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The following results are related to Digital Humanities and Cultural Heritage. Are you interested to view more results? Visit OpenAIRE - Explore.

  • Digital Humanities and Cultural Heritage
  • 2013-2022
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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: Bhattacharyya, Balaknath;

    Archeological sites are those places where past human activities have been observed. It has been observed that in most of the cases those past habitations were abandoned in the certain subsequent period due to multifarious reasons leaving various pieces of evidence of the presence of human settlements. But it has also been observed that there is no dearth of sites where till date there are continuous human habitations for more than thousand a years. In the article, there has been an earnest attempt to locate those habitations taking into account of the evidence we have had from different copper plate inscriptions found in West Bengal as well as searching out the reasons thereof.

    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
    Article . 2022
    License: CC BY
    Data sources: ZENODO
    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
    Article . 2022
    License: CC BY
    Data sources: Datacite
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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/
      ZENODO
      Article . 2022
      License: CC BY
      Data sources: ZENODO
      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
      Article . 2022
      License: CC BY
      Data sources: Datacite
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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: Gil, A.; Peralta, E.; Franchetti, F.; Neme, G.;

    Tabla de fechados radiocarbónicos del Sur de Mendoza.

    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
    Book . 2022
    License: CC BY
    Data sources: ZENODO
    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
    Book . 2022
    License: CC BY
    Data sources: Datacite
    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
    Book . 2022
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    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
      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
      Book . 2022
      License: CC BY
      Data sources: ZENODO
      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
      Book . 2022
      License: CC BY
      Data sources: Datacite
      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
      Book . 2022
      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/
    Authors: Ruiz Jiménez, Juan; Lizarán Rus, Ignacio José;

    In the evaluation of any Digital Humanities project, the two fundamental parameters are the quality of the project’s content and the analysis of its impact. Web analytics is the measurement, processing, analysis, and reporting of internet traffic in order to understand, analyze and optimize a website. While web analytics aims to quantify the extent to which a project’s original objectives have been achieved, it also offers us a starting point for designing structural improvements that enable us to continue to set new challenges. The large dataset provided by the web analytics tool Google Analytics for the digital platform Historical Soundscapes—from its online inception on September 21, 2015 to September 21, 2021—allows us to quantify such information as the number of users, their origin, their age profiles and gender, as well as user access routes and the behavior of users in the course of their visits to the site. While this analysis confirms the broad international reach achieved by our project, it also helps us to assess the effectiveness of the various actions we have taken to increase its visibility.

    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
    Part of book or chapter of book . 2022
    License: CC BY
    Data sources: Datacite
    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
    Part of book or chapter of book . 2022
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    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
      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
      Part of book or chapter of book . 2022
      License: CC BY
      Data sources: Datacite
      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
      Part of book or chapter of book . 2022
      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/
    Authors: Alexandra Florina Popa; Valerii Kavruk; Corneliu Beldiman;

    Fragments of mud dauber wasp’s nests dating from the Bronze Age (Noua culture, about 1500–1200 BC) from a Romanian archaeological site are described. The present discovery represents, to our knowledge, the first reported fragments of mud dauber nests recuperated from an archaeological site in Romania and probably among the rare ones from Europe. The archaeological site called Zoltan-“Nisipărie” is placed in the Covasna County, south-eastern Transylvania. The five fragments belong to two nests made by Sceliphron sp. wasps genus and they were described in terms of general and detailed morphology and morphometry. Two nest fragments preserve in situ secondary cells, showing evidence of nest reoccupation by other insects. Another important aspect of this discovery is the opportunity to extract and analyse a whole secondary cell from the original nest fragment. Various impressions of vegetal material (grass, straws etc.) and a seed on the nest fragments’ surface were observed using microscopic techniques. The preserved pieces recovered from archaeological investigations provide important data regarding the local environmental conditions during the recent period of Bronze Age in an anthropized environment of the Noua culture.

