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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Christensen, Michael Stenksjær; Witt, Jeffrey C.; Zahnd, Ueli;
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archive ouverte UNIG...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Archive ouverte UNIGE
    Part of book or chapter of book . 2021
    https://doi.org/10.1515/978311...
    Part of book or chapter of book . 2021 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archive ouverte UNIG...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Archive ouverte UNIGE
      Part of book or chapter of book . 2021
      https://doi.org/10.1515/978311...
      Part of book or chapter of book . 2021 . Peer-reviewed
      Data sources: Crossref
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: PANZANELLI FRATONI, Maria Alessandra;
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Oxford University Re...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Oxford University Re...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Martens, Gunther; De Greve, Lore;

    In deze bijdrage willen we aan de hand van twee concrete gevalstudies in de Duitstalige context - de polemieken rond Stella van Takis Wurger (2019) en Miroloi van Karen Kohier (2019) - nagaan welke rol canonisering in het debat rond lezersrecensies speelt. Net zoals professionele critici verwijzen ook 'small critics' naar referentieteksten die een 'canon' vormen. Zowel Stella als Miroloi werden afgekraakt door professionele critici, maar warm onthaald door het publiek, dat de romans vurig verdedigde op sociale media. Achter het debat gaat een institutionele strijd schuil, want in beide gevallen hebben de uitgeverijen influencers ingezet om de boeken in de markt te zetten, een voorrecht dat voordien enkel professionele critici te beurt viel. Het onderzoek naar literaire kritiek concentreert zich wel vaker op de bedreiging die de literaire 'lekenkritiek' en de online boekencultuur al dan niet zou vormen voor de autoriteitspositie van professionele critici (Dorleijn et al. 2009; Löffler 2017; Schneider 2018; Kempke et al. 2019; Chong 2020) of op het recht op consecratie van literaire teksten door traditionele gatekeepers, zoals professionele critici, academies en prijzen. In dit artikel onderzoeken we zowel kwantitatief als kwalitatief welke referenties gebruikt worden door zowel professionele als platform-driven critici en hoe deze bijdragen tot het creëren van een referentiekader waarbinnen de evaluatie van literatuur op een pregnante manier kan worden gelegitimeerd en/of ondergraven. In this contribution, we aim to examine, based on two concrete case studies in the German-speaking context - the controversies surrounding Stella by Takis Wurger (2019) and Miroloi by Karen Kohier (2019) - the role that canonization plays in the debate around reader reviews. Similar to professional critics, 'small critics' also refer to reference texts that form a 'canon.' Both Stella and Miroloi were criticized by professional critics but warmly welcomed by the public, which ardently defended the novels on social media. Behind the debate lies an institutional struggle, as in both cases, publishers deployed influencers to market the books, a privilege that was previously reserved for professional critics. Research on literary criticism often focuses on the threat that literary 'lay criticism' and online book culture may or may not pose to the authoritative position of professional critics (Dorleijn et al. 2009; Löffler 2017; Schneider 2018; Kempke et al. 2019; Chong 2020) or on the right to consecration of literary texts by traditional gatekeepers, such as professional critics, academies, and awards. In this article, we investigate both quantitatively and qualitatively which references are used by both professional and platform-driven critics and how these contribute to creating a frame of reference within which the evaluation of literature can be legitimatized and/or undermined in a polemical manner.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Ghent University Aca...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Ghent University Aca...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Foulk, D;

