Digital Project 2: Versioning or Mapping Klee Wyck

This project involves exploring, plotting, and reflecting on vivid and controversial language about the people and places represented in in Emily Carr’s Klee Wyck. For this project, choose one of the following options.

Explore the effects of censorship and restoration on the sketches in Klee Wyck.
Map the vividly described locations in Klee Wyck.

Option 1: Explore the effects of censorship and restoration on the sketches of Klee Wyck

If you choose this option, you may share the digital project work in a team. A group of three or four students can work together on the digital portion of this exercise.

Work with the following files, and your own print copy of our book.

At the very least, I know that the following series of sketches were certainly modified for the 1951 educational edition:

“Ucluelet”
“Tanoo”
“Skedans”
“Cumshewa”

Other sketches may have been altered, too, but this series of sketches fit together in the early portion of the book. You may wish to test a different sketch pairing to see how much was altered to other portions of the book.

Each student will experiment with “versioning” at least one specific sketch. Copy the text of each sketch separately its own file and save it as a .txt file. Bundle these together in their own file directories, so each sketch gets its own folder:

Ucluelet folder
- Ucluelet1951.txt
- Ucluelet1941.txt

Create a free account on JuxtaCommons.org. Follow Juxta’s instructions (and/or get help from Dr. B) to upload your pair of files into the Commons area, prepare them as “witnesses” (or distinct versions of the same text), and create a comparison set to view. Try the different comparison views to see how much differences there are and notice the kinds of differences you see. The side-by-side view is particularly helpful for our purposes. Share publicly your side-by-side comparison view by clicking the icon that looks like an open hand next the Comparison you created, and copy the direct link. Share your comparison view in the Courseweb Discussion thread set up for Versioning Klee Wyck. To help survey a full range of altered sketches, here is a page collecting some of your work for each sketch.

In a short reflective paper, draw upon your work here to comment specifically about how censorship altered this book. What kinds of passages were removed, what was the effect of removing them on what this book shows us of Carr’s experiences or the people she was representing? If you like, comment on current issues with the representation of Carr’s artwork from the region she was describing. rner of page 1, but not appearing on later pages, giving the following information: * Your Name * This class: Englit 0066 * Juxta Commons link to a view of your sketch: * Date of Submission * Upload your paper on the Assignments tab in Courseweb by the deadline, 11:59pm on Thursday, February 14.

Option 2: Map the vividly described locations in Klee Wyck

Prepare a map with TimeMapper, working with a new Google Sheet of locations keyed to vivid passages in the sketches. Try to plot specific locations that Emily Carr visited, working with her place names. If you have difficulty with Open Street Maps locating a place name, try googling it to find alternative names or ask for help from Dr. B. In your TimeMapper, we’ll be doing things a little differently with this assignment.

First, time will not be signalled clearly, and it is understood that Carr’s trips were all taken in the first decade(s) of the 20th century, so you could simply set a time range on your entries with 1898 in the Start column and 1920 in the End column.

Locations may take a little bit of work. Try entering a place name first of all in Column J (for Location), and see if the Open Street Maps scraper formula picks it up and positions it plausibly on the Northwest coast of Canada. If it does not pick it up or misplaces it, you could try adding detail, or you may need to do a little investigation on the web to find out more about the location, finding alternative names. A village might be completely abandoned, but its island will still be there. We want to try to convey something of the vanishing distinctiveness of the places (like Greenville) that Carr visited. We can do that in two ways:

Use the title of the sketch and/or the name of the place documented in it as your title.
Wherever possible, look for a painting by Emily Carr that connects with a sketch. Use the Media column to share the painting, and use the Media Caption to include its title and year and anything else interesting you can find. Note that the year she painted was necessarily the same year that she visited and sketched a place. Use the Media Credit to document the source of the digital image you’re pulling in to TimeMapper.
Find a vivid passage from the sketch that seems especially worth remembering and associating with this specific location. Quote this from your text (and document it with quotation marks and a page reference). “Quote passage…..” (Carr 65)
If a community is gone or completely changed, you should comment on that in your TimeMapper description, in addition to the passage you quoted.
Use the Tags column this time to come up with categories of experiences in these locations. Come up with just a few simple categories.

Finally, write a short essay reflecting on any patterns you observe in Carr’s representations of these locations. Why are these places and the people, animals, or artwork in them particularly memorable? How were they changing? If you discover something interesting about what happened to these places after Carr’s time there, you might discuss that in your paper as well.

Write a heading to your paper on the top left corner of page 1, but not appearing on later pages, giving the following information: * Your Name * This class: Englit 0066 * Your TimeMapper Link: * Your Google Sheets Link: * Date of Submission * Upload your paper on the Assignments tab in Courseweb by the deadline, 11:59pm on Tuesday, February 19.

Social Literature