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4 Research products

  • Digital Humanities and Cultural Heritage
  • 2019-2023
  • Open Access
  • Other research products
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  • Fundação para a Ciência e a Tecnologia, I.P.

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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: Arruda, Ana Margarida; Sousa, Elisa de; Dorado, Alberto;

    A cerâmica pintada de tipo Medellín, sendo rara no território actualmente português, encontra-se muito documentada em Santarém. Neste sítio do estuário do Tejo, registaram-se raros exemplares em níveis datados das últimas décadas do século VIII a.n.e., mas as taças hemisféricas com esta decoração são particularmente abundantes durante as duas centúrias seguintes, quando correspondem a 11% da cerâmica manual. Nos motivos, geométricos e vegetalistas, sobre-pintados sobre vermelho, utilizou-se a cor branca e amarela. As análises laboratoriais realizadas sobre estes vasos provaram que a grande maioria foi fabricada localmente, havendo, contudo, alguns fragmentos que podem ter sido importados. A cerâmica pintada de tipo Medellín de Santarém evidencia a profunda relação entre o estuário do Tejo e os territórios do Guadiana Médio e da Meseta Sul, relação que se iniciou no Bronze Final e que não se perde durante a 1ª Idade do Ferro. The Medellin style handmade wares, being rare in the Portuguese territory, are well documented in Santarém. In this site, located in the Tagus estuary, a few of these fragments were identified in levels dating from the last decades of the 8th century BCE, but the hemispherical cups with these painted decorations are particularly abundant during the VII and VI centuries, representing 11% of the hand made productions. Its motifs, geometric and vegetal, over-painted in red, had white and yellow tones. Laboratory analyzes made upon these vessels proved that the vast majority were locally manufactured, but there were some fragments that may have been imported. The Medellin style handmade wares of Santarém show the deep relation between the Tagus estuary and the innermost territories of the Middle Guadiana and the Southern Meseta, which began in the Late Bronze Age and was not lost during the Iron Age.

    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/ Universidade de Lisb...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/
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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/ Universidade de Lisb...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/
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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: Kamolphat, Atsawawaranunt; Comas-Bru, Laia;

    Files needed for Quality Control checks of the SISALworkbook_v12 (Comas-Bru and Harrison, 2019). This includes a Python script (wb_check_v12_compatible.py) for automatic checks and an R script (plot_agemodels_hiatus_v12) for manual checks. Instructions on how to run these scripts are provided in a README_instructions.txt file. See supplementary material of Comas-Bru et al (2020, https://doi.org/10.5194/essd-2020-39) for further information on the checks.

    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/ ZENODOarrow_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/
    ZENODO
    Other ORP type . 2020
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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/ ZENODOarrow_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/
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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: Falanga, Roberto; Nunes, Mafalda Corrêa;

    Collective collaboration between NGOs, associated and non-associated agents can capitalise knowledge, experience and expertise in initiatives for social change. This contribution focusses on forms of citizen engagement funded by international and local agencies for urban regeneration. Focus on the city of Lisbon allows to shed light on the multi-scale intersections between the international project “ROCK - Regeneration and Optimisation of Cultural heritage in creative and Knowledge cities” funded by the European Commission, and the programme for urban regeneration “BIPZIP - Bairros de Intervenção Prioritária Zonas de Intervenção Prioritária” promoted by the municipality of Lisbon. The international project and the local programme aim to engage foster collective collaborative actions for urban regeneration, with cultural heritage as the main driver in the ROCK project and socio-territorial cohesion as the core issue in the BIPZIP programme. Zooming in on the specific urban area of intervention between Marvila and Beato neighbourhoods, this contribution retrieves some inputs from the empirical knowledge collected within the ongoing research conducted by the authors in Lisbon. We argue that the lack of an integrated management between the project and the programme can be considered as emerging burdens due to limited multi-scale intersections between the project and the programme.

