Constructing a metadata model to capture the deconstruction of literary characters: Remediation of evil

Abstract This study explores the prospects of constructing a metadata Omeka model to capture the transformation of four classic evil characters through various media adaptations. The scope encompasses ancient literary characters as they evolve through a “remediation” model of analysis in both the literary sense of the term and the computational one. Within this frame, Bolter and Grusin’s theory of remediation is utilized to explain the digital proliferation as an evolution of various forms of media that derive from one another both old and new. The research question becomes whether the concept of remediation can account for linking various adaptations of a work of literature through various media modes ranging from oral folktales, written texts, paintings, movies, and social media Memes. The four characters are The Cyclops, Dracula, Frankenstein’s Monster, and the devil from Dr. Faustus. This is achieved by the machine readability in the embedded Omeka structure of the collection allowing for its reuse by both researchers and students. The dynamics of a poststructuralist shift of power where media adaptations within audience interaction undermine the traditional media institutions that have for so long dominated the media and information industries. The interchangeable role of monsters from the audience’s perspectives becomes a means of self-expression and understanding an ever-changing world with blurring boundaries between good and evil. Remediation, thus, becomes a form of rebellion against the traditional norms that define what it is that is doomed monstrous.


PUBLIC INTEREST STATEMENT
By creating a publishable platform embodying the remediation of four classic characters of evil, there is an assimilation of the established media entities that have monopolized media production before the advent of the internet.This is reflected in the current power given to the audience to interact with, manipulate, create and even publish media expressions inspired by the classic characters.The purpose of the study is to initiate interest in the use of DH tools that are both dynamic and sustainable in displaying various media modes that draw from each other while evolving into separate entities.The model references oral folktales, written texts, paintings, movies, and social media Memes.Thus, it reveals a poststructuralist view that breaks away from an original work of art into a fluidity allowing for the monstrous to persist as a representation of the horrors lurking in every era or transform into something amiable, comic or even heroic.https://transtextuality.omeka.net/interchangeable role of monsters from the audience's perspectives becomes a means of self-expression and understanding an ever-changing world with blurring boundaries between good and evil.Remediation, thus, becomes a form of rebellion against the traditional norms that define what it is that is doomed monstrous.

Introduction
The huge influx of material made available by digital human expression is construed as data, thus instigating both quantitative and qualitative research merging the humanities with computational tools.Within this context, the study and research of humanities start an era that employs this digital data flow, resulting in the field of digital humanities, DH: a field that is emerging with more uncertainty than solid threshold of analysis or use.Scholars are still attempting to discuss the very definition of DH and the implications on both teaching/learning and research.However, to capture the true spirit of the field, two platforms present an area for contemplation: One is a website that gives a new quote about DH every time the website is refreshed 1 and the other is a bot Twitter account that tweets a definition of DH every 4 hours. 2This study attempts to present a model where conceptual analysis materializes into a digital metadata production while employing a qualitative approach in the form of a case study that can be utilized for further study.
Thus, instead of the traditional approach of analyzing forms of expression, DH contributes to the creation of new forms of digital representations that are computationally sustainable and reusable.The result is an emerging body of research that include images, sound and code to replace only numbers and words (Haseman, 2006) while supporting a growing discourse on the transdisciplinary (Oxman, 2016).This is achieved through establishing connections among various forms of multimodalities within a stream of seemingly separate productions and timelines.This study tests this claim by using Omeka as the DH tool where a collection of the transformation of classic evil icons is realized through metadata recordings of links to media productions displayed on the internet.Experimenting with digital tools while adopting a qualitative approach achieves the goal of engaging researchers and students in hands-on projects that manifest a conceptual frame which is active rather than static.The collection on Omeka serves as a colorful display of the categories and items supporting the discussion, while the metadata embedded contributes to the sustainability of the project for further research and computational identification.The scope of the study includes ancient literary themes and motifs as they evolve through a remediation model of analysis in both the literary sense of the term and a computational one.Thus, the product is linking the transformation of both content and medium of display as they dynamically impact one another.