    The financing of French resistance is one of the least studied aspects pertaining to France’s complex role in the Second World War. By understanding how, and by whom, French resistance forces were funded, both within and without France’s metropolitan borders, a fundamental reappraisal of the existing historiography of French resistance becomes possible. This work argues that, without concerted efforts by the British and U.S. governments and the Free French, this financing would not have been possible and, due to a lack of funds, nascent resistance activity would have been monetarily hampered, if not extinguished entirely. However, the development of these funding lines was convoluted and rendered difficult due to the transportation of agents and funds behind enemy lines. They were heavily impacted by political machinations and operational security protocols but, through the efforts of financial administrators, including intermediaries from the Bank of England, resistance activity in France was successfully supported by external funding from 1941. It has been established that many who participated in fundraising were not French nationals and money was transferred across the planet which eventually arrived in France through clandestine landings and airdrops. The thesis takes a transnational approach. By using digital humanities techniques, including social network analysis (S.N.A.) and geographic information systems (G.I.S.), alongside forensic accountancy of the Free French and Special Operations Executive (S.O.E.) accounts, the thesis seeks to ‘follow the money’ across the planet, from donor to end-recipient. Those receiving the funds included Maquis forces and British- and French-run networks in France. Having made use of a range of primary and secondary sources from France, Britain, the U.S.A. and Australia, this work builds upon the very limited existing historiography. Its primary sources include a 2017 interview with the late Daniel Cordier, the wartime secretary of Jean Moulin.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Oxford University Re...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Oxford University Re...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Maurizio Toscano; Manuel J. Cobo; Enrique Herrera-Viedma;

    La investigación en humanidades depende cada vez más de cómo se estructura y gestiona la información y de cómo, a partir de ella, se produce nuevo conocimiento. Además, los enfoques participativos, que a menudo utilizan los sistemas de información de la web como su infraestructura de soporte, han influido en las tendencias historiográficas más recien-tes, en particular en el marco metodológico de las humanidades digitales. El objetivo de este trabajo ha sido realizar, desde una perspectiva operativa y de implementación, una revisión de soluciones software comúnmente utilizadas para el desarrollo de sistemas de información web en proyectos de investigación en humanidades y patrimonio cultural, con el fin de proporcionar una visión de las distintas opciones disponibles, con sus aspectos positivos y sus limitaciones, también en función de diferentes necesidades a nivel usuario. Se ha llevado a cabo un análisis individual y comparativo de dieciséis paquetes software comúnmente utilizados en estos campos, ya sean genéricos o desarrollados para un dominio de investigación específico, considerando sus principales funciones, fortalezas y debilidades. Los resultados obtenidos facilitan una toma de decisiones crítica y razonada entre varias opciones disponibles, ofreciendo orientación a los creadores de esos sistemas, tanto investigadores como desarrolladores, y proporcionando también una base común de términos y casos de uso para facilitar su necesario diálogo. Research in the humanities increasingly depends on how information is structured and managed and how, on the basis of that information, new knowledge is produced. Additionally, participatory approaches, which often rely on web information systems as their supportive infrastructure, have made an impact on the most recent historiographical trends, in particular in the methodological framework of digital humanities. The aim of this paper was to produce, from an operational and implementation perspective, a review of software solutions frequently used to develop web information systems for research projects in humanities and cultural heritage, in order to provide an understanding of the various possibilities available and their positives and limitations, also based on different users’ requirements. An individual and comparative analysis of sixteen different application frameworks commonly used in these fields, either generic or developed for a specific research domain, has been carried out, considering their main functionalities, strengths, and weaknesses. The achieved results facilitate critical and reasoned decision-making among several available options, guiding the makers of those systems, both researcher(s) and developers(s), and providing them also with a common ground of terms and use cases to facilitate their necessary dialogue. Disruptive group decision making systems in fuzzy context: Applications in smart energy and people analytics, 2020-2023, Reference: PID2019-103880RB-I00, funded by MCIN/ AEI/10.13039/501100011033 New fuzzy systems for decision making: Applications in digital environments, 2021-2023, Reference: P20_00673, financed by Junta de Andalucía

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositorio Instituc...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    El profesional de la información
    Article . 2022 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositorio Instituc...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      El profesional de la información
      Article . 2022 . Peer-reviewed
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Buzzoni, Marina; Burgio, Eugenio; Modena, Martina; Simion, Samuela;