    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/ Universidade de Lisb...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/
    Universidade de Lisboa: Repositório.UL
    Other ORP type . 2019
    License: CC BY NC SA
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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/ Universidade de Lisb...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/
      Universidade de Lisboa: Repositório.UL
      Other ORP type . 2019
      License: CC BY NC SA
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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: Silva, Armando Malheiro Da; Protásio, Daniel Estudante;

    Desde o início do século XXI que a acumulação de estudos internacionais, nacionais e regionais, biográficos e documentais, sobre o tempo de D. Miguel, não conduz a um avanço sistémico e coordenado de conhecimento histórico. A inexistência de uma base de dados, "online", a que se possa aceder 24 horas por dia, nem de uma rede integrada de investigadores, segundo o princípio de vasos comunicantes, resulta em trabalhos meramente teóricos e desconhecedores da bibliografia recente. Daí a necessidade imperativa de um "Dicionário Crítico do Tempo de D. Miguel (1828-1834)", organizado segundo os modelos de sucesso que representam o "Dictionnaire Critique de la Révolution Française" e o "Dicionário de Historiadores Portugueses. Da Academia Real das Ciências ao Final do Estado Novo": na era digital, não faz sentido que o dicionarismo crítico fique remetido a edições impressas em papel. No presente texto, estruturam-se objectivos, metodologias, organização e problematização teórica deste projecto. Também se elabora um roteiro preliminar de fontes e se explana um estudo de caso sobre a epistolografia de uma figura em concreto (o visconde de Santarém), enquanto fonte privilegiada de conhecimento do tempo de D. Miguel. In the last two decades, the accumulation of international, national, regional, biographical and documental studies, regarding D. Miguel’s Time, doesn’t represent a systemic and coordinated evolution of historical knowledge. The non-existence of an online data base, available 24 hours a day, and of an integrated researchers’ network, according to the communication vessels’ principle, leads to mere theoretical studies, ignoring recent bibliography. Therefore, the imperative need of a "Critical Dictionary of D. Miguel’s Time (1828-1834)", organized according to the successful models of "Dictionnaire Critique de la Révolution Française" and of "Dicionário de Historiadores Portugueses". In the digital era, it doesn’t make sense that critical dictionaries are limited to printed editions. Objectives, methodologies, organization and theoretical problematization will be structured on this paper; a preliminary sources roadmap will be also included. Finally, a case study regarding the epistolography of an individual personality, the Viscount of Santarém, will be used, as privileged source of historical knowledge about D. Miguel’s Time. Porto de Lisboa

    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/ Universidade de Lisb...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/
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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/ Universidade de Lisb...arrow_drop_down
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4 Research products
  • 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: Arruda, Ana Margarida; Sousa, Elisa de; Dorado, Alberto;

    A cerâmica pintada de tipo Medellín, sendo rara no território actualmente português, encontra-se muito documentada em Santarém. Neste sítio do estuário do Tejo, registaram-se raros exemplares em níveis datados das últimas décadas do século VIII a.n.e., mas as taças hemisféricas com esta decoração são particularmente abundantes durante as duas centúrias seguintes, quando correspondem a 11% da cerâmica manual. Nos motivos, geométricos e vegetalistas, sobre-pintados sobre vermelho, utilizou-se a cor branca e amarela. As análises laboratoriais realizadas sobre estes vasos provaram que a grande maioria foi fabricada localmente, havendo, contudo, alguns fragmentos que podem ter sido importados. A cerâmica pintada de tipo Medellín de Santarém evidencia a profunda relação entre o estuário do Tejo e os territórios do Guadiana Médio e da Meseta Sul, relação que se iniciou no Bronze Final e que não se perde durante a 1ª Idade do Ferro. The Medellin style handmade wares, being rare in the Portuguese territory, are well documented in Santarém. In this site, located in the Tagus estuary, a few of these fragments were identified in levels dating from the last decades of the 8th century BCE, but the hemispherical cups with these painted decorations are particularly abundant during the VII and VI centuries, representing 11% of the hand made productions. Its motifs, geometric and vegetal, over-painted in red, had white and yellow tones. Laboratory analyzes made upon these vessels proved that the vast majority were locally manufactured, but there were some fragments that may have been imported. The Medellin style handmade wares of Santarém show the deep relation between the Tagus estuary and the innermost territories of the Middle Guadiana and the Southern Meseta, which began in the Late Bronze Age and was not lost during the Iron Age.

