…thathelps scholars identify features they might not otherwise have seen” (Clement, Tanya. “TextAnalysis, Data Mining and Visualisations in Literary Scholarship.” MLA Commons | Literary studies
in the digital age. Oct. 2013. Web.). Topic modelling is, perhaps, the most popular of these tools
for Digital Humanists who wish to transform texts and view them through a different lens. However,
the application of ‘word2vec’ (an algorithm which represents words as points in space, and themeanings and relationships between them as vectors) has the potential to be of even greater use.
It can work effectively on a smaller corpus and can be applied to full texts, whereas, as Jockers
has noted (“‘Secret’ recipe for topic modeling themes’. matthewjockers.net. 12 Apr. 2013, Web.),
topic modelling is more effective when working with a large, noun only corpus. In addition,‘word2vec’ allows the exploration of discourses surrounding a theme. Rather than asking ‘which
topics or themes are in this corpus of texts?’ the application of the ‘word2vec’ algorithm allows
us to ask ‘what does the corpus say about this theme?’
Typical results are illustrated through an investigation of the words ‘independent’ and‘independence’. The ten nearest words to ‘independent’ include ‘decorum’, ‘fortune’ and‘greatness’, but also ‘contemptible’ and ‘deplorable’. Similarly, the fifty nearest words to‘independent’ and ‘independence’ contain many of the expected words: ‘privilege’, ‘matrimonial’,‘property’, ‘fortune’, however, also present a different group: ‘inequality’, ‘littleness’, ‘illiberal’ and‘unfair’. This group of words suggests that while much of Austen’s discourse surrounding
independence is in keeping with views of her writing as conservative, a more critical discourse
also exists.
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Expanding the number of words in the model to one hundred reveals two of these negative
clusters:
1. bias, inequality, insignificance, wounding, littleness, unfair, degradation, shameful
2. deplorable, arrogance, contemptible, conceit, spoiled
This is suggestive of two separate ideas being expressed: the negative impact of the unfair
distribution of wealth on the less fortunate, and the negative impact independence could have on
its recipient. As wealth and property underpinned the existing social hierarchy these views may
be seen as political.
The ‘word2vec’ model, originally created by Tomas Mikolov and his colleagues at Google in 2013,
takes in a corpus of texts and represents words as points in a multi-dimensional space, word
meanings and relationships between words are encoded as distances and paths in that space,through the creation of an artificial neural network. The created model can then be interrogated
and the results visualised.
Applying ‘word2vec’ to literary studies allows the discursive space surrounding a particular topic
to be examined, highlighting areas for further exploration. While close readings can identify
specific examples where Austen is critical of the world in which she lives, the application of‘word2vec’ suggests that a more consistent discourse critical to the existing power structures
exists across her novels. An exploration of the novel corpus within vector space places thediscourse within a semantic space through which Austen’s ideological views can be interrogatedin combination with a more traditional close reading, leading to a thicker, more nuanced
interpretation.
Although a relatively recent addition to the range of computational tools being used for Digital
Humanities, these initial analyses suggest that there is good reason to explore the application ofvector space models to corpora of literary texts further.

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MEDEA (Modeling semantically Enhanced Digital Editionof Accounts) as Historical Method
Kathryn Tomasek (Wheaton College)
Introduction
A cooperative project among historians in Germany, Austria, and the United States who areinterested in developing models for digital scholarly edition of account books for comparative
historical analysis, MEDEA was formed in 2014. Our goals are data modeling and expanding thecommunity of practice for these activities. We have spent the past year introducing these ideas
to scholars in Europe and the United States, holding workshops in Regensburg in October 2015
and at Wheaton College in Massachusetts in April 2016. Georg Vogeler Professor of Digital
Humanities at the Austrian Centre for Digital Humanities, Centre for Information Modeling at Karl
Franzens University in Graz is testing files created by other members of our community against
his bookkeeping ontology.

