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The aim of this article is to show how automatic morphological tools originally used to analyze native speaker data can be applied to process data from a learner corpus of Hungarian. We collected written data from 35 students majoring in Hungarian studies at the University of Zagreb, Croatia. The data were analyzed by magyarlanc, a sentence splitter, morphological analyzer, POS-tagger and dependency parser, which found 667 unknown word forms. We investigated the recommendations made by the Hungarian spellchecker hunspell for these unknown words and the correct forms were manually chosen. It was found that if the first suggestion made by hunspell was automatically accepted, an accuracy score of 82% could be attained. We also introduce our automatic error tagger, which makes use of our annotation scheme developed on the basis of the special characteristics of Hungarian morphology and learner language, and which is able to reliably locate and label morphological errors. peerReviewed

Hong Kong based Chinese artist Zheng Bo is committed to socially and ecologically engaged art. He investigates the past and imagines the future from the perspectives of marginalized communities and marginalized plants. He has worked with a number of museums and art spaces in Asia and Europe, most recently TheCube Project Space (Taipei), the Power Station of Art (Shanghai), the Sifang Art Museum (Nanjing), the Times Museum (Guangzhou), the Cass Sculpture Foundation (Chichester, UK), and Villa Vassilieff (Paris).

Wang Jiuliang is a Chinese photographer and video artist based in Beijing. Since 2008, he has been focusing on the issue of waste. From 2008 to 2013 he investigated more than 460 landfills around Beijing and made a 76-minute documentary film, Beijing Besieged by Waste, which attracted extensive media attention in China and abroad. Wang Jiulaing won a Gold Award as Outstanding Artist of the Year at the 2009 Lianzhou International Photography Festival. Since 2014, Wang Jiuliang launched an investigation on imported plastic wastes in China. In November 2016, Plastic China was awarded the 2016 IDFA Special Jury Award for First Appearance. He is regarded not only as an artist, but also as a social and environmental activist.

The Chinese artist Zhan Wang has been widely noted for his conceptual sculptural works. Through simulating rocks and rock-formation processes by using modern technology and materials, he interrogates the dichotomies between humanity and nature, humanity and technology, modernity and tradition, and development and preservation. In this conversation, Zhan reviewed the conception and making of his works that particularly dealing with rocks. He also explained his views on a series of issues such as ecological awareness, the environmental crisis, the social engagement of art and the blurring of boundaries between art and other fields.

peerReviewed

The Chinese artist Liang Shaoji has been working intensively with silkworms for almost 30 years. His abundant art practices under the Nature Series have become a unique phenomenon in Chinese contemporary art. Liang was awarded the Chinese Contemporary Art Award (CCAA) in 2002 and the Prince Claus Award in 2009. In this conversation, he discusses how he has transformed the life process of the silkworm into an artistic language to explore the relationship between human beings and non-human life. He also articulated the association between the Nature Series and philosophy, history and culture, highlighting the integrity of ecology and culture, an idea which has traditionally been highly valued in Chinese culture and art.

The HERIDI project (EU Heritage Diplomacy and the Dynamics of Inter-Heritage Dialogue) opens new horizons in the research of new diplomacy by investigating a gap in current research: the uses of heritage in EU foreign policy and international cultural relations. The project explores these uses as EU heritage diplomacy. HERIDI scrutinizes EU heritage diplomacy simultaneously as it is being developed and implemented by various actors in EU member states and external countries. This data set focuses on the project's Work Package 2 (concept analysis of policy documentation). The data set includes documents authored by EU institutions: the European External Action Service, the European Commission, the European Parliament, the Council of the European Union, the European Economic and Social Committee, and the European Committee of Regions. The documents were found from the European Union's database EUR-Lex and ordered into thematic files based on their author and/or search terms: “cultur*”, “heritage”, “diplomat*”, “diplomacy”, "intercultural dialogue", "cultural institute", and "EUNIC". The data collection was conducted between 27 October and 16 November 2020. The data include 224 documents.