    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/ Universidade de Lisb...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/
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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/ Universidade de Lisb...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/
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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: Kamolphat, Atsawawaranunt; Comas-Bru, Laia;

    Files needed for Quality Control checks of the SISALworkbook_v12 (Comas-Bru and Harrison, 2019). This includes a Python script (wb_check_v12_compatible.py) for automatic checks and an R script (plot_agemodels_hiatus_v12) for manual checks. Instructions on how to run these scripts are provided in a README_instructions.txt file. See supplementary material of Comas-Bru et al (2020, https://doi.org/10.5194/essd-2020-39) for further information on the checks.

    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/ ZENODOarrow_drop_down
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    ZENODO
    Other ORP type . 2020
    License: CC BY
    Data sources: ZENODO
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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/ ZENODOarrow_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/
    Authors: Falanga, Roberto; Nunes, Mafalda Corrêa;

    Collective collaboration between NGOs, associated and non-associated agents can capitalise knowledge, experience and expertise in initiatives for social change. This contribution focusses on forms of citizen engagement funded by international and local agencies for urban regeneration. Focus on the city of Lisbon allows to shed light on the multi-scale intersections between the international project “ROCK - Regeneration and Optimisation of Cultural heritage in creative and Knowledge cities” funded by the European Commission, and the programme for urban regeneration “BIPZIP - Bairros de Intervenção Prioritária Zonas de Intervenção Prioritária” promoted by the municipality of Lisbon. The international project and the local programme aim to engage foster collective collaborative actions for urban regeneration, with cultural heritage as the main driver in the ROCK project and socio-territorial cohesion as the core issue in the BIPZIP programme. Zooming in on the specific urban area of intervention between Marvila and Beato neighbourhoods, this contribution retrieves some inputs from the empirical knowledge collected within the ongoing research conducted by the authors in Lisbon. We argue that the lack of an integrated management between the project and the programme can be considered as emerging burdens due to limited multi-scale intersections between the project and the programme.

    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/ Universidade de Lisb...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/
    Universidade de Lisboa: Repositório.UL
    Other ORP type . 2019
    License: CC BY NC SA
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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/ Universidade de Lisb...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/
      Universidade de Lisboa: Repositório.UL
      Other ORP type . 2019
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    Authors: Silva, Armando Malheiro Da; Protásio, Daniel Estudante;

    Desde o início do século XXI que a acumulação de estudos internacionais, nacionais e regionais, biográficos e documentais, sobre o tempo de D. Miguel, não conduz a um avanço sistémico e coordenado de conhecimento histórico. A inexistência de uma base de dados, "online", a que se possa aceder 24 horas por dia, nem de uma rede integrada de investigadores, segundo o princípio de vasos comunicantes, resulta em trabalhos meramente teóricos e desconhecedores da bibliografia recente. Daí a necessidade imperativa de um "Dicionário Crítico do Tempo de D. Miguel (1828-1834)", organizado segundo os modelos de sucesso que representam o "Dictionnaire Critique de la Révolution Française" e o "Dicionário de Historiadores Portugueses. Da Academia Real das Ciências ao Final do Estado Novo": na era digital, não faz sentido que o dicionarismo crítico fique remetido a edições impressas em papel. No presente texto, estruturam-se objectivos, metodologias, organização e problematização teórica deste projecto. Também se elabora um roteiro preliminar de fontes e se explana um estudo de caso sobre a epistolografia de uma figura em concreto (o visconde de Santarém), enquanto fonte privilegiada de conhecimento do tempo de D. Miguel. In the last two decades, the accumulation of international, national, regional, biographical and documental studies, regarding D. Miguel’s Time, doesn’t represent a systemic and coordinated evolution of historical knowledge. The non-existence of an online data base, available 24 hours a day, and of an integrated researchers’ network, according to the communication vessels’ principle, leads to mere theoretical studies, ignoring recent bibliography. Therefore, the imperative need of a "Critical Dictionary of D. Miguel’s Time (1828-1834)", organized according to the successful models of "Dictionnaire Critique de la Révolution Française" and of "Dicionário de Historiadores Portugueses". In the digital era, it doesn’t make sense that critical dictionaries are limited to printed editions. Objectives, methodologies, organization and theoretical problematization will be structured on this paper; a preliminary sources roadmap will be also included. Finally, a case study regarding the epistolography of an individual personality, the Viscount of Santarém, will be used, as privileged source of historical knowledge about D. Miguel’s Time. Porto de Lisboa

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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/ Universidade de Lisb...arrow_drop_down
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