Problem Space: Accounts
Accounts of various sorts—municipal, state, organizational, merchant, and individual—areabundant in archives, but they are underutilized as sources at least in part because of thetechnologies that have been used to produce and analyze them. They have been importantsources both for those who created them and for historians who have sought to understandeconomic changes over time and space. Historians have sampled such sources using social
science methodologies for almost one hundred years, but few scholarly editions of accounts havebeen produced (Ciula, Spence & Veira 2008, Keating et al. 2010, Teehan & Keating 2010, Bolt &van Zanden 2014, Frantz & Sarnowsky 2014, Burghartz 2015).
At least some of the challenges in producing digital scholarly editions of accounts are related tothe development of the very technologies that have been used to record accounts in the past
several hundred years in the global North. Account books—codices containing lists ofcommodities, currencies, and services exchanged among people—developed over time into
printed ledgers and spreadsheets—analog books and papers that could be used to record
information about these exchanges in tabular format. The formats of the various cross-referenced
books of accounts associated with the business of running cities, estates, mercantile operations,and other enterprises gave people opportunities to track inventories, obligations, and assets witha view to such questions as personal, organizational, or state or municipal wealth. (Discussion of
accounts kept on clay tablets, papyri, scrolls, and other media that preceded the codex are omitted
only as a reflection that MEDEA currently does not include any scholars who are working withsources in such forms; we welcome such scholars and the challenges their sources will bring.)
Accounting practices are themselves a technology that have undergone changes over time andspace (Ijiri 1975, Everest & Weber 1977, Bywater & Yamey 1982, McCarthy 1982, Wigley n.d.,
Mersiowsky 2000, Wang, Du & Lee 2002, Arlinghaus 2004, Vogeler 2005, Vogeler 2010).
Digital versions of this analog technology in the form of spreadsheet software, relational
databases, and web-based forms, such as the business software XBRL-General Ledger, have theadvantage of simplifying the tracking of sums, balances, and in fact most numerical ormathematical operations as well as producing visualizations. However, spreadsheet software
handles semantic values much less efficiently. Information about which currencies, commodities,
services, individuals, and geographical locations are referenced in exchanges between groups orindividuals can easily be lost or misrepresented in spreadsheets. Even more flexible relational
databases are often idiosyncratic in their references to such semantic values and fail to meet any
sorts of standards for interoperability, despite the considerable social scientific literature basedon sampling from analog sources. Oxford historian Richard C. Allen has undertaken to assess thequality of data extracted from accounts and electronically available (Allen 2001, Allen et al. 2004,
Allen 2014).
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Vogeler and Tomasek have been working on somewhat parallel paths for the past decade or so.
Both began from the position of the Guidelines of the Text Encoding Initiative (TEI) as an accepted
method for producing stable humanities-oriented data, and both have sought to leverage the TEI’s
position as a standard for such work to explore models for creating reusable and interoperative
digital scholarly editions of accounts from original sources distant in time and space. (Tomasek &Bauman 2013, Vogeler 2015).
Vogeler has outlined a preliminary version of an RDF model for comparing accounts. In describing
this model, he has argued that the “transactionography” TEI customization that Tomasek andBauman developed a few years ago amounted “a simple ontology for accounting facts” (Vogeler2016). Thus, the ontology that he has been developing begins from the transaction, incorporating
the notion thata transaction between two parties or accounts consists of at least one transfer from one to theother. It transfers a measurable and can be attested by text. The transfer occurs at a place.
Booking a transfer into an account can create liabilities held by a party and owed to another(Vogeler 2016).
Vogeler borrows additional data types from XBRL-GL and TEI. These include monetary values, theentry, debit/credit, the balance, totals, and measure. And attending to the interests of historians,
he adds prices, commodities, services, and conversions of measurements. Vogeler suggests
further that common terms from the taxonomies developed by individual projects can be identified,
exposed as RDF data, and described using the W3C’s Simple Knowledge Organization System(SKOS).
Along with Øyvind Eide, Vogeler presented slides at DH2016 that draw on CIDIC-CRM’s eventbased modeling to point towards an ontology that can express both the human interactions andthe accounting practices represented in account books (Eide & Orr 2009). Vogeler’s slide outlines
the production of accounts as traces of human activity, historians’ interests in what accounts cantell us about the past, and the technologies most appropriate to creating digital surrogatessusceptible to analysis. Eide’s slide illustrates how an event-based model of the activities that
produced accounts can be expressed using principles from CIDOC-CRM. And Vogeler’s sketch of
his bookkeeping ontology on GitHub offers a picture of its current status.

Fig 1. (Image Credit: Georg Vogeler, DH2016.)
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Fig 2. (Image Credit: Øyvind Eide, DH 2016.)

Fig 3. (Image Credit: Georg Vogeler, DH 2016.)
Currently, Vogeler suggests using the TEI @ana attribute to add markup for this bookkeeping
ontology. Such markup bypasses the need for the kind of “transactionography” described byTomasek and Bauman, allowing markup of such information as “transfer,” “from,” “to,” or theambiguous “between,” as well as “monetary value,” “what” was transferred, and whether thetransfer was “mutual,” “multiple,” “unilateral,” or “enforced.” Example markup from my own projectwill show this ontology in use.
Following best practices for digital scholarly editions, the XML/TEI file can be stored, either
alongside images of the original archival documents or with pointers to them. The bookkeeping
information from the XML/TEI can be converted to RDF for comparison to other documents
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marked up in similar manner. Vogeler has tested such comparisons with a small set of files and iseager to increase the number of files marked up in such manner for further testing (Vogeler2016).

