<?xml version="1.0" encoding="UTF-8"?>
<rss version="2.0"
	xmlns:content="http://purl.org/rss/1.0/modules/content/"
	xmlns:atom="http://www.w3.org/2005/Atom"
	xmlns:sy="http://purl.org/rss/1.0/modules/syndication/"
	xmlns:slash="http://purl.org/rss/1.0/modules/slash/"
	>

<channel>
	<title>HASTAC Commons | Emily Friedman | Activity</title>
	<link>https://hastac.hcommons.org/members/ecfriedman/activity/</link>
	<atom:link href="https://hastac.hcommons.org/members/ecfriedman/activity/feed/" rel="self" type="application/rss+xml" />
	<description>Activity feed for Emily Friedman.</description>
	<lastBuildDate>Sat, 04 Apr 2026 14:39:58 +0000</lastBuildDate>
	<generator>https://buddypress.org/?v=10.6.0</generator>
	<language>en-US</language>
	<ttl>30</ttl>
	<sy:updatePeriod>hourly</sy:updatePeriod>
	<sy:updateFrequency>2</sy:updateFrequency>
	
						<item>
				<guid isPermaLink="false">5b65f330aaf17d4634312fe3446f9ab3</guid>
				<title>Emily Friedman deposited What We Talk about When We Talk about Fanfiction</title>
				<link>https://hcommons.org/activity/p/1874244/</link>
				<pubDate>Wed, 31 Jan 2024 23:15:15 +0000</pubDate>

									<content:encoded><![CDATA[<p>Using the popular adoption of “fanfiction” as it applies to eighteenth-century fiction, this essay calls for a closer attention to terminology from the established field of fan studies. By doing so, we may be able to better understand our own period’s relationship to creative output, the commercial print marketplace, and the making of celebrity.</p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">84634af0c75837cfa940a14e841dc6a7</guid>
				<title>Emily Friedman deposited Technology, Literacy, &#38; Culture: Narrative Play: Storytelling Games at Home &#38; On Screen in the group TC Popular Culture</title>
				<link>https://mla.hcommons.org/activity/p/1855713/</link>
				<pubDate>Fri, 18 Aug 2023 01:06:59 +0000</pubDate>

									<content:encoded><![CDATA[<p>Revised (but still draft) version of the 2023 version of Technology, Literacy, &amp; Culture: Narrative Play: Storytelling Games at Home &amp; On Screen, a course that has students do in-depth analysis of tabletop roleplaying games through extended play, close reading of rule systems, and analysis of actual play.</p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">ab3e86b952297645878f1f2a306bb51b</guid>
				<title>Emily Friedman deposited Technology, Literacy, &#38; Culture: Narrative Play: Storytelling Games at Home &#38; On Screen</title>
				<link>https://hcommons.org/activity/p/1855650/</link>
				<pubDate>Thu, 17 Aug 2023 14:53:41 +0000</pubDate>

									<content:encoded><![CDATA[<p>Revised (but still draft) version of the 2023 version of Technology, Literacy, &amp; Culture: Narrative Play: Storytelling Games at Home &amp; On Screen, a course that has students do in-depth analysis of tabletop roleplaying games through extended play, close reading of rule systems, and analysis of actual play.</p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">7f59ac5be7358ea7598268ec70daf062</guid>
				<title>Emily Friedman deposited "Let people tell their stories their own way": Tristram Shandy as Novel, Provocation, Remix in the group TM Book History, Print Cultures, Lexicography</title>
				<link>https://mla.hcommons.org/activity/p/1768611/</link>
				<pubDate>Fri, 21 Jan 2022 02:32:01 +0000</pubDate>

									<content:encoded><![CDATA[<p>In the fall of 2019 I taught my eighteenth-century novel course as an exercise in slow reading, taking a tactic I had used before: putting a canonical work of fiction into the context of the other voices in the literary marketplace, and the circumstances of its making. For such a course, Tristram Shandy is an ideal central text. It was published&hellip;<span class="activity-read-more" id="activity-read-more-1768611"><a href="https://mla.hcommons.org/activity/p/1768611/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">2742116c59d2b4063af4d9e41661c962</guid>
				<title>Emily Friedman deposited "Let people tell their stories their own way": Tristram Shandy as Novel, Provocation, Remix in the group LLC Late-18th-Century English</title>
				<link>https://mla.hcommons.org/activity/p/1768610/</link>
				<pubDate>Fri, 21 Jan 2022 02:30:42 +0000</pubDate>

