Hello! I'm Hope, a senior from small-town Oklahoma majoring in communication/media studies with minors in philosophy and English. I'm very interested in print culture, typography, intellectual property, semiotics, linguistics, and music. My all-time favorite book is The Man Who Was Thursday by G.K. Chesterton, but I'm pretty eclectic in my reading choices. In my free time, I like to play with my four nieces and nephews and can make a pretty good pan of tiramisu.


My name is Kelsey, and I'm a Philosophy and English major. I took a long and strange journey to get here; I started out as a Computer Science and Electrical Engineering major. In fact, I came to TU a semester early to do research with Dr. Sandip Sen and his team in the field of artificial intelligence. I made lasting friends there and also discovered that I'd rather not spend my life programming. I did enough of that in senior high school as part of a competitive team. Any CS major will tell you that the vast majority of programming isn't actually difficult, but it does take time. I no longer get my kicks by spending all night attempting to find the single solitary bug that's throwing my whole program off. Therefore, I have returned to my first love...

My primary interest is storytelling. I'm particularly interested in "branching" stories, community/collaborative, and dynamic/interactive work. I have learned some programming and internetworking because of my interest in digital worlds. 

I have been looking into storytelling in video games for a long time, and I am familiar with most of the stand-out examples such as Heavy Rain, Bioshock, Arkham Asylum, and Journey. I also have deep knowledge of more obscure titles such as .hack and Crystal Chronicles which deal with heavy themes and challenge our ideas of the separation of the real and the virtual, as well as the real and the fictional. I enjoy exploring what Haraway refers to as "cyborg" worlds of the kind that can be found in, for example, the original cyberpunk novel Neuromancer.

In short: I like unusual stories, characters, and worlds, and unusual ways of looking at them, with an emphasis on the technological.


Hi everyone, my name is Katie Boul. I'm a senior studying English and secondary education, and I hope to teach at the high school level in the near future. I am especially interested in British and Irish modernist texts, and am about to embark on a project that deals with the Irish experience of World War I and the Irish Civil War, as seen through modernist literature. At the moment, I can't tell you any more about this project, because I haven't actually started it. 

Between being an English major and working in the McFarlin coffee shop, I spend most of my waking hours in the library. And I actually love this. Outside of library time, I enjoy following Cardinals baseball, sampling craft beers, and spending time at TU's Newman Center and at the Kappa Delta house. 

About Me

Hi, I'm Megan Grier. I am a sophomore English and Communication major. I'm from Texas, something I probably talk about way too much. In regards to literature, I'm going to be honest here and say YA fiction is my favorite, but yes I acknowldge the fact that they are generally extremely cheesy. I want to be a book publisher or editor, preferably for young adult literature, so I'm really interested in what makes certain literature popular and how it spreads so quickly from one place to another, specifically through the use of social media. 


I am an english/education major in my junior year and a member of the rowing team. I love studying and learning about societies and time periods through the literature produced in that time period and society.  


Hi! I'm Brenna, and I'm a junior English major. I'm like a confused old person when it comes to technology, so I'm not sure why I decided to take a class like this, but it sounded fun at the time (twitter and blogs are fun I guess). When it comes to literature, I'm mostly interested in modern and visual forms of literature like comic books, movies, television, video games, etc. Becoming a comic book writer would be awesome if that was a realistic goal... Oh, and I really have no idea what "digital humanities" means, so this will be interesting.

It's the Remix to Ignition

My name's Michael, though for some strange reason everywhere I go, I end up being called by my full name. I have moved a grand total of eight times, and without fail, people start calling me by my full name. Grew up in Los Angeles, moved to Beijing when I was 8, then Hong Kong when I was 12, then Wichita, Kansas for my last two years of high school. 

Starting my third year at TU, Film and Communications double major. I want to make movies, tell stories in a visual medium but part of that is my interest in how people interact; more specifically why people choose to like the things they do and the cycle of how things can become popular and fade away again. So it goes wihtout saying I'm a huge pop-culture junkie. I've seen every movie and TV show you can think of and care way too much about what Kanye is currently up to.


