Create a digital exhibit of short story: A Neat line exhibit is a single-page website organized around a map or occasionally an image.

• an exact location given in the narrative (800 words)
• annotated bibliography (200-300 words)
• 3 “points of interest location (600-700 words).” Each point of interest should be marked by relevant quotations from the text, including page numbers for reference. A point of interest could include (but is not limited to):
• pictures of an exact or approximate location
• pictures of characters, places, or objects mentioned in the text at that exact or approximate location

The main project’s “Narrative” include a substantial discussion of the story, and include the following text sections (1000 words):

1. Introduction: A summary of Chaper 1 A SCANDAL IN BOHEMIA and of your mapping (what spaces or itineraries you’re mapping; which character(s) you’re following; what your most important conclusions are). (100 words)
2. Space in the story: This section discusses space From Chaper 1 A SCANDAL IN BOHEMIA (on a nineteenth-century map or an interactive map): how does Doyle create the setting of your story? Through what kinds of geography – physical? Urban? Social? Through what stylistic strategies and choices? What sensory or other details establish the spaces through which characters move? How does space shape the story? Please cite at least 3 scholarly articles on your particular Sherlock Holmes story in this section. (700 words)
3. Annotated bibliography: 3 scholarly articles (that is, from scholarly journals or printed books by scholarly presses) relevant to your particular approach to a Sherlock Holmes story (with a 200-300 word summary of points relevant to your project; these may be in point form). Please note this article doesn’t need to be about that particular story; it can be about aspects of life in Victorian England.

 

Example of introduction and space section (of different chapter so different location don’t copy):

Introduction

Arthur Conan Doyle first published The Adventure of the Noble Bachelor in the Strand, in April 1892.  The story is a missing-person case.  Lord St. Simon’s newly-wedded bride, Miss Hatty Doran, is married to Lord St. Simon in church, but she leaves her new bridegroom and wedding guests during the wedding breakfast and disappears.  Lord St. Simon asks Sherlock Holmes to trace the missing bride.

This exhibit’s mission is the same:  it works its way through the story to reconstruct Hatty Doran’s trajectory, from her early years in the United States to her final appearance in 221B’s parlour.

Space in the Story

In “The Adventure of the Noble Bachelor,” the narrator and point-of-view character, Dr. Watson, never leaves the cozy apartment in Baker Street:  he experiences the narrative through the eyes of visitors and of Sherlock Holmes himself.  Yet the story creates three different spaces, each corresponding to its own social world and culture:  first, Baker Street itself, the apartment, in which characters of all social classes meet with Sherlock Holmes and Dr. Watson; second, the church of St. George in Hanover Square, a wealthy neighborhood, in which the wedding ceremony is held—a church that corresponds to the wealthy, upper-class world of Lord St. Simon and English high society; and third, the mining camp in Colorado, where Hattie Doran grows up—the camp that corresponds to the American working-class world of Hattie Doran and her first husband.

This exhibit focuses on the two contrasting social spaces:  that of the English upper class and that of the Colorado mining camp.  The marriage between Hattie Doran and Lord St. Simon temporarily connects these contrasting social spaces.  But that brief marriage is doomed from the start: Hattie Doran recognizes her long-lost mining-camp husband just before speaking her marriage vows, and leaves Lord St. Simon for her true love.  My exhibit argues that “The Adventure of the Noble Bachelor” persistently highlights, in spatial terms, the mismatch in the Lord St. Simon marriage.  First, the story highlights the gap between Lord St Simon and Hattie Doran’s social spaces through names, idioms, and geographical details associated with each of their social spaces.  Second, the story uses spatial metaphors to depict the marriage as a territorial infringement, from both sides.  The St. Simon marriage is doomed from before it begins, and the story underscores this doom through spaces both real and metaphorical.

1. Social Spaces

1. English upper class

• Lord St. Simon’s family tree delineates his social space:  nobility indicated by titles (“Lord Robert Walsingham de Vere St. Simon, second son of the Duke of Balmoral.”); by heraldic arms (“Arms: Azure, three caltrops in chief over a fess sable”); by political power (St Simon “was Under-Secretary for the colonies in a late administration” and “[t]he Duke, his father, was at one time Secretary for Foreign Affairs”); and, finally, by his family’s descent from English royal houses (“They inherit Plantagenet blood by direct descent, and Tudor on the distaff side”).
• Enumeration of names and nobility titles of wedding attendees in St. George’s, Hanover Square:  “The ceremony, which was performed at St. George’s, Hanover Square, was a very quiet one, no one being present save the father of the bride, Mr. Aloysius Doran, the Duchess of Balmoral, Lord Backwater, Lord Eustace, and Lady Clara St. Simon (the younger brother and sister of the bridegroom), and Lady Alicia Whittington.”
• Policing of the Lancaster Gate house against Lord St Simon’s former girlfriend, by personal servants and by plainclothes police