    By comparing the results obtained through traditional qualitative stemmatics with those obtained through computer-assisted quantitative stemmatology, when both approaches are applied to two authentic data sets (the Old English Anglo-Saxon Chronicle and a Latin epitome of Marco Polo’s Devisement dou Monde ), this study aims at bringing to the fore the advantages and the disadvantages of some recent methods for the automatic grouping of witnesses, most of which are based on phylogenetic models. The analysis will show that not all the methods provide results which can be considered reliable in light of the evidence offered by a thorough scrutiny of the documentary history of the texts under inspection. In particular, the majority of computer-assisted methods succeed in providing very good information for detecting the grouping of witnesses, as well as for a preliminary evaluation of their variant readings. Yet, few offer some valuable guidance as to define the sub-groups. This limitation becomes crucial when the existence of more than one codex interpositus has to be postulated, i.e. when the historical evidence makes it clear that the actual textual transmission cannot conform to the mathematical ideal of cladistic parsimony. The latter case is particularly evident with ‘closed’ recensions, where mechanical reconstruction plays a heavier role, and the choice of variants follows rigorous stemmatic steps. On the other hand, the application of computer-assisted methods to ‘open’ recensions seems to give better results.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archivio istituziona...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Digital Scholarship in the Humanities
    Article . 2016 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archivio istituziona...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Digital Scholarship in the Humanities
      Article . 2016 . Peer-reviewed
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Webster, Amy Marie;

    ‘The classic’ is a muddled, confused and conflicted term in children’s literature scholarship and educational policy. This thesis frames an analysis of the classic through a focus on ‘the series’, which is a dominant yet overlooked publishing phenomenon that aims to reproduce and repackage classic works. It takes a broader mixed methods approach that combines the analysis of a large corpus of series by publishers in the United Kingdom with case studies of individualised editions to interrogate three different facets of ‘the classic series’. The thesis maps and provides considerable insight into series of children’s classics, which have previously received little in-depth attention. It includes a database that constitutes a historical record of the classic series and a valuable resource for future scholarship. Chapter One analyses this database to answer the thesis’ principal research question: ‘what are the dominant trends in the classic series?’ It argues that series of classics are defined by variation and instability as publishers designate a wide variety of titles classics often driven by commercial concerns. Chapter Two explores how publishers abridge classic texts for inclusion in their series through a case study of editions of The Wind in the Willows. It uses corpus linguistics methods and close textual analysis to show how publishers consistently alter the written text of classic works for younger readers which radically impacts upon the experiential dynamics of the classics. Chapter Three focuses on how publishers repackage the classics as a series through a close study of the material aspects of books. It highlights how publishers’ packaging largely serves to diminish the classics by presenting them as uniform products rather than individual tales. This thesis exposes the significant gulf between the idea of a classic that is tied to notions of quality and the reality of how the term currently functions which is as a marketing tool. It concludes that publishers’ series are confusing what a classic is, which provides a reason for why scholarship on the classic is so vexed. The thesis recommends a critical approach towards children’s classics that acknowledges how this group of texts is fraught with complexities, lacks diversity and is tied to the commercial enterprise of the children’s book business. This research is of particular interest to educators and scholars of children’s literature as it provides a concrete and comprehensive understanding of the classics which are a privileged but historically unexplored group of texts.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Apolloarrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Apolloarrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Mattei, Elena;
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao IRIS - Università de...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao IRIS - Università de...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Giles, Lucas;

