The Yellow Nineties 2.0

The Yellow Nineties 2.0 The Pageant, Volume 1, 1896  <editor>Lorraine Janzen Kooistra</editor> </titleStmt> <editionStmt> <edition> <date>2021</date> </edition> </editionStmt> <publicationStmt> <idno>PAG1_icon8</idno>  <publisher>The Yellow Nineties 2.0</publisher> <pubPlace>Ryerson University</pubPlace> <address> <addrLine>English Department</addrLine> <addrLine>350 Victoria Street,</addrLine> <addrLine>Toronto ON,</addrLine> <addrLine>M5B 2K3</addrLine> <addrLine>Canada</addrLine> </address> <availability> <p>Usable according to the Creative Commons License <ref target="http://creativecommons.org/licenses/by-nc-sa/3.0/">Attribution Non-commercial Share-alike</ref>.</p> </availability> </publicationStmt> <sourceDesc> <biblStruct> <monogr> <editor>Gleeson White and Charles Shannon</editor> <author>Charles Ricketts</author>  <title>Oedipus. Henry and Company London 1896 Ricketts, Charles. "Oedipus." The Pageant, vol. 1, 1896, p. 65. Pageant Digital Edition, edited by Frederick King and Lorraine Janzen Kooistra, 2019-2021. Yellow Nineties 2.0, Ryerson University Centre for Digital Humanities, 2021. https://1890s.ca/pag1-ricketts-oedipus/

Our editorial method is informed by social-text editing principles. By “text” we mean verbal and visual printed material, including non-referential physical elements such as bindings, page layouts, and ornaments. We view any text as the outcome of collaborative processes that have specific manifestations at precise historical moments. The Yellow Nineties Online publishes facsimile editions of a select collection of fin-de- siècle aesthetic periodicals, together with paratexts of production and reception such as cover designs, advertising materials, and reviews. This historical material is enhanced by two kinds of peer-reviewed scholarly commentary: biographies of the periodicals’ contributors and associates; and critical introductions to each title and volume by experts in the field. All scholarly material on the site is vetted by the editor(s) and peer- reviewed by them and/or an international board of advisors. The site as a whole is peer- reviewed by NINES (Networked Infrastructure for Nineteenth-Century Electronic Scholarship). Contributors to the site retain personal copyright in their material. The site is licensed with a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 license. Both primary and secondary materials, including all visual images, are marked up in TEI- (Textual-Encoding Initiative) compliant XML (Extensible Markup Language). To ensure maximum flexibility for users, magazines are available on the site as virtual objects (facsimiles) in FlipBook form; in HTML for online reading; in PDF for downloading and collecting; and in XML for those who wish to review and/or adapt our tag sets. In order to make ornamental devices, such as initial letters, head- and tail- pieces, searchable, we have developed a Database of Ornament in OMEKA, and linked it to the relevant pages of each magazine edition. As a dynamic structure, a scholarly website is always in process; Phase One of The Yellow Nineties Online (2010-2015) is completed and Phase Two (2016-2021) is underway.

1896 English English literature -- 19th century -- Periodicals Great Britain -- Periodicals Visual Art Possible Genres (multiple): "Fiction," "Nonfiction," "Poetry," "Paratext" (TOC, prospecti, advertisements, frontmatter, titlepage), "Review" (older reviews), "Criticism" (including critical introductions), "Visual Art" (images, bio images), Historiography (bios),"Bibliography" (intros, crit, bios, anything with a bibliography attached), "Drama," "Ephemera," "Translation," "Religion," "Travel Writing," "Music, Other,") Still Image Possible Types (singular): "Periodical" (texts/most stuff), "Interactive Resource" (current writing, biographies, not old reviews), "Still Image" (images, visual art), "Physical Object" (posters, prospecti) Book History Art History Possible Disciplines (multiple): "Book History (include for all periodical items)," "Literature," "Art History (use for art, also use for reviews)," "History (don't use in a general sense)," "Theatre Studies," "Musicology," "Philosophy," "Anthropology," "Science"

<rs>PAG1_icon8</rs>Oedipus, Charles Ricketts, Swan Electric Engraving Company PAG1_20im 1896, 16cm x 11.4cm,Drawing, Pen and Ink on Paper, Classical Mythology Ancient Greece, Thebes Outdoors, exterior, day, path Man, woman, Oedipus, the Sphinx, corpse Altar, Pillars, rocks, staff, hat, flowers,</note>  <head>Oedipus</head>  <figDesc>Ricketts’ reproduced pen drawing portrays the ancient Greek myth of Oedipus and the Sphinx. In the image, Oedipus is leaning in toward the Sphinx to answer her question. The dead bodies scattered on the ground suggest that other men have tried and failed her test. Oedipus stands naked, in three-quarter profile facing the right. He has long tangled hair and there are a couple of small flowers in the tangles. His right leg is straight, and his left leg is bent as he is on steps and bends forward to speak to the Sphinx. On his lap rests his unworn robe and his staff, loosely held up by his left hand. A hat hangs down his back from a string around his neck. Facing Oedipus is the Sphinx, which has a female human upper body and the lower body of a lion. She also has large wings on her back. She is in three-quarter profile facing left and sits on a pillar which looks like it is carved from a tree stump and covered in vines. Her eyes look down, suggesting that she is listening to Oedipus speak. She is surrounded by two large pillars with vines crawling up their length. The pillar furthest from the viewer has a small smoking lamp resting on the top. The top of the pillar closest to the viewer cannot be seen. Behind the Sphinx, a woman is emerging from underground, climbing a ladder. Her hair is loose, her eyes closed, and her left arm and hand are visible to the viewer. Her head is turned up to the sky. This woman may represent Jocasta, the widowed queen whom Oedipus marries and discovers later is his own mother. The background sky of the image is empty, drawing the viewers’ eyes to the ground where, around Oedipus’s feet, we see three dead bodies of men who failed the Sphinx’s test. </figDesc>  </figure> </div> </body> </text> </TEI>