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1,122 Research products

  • Digital Humanities and Cultural Heritage
  • 2019-2023
  • Open Access
  • Norwegian Open Research Archives

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Astrid Rasch;

    This article uses a memory studies lens to explore the inherent tension in discourses that defend empire in postcolonial Britain. It argues that many Britons try to reconcile their awareness of colonial violence, racism, and exploitation with their wish to view themselves in a positive light. This at a time when the memory of empire continues to be associated with British national identity in the present. It studies three phenomena that characterize much engagement with the imperial past: firstly, the acknowledgement of imperial wrongs within otherwise celebratory accounts; secondly, the idea that there is an empire-critical master narrative against which one must present a counter-memory in order to keep the balance; and thirdly, the defence of individual Britons that allows for a depoliticized endorsement of empire and liberates contemporary Britain of guilt. It uses the rhetoric of a number of authors, filmmakers, and politicians as the point of departure to study the politics of remembering empire in postcolonial Britain. It finds that the celebration of empire does not happen in spite of but through an engagement with the criticism of empire.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ NTNU Open; Norwegian...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ NTNU Open; Norwegian...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ionut Cristi Nicu; Cristian Constantin Stoleriu;

    Abstract In this study, the land use around the Churches of Moldavia, UNESCO WH (World Heritage) sites, has been analysed using photo interpretation and GIS. The cartographic analysis used historical maps and modern orthophotos to highlight the main changes that took place over the last century in the area surrounding the sites, which has been extended to 1 km buffer. Historical maps and orthophotos of the years 1917, 2005, and 2016 have been processed to identify the present and historical changes in one of the most well-known historical areas of Eastern Europe. Monuments have a significant universal, national, and local value, contributing to the touristic development of the area. The most important processes that can affect the integrity of the monuments are the deforestations and the anthropogenic environmental changes. Significant changes took place around Probota, Humor, Patrauti and Arbore churches, while Sucevita, Voronet and Moldovita churches still preserve the natural landscape specific to the Bukovina historical area; Suceava church is part of a strongly urbanised landscape.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Norwegian Open Resea...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Norwegian Open Resea...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Line Cecilie Engh;

    This article uses analytical concepts from cognitive science to explore and deepen our understanding of how medieval monastics imagined themselves as characters within biblical narratives. It argues that Cistercian monks - and in particular Bernard of Clairvaux - used techniques of imaginative immersion to enter and blend themselves into biblical viewpoints and events, thereby engaging the monks in epistemically and personally transformative experiences. The article concludes that this served to build community and to enculture monks and converts. Specifically, the article offers a close reading of two of Bernard's liturgical sermons, Sermon Two for Palm Sunday and Sermon Two on the Resurrection, to show how his sermons 1) traverse time and space and 2) blend viewpoints. Examples are also taken from texts by John Cassian, Augustine, Gregory the Great, and William of St. Thierry. Keywords: Bernard of Clairvaux, blended viewpoint, deictic displacement, lectio divina, liturgical time and space.  On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Norwegian Open Resea...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Norwegian Open Resea...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Årstein Justnes; Josephine Munch Rasmussen;

    Abstract In the course of the last eighteen years more than 75 new “Dead Sea Scrolls” fragments have surfaced on the antiquities market. These are commonly referred to as post-2002 Dead Sea Scrolls-like fragments. A growing number of scholars regard a substantial part of them as forgeries. In this article, we will discuss four more dubious fragments, but this time from the 20th Century—or at least from pre-2002. Two of the fragments have been known since the late nineties and are published in the DJD series. One was published in Revue de Qumran (2003), and one in Gleanings from the Caves (2016). All four are today accepted as part of the Dead Sea Scrolls dataset even though they are unprovenanced and have made-up—or at least very adaptable—lists of previous owners. In this article, we will critically review their provenance and discuss the lack of proper interest in provenance on the part of the collector who owns them and the scholars who published them.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Agder University Res...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Dead Sea Discoveries
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Agder University Res...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Dead Sea Discoveries
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Andrea J. Nightingale; Lutgart Lenaerts; Ankita Shrestha; Pema Norbu Lama ‘Tsumpa’; +1 Authors

    Examining the boundaries of state–society–citizen–environment after the federal restructuring in Nepal, we ask how do people claim authority or citizenship rights? We theorise state power through the socio-environmental state framework as a set of socio-natural relations in the making, formed by struggles over authority, recognition and environment. Using qualitative data from Barpak, the epicentre of the 2015 earthquake, we capture the politics of natural resource governance that (re)emerged during earthquake reconstruction and local-level elections, illustrating how control over resources is negotiated, disputed, and inscribed in law (land titles and water sources) and landscapes (water sources, earthquake resettlement area, an open-air museum).