Objectives
This study aims to explore the prospects of constructing a metadata model to capture the transformation of classic evil characters through various media adaptations.Within this frame, Bolter and Grusin's theory of "remediation" that explains the digital proliferation as an evolution of various forms of media deriving from one another both old and new is employed.Remediation would allow for linking various adaptations and transtextual representations of a work of literature through various media modes.Thus, the project combines both literary analysis and digital prospects that lies at the core of DH.The digital platform employed to compile the various adaptations is Omeka.Omeka offers various options (exhibitions, timelines and databases), is user-friendly and includes an open-source option that makes it suitable for researchers of humanities who might struggle with computational training or background. 3

Conceptual frame
The project combines Jay D. Bolter and Richard Grusin's concept of remediation (which accounts for the transformation of each medium of display) with the principles of deconstructionist theory (which accounts for content transformation) to demonstrate the evolution of the four literary characters.Thus, the dual action of inspecting the transformation of media modes of expression with content transformation results in a frame combining context with its medium (various media modes).Remediation is included in media research that accounts for the evolution of digital media modes into the current multimodality of human expression.It is common to combine remediation with other theories of media and cultural accountability such as convergence and transmedia storytelling (Hayran, 2018).
It should be noted that the concept of remediation presented by Bolter and Grusin does not tackle content in the analysis of the media evolution but inspects the type of media and the effect it instigates.It builds upon Marshall McLuhan's analysis that acknowledges that every new technology or media alters the one that precedes it while affecting society (McLuhan, 1964).However, they reject what they describe as McLuhan's determinism while accepting "the remediating power of various media."(Bolter & Grusin, 1999, p. 77) In their model, emerging or new media derives from the one before, various media forms dictate the exact experience of the audiences whether it be complete immersion or acknowledged presence (of technology).The term they use for the roles assumed by technology is Immediacy as opposed to Hypermediacy.Immediacy defines the role of technology or the medium of projection of ideas as one that should be transparent so as to provide the audience with complete immersion in the topic, like in the case of virtual reality, VR.For the authenticity of the experience, the audience have to be fully immersed into the platform while the devise of VR disappears from the experience.Hypermediacy, on the other hand, insists on the presence of technology in the audience's consciousness, for example, splitting the screen in the case of live broadcasting where the audience are kept aware of how technology is at work (Bolter & Grusin, 1999).
Stephen Dobson's review of Remediation differentiates between immediacy and hypermediacy within a poststructuralist view.They affirm that immediacy provides a view that is orderly and in control while hypermediacy embodies the poststructuralist fragmentation and multiplication of perceptions (Dobson, 2006).In both cases, technology takes over as an active element in the continuation of human consciousness that is reflected in various media forms.Bolter and Grusin touch upon the previous overview of the historical transformation of works of art or literature as they contemplate the purpose of media to create an authentic experience for their audience.In the analysis of ancient seventeenth-century paintings, modern paintings, photography and computer graphics is to achieve what they describe as "immediacy" (Bolter & Grusin, 1999, p. 15).This concept of immediacy is an effect where the medium disappears completely as the audience experience an effect of becoming part of the work of art.
Bolter and Grusin refer to media, old and new, in terms of the poststructuralist play of signs, thus, inviting the poststructuralist methodology of deconstruction (Bolter & Grusin, 1999, p. 21).However, in this study, the practice of deconstruction is placed on the transformation of content of media when the same story or character from a story is reproduced through various media modes.In a poststructuralist view, a change of production represents a shift from the "original" while a trace of the previous view has to be "present" as the new does not entirely override the old.It does not remove it entirely, but rather requires its presence; ironically a presence through absence.Thus, new media cultures have continuously derived from each other in every reproduction or adaptation in a way where a trace (in Derrida's sense) 4 would remain.In the deconstruction context, the old makes a profound mark while the new derives from it before it (the old) gets erased: so even in its absence it is a trace that persists through absence (Derrida, 1979, p. 81).In other words, remediation is concerned with the ways in which new media forms compete, replace and interact with each other forming new media while the old never wholly disappearing.
The current project attempts to construct an interactive platform that represents the evolution of content with every adaptation of the chosen evil characters while demonstrating the type of medium for each representation, i.e., remediation.This attempt conforms with the core practice of DH that is rooted in modelling, which offers complex systems of knowledge into computationally processable models (Ciula & Eide, 2017).This concept has resulted in experimental projects that is acknowledged by a body of literature as an identifier of DH: e.g., Willard McCarty gives an overview of the various DH projects that are both hands-on and data driven.DH modeling is displayed as a way to give form to knowledge while it remains up to the researchers of the humanities to conduct a critical understanding of how that which takes a digital form constitutes the object of our collective inquiry (McCarty, 2005).