									<content:encoded><![CDATA[<p>In the fall of 2019 I taught my eighteenth-century novel course as an exercise in slow reading, taking a tactic I had used before: putting a canonical work of fiction into the context of the other voices in the literary marketplace, and the circumstances of its making. For such a course, Tristram Shandy is an ideal central text. It was published&hellip;<span class="activity-read-more" id="activity-read-more-1768610"><a href="https://mla.hcommons.org/activity/p/1768610/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">44cbe33e59dd204377a6693cf54233be</guid>
				<title>Emily Friedman deposited "Let people tell their stories their own way": Tristram Shandy as Novel, Provocation, Remix in the group CLCS 18th-Century</title>
				<link>https://mla.hcommons.org/activity/p/1768609/</link>
				<pubDate>Fri, 21 Jan 2022 02:29:39 +0000</pubDate>

									<content:encoded><![CDATA[<p>In the fall of 2019 I taught my eighteenth-century novel course as an exercise in slow reading, taking a tactic I had used before: putting a canonical work of fiction into the context of the other voices in the literary marketplace, and the circumstances of its making. For such a course, Tristram Shandy is an ideal central text. It was published&hellip;<span class="activity-read-more" id="activity-read-more-1768609"><a href="https://mla.hcommons.org/activity/p/1768609/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">0e19f4419d70ae100c37e71505ade7e9</guid>
				<title>Emily Friedman deposited "Let people tell their stories their own way": Tristram Shandy as Novel, Provocation, Remix</title>
				<link>https://hcommons.org/activity/p/1768597/</link>
				<pubDate>Thu, 20 Jan 2022 23:53:35 +0000</pubDate>

									<content:encoded><![CDATA[<p>In the fall of 2019 I taught my eighteenth-century novel course as an exercise in slow reading, taking a tactic I had used before: putting a canonical work of fiction into the context of the other voices in the literary marketplace, and the circumstances of its making. For such a course, Tristram Shandy is an ideal central text. It was published&hellip;<span class="activity-read-more" id="activity-read-more-1768597"><a href="https://hcommons.org/activity/p/1768597/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">477c746870d75f9c4357407f937a1c31</guid>
				<title>Emily Friedman deposited ENGL4160EA: Fall 2022: How Games Tell Stories in the group TC Popular Culture</title>
				<link>https://mla.hcommons.org/activity/p/1760795/</link>
				<pubDate>Tue, 07 Dec 2021 02:25:31 +0000</pubDate>

									<content:encoded><![CDATA[<p>We are quickly approaching the 50th anniversary of Dungeons &amp; Dragons, the 10th anniversaries of Twitch and Itch.io, and the ninth generation of video game consoles. The most successful TV/film Kickstarter of all time funded the animated series for D&amp;D livestream Critical Role. Game Studies has existed as an interdisciplinary field for over three&hellip;<span class="activity-read-more" id="activity-read-more-1760795"><a href="https://mla.hcommons.org/activity/p/1760795/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">17fcd7dff16062be455040cd3ea689cf</guid>
				<title>Emily Friedman deposited ENGL4160EA: Fall 2022: How Games Tell Stories</title>
				<link>https://hcommons.org/activity/p/1760733/</link>
				<pubDate>Mon, 06 Dec 2021 18:50:48 +0000</pubDate>

									<content:encoded><![CDATA[<p>We are quickly approaching the 50th anniversary of Dungeons &amp; Dragons, the 10th anniversaries of Twitch and Itch.io, and the ninth generation of video game consoles. The most successful TV/film Kickstarter of all time funded the animated series for D&amp;D livestream Critical Role. Game Studies has existed as an interdisciplinary field for over three&hellip;<span class="activity-read-more" id="activity-read-more-1760733"><a href="https://hcommons.org/activity/p/1760733/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">c98137b72dca7919ec1ff4809787069c</guid>
				<title>Emily Friedman deposited 4160EA: TECH LITERACY AND CULTURE  How Games Tell Stories (Fall 2021)</title>
				<link>https://hcommons.org/activity/p/1751086/</link>
				<pubDate>Wed, 08 Sep 2021 15:09:50 +0000</pubDate>

									<content:encoded><![CDATA[<p>Syllabus for a upper-level English course focused on roleplaying games. Features active learning classroom, contract grading, and student-led midsemester readings. (This was the document students received on the first day, and has already changed. You can follow my &#8220;campaign diary&#8221; recapping discussions at&hellip;<span class="activity-read-more" id="activity-read-more-1751086"><a href="https://hcommons.org/activity/p/1751086/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">6f5337aceb8bfc21b34f306764678301</guid>
				<title>Emily Friedman deposited Afterword: Novel Knowledge, or Cleansing Dirty Data: Toward Open-Source Histories of the Novel</title>
				<link>https://hcommons.org/activity/p/1740172/</link>
				<pubDate>Mon, 31 May 2021 16:14:22 +0000</pubDate>