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Norwegian Open Resea...arrow_drop_down
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Brage NMBU
    Article . 2019
    Data sources: Brage NMBU
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Norwegian Open Resea...arrow_drop_down
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      Brage NMBU
      Article . 2019
      Data sources: Brage NMBU
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ian Peter Grohse; Stefan Magnussen;

    In August 1434, Erik VII, king of Denmark, Norway and Sweden, confirmed William Sinclair as earl of Orkney, thus ending a decade-long dispute over the hereditary nature of that island fief. Although surviving sources pertaining to Orkney tell us little about Erik VII’s motives, historians have traditionally pointed to circumstances in and around the isles to explain the king’s acknowledgement of William’s claims. In this article, it is argued that the events must be interpreted in light of a concurrent dispute over counts of Holstein’s hereditary claims to the duchy of Schleswig, which were vigorously denied by Erik VII. It can be concluded that the latter dispute influenced the debate over Orkney by making the hereditary enfeoffment of William Sinclair a strategic impossibility for Erik VII, who could not acknowledge one claim without opening the door for another. The king’s acquiescence of William’s claim in 1434, we contend, reflected changing conditions in Schleswig, where the king was forced to recognize the counts’ hereditary rights. The contribution offers a new take on Orkney’s late-medieval development and encourages that island principality’s inclusion in pan-Scandinavian events.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Munin - Open Researc...arrow_drop_down
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    Authors: Jerry Chun-Wei Lin; Yinan Shao; Ji Zhang; Unil Yun;

    Abstract Natural language processing is a useful processing technique of language data, such as text and speech. Sequence labeling represents the upstream task of many natural language processing tasks, such as machine translation, text classification, and sentiment classification. In this paper, the focus is on the sequence labeling task, in which semantic labels are assigned to each unit of a given input sequence. Two frameworks of latent variable conditional random fields (CRF) models (called LVCRF-I and LVCRF-II) are proposed, which use the encoding schema as a latent variable to capture the latent structure of the hidden variables and the observed data. Among the two designed models, the LVCRF-I model focuses on the sentence level, while the LVCRF-II works in the word level, to choose the best encoding schema for a given input sequence automatically without handcraft features. In the experiments, the two proposed models are verified by four sequence prediction tasks, including named entity recognition (NER), chunking, reference parsing and POS tagging. The proposed frameworks achieve better performance without using other handcraft features than the conventional CRF model. Moreover, these designed frameworks can be viewed as a substitution of the conventional CRF models. In the commonly used LSTM-CRF models, the CRF layer can be replaced with our proposed framework as they use the same training and inference procedure. The experimental results show that the proposed models exhibit latent variable and provide competitive and robust performance on all three sequence prediction tasks.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Erik Os Tengs; Johannes Einzinger; Pål-Tore Selbo Storli;

    The Francis-99 hydrofoil is simulated using a quasi two-way Fluid-Structure Interaction procedure. The structural domain is reduced by the use of modal decomposition, and solved for inside the commercial fluid solver ANSYS CFX. Both the first order Backward Euler and second order Crank-Nicolson time discretization scheme is used in the structural equations, with significantly different results. Several coupled fluid-structure phenomena is observed that would be unobtainable in a normal one-way approach. The most interesting is an "added stiffness" effect, where the eigenfrequency of the foil increases when the flow velocity is increased. This trend corresponds well with available experimental results. The same phenomenon is observed in the hydrodynamic damping on the foil. Self-induced vibration due to vortex shedding is also simulated with good results. The implemented two-way approach allows the different forcing terms to be tracked individually, due to the discretization of the second order structural system. This provides insight into the underlying physics behind the different FSI phenomena seen, and helps us explain why the damping and eigenfrequency characteristics change as the flow velocity passes the lock-in region. Content from this work may be used under the terms of theCreative Commons Attribution 3.0 licence. Any further distribution of this work must maintain attribution to the author(s) and the title of the work, journal citation and DOI. Published under licence by IOP Publishing Ltd

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    NTNU Open
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    Authors: R. Adriana Hernandez-Aguilar; Claudio Tennie; Alba Motes Rodrigo;

    AbstractAfter stone tools, bone tools are the most abundant artefact type in the Early Pleistocene archaeological record. That said, they are still relatively scarce, which limits our understanding of the behaviours that led to their production and use. Observations of extant primates constitute a unique source of behavioural data with which to construct hypotheses about the technological forms and repertoires exhibited by our hominin ancestors. We conducted two different experiments to investigate the behavioural responses of two groups of captive chimpanzees (Pan troglodytes; n = 33 and n = 9) to disarticulated, defleshed, ungulate bones while participating in a foraging task aimed at eliciting excavating behaviour. Each chimpanzee group was provided with bone specimens with different characteristics, and the two groups differed in their respective experience levels with excavating plant tools. We found that several individuals from the inexperienced group used the provided bones as tools during the task. In contrast, none of the individuals from the experienced group used bones as excavating tools, but instead continued using plant tools. These chimpanzees also performed non-excavating bone behaviours such as percussion and tool-assisted extraction of organic material from the medullary cavity. Our findings serve as a proof-of-concept that chimpanzees can be used to investigate spontaneous bone tool behaviours such as bone-assisted excavation. Furthermore, our results raise interesting questions regarding the role that bone characteristics, as well as previous tool-assisted excavating experience with other raw materials, might have in the expression of bone tool-assisted excavation.