    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/ Travaux du Muséum Na...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/ Travaux du Muséum Na...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: Jones, Alun; Lozano, Diego; Koens, Ko; Smit, Bert; +8 Authors

    Practice abstracts and videos are often envisioned within the multi-actor approach (MAA), which is typical of Horizon 2020 projects and brings together a range of different stakeholders, spanning people from science, practice, or anyone who can help tackle the objectives of the project. All experience and knowledge are therefore taken into account and the partners co-create results together, to address real-life problems through innovative and intersectoral approaches. In this perspective, practice abstracts and videos are intended to communicate a short summary of information or recommendations that have been observed or developed during the lifetime of a project, as well as to provide good practices as role models for replication in other contexts. As part of SmartCulTour’s WP6, Task 6.4 included the production of practice abstracts and the recording of relevant videos on interventions that were identified in the SmartCulTour Labs for their relevance as interesting and insightful cultural tourism interventions, and were either taking place in the region and supported by the Lab’s activities, implemented within the SmartCulTour project or co-designed by Labs’ stakeholders for future implementation. These are innovative/promising direct and indirect interventions, or a combination thereof, for the sustainable development of cultural tourism, with potential/possible impacts on sustainability and resilience of the destination. Accordingly, each Lab Manager was requested to produce one or more practice abstracts and videos, by providing practical information and outlining the main objectives and findings related to the selected intervention(s). Deliverable 6.2 gathers the texts of the practice abstracts produced by each of the six SmartCulTour Living Labs, along with the links to access the videos on the SmartCulTour website and YouTube channel. Two typologies of videos were produced: presentation video(s) of each Living Lab, and videos showcasing the intervention(s) selected, designed and/or implemented by each of them. These materials were developed primarily with a communication purpose to facilitate information sharing with those who can directly apply the findings, namely cultural tourism practitioners, policy-makers, etc. Local stakeholders were also involved in the production of the practice videos, so as to let them shape the storytelling for their own destination, while leveraging local ownership of the interventions. In order to boost their dissemination and outreach, the practice abstracts are available both in English and in the Living Lab’s local language, while the videos are subtitled in English or in the local language, as needed.

    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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    Other literature type . 2022
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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/
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    Project deliverable . 2022
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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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      Other literature type . 2022
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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: González Doreste, Dulce María;

    This work analyses the theme of rape from a historical perspective by looking at late fifteenth and sixteenth-century records produced in the course and in the wake of the Querelle des Femmes debate. The characteristics associated to rape are studied especially when concerning illustrious women found in the collective catalogues of these authors. Specific attention is devoted to the lexicon used to describe sexual aggression, as well as to the exempla chosen from classical mythology, the Bible or ancient history, as is the case with Lucrecia. Although all of them share the rape element as a decisive aspect of these women's biographies, thussubjecting them to well known types, this work tries to detect the nuances in some particular descriptions and narrative options concerning the aggresion. Thus, by pointing out the manipulation of the rape tradition, we regard this textual body as endowed with a much widerrange of meanings and interpretations than it has usually been attributed. En este trabajo se trata el tema de la violación desde una perspectiva histórica, basandóse en textos de finales del siglo xv y xvi que fueron escritos en el marco de la Querelle des Femmes. Se analiza el tratamiento que se la da a la violación de algunas ilustres mujeres que forman parte de estos catálogos colectivos por parte de los autores, así como el léxico que se utiliza para hacer alusión a la agresión sexual. Los exempla seleccionados son tomados de la mitología clásica, la Biblia o la historia antigua, como es el caso de Lucrecia. Todos tienen en común que la violación es un aspecto destacable en la biografía de estas mujeres, que conforman estereotipos conocidos, pero la manipulación a los que se les somete por parte de los autores de estos tratados dan relecturas y puntos diferentes con respecto a la agresión sufrida.