A common understanding of modelling is an act of "formal structuring of data" (Flanders & Jannidis, 2015, p. 4).However, a further evolution of data structuring within DH is to go beyond communicating with computers into creating tools of thinking (Bradley, 2015).On another level, Lattmann asserts that models are the basis of creativity and progress in research while introducing the notion of the model as a partial representation of the object they are supposed to represent.Thus, in DH research, models become a substitute of the "real" object which a researcher "creates, explore, investigate and manipulate" (Lattemann, 2018).Meanwhile, in separating the medium of storage from the medium of display, data is more available as "icons and file names" (Fetveit, 2007, p. 60).One of the characteristics of the newly created model is that it reflects the

Part I: digital humanities frame
The archive is first the law of what can be said, the system that governs statements as unique events.(Foucault, 2006, p. 145).
One of the most commonly established methodologies of DH research is not only the promotion of the content of data and the contexts in which it is produced, but also "the individual, situated knowledges that researchers leverage in the process of generating, disseminating research data" (Wiens et al., 2020).Further, it points out the capability to preserve the products of research as an element of the digital buildup of humanities projects, which leads to a more sustainable body of research (Anne, et al., 2017).Foucault uses the term archive as an inevitable dynamic entity that does not only allow for discourse to survive but to undergo regular modification (Foucault, 2006, p. 146).Thus, creating the Omeka platform aims at experimenting with compiling some of the various media forms for each adaptation of the classic evil characters that are published online.With this regard, the internet becomes an archive in Foucault's sense while the Omeka platform represents the model constructed as a projection of the DH project.Within this context, the analysis of the archive (where the various representations of media is stored) becomes a special "region" that achieves an effect that " . . .delimits us."(p.147).
The project depends on the dual action of analyzing content that offers multiple entries for the metadata model while constructing the computational platform with the metadata entries.The methodology employed relies on Bolter & Grusin's model of "remediation" that provides the framework linking all media adaptations.Thus, the Omeka model is a display of sources that are harvested from the internet, and provides a platform where the object of display is different from the medium of storage as mentioned in the conceptual discussion.The metadata entries serve as descriptors of the media displayed including an indication of its location online.
To demonstrate the conceptual context of the project, four characters from western classic literature that have established their position as classic icons of evil are employed.They all share a sense of common familiarity in mainstream culture besides numerous adaptations that maintained a profound presence in media expressions.This development follows a definite pattern where their stories originate as a myth or a folktale before being recorded as written text, then continuing to emerge with every new form of media/technology.All characters persist with various media ranging from traditional text to play adaptations, various films and movies, paintings, cartoons, Memes, etc.The four characters are The Cyclops from The Odyssey, The Devil from Dr Faustus, Frankenstein's monster and Vampires from Dracula.
Bolter and Grusin stress that their model of remediation is only a reflection of the theory and practices of the media scene in North America (Bolter & Grusin, 1999, p. 23).This affects the choice of these four characters in a subtle way both in terms of time frame and cultural origin.All characters were not a creation of the North American literary tradition yet they all manifest a strong presence in its mainstream media scene even with their ancient affiliations.The Cyclops appears in Homer's ancient Greek epic, Dr. Faustus is originally German, Frankenstein has the sub-title The Modern Prometheus, while the vampire has his Transylvanian roots.

Part II: Omeka project
Metadata is an updated term replacing catalogue entries or catalogue records previously linked to libraries' archiving.Famously known as data about data, it offers the details about content in collections, timelines or exhibitions.However, the current term is more descriptive of the computational practice where data entries represent "pointers" to the object described (Burrows, 2014).Omeka utilizes Dublin Core Metadata elements for both categories and items that construct its platforms to create Exhibits, Timelines and Collections.The data recorded includes title, subject, description, creator, source, publisher, date, contributor, rights, relation, format, language, type, identifier and coverage.
The project includes five collections encompassing the metadata recordings for the four characters: Mythology or folklore, Literary Text (written), Movies, Art and Paintings, and social media (Memes 5 ), Figure 1.Within each collection, items serve as the embodiment of media productions that emphasizes the array and scope of the discussion.It captures the actual object (in the computational sense) of each evil character as they appear in paintings, literary texts, movies or social media (all present online).