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    Authors: Signe Oksefjell Ebeling;

    This article investigates the use and non-use of objects with six transitive verbs in a corpus of English football match reports. The verbs were selected on the basis of their frequency as well as their lexico-grammatical features of “footballness” and transitivity. The study suggests that object omission may not be as pervasive as hinted at in previous studies (e.g. Bergh and Ohlander 2016; Ruppenhofer and Michaelis 2010). Regarding potential reasons for object omission, it is uncovered that the football verbs-net, save, play-are more prone to object omission than the general verbs: feed, create, take. This is attributed to the strong attraction of the former to recurrent collocates such as goal and ball. This suggests that verbs used to report on unremarkable and canonical situations (to the game of football) more readily omit the object, albeit not on a general basis, as individual differences between the verbs also emerge.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Astrid Rasch;

    This article uses a memory studies lens to explore the inherent tension in discourses that defend empire in postcolonial Britain. It argues that many Britons try to reconcile their awareness of colonial violence, racism, and exploitation with their wish to view themselves in a positive light. This at a time when the memory of empire continues to be associated with British national identity in the present. It studies three phenomena that characterize much engagement with the imperial past: firstly, the acknowledgement of imperial wrongs within otherwise celebratory accounts; secondly, the idea that there is an empire-critical master narrative against which one must present a counter-memory in order to keep the balance; and thirdly, the defence of individual Britons that allows for a depoliticized endorsement of empire and liberates contemporary Britain of guilt. It uses the rhetoric of a number of authors, filmmakers, and politicians as the point of departure to study the politics of remembering empire in postcolonial Britain. It finds that the celebration of empire does not happen in spite of but through an engagement with the criticism of empire.

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    Authors: Ionut Cristi Nicu; Cristian Constantin Stoleriu;

    Abstract In this study, the land use around the Churches of Moldavia, UNESCO WH (World Heritage) sites, has been analysed using photo interpretation and GIS. The cartographic analysis used historical maps and modern orthophotos to highlight the main changes that took place over the last century in the area surrounding the sites, which has been extended to 1 km buffer. Historical maps and orthophotos of the years 1917, 2005, and 2016 have been processed to identify the present and historical changes in one of the most well-known historical areas of Eastern Europe. Monuments have a significant universal, national, and local value, contributing to the touristic development of the area. The most important processes that can affect the integrity of the monuments are the deforestations and the anthropogenic environmental changes. Significant changes took place around Probota, Humor, Patrauti and Arbore churches, while Sucevita, Voronet and Moldovita churches still preserve the natural landscape specific to the Bukovina historical area; Suceava church is part of a strongly urbanised landscape.

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    Authors: Line Cecilie Engh;

    This article uses analytical concepts from cognitive science to explore and deepen our understanding of how medieval monastics imagined themselves as characters within biblical narratives. It argues that Cistercian monks - and in particular Bernard of Clairvaux - used techniques of imaginative immersion to enter and blend themselves into biblical viewpoints and events, thereby engaging the monks in epistemically and personally transformative experiences. The article concludes that this served to build community and to enculture monks and converts. Specifically, the article offers a close reading of two of Bernard's liturgical sermons, Sermon Two for Palm Sunday and Sermon Two on the Resurrection, to show how his sermons 1) traverse time and space and 2) blend viewpoints. Examples are also taken from texts by John Cassian, Augustine, Gregory the Great, and William of St. Thierry. Keywords: Bernard of Clairvaux, blended viewpoint, deictic displacement, lectio divina, liturgical time and space.  On cover:Monks singing the Office and decorated initial A[sperges me.]. Gradual Olivetan Master (Use of the Olivetan Benedictines), illuminated manuscript on parchment ca. 1430-1439. Italy, Monastero di Santa Maria di Baggio near Milan, Ca 1400-1775.Beinecke Ms1184: The olivetan Gradual. Gradual. General Collection, Beinecke Rare Book and Manuscript Library, Yale University.

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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Norwegian Open Resea...arrow_drop_down
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    Authors: Årstein Justnes; Josephine Munch Rasmussen;

    Abstract In the course of the last eighteen years more than 75 new “Dead Sea Scrolls” fragments have surfaced on the antiquities market. These are commonly referred to as post-2002 Dead Sea Scrolls-like fragments. A growing number of scholars regard a substantial part of them as forgeries. In this article, we will discuss four more dubious fragments, but this time from the 20th Century—or at least from pre-2002. Two of the fragments have been known since the late nineties and are published in the DJD series. One was published in Revue de Qumran (2003), and one in Gleanings from the Caves (2016). All four are today accepted as part of the Dead Sea Scrolls dataset even though they are unprovenanced and have made-up—or at least very adaptable—lists of previous owners. In this article, we will critically review their provenance and discuss the lack of proper interest in provenance on the part of the collector who owns them and the scholars who published them.

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    Dead Sea Discoveries
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