    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/ Recolector de Cienci...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/
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    Authors: Klug, Helmut W.;

    Cooking recipes as historical source between food production and consumption The handwritten tradition of German cooking recipe texts before 1500 comprises about 5000 recipes that were written down from 1350 onwards. The texts mirror the eating habits of the upper class from the 10th to the 17th century. In the international research project CoReMA – Cooking Recipes of the Middle Ages, these texts were transcribed for a digital research corpus of the entire recipe corpus. Cooking recipes represent a major source for culinary history. They convey first hand how the staples produced in agriculture and imported via long-distance trade were processed into food. Cooking recipes document eating habits both in abstract form (as universal, basic recipe) and in temporal, regional and personal aspects (as individual renditions of a recipe). For the late medieval cooking recipe tradition, these data are available in the form of annotated ingredients and cooking tools, the provenance of the source manuscripts, the writing dialects, and the dates of origin. The individual recipes communicate certain eating habits, culinary preferences or combinations of ingredients. To some extent they also document social as well as diachronic change. In contrast to archaeological finds recipes communicate rather a theoretical approach towards foodstuffs. With the help of the data created in the CoReMA project, the presentation will focus on plant based ingredients. The questions covered will include: What are the plants named in the cooking recipes? What dishes are cooked with plants? How are these ingredients processed? What tools are used for processing? The presentation will on the one hand outline the text corpus as well as the potential the text type cooking recipe might provide for archaeological research. On the other, it will offer an overview of the food plants and their processing, but also a summary of the questions they raise.

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    Authors: Kemal Demir;

    Tarih boyunca siyasî varlığını sürdüren her devletin sahip olduğu istihbarat ve casusluk ağı zamanının güçlü Türk-İslâm devletlerinden biri olan Gazneliler’de de yer almıştır. Devletin kurucusu Sebük Tegin oğluna verdiği öğütte her yere casuslar göndermesini ve ona göre tedbirler almasını söylemiştir. Bir devlet geleneği olduğu anlaşılan bu husus devletin yıkılışına kadar devam etmiş ve Gazneli sultanları casuslar kullanmaktan çekinmemiştir. Bu araştırmada Gazneli Devleti’nin istihbarat teşkilatına değinilmemiş, kaynaklarda “casusluk” olarak zikredebileceğimiz uygulamalar üzerinde durulmuştur. Kaynaklarda doğrudan casuslukla alakalı bilgiler kısıtlıdır. Çoğu zaman “haber aldı”, “haber verdi”, “haberi oldu”, “duydu”, “bilgilendirildi” gibi kelimeler kullanılmakta olup elde edilen bilgilerin istihbarat ve casuslukla alakalı olduğu anlaşılmaktadır. Fakat genellikle bu gibi durumlarda ne olduğu açıkça zikredilmediği gibi bu bilgilerin nasıl elde edildiği de bazen anlaşılamamaktadır. Bu yüzden bu yapılan bu çalışmada sultanların, şehzadelerin ve devlet adamlarının casusları nereye, ne amaçla görevlendirdikleri ve elde ettikleri malumatla ne kararlar aldığı gibi hususlar üzerinde durulacaktır.

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    From page 2 to page 6. This project has received funding from the European Union's Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No 892230. The PI is Francesca Saggini. See CORDIS website at https://cordis.europa.eu/project/id/892230

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    Authors: García Porras, Alberto; Busto Zapico, Miguel;