Conclusions
Widespread scholarly edition of accounts using the ontology that Vogeler and Eide are developing
has the potential eventually to offer an unprecedented source of aggregated data for historicalresearch. As a result of MEDEA workshops, we have added to the community of practice fortranscription and markup of accounts following Vogeler’s recommendations for use of XML/TEI
with RDF using his bookkeeping ontology. Along with some colleagues in the United States, I am
currently seeking funding to encourage use of Vogeler’s rmodel both in educational contexts andin those occupied by citizen archivists. We hope thus to increase the number of accounts available
for comparison and to demonstrate the advantages of digital scholarly edition of accounts formaking available historical data that can be reused by other scholars. Described in this way, ourgoals nothing new in Digital Humanities with regard to digital scholarly edition of texts. In its focus
on accounts however, MEDEA marks a significant new opportunity. MEDEA challenges historians
especially to consider digital scholarly edition of accounts as a new model of scholarship thattakes advantage of the affordances of the Semantic Web.

Note
A portion of the activities described in this paper is supported jointly by the National Endowment
for the Humanities and the Deutsche Forschungsgemeinschaft. Any views, findings, conclusions,or recommendations expressed in this paper do not necessarily reflect those of the National
Endowment for the Humanities or the Deutsche Forschungsgemeinschaft.
References[1] Allen, R. C. 2001: The Great Divergence in European Wages and Prices from the Middle Ages
to the First World War. In: Explorations in Economic History 38, S. 411–447.
[2] Allen, R.C. 2013. The High wage Economy and the Industrial Revolution. A Restatement. In:
OxfordEconomicandSocialHistory
Working
Papers(Ref:
Number115), http://www.economics.ox.ac.uk/index.php/Oxford-Economic-and-Social-HistoryWorking-Papers/the-high-wage-economy-and-the-industrial-revolution-a-restatement.
[3] Allen, R.C., Clark, G., Devereux, J., Hellie, R., Hoffman, P.T., Jacks, D. S., Lindert, P. H., Ma, D.,
Mironov, B. N., Pamuk, S., Van Zanden, J. L., Ward, M. 2004. Preliminary Global Price
Comparisons 1500-1870. In: Lindert, P. H. et. al.: Towards a Global History of Prices and Wages,
19-21 Aug. 2004, <http://www.iisg.nl/hpw/conference.html>[4] Arlinghaus, Franz-Josef. 2004. Bookkeeping, Double-Entry Bookkeeping, in: Medieval Italy. An
Encyclopedia. Ed. Christopher Kleinhenz, John W.Barker, Gail Geiger, Richard Lansing.
Routledge, 01-08-2004. Routledge History Online. Taylor & Francis. Accessed 19 July 2016<http://routledgeonline.com:80/history/Book.aspx?id=w440>[5] Bolt, J. and J. L. van Zanden (2014). The Maddison Project: collaborative research on historicalnational accounts. The Economic History Review, 67 (3): 627–651.
[6] Burghartz, Susanna, ed. 2015. Jahrrechnungen der Stadt Basel digital, unter Mitarbeit vonSonia Calvi, Lukas Meili, Jonas Sagelsdorffer und Georg Vogeler, Basel/Graz: Zentrum fürInformationsmodellierung der Universität Graz.
[7] Bywater, M.F. and B.S. Yamey. 1982. Historic Accounting Literature: A Companion Guide.
London: Scholar Press.
[8] Ciula, Ariana, Paul Spence, and José Miguel Veira. 2008. Expressing complex associations inmedieval historical documents. The Henry III Fine Rolls Project, in: LLC 23:311-325.
[9] Eide, Øyvind and Christian-Emil Ore. 2009. “TEI and cultural heritage ontologies.” LLC 24,2:161172.
[10] Everest, Gordon C., and Ron Weber. 1977. "A Relational Approach to Accounting Models."
The Accounting Review 52, no. 2: 340–59.
[11] Franzke, C. u. J. Sarnowsky. 2015. Amtsbücher des Deutschen Ordens um 1450. Pflegeamt
zu Seehesten und Vogtei zu Leipe. Göttingen: V & R unipress, (Beihefte zum Preußischen
Urkundenbuch 3).
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JADH 2016[12] Graham, Shawn, Ian Milligan, and Scott Weingart. 2016. Exploring Big Historical Data: The
Historian’s Macroscope. London: Imperial College Press.
[13] Ijiri, Yuji. 1975. Theory of Accounting Measurement. Studies in Accounting Research 10.
Sarasota, FL: American Accounting Association.
[14] Jones, Eric. 1981. The European Miracle: Environments, Economies, and Geopolitics in the
History of Europe and Asia. Cambridge: Cambridge University Press.
[15] Keating, John G., Aja Teehan, Damien Callagher, and Thomas O'Connor. 2010. A Digital Editionof a Spanish 18th Century Account Book. User Driven Digitisation, in: Computerphilologie
10:169-188.
[16] McCarthy, William E. 1982. "The REA Accounting Model: A Generalized Framework for
Accounting Systems in a Shared Data Environment." The Accounting Review 57, no. 3: 554–78.
[17] McCusker, John J. 2001. How Much Is That In Real Money?: A Historical Commodity Price
Index for Use as a Deflator of Money Values in the Economy of the United States, 2d ed., rev.
and enlarged. Worcester, Massachusetts: American Antiquarian Society.
[18] Mersiowsky, Mark. 2000. Die Anfänge territorialer Rechnungslegung im deutschen
Nordwesten. Spätmittelalterliche Rechnungen, Verwaltungspraxis, Hof und Territorium (zugl.
Diss. phil. Münster 1992) , Sigmaringen: Thorbecke, 2000 (Residenzenforschung 9).
[19] Polanyi, Karl. 1944. The Great Transformation. New York: Farrar and Rinehart. Pribram, A. F.
(1938): Materialien zur Geschichte der Preise und Löhne in Österreich. Band 1. Wien: Carl
Ueberreuter Verlag.
[20] Poovey, Mary. 2008. Genres of the Credit Economy: Mediating Value in Eighteenth- andNineteenth-Century Britain. Chicago, Ill.: University of Chicago Press.
[21] Teehan, Aja and John G. Keating. 2010. A Digital Edition of a Spanish 18th Century AccountBook. Part 2 - Formalisation and Encoding, in: Computerphilologie 10:189-214.
[22] Tomasek, Kathryn and Syd Bauman, « Encoding Financial Records for Historical Research »,Journal of the Text Encoding Initiative [Online], Issue 6 | December 2013, Online since 22
January 2014, connection on 10 April 2016. URL : http://jtei.revues.org/895 ; DOI :10.4000/jtei.895[23] Vogeler, Georg. 2005. Tax Accounting in the Late Medieval German Territorial States, in:
Accounting, Business and Financial History 15 , S. 235-254.
[24] Vogeler, Georg. 2010. Financial and Tax Reports, in: de Gruyter Handbook of Medieval Studies.
Concepts, Methods, Historical Developments, and Current Trends in Medieval Studies, hg. v.
Albrecht Classen, Berlin, S. 1775-1784[25] Vogeler, Georg. 2015. Warum werden mittelalterliche und frühneuzeitliche Rechnungsbücher
eigentlich nicht digital ediert?, in: Grenzen und Möglichkeiten der Digital Humanities, hg. v.
Constanze Baum u. Thomas Stäcker , Wolfenbüttel. DOI: 10.17175/sb001_007, URL:
<http://zfdg.de/warum-werden-mittelalterliche-und-fr%C3%BChneuzeitlicherechnungsb%C3%BCcher-eigentlich-nicht-digital-ediert>.
[26]Vogeler, Georg. 2016. The Content of Accounts and Registers in their Digital Edition. XML/TEI,
Spreadsheets, and Semantic Web Technologies, in: Edition von Rechnungen und Amtsbüchern,
hg. v. Jürgen Sarnowksy, S. im Druck.
[27]Wang, Ting J., Hui Du, and Hur-Li Lee. 2002. "A User-Oriented Approach to Data Modeling: A
Blueprint for Generating Financial Statements and Other Accounting-Related Documents andReports."
The
ReviewofBusiness
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6(4):17–32.
DOI:10.19030/rbis.v6i4.4548[28]
Wigley,Michael.
n.d.
DoubleEntry
AccountinginaRelational
Database. http://homepages.tcp.co.uk/~m-wigley/gc_wp_ded.html. Accessed August 15, 2013.

