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Mental Fight is an epic poem first published five years ago to celebrate the dawn of the third millennium. Its author, Ben Okri, describes the poem as an anti‐spell for the 21st century, and prefaces it with William Blake's famous lines (Blake, 1976), subsequently immortalised in the hymn Jerusalem: ‘I will not cease from Mental Fight, nor shall the Sword sleep in my hand, ‘til we have built Jerusalem, in England's green and pleasant land.’ The poem's inspirational message has stimulated the emergence of Mental Fight Club, a user‐led group in London that describes itself as ‘a new creative force for good mental health in Southwark and beyond’.

In recent years, the number of journals focusing on a single literary figure has increased substantially. No longer are only a few select authors the sole focus of a journal or newsletter. With the proliferation of single‐author periodicals, implications for their use in locating literary criticism increases the importance of identifying such publications and recommending them to users. The importance of the effective use of journals devoted to a single author is highlighted by the fact that many such titles are not indexed in MLA International Bibliography, long deemed the most complete of the traditional sources for locating literary criticism. Perhaps the greatest strength of the relatively recent American Humanities Index lies is its coverage of single‐author titles. Humanities Index and Abstracts for English Studies also provide access to such journals. Arts and Humanities Citation Index does include a number of the titles too, but it is relatively difficult to use because of its subject approach.

By reconstructing the genealogy of digital humanities through examining digital humanities projects and evaluative writings, this paper aims to identify core arguments related to disciplinary transformation and pedagogy in the humanities fields. It also seeks to consider knowledge production and transformation of a general humanistic attitude (the Humanities Program) in relation to digital tools. The paper also seeks to examine its perceived impact on disciplinary development, pedagogy, and forms of digital text.

The paper presents a literature‐based conceptual analysis of distinct and diverse aspects of the enterprise of digital humanities, by identifying their main foci together with implications of these preoccupations within larger discourses. The analysis is grounded in a close reading of 45 exemplary texts published from the 1980s to date, and 14 exemplary projects and initiatives. The analysis highlights several concepts with their underlying assumptions.

The perceived epistemological advantage of digital technology for new forms of reasoning is that community development has produced theoretical frameworks and shaped practical directions. The paper identified three distinct formations characterized by associated digital artifacts: prominent opinion leaders, foundational projects, and document forms (morphs).

Research data are not comprehensive. Selected texts and projects are exemplary. The results and findings are relevant for the English‐language context and limited by a selective corpus.

The paper outlines a historical trajectory of digital humanities and the formative stages of development from the discourses of that evolving field. It also identifies constructions of technological advantage with implications for knowledge production in the writing of humanities scholars. The paper contributes to practitioner awareness of the history of digital humanities practice.

A personal account of Gregory Bateson and the turning over of the generations, carrying some of Bateson's way of thinking forward to the time and beyond. The paper aims to discuss these issues.

The approach taken is that of a synthesis.

Bateson attributed the ecological peril to bad thinking and suggested that the author needs better thinking, including what the author can learn from the syncretic practice of art. To operate in the realm of play – music, poetry, myth, and so on – in the context of hearing your children talk about Malthusian events and mass extinctions is perhaps a way of fiddling while Rome burns. But possibly, this is itself the practice – a way to begin to master the new kinds of thinking that the author needs to learn to do.

The issues that Bateson touched on are intensely personal. The issue of the survival of the ecosystem and of human civilization in the forms that the author recognizes is not an academic or political matter, but personal for each of us, as is the creative response.

The contours of the question of transmission or jurisdiction receive a particularly sharp delineation in a recent judgment from the annals of contempt of court. How can the solicitor scandalise the court, without destroying the law? Consider Anissa v Parsons. It involves the doctrine of contempt by scandalising – the most feudal of the three legally recognised types of contempt used to keep “the streams of justice clear and pure.”⁵ And the question that the judgment confronts is the technical and representational ordering of law, and specifically the articulation and disarticulation of two orders – that of the court and that of law.

Childhood studies is an attractive field for research but presents a number of challenges because it is multi‐disciplinary and eclectic. It offers many opportunities to make connections between mainstream historical, literary, cultural, sociological, educational, and bibliographical studies. As such, it can benefit from novelty and suffer from scholarly credibility over agenda and methodology. At its best, it sheds light on the cultural crosscurrents and assumptions of its time, and helps library professionals better understand their work with children.

The aim of this paper is to clearly show the process, cost, and benefits of an audio digitization project within a university library.

From formulating the idea for a new digital collection available to patrons via the library catalog through implementation, promotion, and gathering feedback, each step is detailed.

Although it is a time‐consuming endeavor, the creation of unique digital library collections can produce a variety of benefits for both library patrons and librarians.

The paper is written by a librarian who is neither a computer nor cataloging expert. It is an attempt to show others who may have important but antiquated collections that digitization projects may be successfully completed without advanced technical skills or a large budget.

Blake is relatively well-known, but who was J M Robertson? What's his connection with George Spencer-Brown? And how exactly did J M Robertson influence George Spencer-Brown?

George Spencer-Brown (1923–2016) is the author (among other works) of the undeservedly little-known book, Laws of Form (1969/2011), which was a key inspiration for Niklas Luhmann (1927–1998). But what inspired George Spencer-Brown? This paper explores two key influences on George Spencer-Brown and his work: the English poet and artist, William Blake (1757–1827) and the Scottish rationalist, politician and author, J M Robertson (1856–1933).

The paper points to a broken link between George Spencer-Brown's work and Niklas Luhmann's.

These questions are explored from two perspectives: first, George Spencer-Brown's works and their debt to (1) Blake's work, from which he quotes in a number of instances and to (2) J M Robertson's (in particular, the latter's Letters on Reasoning (1905) and Rationalism (1912)); second, my personal connection to Spencer-Brown, who mentored me through Laws of Form and with whom I developed a close friendship involving regular weekly telephone conversations for the greater part of the last four years of Spencer-Brown's life. I share anecdotes and stories that connect George Spencer-Brown and J M Robertson that span George Spencer-Brown's lifetime – from his school days to his dying days. Both Blake's and Robertson's influences are relevant to Spencer-Brown's view of morality. The paper looks at specific connections between Blake's work and J M Robertson's on the one hand and George Spencer-Brown's on the other.