									<content:encoded><![CDATA[<p>This afterword discusses the most important, most under-rewarded, and most unsexy aspect of data visualization: the production and use of reliable underlying data. Starting from the premise that visualizations are only as good as their underlying evidentiary base, Freidman addresses the contributions of digital projects that have laid the&hellip;<span class="activity-read-more" id="activity-read-more-1740172"><a href="https://hcommons.org/activity/p/1740172/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">2225c4a794a90a915151064e1ab83519</guid>
				<title>Emily Friedman deposited "Making the Motley Emblem: Marbling as Praxis"</title>
				<link>https://hcommons.org/activity/p/1706908/</link>
				<pubDate>Mon, 31 Aug 2020 14:45:54 +0000</pubDate>

									<content:encoded><![CDATA[<p>Tristram Shandy itself was at the forefront of technological innovations, both as copyright protection and as bravura performance. What John Mullan has called the “stuff” of Tristram Shandy are among the most accessible ways into the text.<br />
Of these techniques, marbling is one of the easier (and more pleasurable) techniques to introduce into the&hellip;<span class="activity-read-more" id="activity-read-more-1706908"><a href="https://hcommons.org/activity/p/1706908/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">17208b1a50d710727a945028e9b6f14c</guid>
				<title>Emily Friedman deposited "Becoming Catherine Morland: A Cautionary Tale of Manuscripts in the Archive"</title>
				<link>https://hcommons.org/activity/p/1705088/</link>
				<pubDate>Wed, 12 Aug 2020 13:33:02 +0000</pubDate>

									<content:encoded><![CDATA[<p>Like Catherine Morland, we all dream of discovering that a manuscript tucked away in an archive, among dusty boxes in an attic, or in a mysterious chest in our guest room is really a long-forgotten work by a beloved author.  This is the story of a collector who thought he had done just that – and a scholar who almost believed it.  Fair warning: t&hellip;<span class="activity-read-more" id="activity-read-more-1705088"><a href="https://hcommons.org/activity/p/1705088/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">322fda6493e14bcd696c98cdee024f88</guid>
				<title>Emily Friedman deposited “Considering Johnson’s ‘Nose of the Mind’ and Mind’s Nose: Olfaction Deployed and Suppressed in the Age of Johnson.”</title>
				<link>https://hcommons.org/activity/p/1705086/</link>
				<pubDate>Wed, 12 Aug 2020 13:16:01 +0000</pubDate>

									<content:encoded><![CDATA[<p>For Johnson, the “nose of the mind” can be understood as closely connected to a notion of the mind’s nose—in other words, the osmology or scent-connotations insofar as we can recover them. As I have argued elsewhere,  the level to which that ambition is achievable is low. That said, in this essay I explore a few ways we can examine the work of&hellip;<span class="activity-read-more" id="activity-read-more-1705086"><a href="https://hcommons.org/activity/p/1705086/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">afb91fffd1bd9c643a36870bec9c393e</guid>
				<title>Emily Friedman deposited Austen Among the Fragments: Understanding the Fate of Sanditon (1817)</title>
				<link>https://hcommons.org/activity/p/1703261/</link>
				<pubDate>Tue, 28 Jul 2020 17:15:11 +0000</pubDate>

									<content:encoded><![CDATA[<p>Jane Austen&#8217;s Sanditon (begun 1807) is something of a mystery for Austen scholars. Since its first description in 1871 and its publication in 1925, Austen&#8217;s incomplete final novel fragment has inspired innumerable essays speculating about Austen&#8217;s intentions and plans, and countless continuations that attempt to provide a plot on top of Austen&#8217;s&hellip;<span class="activity-read-more" id="activity-read-more-1703261"><a href="https://hcommons.org/activity/p/1703261/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">878d3abb729f841f3f7670c28408bf97</guid>
				<title>Emily Friedman deposited “Schools Beyond Scandal: Contextualizing The School for Scandal, 1732-1800"</title>
				<link>https://hcommons.org/activity/p/1703256/</link>
				<pubDate>Tue, 28 Jul 2020 16:47:57 +0000</pubDate>