    This thesis reconstructs the interior spaces of mendicant churches from medieval Pisa, particularly utilising digital technologies to study destroyed choir screens. Known as *tramezzo* screens, they played a fundamental role in the formation of sacred space, serving to articulate various liturgical areas whilst containing significant works of devotional art. *Tramezzo* studies has become an important area of research in the field of Italian medieval art and architecture. However, minimal evidence for these structures survives above ground. Over the course of the fifteenth and sixteenth centuries, they were systematically removed from Italian churches, leaving little trace of their prior existence. Today, only a handful of surviving examples remain in situ. New reconstructions are proposed for three choir screens from Santa Caterina, San Francesco and Santa Maria del Carmine in Pisa. In combination with traditional archival research, emerging digital technologies are integral to the research methodology, particularly ground-penetrating radar, LiDAR scanning and 3D modelling techniques. The research is sub-divided into four principal parts. In Part I, a review of the *tramezzo* studies field is outlined. It is proposed that research has reached a ceiling in terms of documentary discoveries, with new technologies - specifically non-invasive archaeology - required to overcome the limitations in surviving physical evidence. Part II examines the Dominican church of Santa Caterina, providing a digital reconstruction of the church’s destroyed *pulpitum*, including its disposition of altars, artworks, and shrines circumnavigating the screen. This includes panel paintings by Lippo Memmi and Deodato Orlandi and a sepulchral monument comprising the tombs of Archbishop Simone Saltarelli and Fra Giordano. Part III focuses on San Francesco, presenting a hypothetical proposal for the screen including a pair of gabled panels by Giotto and Cimabue above the *tramezzo*. Finally, Part IV analyses the interior of Santa Maria del Carmine, outlining a hypothetical location for the destroyed *tramezzo*. A new 3D visualisation of Masaccio’s Pisa Polyptych is presented, an altarpiece which was described by Vasari on the screen. Two alternative hypotheses are presented for how the chapel may have appeared on the *tramezzo* based on the patron Giuliano degli Scarsi’s detailed but ambiguous records of the project.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Apolloarrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Apolloarrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Martelli, Jean-Thomas;

    This thesis focuses on everyday contemporary campus politics in Jawaharlal Nehru University (JNU), New Delhi. My central argument is that institutional territories of new social and ideological experimentation, such as this elite and predominantly social sciences and humanities campus, create the conditions for the reproduction of alternative political cultures, pertaining to the historical formation of such institutions. Current scholarship tends to discuss political choices of educated Indian youth in a context of caste, class, community and gender cleavages, as a result of parental upbringing or as a creative interpretation of phenomena such as liberalisation. The original contribution to knowledge of this work is to show that specific campus-based cultures need to be considered as distinct factors of politicisation, in particular when they are the training ground for under-represented political traditions. Through engaging critically with one’s social standings in light of contending left ideologies, young people in the JNU campus exhibit political activities and preferences that gradually distinguish them both from other youth and older generations. Consequently, features of political life are not only influenced by biographical components, but are renegotiated in light of selective political socialisation, carried on by one generation of activist to the next. Exposure to the Marxist-dominated activist culture of JNU fosters student politicisation and contributes to the widening of a political divide between conformist and heretic youth. The study is based on sixteen months of ethnographic fieldwork in JNU premises. Results obtained are complemented by a textual analysis of pamphlet discourses written by student organisations and a survey of political attitudes on campus. These contribute to the debates on student politics and the political participation of the educated youth in India. Ce travail ethnographique examine les pratiques de présentation de soi de la gauche indienne via une étude de l’engagement militant au jour le jour d’activistes de gauche sur les campus indiens. L’article s’intéresse aux dimensions performatives de la démocratie indienne et se propose de mettre en lumière l’apport politique des reconfigurations de soi et leur efficacité dans l’affirmation d’une légitimité de représentation.L’étude examine les « self-presentations » parmi des activistes de gauche membres de cinq organisations étudiantes marxistes rivales sur le campus de l’Université Jawaharlal Nehru à New Delhi. L’article montre que ces reconfigurations mettent en lumière des pratiques de déclassement social qui font écho à la notion de déclassification, un concept développé par le philosophe Jacques Rancière. Tout en embrassant un discours séculaire et l’héritage des martyrs politiques, l'analyse illustre comment les tentatives de façonnage du soi tentent d’effacer les signes et les habitudes attachées à des privilèges économiques et sociaux hérités, et ce via des positionnements ascétiques et sacrificiels. Réciproquement, de telles pratiques militantes se trouvent critiquées par des activistes appartenant au bas de l’échelle sociale et qui aspirent à l'élévation sociale, en particulier les membres des castes inférieures et les communautés musulmanes pauvres. Nous montrons que les conséquences de l’activisme degauche sont à la fois durables et renégociables, façonnant la vie sur les campus et les trajectoires sociales ultérieures. Bien que ces reconfigurations biographiques ne soient pas inspirées par un renoncement au monde propre à la tradition des ordres mendiants hindous, ces pratiques tendent à illustrer une fertilisation croisée sédimentée dans le temps entre ces idiomes et la praxis marxiste indienne.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Hyper Article en Lig...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Hyper Article en Lig...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Christensen, Michael Stenksjær; Witt, Jeffrey C.; Zahnd, Ueli;
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archive ouverte UNIG...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Archive ouverte UNIGE
    Part of book or chapter of book . 2021
    https://doi.org/10.1515/978311...
    Part of book or chapter of book . 2021 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archive ouverte UNIG...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Archive ouverte UNIGE
      Part of book or chapter of book . 2021
      https://doi.org/10.1515/978311...
      Part of book or chapter of book . 2021 . Peer-reviewed
      Data sources: Crossref
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: PANZANELLI FRATONI, Maria Alessandra;
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Oxford University Re...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Oxford University Re...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Martens, Gunther; De Greve, Lore;