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Modeling New TEI/XML Attributes for the Semantic
Markup of Historical Transactions, based on
ʻTransactionographyʼ
Naoki Kokaze (University of Tokyo), Kiyonori Nagasaki (International
Institute for Digital Humanities), Masahiro Shimoda, A. Charles Muller(University of Tokyo)
This presentation addresses the provision of extended TEI/XML attributes based on‘Transactionography’ to mark up the historical transactions more semantically and precisely.
'Transactionography' is a methodological approach proposed by Drs. Kathryn Tomasek and Syd
Bauman in their article published in 2013, 'Encoding Financial Records for Historical Research.'
This methodology is an extended model of the TEI in order to mark up appropriately various kindsof historical financial records containing histories of the exchange of goods and services, such asreceipts or account ledgers.
They focused on micro transactions relating to personal life in the article. But, naturally enough, atransaction is included in trade which is also performed between states as well as in the individual
realm. When marking up those macro transactions, we expect that the issues of how to tag thestates, the individuals, which were the subjects of the transactions, or the transactions themselves,remains as problems.
To solve these issues, at the Second MEDEA workshop held in April 2016 at the Wheaton College,
we already presented a concrete example of how to utilize the TEI attributes, especially @sameAs
and @corresp, with the new defined elements of ‘Transactionography’.
In that presentation, we took the transactions of gunboats, the so-called Lay-Osborn Flotilla,
between the governments of Great Britain and China in the 1860s, as an example. The purposeof those transactions for the Chinese government was to, with minimal financial cost, to suppress
the pirates and rebels in Chinese territory without building a naval force, by introducing theadvanced Western military technology. Whereas the purpose for the British government was todecrease the burden of the duty required to maintain the order of the China seas instead of theChinese maritime force, and also to reduce naval expenditures. However, the flotilla was eventuallydisbanded, because of a difference in their opinions about whether making use of the Lay-Osborn
Flotilla for the purpose of strengthening the Chinese central power or Chinese local power.
In these transactions, a key person was the Inspector General, Lay. Having returned temporarily
to England for medical treatment, Lay, rather than the Chinese Government, purchased the fleets
and weapons there. In addition to these expenses, fleet maintenance costs and the salary of thesailors on board, which were estimated to be necessary after their arrival in China, were paid fromeach Chinese Maritime Custom as bills, being sent to Lay from time to time. However, as alreadymentioned, since the Lay-Osborn Flotilla ended up being disbanded without any achievement, theChinese government furiously instructed Lay to reimburse all the money he had at the momentto the government and to submit a detailed account of funds he had used so far.
When attempting to grasp the overall picture of such complex transactions, one of the merits of
the application of ‘Transactionography’ is to make it easier to visualize a structure of transactions
by giving an xml:id to each transaction or to a series of transactions that have a certain point incommon. The @fra and @til attributes are very powerful in terms of connecting the actors oftransactions.
But, taking into consideration international trade, there is a case where it is necessary to subdivide
the trade into trading of smaller scale. In this case of the Lay-Osborn Flotilla, the transactions canbe listed as follows:(a) Purchase of fleets and ammunitions: Lay ⇆ Great Britain(b) Remittance for the above transaction: Chinese Maritime Customs → Lay & Hart, the Acting
Inspector General during the absent of Lay(c) Reimbursement after the dissolution of the flotilla: Lay → Chinese Government