This study is dedicated to one color exclusively: the color white. Thus, it provides an important contribution to the history of colors as well as to the meaning and the monochromatic use of white as a means of design in 20th century visual arts. Research is based on the assumption that in order to examine one single color it is not enough to exclusively apply methods thaf are restricted to problems that are intrinsic to the fine arts only. This study is therefore divided into two main sections, which in their methodological approach differ from each other as a matter of principle: the analysis on the phenomenon and the meaning of white as regards its content based relevance is followed by case studies on five artists whose main purpose is to stress the role, meaning, and phenomenon of the color white in their works of art. While the case studies follow a well approved method in art history, that is an essentially monographic approach, the previous theoretical research offers a rather novel and unorthodox approach in art history. The interdisciplinary character of research in the fleld of color disciplines suggests that both the phenomenon of the color white as well as its iconological relevance and psychological impact - i.e. the cognitive as well as the connotated knowledge on white - are of importance for a full understanding. The results of this theoretical research, which also looks beyond art history, therefore form a complex and valuable background for the comprehension of art. They provide the vantage point for further research: the examination of the factual consequences of the color white for the artist's application in his works and at the same time of the resulting impact on the recipient. This study on the color white was executed in order to offer answers to these issues. Five case studies on artists using white in varying ways and out of different motivations allow the critical evaluation of the previous results in the theoretical section: Kasimir Malewitsch: The Philosophy of a Non-Color Lucio Fontana: A Cut Into Infinity Piero Manzoni: Art Upside Down - A Re-Evaluation of His White Works Robert Ryman: "What you see is what you see" - And More Dan Flavin: White From the Socket Indem sich diese Studie einer einzelnen Farbe – Weiß – widmet, liefert sie einen wichtigen Beitrag zur Koloritgeschichte, als auch zu Bedeutung und monochromen Gebrauch von Weiß als Gestaltungsmittel in der bildenden Kunst im 20. Jahrhundert. Recherchen basieren auf der Überlegung, den Untersuchungen zu einer einzelnen Farbe nicht mit ausschließlich kunstimmanenten Mitteln gerecht werden zu können. Deshalb gliedert sich die vorliegende Arbeit in zwei Abschnitte, die sich in ihren methodologischen Untersuchungskriterien grundsätzlich unterscheiden: an die Recherchen zum Phänomen und zur inhaltlichen Bedeutungsebene der Farbe Weiß schließen sich Künstlerstudien an, die sowohl das Phänomen als auch die Bedeutung von Weiß in den jeweiligen Werken in den Vordergrund stellen. Während letztere unter anderem einer bewährten Vorgehensweise der kunstgeschichtlichen Untersuchung folgen, nämlich der größtenteils monographischen Herangehensweise, bereitet der vorangehende, theoretische Abschnitt im Gegensatz dant einen für die Kunstgeschichte in Teilen ungewöhnlichen Zugang zu Kunstwerken. Der interdisziplinäre Charakter der Farbforschung legt es nahe, sowohl das Phänomen Weiß, dessen ikonologischen Bedeutungsebenen sowie die psychologische Wirkung von Weiß, also kognitives wie auch konnotiertes Wissen, vorzustellen. Die theoretischen und damit auch jenieits der Kunstgeschichte angesiedelten Recherchen dieser Arbeit bilden eine unermesslich wertvolle Grundlage zum Verständnis von Kunst. Sie bereiten den Nährboden für weiterführende Untersuchungen: die der tatsächlichen Auswirkungen der Farbe Weiß auf Kunstschaffende wie auch den Rezipienten. Um Antworten auf diese Fragen zu finden, entstand diese Arbeit zur Farbe Weiß, ihrer phänomenologischen Belange und ikonologischen sowie psychologischen Bedeutungsebenen. Studien zu fünf auf unterschiedliche Weise in Weiß arbeitenden Künstler, dienen zur Überprufung der vorab gewonnenen Untersuchungsergebnisse: Kasimir Malewitsch: Philosophie einer Unfarbe Lucio Fontana: Der Schnitt in die Unendlichkeit Piero Manzoni: Kunst steht Kopf - Eine Neubewertung des weißen Werkes Robert Ryman: ,,What you see is what you see" - und mehr Dan Flavin: Weiß aus der Steckdose

The “historic turn” in management and organizational studies (MOS) called organizational theorists and historians to engage in discussions on how to best combine organizational theorizing and historical reasoning, methods, and evidence. Arguably, the collective effort of the emergent academic movement has recently resulted in interdisciplinary integration, which foregrounds a new methodological paradigm within MOS. However, history remains a marginal epistemic lens and mode of inquiry in the various research fields of MOS. An example of this trend is the field of corporate social responsibility (CSR), which focuses on the responsibilities of business to pursue its goals in a socially and environmentally acceptable manner. Despite the recognized importance of the past in shaping the present relationships between business and society, CSR scholars have largely sidestepped serious engagement with history. Motivated by this observation, this dissertation explores the CSR field to advance the interdisciplinary project. The dissertation comprises four individual articles, which engage in methodological, conceptual, and practical boundary-spanning work. First, Article I contributes through methodological boundary-spanning work to the overarching objectives of the interdisciplinary project. In particular, the article develops a historical research strategy in the context of CSR research. Starting from the epistemological challenge that historical research interprets the past from the present, the article recognizes the problems of theorizing from history (i.e., presentism). Instead of trying to avoid any presentism that precludes organizational theorizing from history, the article draws from historical hermeneutics and recent insights into abductive reasoning to reconsider the epistemological implications for theory-history relations. As a result, the article outlines the philosophical foundations necessary to embrace history as a reflexive space for interacting with organizational theory (i.e., history-as-elaborating). Second, Article II engages in conceptual boundary-spanning work by integrating history and CSR scholarship conceptually. While previous literature specified the challenge of overcoming discrepant disciplinary traditions, this article argues that another source of mutual misunderstanding arises at the field level where the progress of knowledge occurs. To facilitate a research agenda useful for an interdisciplinary community, the article exemplifies the recognition and reconciliation of conceptual assumptions and research traditions at both the disciplinary and field level. Third, Articles III and IV contribute to the practical objectives of the interdisciplinary project, that is, conducting archival-based historical research that aims to contribute to organizational theorizing. Empirically, both articles explore CSR topics at the intersection of business and society in the Swiss context (i.e., immigration, political turmoil). Methodologically, these two articles apply empirical-analytical approaches. Due to the lack of practical knowledge, the introduction of the dissertation includes a section in which I unpack the micro-processes of historical source analysis in the context of a theory-elaboration strategy. Together, these findings advance the collective goals of academic movement beyond the CSR context. In addition to elaborating on these insights, the critical commentary (i.e., introduction) surveys and assesses the accomplishments and the state of the art of the interdisciplinary project. It concludes by discussing potential pitfalls that could hamper the further prosperity of history within MOS.

The database contains information on 464 publicised British petitions (including petitions to parliament, instructions to members of parliament, and addresses to the Throne) and 65 replies, submitted in 1721 - 1776. Appendix 1 contains following information per petition: Year, location, subject, petitioners, receiver, replies, verbs defining petitioners' expectations, volume of published copies and sources. Appendix 2 contains following information per reply: Year, location, replier, position of the replier, recipient, position of the recipient, number of copies and sources.