Dublin Core Metadata set by Omeka gives the details for each entry and requires the contribution of a team of technical assistants and volunteers to participate in the recording.Dublin Core includes the basic information of title, subject, description, creator, source, publisher, date, contributor, rights, relation, format, language, type, identifier and coverage.In the displayed Omeka model, every entry is identified according to its specifications from the internet so that each item on the dashboard would not be the actual site, but rather the information about it.The sources, whether documents, films, paintings, series, cartoons and/or memes, are displayed in the internet thus avoiding copyright concerns.A sample, Figure 2, is in a painting of the Cyclops belonging to the public domain and used with permission from the British Museum for the purposes of this research. 6The original painting is a displayed item at the British Museum, while what is included in the Omeka collection is the metadata representation of every detail about the painting.Thus, it presents a demonstration of the notion of separation between display and storage.

Analysis
The resulting cycle of remediation reveals a specific pattern of transformation with every medium of delivery where content (the transformation of characters) and form (the remediation) dynamically impact each other.It appears that all four characters share a common presence in mythology or folklore.It is a presence within the oral tradition that constitutes people's consciousness of the characters from the storytelling tradition that engraves their status as common lore.This form of medium had enjoyed its own malleability or freedom of expression where the narrative was subject to additions, omissions, expansions or reductions of the role of the characters.This original presence in the oral format is the source where the four characters have established their main characteristics as evil, monstrous and consequently, doomed.They become a source of fear that throughout a story causes wickedness and creates havoc before an all-good hero would bring about their destruction.The physical characteristics of the monsters would also become established at this stage in addition to the details of monstrosity, for example, the drinking of blood in case of Dracula or cannibalism of the Cyclops.These characteristics remain a staple identifier for the character through almost all adaptations in addition to the distinctive physical traits of one eye, pointy ears and fangs, stitched body parts or horns and a pitchfork.
The Omeka collection entitled "written text" includes the references of the written classic manuscripts located online.This in itself is a paradox since the published online format is not the same as the original printed manuscript, thus, asserting the notion of separation between medium of storage and medium of display (Galey et al., 2011).As the stories appear in the written format, they assume a certain rigidity that is imposed by the very nature of the printed genre.Even though it is the medium that endows them with the status of classic literature, which might have offered more visibility and positioning of the characters in mainstream culture, something more profound is lost.The written text imposes its own limitations on the audience (readers) while in turn gets a status of "source" that is difficult to change.The written medium is more rigid than the flowing oral aspect and even with re-prints they remain the same.There is a reverence to the "printed" version as the "true" story.However, it should be noted that audience perception of the written word still holds a power of the imagination that is unique for every reader who has the freedom to visualize their own image of the character, settings and impressions of preferences.We have to admit that judging that all audience have a similar understanding of the written words is presumptuous but with no record of readers' impressions or interactions, we reach a dead end.This situation changes again with the internet as versions of the written texts are uploaded either as scanned text or printed formats.Platforms such as Project Guttenberg archive a good number of classic works of literature in addition to private devices like Kindle that remediates the traditional book into a screen.At this point, it becomes relevant to make a distinction between two functions of the internet, one that provides information/material and one that creates communities.Goodreads, another website that is devoted to reading texts, creates connections among readers who voice their preferences, impressions, reviews and creative projections regarding books.
As media productions shift to film, both movies and series (for television), three elements transform the stories adapted from the written text in a drastic manner.This transformation is identified within the premise of audience experience and nature of the "new media": the first two elements are viewed as a step forward with media development, while the third is quite controversial as the adaptations become more transformational.The first effect of movies and television is that they represent a step towards "immediacy" as the audience become immersed in the stories in the audio-visual production.As the audience watch the screen, the medium disappears while they experience the full force of the visual and audio effects that improve the quality of the experience.Within the development of movies and television, there is an internal hierarchy of "old" and "new" media ranging from silent movies to black & white, then colored movies then levels of high definition and 3D rendering.It conforms with the Remediation frame that asserts the continuation of media as it tries to improve on previous rather than exist in isolation (Rajewsky, 2005).
