Gabriel Hankins is Assistant Professor of English at Clemson University. His current book in progress is Interwar Modernism and Liberal World Order.
It’s been nearly a year now since the publication of M/m’s special issue on Weak Theory, a year of conversations both here on Print Plus—and, as Aarthi Vadde and Melanie Micir point out, across a range of other professional and para-professional spaces of engagement. Many thanks to all who have taken part!
Are digital methods weak or strong? How should we understand the conjunction of digital tools and methods with modernist studies? In some accounts of the rise of weak theories in literary studies, weak theory and digital methods like distant reading are taken as correlative terms, with associative logic and epistemological modesty common to both. Yet a nearly opposite set of arguments is as familiar: digital literary methods are too “strong,” so goes the claim, because they conceal naïvely positivist notions of evidence and proof, reductively quantify cultural production, or advance a neoliberal agenda within the academy. Digital methods appear both too weak and too strong for use on literary objects, particularly objects so delicately rebarbative as those of modernism.
We modernist scholars are all digital modernists now, and for a variety of reasons. Listening to recent debates in both modernist studies and the digital humanities, one would not think this was the case. Digital scholarship is often presented as the preserve of a special inter- or infra-disciplinary conversation distinct from the professional fields that contribute to it, thus presenting digital scholarship as a set of methods distinct and particular to digital humanists.