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Fig 1.
What is particularly important is that Lay sent all the money he had received from each Maritime
Custom directly to the Chinese government. In this chart, the cluster (b) of transactions needs tobe associated with the cluster (c). Therefore, we have marked up as follows.

Fig 2.
As you can see here, gathering together a chain of remittance from Maritime Customs to Lay, wedefined them as a single hfrs:listTransaction with an xml:id="tr002". In the Markup, we have alreadydefined the information about the measure element with xml:id, such as "#ch-pay006", in the text
above this hfrs:listTransaction element, so as not to commit a syntax error. In other words, wehave separated the information about the transactions from the Markup of prose text itself.
Furthermore, as listed underneath, on the basis of this "#tr002" hfrs:listTransaction, we define a
new hfrs:listTransaction with an xml:id="tr003" to clarify the relationship between those clustersof transactions.

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Fig 3.
Thus, it is helpful to use @corresp attribute in connecting related transactions with their xml:id. In
this way, we should be able to describe the whole structure of transactions, even though it iscomplicated, by breaking down international trade into exchanges of smaller scale.
In addition, we have constructed an interface for the visualization of the flow of money and forthe multi-lingual historical approach, which is going to be published in the papers of IPSJ SIG notes
in 2016.

Fig 4.
However, there still remains a further problem that the @corresp attribute is too ambiguous todescribe the relationship between each of the transactions. For the purpose of the semantic
markup, e. g., when the total sum of a series of transactions would be the basis for othertransactions, it should be helpful to define new attributes, such as @sum. In this comingpresentation at JADH 2016, we would like to suggest new attributes to mark up historicaltransactions informatively and semantically, by collecting a variety of samples.

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HYU:MA -­ A Model for Library-­Supported Projects inJapanese Digital History
Peter Broadwell, Tomoko Bialock (University of California, Los Angeles)
This presentation provides an overview of a cluster of new digital research projects at UCLA that
focus upon Japanese historical literature, visual arts, and theater traditions. These projects arenoteworthy for their use of emerging technologies in digital scholarship and instruction, as well as
their basis in an active partnership between faculty members and the university library —specifically, between subject librarians, library technology specialists, and professors in thedepartment of Asian Languages and Cultures. In addition to contributing new digital scholarship
tools and resources, research findings, and instructional methods, these projects may
demonstrate a promising alternative model for enabling more sustainable and collaborative digital
history projects both within and across institutions.
The projects described here are meant to develop novel ways of making Japanese cultural history
more accessible and compelling as fields of study for new generations of undergraduates andgraduate students. They use as a guiding metaphor the emergent notion of the digital “humanities
macroscope” (stylized as ヒュー：マ, or HYU:MA) — an infrastructure for research and instructionthat facilitates computational access to large historical corpora, tools and visualizations. In doing
so, the macroscope enables exploration of historical phenomena across a range of perspectives:
from close reading (micro-scale), to distant reading (macro-scale), and at all levels in between(meso-scale).
The forerunner of the new generation of digital projects in Japanese cultural history at UCLA is
the Hentaigana App, a highly successful collaborative effort between faculty, library staff andstudents at UCLA and Waseda University to develop an app for iOS and Android smartphonesthat helps students learn to read premodern Japanese calligraphic writing.[1] The highlyinteractive, customizable and even entertaining features of the Hentaigana App allow scholars
very quickly to develop substantial facility for reading historical manuscripts. Experiencing
Japanese classical literature in this form, rather than solely from typeset critical editions, enables
scholars to engage much more closely with the original historical context of the texts andencourages them to ask more detailed questions about the circumstances that produced them.
Importantly, the app uses actual historical texts selected and digitally curated by librarians andfaculty at Waseda and UCLA as the source materials for its interactive lessons.

