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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.
By the time her sole contribution to
Another sphere in which she felt at home was that of painters. As a young woman,
she studied art in Paris, doing so alongside her sister, Marion (1856-1936), at the Académie Julian. She exhibited work in the
late 1870s before turning to writing instead (Fehlbaum 9–10). Throughout her
fiction, she drew upon these dual areas of knowledge. In
It was hardly surprising, therefore, that Dixon would set her
With this telling moment of action, Dixon demonstrated her own innate theatrical
impulse. After 1900, her interest in theatre would lead her into yet another new
phase of her career, this time as a playwright.
© 2010, Margaret D. Stetz
Margaret D. Stetz is Mae and Robert Carter Professor of Women’s Studies and
Professor of Humanities at the University of Delaware. Her recent books include