    In deze bijdrage willen we aan de hand van twee concrete gevalstudies in de Duitstalige context - de polemieken rond Stella van Takis Wurger (2019) en Miroloi van Karen Kohier (2019) - nagaan welke rol canonisering in het debat rond lezersrecensies speelt. Net zoals professionele critici verwijzen ook 'small critics' naar referentieteksten die een 'canon' vormen. Zowel Stella als Miroloi werden afgekraakt door professionele critici, maar warm onthaald door het publiek, dat de romans vurig verdedigde op sociale media. Achter het debat gaat een institutionele strijd schuil, want in beide gevallen hebben de uitgeverijen influencers ingezet om de boeken in de markt te zetten, een voorrecht dat voordien enkel professionele critici te beurt viel. Het onderzoek naar literaire kritiek concentreert zich wel vaker op de bedreiging die de literaire 'lekenkritiek' en de online boekencultuur al dan niet zou vormen voor de autoriteitspositie van professionele critici (Dorleijn et al. 2009; Löffler 2017; Schneider 2018; Kempke et al. 2019; Chong 2020) of op het recht op consecratie van literaire teksten door traditionele gatekeepers, zoals professionele critici, academies en prijzen. In dit artikel onderzoeken we zowel kwantitatief als kwalitatief welke referenties gebruikt worden door zowel professionele als platform-driven critici en hoe deze bijdragen tot het creëren van een referentiekader waarbinnen de evaluatie van literatuur op een pregnante manier kan worden gelegitimeerd en/of ondergraven. In this contribution, we aim to examine, based on two concrete case studies in the German-speaking context - the controversies surrounding Stella by Takis Wurger (2019) and Miroloi by Karen Kohier (2019) - the role that canonization plays in the debate around reader reviews. Similar to professional critics, 'small critics' also refer to reference texts that form a 'canon.' Both Stella and Miroloi were criticized by professional critics but warmly welcomed by the public, which ardently defended the novels on social media. Behind the debate lies an institutional struggle, as in both cases, publishers deployed influencers to market the books, a privilege that was previously reserved for professional critics. Research on literary criticism often focuses on the threat that literary 'lay criticism' and online book culture may or may not pose to the authoritative position of professional critics (Dorleijn et al. 2009; Löffler 2017; Schneider 2018; Kempke et al. 2019; Chong 2020) or on the right to consecration of literary texts by traditional gatekeepers, such as professional critics, academies, and awards. In this article, we investigate both quantitatively and qualitatively which references are used by both professional and platform-driven critics and how these contribute to creating a frame of reference within which the evaluation of literature can be legitimatized and/or undermined in a polemical manner.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Ghent University Aca...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Ghent University Aca...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Foulk, D;