The second element of transformation of movies and television is the adaptation of the story rather than sticking to the rigid written text.On one level, it results from the constraints of the movies and series as "new media" which cannot include every detail, every dialogue or every subplot thus opening the door for change of the "written text" that was once considered unchangeable.On another level, change of the physical traits or role of characters with every adaptation became possible.These adaptations derive from the social and economic circumstances that projects into each adaptation various dimensions that the audience recognize as a link to these circumstances (Bolter & Grusin, 1999, p. 77).For the first time, charismatic movie stars take the roles of the evil character in movies, which results in certain allure instead of disgust or horror.In addition, the comedy derivatives become a big success and so is further used in different contexts of varying settings, characters, gender roles, political parodies and more.Comedy as a genre contributes to the change of the evil demonic character into appealing or even lovable characters whom the audience would not wish to see face a doomed ending.Animation is considered as an interesting medium since it started as a children platform then rapidly finding its adult productions both as tragedy or comedy.
The allure of evil characters continues to evolve with intersecting paths of good and evil along new storylines where they keep their monstrosity at times while displaying noble traits or selfless acts at others.In productions of the Dracula story, there is a clear conflict with the demonic traits of Dracula as both a monster and a romantic figure engaging in a love affair in the 1992's Bram Stocker's Dracula, while in Twilight, 2008, the vampire is the protagonist of a captivating love story.The devil in Dr Faustus of the 1967 movie production is a side character to Richard Burton's depiction of the protagonist Dr Faustus, while he becomes the main character with the 1997 adaptation, The Devil's Advocate, keeping an aura of horror and demonic seduction in both.In the year 2000, the devil is not only played by the supermodel Elizabeth Hurley but is turned into a comedy with a happy ending in Bedazzled.This "ambiguity" of evil can reflect ambiguous morality negating a view of a world of defined powers for the sake of a world where good and evil have ever-shifting qualities (Braun, 2000).It is worth examining this power shift as a challenge to the traditional formula that has dominated hero stories for centuries, where the hero protects the people from the evil embodied in the monster by destroying him/it.
The third element of remediation in the case of movies and television is the passive role it further imposes on the audience.The genre that has governed the media setting for the most of the 20 th century has improved the audiovisual experience and achieved "immediacy" by immersing the audience in an experience as spectators.As the characters make their appearance on the screen, the audience are handed a visual of the characters and the settings, which suppresses their imagination of how the character looks like and with it comes a loss of the profound impact of a unique audience imagination.It becomes more of a one-size-fits-all, which is characteristic of the consumer culture of the 20 th century.In addition, both written texts in which the evil characters appear, and the movie productions for them offer a one-way communication where ideas flow towards the audience, and yet, we commonly hear an audience comment that the movie was a disappointment if they read the story first.This is an indication of the loss of a certain autonomy gained from the written experience and yet with both written forms and the audiovisual cinematic one, there is almost no participation on parts of the audience.
The advent of the internet and computer productions has brought about a revolution in terms of Remediated characters reflecting a poststructuralist fluidity of stories that are a "trace" of the "original".Reviewing, commenting, sharing, re-producing and publishing content online has never been easier for an audience that does not require prior technical skills.The result was the boom of endless adaptations and use of the so-called evil characters for individual, collective and community expression.According to Bolter and Grusin, digital technologies are "proliferating faster than our cultural, legal, or educational institutions can keep up with them" (Bolter & Grusin, 1999, p. 5).The mere act of choosing what to watch at convenience while ignoring others, is an act affecting the media ecosystem as decided by the audience (internet users).The evolution of certain communities that share a revived passion for characters like the vampires allows devoted fans to take part in the way characters or storylines develop to create genres like fanfiction.This act of audience's choice goes beyond means of distribution into both micro and macro forces of demographics and socioeconomics, even with an acknowledgement that the macro effects are not duly researched as micro considerations (Huffer, 2019).Perhaps, the reason is that internet activity or fan generated interaction is not considered as serious cultural contribution, but it is time to be reminded of Bourdieu's assertion that it is the seemingly shallow, such as entertainment, fashion or even food is what constitutes cultural capital (Bourdieu, 1984).
