University of Oxford
The Eighteenth-Century Poetry Archive — ECPA — is a collaborative digital archive and research project devoted to the poetry of the long eighteenth century. Edited and annotated collaboratively, the growing ECPA corpus builds on the electronic texts created by the Text Creation Partnership from Gale’s Eighteenth Century Collections Online (ECCO). ECPA was founded and is edited by Alexander Huber, Bodleian Libraries, University of Oxford (editor of the Thomas Gray Archive).
The cultures of Southern Sudan have been central to anthropological research and teaching since the publication of Evans-Pritchard’s classic works on the Zande and Nuer in the 1930s and 1940s. A number of collections from Evans-Pritchard and other figures in the history of the study of the cultures of the Southern Sudan are represented in the collections of the University of Oxford’s Pitt Rivers Museum.
The original project, a database of Athenian figure-decorated pottery 626-300BC, began in 1979. It was the second in the University of Oxford to be available 'on line' (after Cairns Science Library). From 1992 that database, and others begun from the early 1990s, began to be prepared for migration to the web. The project funded by the AHRB 2003/6 represented the first stage of an integrated multiple database system available on the web; more than 20 databases were programmed into XDB during 2004. Also during 2002/4 the digitisation of Corpus Vasorum Antiquorum for the web was undertaken.
The National Association for the Promotion of Social Science, known as the Social Science Association, was an influential forum for the development of social policy between the 1850s and 1880s to which many notable Victorians gave papers and addresses. Leading politicians, intellectuals, bureaucrats, churchmen and businessmen were among its members. It was influential in many different areas - legal reform, penal policy, education, public health and commercial relations – and provides vivid insight into Victorian social and institutional development.
The purpose of the Digital Image Archive of Medieval Music (DIAMM) is to obtain and archive directly-captured digital images of European sources of medieval polyphonic music. Where there is damage that makes these sources difficult to read, levels of digital restoration are also undertaken on copies of the original images to improve legibility and scholarly access. The project has created a new permanent electronic archive of these images, both to facilitate detailed study of this music and its sources, and to assure their permanent preservation.
The History of Performances of Greek and Roman Drama research project (1999-2004) operated under the aegis of the Archive of Performances of Greek and Roman Drama at Oxford. It has in many ways pioneered the developing discipline of Performance Reception. It has done this by documenting as comprehensively as possible all performances worldwide of Greek and Roman drama and their adaptations between the Renaissance and the present, while hand-in-hand with that also exploring ways of interpreting those findings and that material.
Fontes Anglo-Saxonici: A Register of Written Sources Used by Authors in Anglo-Saxon England is intended to identify all written sources which were incorporated, quoted, translated or adapted anywhere in English or Latin texts which were written in Anglo-Saxon England (i.e. England to 1066), or by Anglo-Saxons in other countries.
This two-year project presented via the Web, a fully searchable and browsable catalogue linked to digitized images of John Ruskin's 'Teaching Collections' held in the Ashmolean Museum at the University of Oxford. The interface presents users with a means of linking Ruskin's original catalogues of his collection with modern catalogue information, presenting the entire Oxford-based collection as a single resource: as some of the original collections have now been dispersed under individual artist categories, the project virtually reassembled them in Ruskin's original sequences.
The Pitt Rivers Museum and the British Museum together hold extraordinarily rich, and overlapping, collections of over 6,000 historical photographs of Tibet taken between 1920 and 1950. Conceived by their photographers as a unified visual resource, the photographs chart a crucial period in Tibetan history and in Anglo-Tibetan relations. More importantly the photographs constitute a vital record of Tibetan culture destroyed since the Chinese occupation.