Fig 1. An advanced n-gram search and visualization interface for Japanese poetic texts, basedon the Bookworm open-source project (http://bookworm.culturomics.org/).
The HYU:MA tools developed subsequent to the Hentaigana App follow the model it exemplifies:
employing modern digital technologies to provide new perspectives on historical Japanese culturalexpressive forms — primarily poetry and prose fiction, but also aspects of visual culture — while
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making use of digitized library collections and benefitting from library staff members' increased
proficiency with the development and use of digital scholarship tools. Among such products is aninteractive resource, based on the open-source Bookworm "n-gram” viewer project, that enables
scholars to produce and browse interactive visualizations of word frequencies among tens of
thousands of Japanese poems over several centuries beginning from approximately 600 AD,
including the imperial anthologies of waka poems (see Figure 1).
Besides allowing scholars to gain a “distant reading” perspective on fluctuations in word usages
over time via interactive kanji- and kana-based search features, the n-gram search interface
provides visualizations of the contributions of individual poets and the compilations of specificanthologies, as well as the genre categories assigned to the poems within the anthologies. Thislatter feature enables contemporary scholars to re-engage with prior analyses of poem types andvocabularies from the early years of mixed quantitative and qualitative waka studies,[2] as well as
more recent inquiries in the fields of computational corpus linguistics.[3] A related type of analysis
that is presently underway involves a comparison of human-labeled poem genres to those
assigned by a computational classifier that has been “trained” by observing the words mostcommonly associated with traditional genres. The so-called “confusion matrix” that results fromthis comparison highlights the poems on which human and computerized classifiers disagree (seeFigure 3). These “disagreements" tend to highlight poems that do not fit neatly into a single
category; in studies of other bodies of literature, such liminal cases have proven upon further,close reading to be some of the most culturally and historically significant works within the entire
corpus.[4]Fig 2. A sample topic model browser for 1,564 novels from Aozora Bunko, based on the opensource dfr-browser project (http://agoldst.github.io/dfr-browser/).
Further tools in development at UCLA involve the use of Latent Dirichlet Allocation-based topic
modeling to generate interactive visualizations of the concentrations of various computationallydetected semantic “topics” within single works (for example, Genji monogatari), as well as acrossvery large corpora, including the publicly accessible prose materials in the Aozora Bunko digital
library (see Figure 2). When applied to single works, topic modeling can reveal interesting midlevel (meso-scale) attributes of the work that may have escaped researchers’ notice; when usedon much larger collections that no single reader can expect realistically to read and comprehendin full, this tool provides a helpful “distant,” aggregate view of the primary topics in the entire
corpus and their attributes over time; scholars may then choose to examine a few specific works,
topics, or time periods in greater detail.
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Fig 3. A “confusion matrix” visualization of official genre classifications (vertical axis) of waka
poems from the imperial anthologies, versus the classifications made by a naïve Bayes classifier
trained on the official classifications (horizontal axis).
One other experimental approach that we are pursuing involves utilizing recent advances incomputational image analysis to provide distant and meso-scale perspectives on large collectionsof images. These methods include automatic generation of image mosaics, analyses andvisualizations of the color profiles of images, and even the ability to search for similar objects
across multiple images. Such techniques are particularly applicable to the rich visualcharacteristics — which, ironically, often make text-based analytical approaches considerably
more difficult — of many Japanese cultural products, from Ehon banzuke playbills to ukiyo-e prints(See Figure 4).

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Fig 4. An aggregate visualization of the front pages of the UCLA Library’s collection of digitizedEzukushi banzuke playbills, sorted horizontally by hue and vertically by brightness, using theopen-source Coverspace tool (http://benschmidt.org/projects/coverspace/).
As a concluding observation, it is important to emphasize again the substantial and ongoing
involvement of librarians and library technical staff in the digital scholarship endeavors describedabove. This arrangement may demonstrate an alternative model for digital history research
projects, one that perhaps can help to provide lasting, sustained benefits for instruction andresearch in an otherwise dynamic and highly changeable scholarly landscape.

