labors, and I want to end my comments by highlighting points made at the beginning of the book. I do not mean its introduction; I mean its acknowledgments. Porter begins by thanking the Internet before explaining, in a confessional tone, that she was not always able to track which digital surrogates from which libraries or which digital platforms she examined and quoted from. This is partly the result of her own research process and partly because, as she points out, platforms do not always “provide information about the specific physical copy or microfilm that was used to produce the digitized copy; and of course, different platforms often supply digital facsimiles of different physical copies” (x). While other scholars have explored the possibilities and problems of digitization, Porter’s acknowledgments, which point to her own inductive process, are crucial because she clearly identifies the problems and possibilities of doing book historical and materially-focused work in a digitized world. Rather than digital surrogates being a hidden secret, Porter points to the bibliographic elephant in the room. And while the issue of how best to conduct bibliographically-inflected research on Romanticism using digitized texts is not definitively decided—how could it be?—we are given a new way to frame it as Porter brings her own inductive research methods of extraction, recombination, and creation into focus. Like the authors addressed in Science, Form, and the Problem of Induction in British Romanticism, Porter herself shows us the tricky but productive consequences of showing our thought and research processes on the page, and the book persuasively suggests that Romanticism can teach us how to think, process, and create new texts and ideas today.

中文翻译：

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托马斯·H·福特的华兹华斯与空气诗学

劳动，我想通过强调本书开头提出的观点来结束我的评论。我的意思不是它的介绍；我的意思是它的致谢。波特首先感谢互联网，然后以一种忏悔的语气解释说，她并不总是能够跟踪哪些数字代理来自哪些图书馆或她检查和引用的哪些数字平台。这部分是她自己研究过程的结果，部分原因是，正如她指出的那样，平台并不总是“提供有关用于制作数字化副本的特定物理副本或缩微胶卷的信息；当然，不同的平台经常提供不同物理副本的数字传真”（x）。当其他学者探索了数字化的可能性和问题时，波特的承认指出了她自己的归纳过程，是至关重要的，因为她清楚地确定了在数字化世界中进行书籍历史和以物质为重点的工作的问题和可能性。Porter 指着房间里的书目大象，而不是数字代理是一个隐藏的秘密。虽然如何最好地使用数字化文本对浪漫主义进行书目影响研究的问题还没有最终决定——这怎么可能？——我们得到了一种新的方式来构建它，因为波特带来了她自己的提取、重组归纳研究方法，并以创作为重点。就像在英国浪漫主义的科学、形式和归纳问题中提到的作者一样，波特本人向我们展示了在页面上展示我们的思想和研究过程的棘手但富有成效的后果，