2. Mining camp

• St. Simon describes Hattie’s early world in spatial terms—through nature imagery, evoking the geography of the mining camp, and through movement, evoking her own freedom and informal upbringing in the mining camp:

“ “You see, Mr. Holmes,” said he, “my wife was twenty before her father became a rich man. During that time she ran free in a mining camp and wandered through woods or mountains, so that her education has come from Nature rather than from the schoolmaster. She is what we call in England a tomboy, with a strong nature, wild and free, unfettered by any sort of traditions. She is impetuous–volcanic, I was about to say. She is swift in making up her mind and fearless in carrying out her resolutions.”

• Hattie’s movement, swiftness, and energy stand in contrast to the rigid world evoked by the many layers of servants whose job, in Lancaster Gate, appears to be to restrict and report on people’s movements, especially women’s
• Hattie describes herself and Frank’s early life and marriage:

“Then I’ll tell our story right away,” said the lady. “Frank here and I met in ’84, in McQuire’s camp, near the Rockies, where pa was working a claim. We were engaged to each other, Frank and I; but then one day father struck a rich pocket and made a pile, while poor Frank here had a claim that petered out and came to nothing. The richer pa grew the poorer was Frank; so at last pa wouldn’t hear of our engagement lasting any longer, and he took me away to ‘Frisco. Frank wouldn’t throw up his hand, though; so he followed me there, and he saw me without pa knowing anything about it. It would only have made him mad to know, so we just fixed it all up for ourselves. Frank said that he would go and make his pile, too, and never come back to claim me until he had as much as pa. So then I promised to wait for him to the end of time and pledged myself not to marry anyone else while he lived. ‘Why shouldn’t we be married right away, then,’ said he, ‘and then I will feel sure of you; and I won’t claim to be your husband until I come back?’ Well, we talked it over, and he had fixed it all up so nicely, with a clergyman all ready in waiting, that we just did it right there; and then Frank went off to seek his fortune, and I went back to pa.

• Hattie’s description is marked by informal language, words that are colloquialisms or Americanisms, or both, etymologically connected with mining.  These words further anchor her very specifically in a space that is both geographical (U.S.) and social (the mining community).

• “pa” (OED:  colloquial)
• “petered out” (OED:  peter, v.2.1. US mining slang);
• “make his pile” (OED:  pile, n.I.1.f, “Originally U.S. A large amount money; a fortune”);
• “fixed it all up so nicely” (OED:  fix up, v.I.14.b., “(chiefly U.S. colloquial): To arrange, get ready, put in order; to put to rights, make tidy, ‘rig up’; spec. to prepare (food or drink). Also with off, over, and up and const. for (doing something).”)

1.  Marriage as territorial infringement

The story uses spatial metaphors to depict the marriage as a territorial infringement, from both sides, in terms characteristic of both of the contrasting social worlds.

1. English upper class:  The English paper describing Hattie Doran and Lord St Simon’s wedding describes marriages of American women to English nobility as “prizes borne away.”  This is a metaphor from nautical warfare referring to ships captured by the enemy. The warfare metaphor invokes the public world of politics and of nationally significant events—that is, Lord St Simon’s social sphere.
2. Mining camp:  Hattie Doran describes her marriage with the slang expression “claim-jumping” – an expression from her own world of mining, as Holmes notes:  “in miners’ parlance [claim-jumping] means taking possession of that which another person has a prior claim to.”  The mining metaphor invokes the mining world of Hattie Doran and Frank Moulton’s early youth.  Both expressions cast the Doran-St. Simon marriage as a kind of territorial infringement—an aggression in spatial and economic terms.
   • End of an example (Narrative)

Also Your map exhibit must include 3 POI (200*3  = total 600 words):

• 3 “points of interest. (location)” Each point of interest should be marked by relevant quotations from the text, including page numbers for reference. A point of interest include (but is not limited to):
  • an exact location given in the narrative
  • pictures of an exact or approximate location
  • pictures of characters, places, or objects mentioned in the text at that exact or approximate location
• 1 POI’s should include a 200-300 words blurb each + add pictures, explaining the significance of this point and of its associated artifact
• At least one line following the movements of a character, also accompanied by a blurb
• While not every POI/line/area requires an image, be sure to include at least three historically interesting images, audio files, videos, or other multimedia resource relevant to an exact or approximate location or a particular portion of text
  • images, audio files, etc. should be from GLAM (gallery, library, archive, museum) repositories or printed scholarly sources; these sources should be properly documented in Item metadata.

Example of a Point of interest of different chapter so different location don’t copy (below)