Internet memes might appear as a simple remediated form since the technology is not as elaborate as VR for example, and yet their use as reactions by the audience is a true remediated act of involving the monster characters in their (audience's) self-expression.The term "meme" being introduced in relation to genetics adds layers of cognition by the very analogy of a gene evolving and "leaping from brain to brain" while propagating themselves in the meme pool (Dawkins, 2007).There is already an acknowledgment that the form itself links to Bolter and Grusin's Remediation (Osterroth, 2018).Reality of the social, economic, political or personal circumstances affects the Remediated production, while the media affects reality in its own accord.When classic characters of evil appear in Memes, there is a unique body of knowledge that encompasses the full variations of the development of the character since ancient times.This ability to assimilate worlds is in a way sharing a " . . .cosmopolitan epistemology, a way of knowing that is based on the melding of diverse geographic, temporal, and mythological horizons."(Becker & Noone, 2011) It creates a platform for expressing opinion or even resistance to certain ideas or topics by using the monsters' projections from media and is shared on social media platforms with unlimited spread.Another aspect where media itself affects real life is when the audience participate in Alternate Reality or Second life activities that affects reality in a two-way flow of reactivity.It is at this point of the study that the poststructuralist concerns about the constraints of written texts is relieved with true audience experience that even goes beyond oral traditions into computational realms.Describing memes as internet vernacular establishes a highly visual communicationoriented typology (Limor, 2013).The monster appearing in the reduced form of a meme is decoded by the audience with relevant meaning that suits a certain time and certain world conditions.A meme preserving Frankenstein's creature in a new context might not be random, but a fulfillment of a certain "cultural pressure" of the period (Braid, 2017).

Discussion
. . .I am actually interested in the ways through which the subject actively constitutes himself, through the practices of the self, these practices are not, however, something created by the individual.Such practices are schemas he finds in his culture and that are proposed, suggested, imposed to him by his culture, society and social group.(Foucault, 1987)).
The Omeka site samples the types of media adaptations of the four characters only as a demonstration of the conceptual frame.It is far from the final product as it has room for more items to be added to the model or more importantly more growth with more media modes that can emerge throughout time.
Remediation, on the other hand, acknowledges a sense of continuity, which is pitched as an improvement of the old medium while keeping a certain sense of the original.Remediation can also be more aggressive, attempting to refashion the older medium or media entirely, while still making the presence of the older media and therefore maintaining a sense of multiplicity, or hypermediacy (Bolter & Grusin, 1999, p. 48).However, in the play of relationships, we view a sort of competition between old media and new media to "reaffirm" their position in our culture.It is a kind of competition of the dual logic of invoking immediacy or hypermediacy.In the meantime, old media tries to respond by "refashioning" to keep up with new media.The digital visual media gains characteristics such as honoring, rivalling and revising each other while no single media today seems to do its cultural work in isolation from other media (Bolter & Grusin, 1999, p. 65).
In terms of timeline, the project is particularly a reflection of Bolter and Grusin's reference to Michel Foucault's notion of "genealogy" of remediation as each form of media "resonate" throughout various reproductions (Bolter & Grusin, 1999, p. 23).Their demonstration depicts the absence or disappearance of the artist from paintings where the audience are immersed in life-like experiences of the content depicted.In contrast to Bolter and Grusin who only focus of the effect instigated by the media mode, this study experiments with content transformation by following the remediation of the four characters representing evil.The result is a profound persisting presence that starts in folk tales engrained in audience's consciousness before transforming with every media form.It is the changing medium in the deconstruction view that acknowledges the trace of the origin as a presence by being absent.
To employ Bolter and Grusin concept of remediation against a poststructuralist backdrop supports their notion of evolution of media even though their view does not tackle content.Their mention of authors such as Jacques Derrida, Nelson Goodman, and Michel Foucault in their contextualization of the evolution of media forms is the main link to allow for a poststructuralist overview of content.Thus, it becomes relevant to instigate a discussion in relation to content transformation in relation to media evolution.The depicted works in the Omeka platform recognize social, economic and cultural forces affecting human expression and media projections in exploring the genealogy of remediation.Moreover, they introduce the dimension of redefinition of the self by a culture of media expressions (Bolter & Grusin, 1999, p. 18).The collection of the remediated forms of the four chosen characters of evil poses the question of the role of these forms in the collective and individual consciousness among the audiences.The notion supports a view that considers "mass culture" as unconceivable without media, thus placing audiences at the center of media as representatives of culture (Fedrov, 2015).The four characters which are the subject of the study seem to follow a certain cycle of transformation over time and persist to appear with various modes of media.