    The financing of French resistance is one of the least studied aspects pertaining to France’s complex role in the Second World War. By understanding how, and by whom, French resistance forces were funded, both within and without France’s metropolitan borders, a fundamental reappraisal of the existing historiography of French resistance becomes possible. This work argues that, without concerted efforts by the British and U.S. governments and the Free French, this financing would not have been possible and, due to a lack of funds, nascent resistance activity would have been monetarily hampered, if not extinguished entirely. However, the development of these funding lines was convoluted and rendered difficult due to the transportation of agents and funds behind enemy lines. They were heavily impacted by political machinations and operational security protocols but, through the efforts of financial administrators, including intermediaries from the Bank of England, resistance activity in France was successfully supported by external funding from 1941. It has been established that many who participated in fundraising were not French nationals and money was transferred across the planet which eventually arrived in France through clandestine landings and airdrops. The thesis takes a transnational approach. By using digital humanities techniques, including social network analysis (S.N.A.) and geographic information systems (G.I.S.), alongside forensic accountancy of the Free French and Special Operations Executive (S.O.E.) accounts, the thesis seeks to ‘follow the money’ across the planet, from donor to end-recipient. Those receiving the funds included Maquis forces and British- and French-run networks in France. Having made use of a range of primary and secondary sources from France, Britain, the U.S.A. and Australia, this work builds upon the very limited existing historiography. Its primary sources include a 2017 interview with the late Daniel Cordier, the wartime secretary of Jean Moulin.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Oxford University Re...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Oxford University Re...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Maurizio Toscano; Manuel J. Cobo; Enrique Herrera-Viedma;

    La investigación en humanidades depende cada vez más de cómo se estructura y gestiona la información y de cómo, a partir de ella, se produce nuevo conocimiento. Además, los enfoques participativos, que a menudo utilizan los sistemas de información de la web como su infraestructura de soporte, han influido en las tendencias historiográficas más recien-tes, en particular en el marco metodológico de las humanidades digitales. El objetivo de este trabajo ha sido realizar, desde una perspectiva operativa y de implementación, una revisión de soluciones software comúnmente utilizadas para el desarrollo de sistemas de información web en proyectos de investigación en humanidades y patrimonio cultural, con el fin de proporcionar una visión de las distintas opciones disponibles, con sus aspectos positivos y sus limitaciones, también en función de diferentes necesidades a nivel usuario. Se ha llevado a cabo un análisis individual y comparativo de dieciséis paquetes software comúnmente utilizados en estos campos, ya sean genéricos o desarrollados para un dominio de investigación específico, considerando sus principales funciones, fortalezas y debilidades. Los resultados obtenidos facilitan una toma de decisiones crítica y razonada entre varias opciones disponibles, ofreciendo orientación a los creadores de esos sistemas, tanto investigadores como desarrolladores, y proporcionando también una base común de términos y casos de uso para facilitar su necesario diálogo. Research in the humanities increasingly depends on how information is structured and managed and how, on the basis of that information, new knowledge is produced. Additionally, participatory approaches, which often rely on web information systems as their supportive infrastructure, have made an impact on the most recent historiographical trends, in particular in the methodological framework of digital humanities. The aim of this paper was to produce, from an operational and implementation perspective, a review of software solutions frequently used to develop web information systems for research projects in humanities and cultural heritage, in order to provide an understanding of the various possibilities available and their positives and limitations, also based on different users’ requirements. An individual and comparative analysis of sixteen different application frameworks commonly used in these fields, either generic or developed for a specific research domain, has been carried out, considering their main functionalities, strengths, and weaknesses. The achieved results facilitate critical and reasoned decision-making among several available options, guiding the makers of those systems, both researcher(s) and developers(s), and providing them also with a common ground of terms and use cases to facilitate their necessary dialogue. Disruptive group decision making systems in fuzzy context: Applications in smart energy and people analytics, 2020-2023, Reference: PID2019-103880RB-I00, funded by MCIN/ AEI/10.13039/501100011033 New fuzzy systems for decision making: Applications in digital environments, 2021-2023, Reference: P20_00673, financed by Junta de Andalucía

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositorio Instituc...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    El profesional de la información
    Article . 2022 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Repositorio Instituc...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      El profesional de la información
      Article . 2022 . Peer-reviewed
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