References[1] Cynthia Lee. “New app helps students learn to read ancient Japanese writing form.” UCLA
Daily Bruin, Oct. 8, 2015. http://newsroom.ucla.edu/stories/new-app-helps-students-learn-toread-ancient-japanese-writing-form.
[2] Heizō Kitagawara 北川原平造. “Shikika no kōzō: Kokin wakashū nōto 四季歌の構造: 古今和歌集ノー ト .” Kiyō: Ueda Joshi Tanki Daigaku 紀 要 : 上 田 女 子 短 期 大 学 . March 31,
1993. http://ci.nii.ac.jp/els/110006406589.pdf?id=ART0008407967&type=pdf&lang=jp&hos
t=cinii&order_no=&ppv_type=0&lang_sw=&no=1462493837&cp=.
[3] Hilofumi Yamamoto. “The Differences of Connotations between Two Flowers, Plum and Cherry,in Classical Japanese Poetry, 10th Century.” JADH Conference 2015: Encoding Cultural
Resources. September 1-3, 2015, Kyoto University Institute for Research in Humanities: 31-32.
[4] See David Mimno, et al. “The Telltale Hat: LDA and Classification Problems in a Large Folklore
Corpus.”DigitalHumanities
2014.
Lausanne,
Switzerland,
July
10,
2014. http://dharchive.org/paper/DH2014/Paper-163.xml.

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go rich :: go minimalFederico Caria (Cologne University)
This text is inspired by the DHSI workshop on Minimal Computing run by Alex Gil from the GO :DH group, at Columbia University. Minimal Computing can be defined as an approach tocomputing done under a set of hardware and software constraints, which present more than one
analogy with my work in the context of DiXiT. Here I try to develop a sense of what Minimal
Computing has to offer to better conceptualize the results of our evaluation. We are conducting
focus groups in the context DiXiT, an EU project funded under Marie Curie Action Program, thatoffer a coordinated training in the multi-disciplinary skills, technologies, theories, and methods ofdigital scholarly editing. After introducing what Minimal Computing is, I want to draw on how
Minimal Computing understands ‘usefulness’, to discuss the preliminary results of our focus
groups.
In illustrating what Minimal Computing is about, Gil (2015) focuses on necessity.
“we prefer to (not) define minimal computing around the question “What do we need?” If we doso, our orientations vis-a-vis ease of use, ease of creation, increased access and reductions incomputing—and by extension, electricity— become clearer” (Gil 2015).
Like Minimal Computing, HCI principles and practices are about setting the right constraints.
Usefulness is one of these. In particular, understanding and implementing constraints basing on
what is useful will potentially aid in usability and help users engage your design with minimal
frustration, that is a desired outcome of our testing digital editions.
Digital editions are young media and studying users is often overlooked in the field of scholarly
publishing, where editors often design for themselves. On the contrary, we believe that a very
good way to reconstruct the relationship between scholars and the socio-technical mechanismsof production and dissemination in the digital realm is studying interaction between users anddigital representations moving from observable data. Just like Minimal Computing, studying
usefulness is important to resist “the culture of user-friendliness” (Gil ibid.), putting on theforeground the “quality of use” instead of easiness, cause we know that scholars will stick to thelaptop to learn the code if they find it useful!
In essence, although our questions arise from a typical design context aimed at correcting
skeumorphism, we are also asking “scholars around the world— librarians, professors, students,
cultural workers, independent” (Gil ibid.) about their needs and wants. In particular, like Minimal
Computing, we gather these data to understand “what is enough” or “what is the finished stairway”(Gil ibid.) of different target users. Our preliminary findings suggest hat humanities scholars,
practitioners and students not involved in the digital humanities generally find digital resources
extremely useful; in most cases, they just do not know about their existence. According to ourinterviews, we are pushed to assume that most intended users would warmly welcome thepossibility to rely on a digital resource or thematic collection related to their topic. But our dataalso suggests that there is a threshold under which technology is not perceived as useful anymore
by humanities scholars and students, who still largely work with print resources.
Again, usability is about setting thresholds and limits, and usefulness is crucial to adoption anduse, which in the networked environment improves the chance of preservation. Sustainability is aconcern for us as it is for Minimal Computing. The real crisis of the “crisis of the humanities” isthat it’s not a crisis but a chronic condition! (Risam 2015). Soon “the natural inclination” ofelectronic information “to change, to grow, and to finally disappear” will cease to function as anaesthetic conceit and become instead a full-blown cultural crisis (Kirschenbaum 2001). That ourscholarly publishing is an unsustainable business seems undeniable: it costs big money to produce
an edition, and there is no way to know whether a big and expensive initiative will fall out of use
or become unaccessible in a few years’ time.
Although the principles of Minimal Computing were turned into a “modelo digital” (see Sustainable
Authorship in Plain Text, Tennen and Wythoff, 2014) to answer publishing needs that are typicalof Southern media ecologies, I think there is quite a room for a potential application to rich ones.
Minimal Computing provides an interesting interpretative framework to understand usefulness as
an ethical choice. In the end, if we see, Oroza definition of “arquitectura de la necesidad”:
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“una arquitectura de la urgencia y la precariedad. Su segunda y más importante función es
metafórica: enuncia una arquitectura que es su propio diagrama. La casa deviene una estructuraque relaciona, un modelo físico que asocia al individuo necesidades materiales, tecnologías, loslímites y posibilidades legales y económicas” (Oroza 1997).
does not fit less those who are about to face precariousness and urgency, let’s say, in the medium
term.
I wonder if minimalism is something that editors producing in the context of maximalist media
ecologies would consider. The question is how to be essential and effective at the same time, inthe context of digital scholarly editions out of the postcolonial world? Would a static website evermeet the standards of the many ‘monumental’ digital editions that can be found in the catalogues?
and how can usability help enhancing essentiality and effectiveness? My presentation touches on
issues of access, funding, language, standards, and case studies in the attempt to explore thechallenges and opportunities in the application of minimalist principles to design for sustainable
editions.