The shifting dynamics made possible by the nature of the medium represents one of the most evident characteristics of internet publications that blend characters of sheer evil with everyday social activities.The Omeka platform sampled in Figure 3 represents the compilation of the varios internet publications https://transtextuality.Omeka.net//.To demonstrate, memes meet the criteria of pop culture in terms of variation, fast change, absence of an author and widespread beyond national boundaries (Kuipers, 2002).Further, it becomes a way to assert Foucault's view of monsters as a link to the evolution of species that can be understood not through memory, but their existence within themselves (Foucault, 1994).The Cyclops, Vampires/ Dracula, The Devil and Frankenstein's monster are already part of the internet culture, and the reason why they persist is that the audience keep quoting them within various contexts or as Calafell projects her reframing of monstrosity as a "space of activation and possibility," (Calafell, 2015, p. 3).

Conclusion
Deriving from the very nature of DH that combines theory with hands-on projects to shed new light on the analysis and research of the humanities, this project is an experiment to create a DH model constructed from the "archive" 7 of expression embodied in the internet.The project reflects the qualitative aspect of content analysis by introducing a case study of metadata categorizations diverging and/or converging into metadata representations.One of the principles of qualitative data is the mixed nature of the data, which entails a mixed method of recording that Omeka provides.Using Omeka, it is possible to create a model in which the metadata displays the relations between texts, paintings, plays, movies, memes . . .etc.
It is important to point out that such a form of data recording is technically different from traditional static representations in two main aspects.First, it establishes the relationships that consolidate the conceptual frame of the study by relating the evolution of various adaptations of evil characters in media projections.Thus, it allows for an evolution of the discussion that can be utilized by other researchers in terms of a continuation or of a contradiction of the assumption.The second aspect of the metadata recording is the computational readability of the collection that can be implemented in an ontology or a linked data model (Pidd & Rogers, 2018).This aspect of the project is the true contribution to the body of research pertaining to DH as it presents the opportunity for further experimentation/research.On the one hand, the Omeka platform itself renders a model sampling content transformation with every media adaptation and allows for more analysis with different theories of assertion or refutation.On the other hand, the model itself can expand with further samples of media adaptations in the form of computational extensions with the linked data networks.However, while encouraging experimenting with media publications available online, copyright issues remain one of the main limitations facing research ventures.To overcome this limitation in the current project, the compiled sites are included as a metadata reference not of the actual manuscript, painting or movie; i.e., it points to its location rather than its true entity.As for the display of paintings, only the ones that were granted permission to use are included while there are tens of other paintings on display online.The discussion around copyright is one of the most important among the DH community with increased pressure for open-access resources and archives.Another strong rationale is certainly the distinction between commercial use, which is mostly hindered while allowing for research or teaching purposes under fair use licenses.
It should also be noted that the subjective nature of the Omeka platform poses another limitation as the results section depends on the researcher's interpretation.It offers a model of data collection that does not place emphasis on the end product or the final publication of the site.It rather becomes the process adopted by both researchers and students of the humanities to capture the qualitative view of data analysis that is creative on its own accord.In doing so, the research seeks to identify the potentials of web-based data in the field of humanities, while probing the biggest opportunities of Web 2.0 participatory prospects and the biggest obstacles such as copyright.
By creating a publishable platform embodying the remediation of four classic characters of evil, there is an assimilation of the established media entities that have monopolized media productions.The purpose of this study is to initiate interest in the use of DH tools that publish findings in the form of a dataset with metadata information that belongs to Web 3.0 in the very nature of the metadata recordings.What the metadata achieves is going beyond surface analysis into an active contribution in the body of knowledge offered by data analysis.It further contributes to the E-Infrastructure instigating new types of research questions (Paul & Lorna, 2013).You are free to: Share -copy and redistribute the material in any medium or format.Adapt -remix, transform, and build upon the material for any purpose, even commercially.The licensor cannot revoke these freedoms as long as you follow the license terms.
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Figure 2 samples a storage item of The Cyclops painting with the Dublin Core Metadata details.Still Image Item Type Metadata Original Format Oil Paint Physical Dimensions 814 × 1,033 pixels, file size: 243 KB, MIME type: image/jpeg) Collection Art and Paintings

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for authors in developing regions Submit your manuscript to a Cogent OA journal at www.CogentOA.com , the Cyclops Polyphemus spies on the sleeping Nereid Galathea from behind a tall mountain.The one-eyed giant's love remains unrequited, as Galathea prefers the river god Acis.The unnaturally large eye is the most conspicuous part of the painting.In Redon's work, the eye is often an all controlling, independent creature, a symbol of the human soul and of the mysterious, unknown inner world.