									<content:encoded><![CDATA[<p>Between 1776 and 1800 &#8212; at the end of Garrick&#8217;s reign at Drury and the rise of Edmund Kean &#8212; the shape of Europe, the role of women in the public sphere, and even the size of London’s patent theatres underwent renovation and reconstitution.  The results often wore familiar faces, even as meaning was changed by new contexts and editorial f&hellip;<span class="activity-read-more" id="activity-read-more-1703256"><a href="https://hcommons.org/activity/p/1703256/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">383e5898be2ae5876a0cb41ea7f9120b</guid>
				<title>Emily Friedman deposited The End(s) of Richardson's Sir Charles Grandison</title>
				<link>https://hcommons.org/activity/p/1703252/</link>
				<pubDate>Tue, 28 Jul 2020 16:36:01 +0000</pubDate>

									<content:encoded><![CDATA[<p>Many innovations in Samuel Richardson&#8217;s final novel, Sir Charles Grandison, set it apart. I argue that the ways in which Richardson innovated in the final volume in particular altered his attitude toward closure. Richardson carried this modified way of thinking into the work of his late life, as self-editor and anthologizer. Grandison is a vital&hellip;<span class="activity-read-more" id="activity-read-more-1703252"><a href="https://hcommons.org/activity/p/1703252/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">9a476531aad4bf23b448cd5e32d94f2c</guid>
				<title>Emily Friedman deposited "Wanderer’s End: Understanding Burney’s Approach to Endings"</title>
				<link>https://hcommons.org/activity/p/1703250/</link>
				<pubDate>Tue, 28 Jul 2020 16:25:51 +0000</pubDate>

									<content:encoded><![CDATA[<p>This essay is part of a larger project that investigates the ways in which Burney&#8217;s endings (in her novels, plays, and life-writing) create a sense (or non-sense) of an ending. Here I consider Burney&#8217;s final novel, The Wanderer, in its place as Burney&#8217;s final fictional ending. In my reading of Burney’s novel-writing career, The Wanderer is at t&hellip;<span class="activity-read-more" id="activity-read-more-1703250"><a href="https://hcommons.org/activity/p/1703250/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">e819e9c765f7e37c53dab558f56773c1</guid>
				<title>Emily Friedman deposited “Remarks on Richardson: Sarah Fielding and the Rational Reader"</title>
				<link>https://hcommons.org/activity/p/1703246/</link>
				<pubDate>Tue, 28 Jul 2020 16:17:29 +0000</pubDate>

									<content:encoded><![CDATA[<p>Sarah Fielding promoted rational reading practices through techniques that often differed from those used in the mid-eighteenth-century novel, particularly the contrary techniques employed by Samuel Richardson and her brother, Henry Fielding. Examining Fielding’s Remarks on Clarissa and her co-authored “dramatic fable” The Cry, this essay argue&hellip;<span class="activity-read-more" id="activity-read-more-1703246"><a href="https://hcommons.org/activity/p/1703246/" rel="nofollow ugc">[Read more]</a></span></p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">2f0e52bc546964cee203039e5c0a5805</guid>
				<title>Emily Friedman deposited “‘To such as are willing to understand": Considering Fielding's Community of Imagined Readers"</title>
				<link>https://hcommons.org/activity/p/1703243/</link>
				<pubDate>Tue, 28 Jul 2020 15:59:18 +0000</pubDate>

									<content:encoded><![CDATA[<p>From Masters of the Marketplace: British Women Novelists of the 1750s. Bethlehem: Lehigh University Press, 2010.</p>
]]></content:encoded>
				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">199f4e5712a29a5e7352dfadb2193ed5</guid>
				<title>Emily Friedman&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1703240/</link>
				<pubDate>Tue, 28 Jul 2020 15:50:13 +0000</pubDate>

				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">ef208ec67a82f11a9b7243ffa10a4e38</guid>
				<title>Emily Friedman&#039;s profile was updated</title>
				<link>https://hcommons.org/activity/p/1703060/</link>
				<pubDate>Mon, 27 Jul 2020 14:24:57 +0000</pubDate>

				
									<slash:comments>0</slash:comments>
				
							</item>
					<item>
				<guid isPermaLink="false">264dda9984731b56ba7e10f0fc2f5189</guid>
				<title>Emily Friedman changed their profile picture</title>
				<link>https://mla.hcommons.org/activity/p/9553/</link>
				<pubDate>Tue, 08 Jan 2013 01:29:30 +0000</pubDate>

				
									<slash:comments>0</slash:comments>
				
							</item>
		
	</channel>
</rss>