To begin with, I am a very unserious person who tends to take the path of least resistance. This is largely because the types of literature I've gratitated towards. I've stuck with more philospohical reads for the past few years. Within that vein I tend more towards existentialsim, Nietzche of course, I've read a bit of Borges too. My favorites authors are Kierkegaard and Dostoevsky. The polarity within their writing, the manic bouncing of the walls of their own brain, that's when I get most excited about literature. I'd be interested to see some ancient philosophical texts be analyzed like the wasteland.

Discourse on Censorship and Obscenity in The Egoist

I chose to resume my examination of discourses about censorship and obscenities from last week by looking into The Egoist, the sister magazine of The Little Review. I used the same graphing functions on Voyant Tools and attempted to graph the same series of words across the magazine's corpus: censorship, censor, censors, censored, obscene, obscenity, postal, free speech, espionage, objection, objections.

The data I input revealed the following Word Trends graph: 

Since part of my project focuses on the relationship between Ulysses and the suppression of The Little Review, I thought it would be interesting to look for any trends in discourse pertaining to censorship, obscenity, and suppression in the issues of The Egoist that were printed around the same time that The Egoist began serializing Ulysses in January of 1919.

From the relative frequency view of the Word Trends graph (shown), the words "censor," "obscene," "obscenity," "censorship," and "censors" only constitute a small spike in the graph for the January 1919 issue. The Keywords in Context widget shows the term in the context of the issue:

 Compared to the remarks about censorship printed in The Little Review, particularly in the May 1919 and June 1919 issues (described in one of my earlier blog posts), this antipathy toward the censor is muted. 

One slightly larger, albeit still small, spike occurs for the last issue of The Egoist from December 1919. This issue  contains the tenth episode of Ulysses, and the Keywords in Context widget reveals that the word "censor" was used in the context of something written about Joyce's work: 

A look at the actual December 1919 issue of The Egoist on the Modernist Journals project shows that the text containing the word "censor" is part of Harriet Shaw Weaver's "Notice to Readers,"  which explains that The Egoist will not be printed during 1920 and that a publisher has been located who is willing to "make an unmutilated copy" of Ulysses in book form (70).

Editorial Appearance in The Freewoman and The Crisis

In an attempt to find less obvious trends within The Freewoman and The Crisis, and inspired by our discussion of editorial control, I decided to examine the recurrence of the names of the editors of The Crisis and The Freewoman in their respective publications. Both magazines featured consistent editors whose names were strongly linked to the magazine: Dora Marsden, in the case of The Freewoman, and W.E.B. DuBois heading up The Crisis. '

Below are the Voyant Tools graphs showing the relative frequency of appearance of each editor's name in his or her magazine:

The Crisis


The Freewoman

The differences between these graphs is fascinating, and combined with some knowledge of the magazines, illustrates the difference between the two in terms of their bibliographic coding. The number of recurrences of Marsden's name throughout the run of The Freewoman seems to be very low considering the amount of content she is known to have contributed to the magazine. However, when examining the magazine, many pieces are not directly credited, and it seems to be taken for granted that these pieces were authored by her. Moreover, many of the occurrences of her name within the magazine (particularly in the issues that show spikes in the graphs) appear within letters or articles written by others mentioning her. Thus, something that might be indicative of the number of pieces a person authors within a magazine, or at least a mark of a person's imprint or influence on a magazine, turns out to have little correlation with these concepts, due to that particular magazine's established style for attributing authorship. 

I am less sure as to the significance of the fluctuation of the appearance of DuBois' name in The Crisis. The much higher relative frequency I interpret to be indicative of the frequency with which DuBois appears within stories in the publication, as well as part of lists of officers of the NAACP and the recipient of reader letters, as illustrated by the Words in Context widget below:

The Crisis