References[1] Drucker, J. (2011) Humanities Approaches to Interface Theory, in Culture Machine, 12.
Accessed athttp://www.culturemachine.net/index.php/cm/article/viewarticle/434[2] Drucker, J. (2014) Graphesis. Visual Forms of Knowledge Production, Harvard University Press[3] Galloway, A. R. (2012) The Interface Effect, Cambridge.
[4] Fiormonte, D. (2014) Digital Humanities from a Global Perspective, in Laboratorio dell’ISPF, XI,
2014. Accessed at[5] Gibbs, F., Owens, T. (2012) Building Better Digital Humanities Tools: Toward broader audiences
and user-centered designs, (2012) in Digital Humanities Quarterly, 6:2. Accessedathttp://www.digitalhumanities.org/dhq/vol/6/2/000136/000136.html[6] Gil, A. (2012) The User the Learner and the Machines we Make. Accessed at http://godh.github.io/mincomp/thoughts/2015/05/21/user-vs-learner/[7] Gil, A. (2013) Around DH in 80 Days, accessed at http://www.arounddh.org[8] Kirschenbaum, M. G. (2001) Materiality and Matter and Stuff: What Electronic Texts Are MadeOf, in Electronic Book Review, accessed at http://www.electronicbookreview.com/thread/e!lectropoetics/sited[9] Koohang, A. (2004) Expanding the Concept of Usability, in Informing Science Journal, 7, 12941.
[10] Kulesz, O. (2011) Digital Publishing in Developing Countries. International Alliance ofIndependent Publishers. Accessed at http://alliance-lab.org/etude/wp-content/uploads/
digital_publishing.pdf[11] Oroza, E. (2008) Statement of Necessity, accessed at http://architectureofnecessity.com[12] Pierazzo, E. (2015) Digital Scholarly Editing. Theories, Models and Methods, Ashgate.
[13] Risam, R. (2015) Across Two (Imperial Cultures). Video of the talk is available here (see~5:10:00):https://www.youtube.com/watch?v=NeH2QOUf4Qo.
[14] Rucker, S., Radzikowska, M., Sinclair, S. (2011) Visual Interface Design for Digital Cultural
Heritage. A Guide to Rich-Prospect Browsing, Farnham, Burlington: Ashgate.
[15] Shirky, C. (1999) An Open Letter to Jakob Nielsen. Accessed at http://www.shirky.com/
writings/nielsen.html[16] Tennen, D, Wythoff, G. (2014) Sustainable Authorship in Plain Text using Pandoc andMarkdown, accessed athttp://programminghistorian.org/lessons/sustainable-authorship-inplain- text-using-pandoc-and-markdown.html[17] Unsworth, J. (2000) Scholarly Primitives: what methods do humanities researchers have incommon, and how might our tools reflect this?, part of a symposium on "Humanities Computing:formal methods, experimental practice" sponsored by King's College, London.
[18] Warwick, C., Terras, M., Huntington, P., Pappa, N. (2008) If You Build It Will They Come? The
LAIRAH Study: Quantifying the Use of Online Resources in the Arts and Humanities throughStatistical Analysis of User Log Data. in LIT LINGUIST COMPUT, 23 (1) 85 - 102[19] Warwick, C., Terras, M., Nyhan, J. (2012) Digital Humanities in Practice, Facet Publishing,London.

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JADH 2016[20] Kirschenbaum, M. G. (2001) Materiality and Matter and Stuff: What Electronic Texts Are Made
inElectronic
Book
Review,accessedOf,
at http://www.electronicbookreview.com/thread/electropoetics/sited84

Proceedings of JADH Conference, vol. 2016
Published by the Historiographical Institute, The University of Tokyo
3-1, Hongo 3, Bunkyo-ku, Tokyo, Japan
Online edition: ISSN 2432-3144
Print edition: ISSN 2432-3187
Editor: Taizo Yamada
Copyright 2016 Japanese Association for Digital Humanities