    One of the artistic aspects for which the Alhambra stands out is undoubtedly the decoration of its walls. It has long been noted that from a structural point of view the palaces were built with simple materials and techniques. It is common for their walls to be built of stone (masonry), brick or earth mixed with lime (tapial). However, the covering of these walls did give the builders of the Alhambra creative freedom. The internal walls of the various rooms of the Alhambra are profusely decorated with glazed ceramic pieces in plinths or plasterwork of different types on them. There is also no shortage of ceramic flooring or the application of decorated ceramic pieces on steps or, less frequently, on ceilings and roofs. The aim of this work is to carry out a preliminary study of the techniques and decorative motifs of the materials in the Museum's collection, distinguishing the different groups of ceramic pieces used as wall and floor coverings from the Nasrid period, when the first ceramic tile collections are documented, to the modern period. This chapter, therefore, should be understood as an initial, concise analysis, as the volume of material housed in the Museum is extraordinarily large, and the institution and researchers are strongly encouraged to promote and undertake detailed analyses of these materials, as they are of great interest. Uno de los aspectos artísticos por los que destaca la Alhambra es, sin duda, por la decoración de sus paredes. Se ha señalado desde hace tiempo que desde el punto de vista estructural los palacios estaban construidos con materiales y técnicas sencillas. Suele ser habitual que sus muros estén construidos con piedra (mampostería), ladrillo o tierra mezclada con cal (tapial). Si embargo, el recubrimiento de estas paredes sí que otorgaba libertad creativa a los constructores de la Alham bra. Los muros internos de las distintas salas alhambreñas aparecen profusamente decorados con piezas de cerámica vidriada en zócalos o yeserías de distinto tipo sobre ellos. No faltan tampoco los pavimentos solados con cerámica o la aplicación de piezas cerámicas decoradas en escalones o, esta vez menos frecuente, en techos y cubiertas.

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    Authors: Bhattacharyya, Balaknath;

    Archeological sites are those places where past human activities have been observed. It has been observed that in most of the cases those past habitations were abandoned in the certain subsequent period due to multifarious reasons leaving various pieces of evidence of the presence of human settlements. But it has also been observed that there is no dearth of sites where till date there are continuous human habitations for more than thousand a years. In the article, there has been an earnest attempt to locate those habitations taking into account of the evidence we have had from different copper plate inscriptions found in West Bengal as well as searching out the reasons thereof.

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    Authors: Gil, A.; Peralta, E.; Franchetti, F.; Neme, G.;

    Tabla de fechados radiocarbónicos del Sur de Mendoza.

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    Authors: Ruiz Jiménez, Juan; Lizarán Rus, Ignacio José;

    In the evaluation of any Digital Humanities project, the two fundamental parameters are the quality of the project’s content and the analysis of its impact. Web analytics is the measurement, processing, analysis, and reporting of internet traffic in order to understand, analyze and optimize a website. While web analytics aims to quantify the extent to which a project’s original objectives have been achieved, it also offers us a starting point for designing structural improvements that enable us to continue to set new challenges. The large dataset provided by the web analytics tool Google Analytics for the digital platform Historical Soundscapes—from its online inception on September 21, 2015 to September 21, 2021—allows us to quantify such information as the number of users, their origin, their age profiles and gender, as well as user access routes and the behavior of users in the course of their visits to the site. While this analysis confirms the broad international reach achieved by our project, it also helps us to assess the effectiveness of the various actions we have taken to increase its visibility.

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    Authors: Alexandra Florina Popa; Valerii Kavruk; Corneliu Beldiman;

    Fragments of mud dauber wasp’s nests dating from the Bronze Age (Noua culture, about 1500–1200 BC) from a Romanian archaeological site are described. The present discovery represents, to our knowledge, the first reported fragments of mud dauber nests recuperated from an archaeological site in Romania and probably among the rare ones from Europe. The archaeological site called Zoltan-“Nisipărie” is placed in the Covasna County, south-eastern Transylvania. The five fragments belong to two nests made by Sceliphron sp. wasps genus and they were described in terms of general and detailed morphology and morphometry. Two nest fragments preserve in situ secondary cells, showing evidence of nest reoccupation by other insects. Another important aspect of this discovery is the opportunity to extract and analyse a whole secondary cell from the original nest fragment. Various impressions of vegetal material (grass, straws etc.) and a seed on the nest fragments’ surface were observed using microscopic techniques. The preserved pieces recovered from archaeological investigations provide important data regarding the local environmental conditions during the recent period of Bronze Age in an anthropized environment of the Noua culture.

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    Authors: Jones, Alun; Lozano, Diego; Koens, Ko; Smit, Bert; +8 Authors

    Practice abstracts and videos are often envisioned within the multi-actor approach (MAA), which is typical of Horizon 2020 projects and brings together a range of different stakeholders, spanning people from science, practice, or anyone who can help tackle the objectives of the project. All experience and knowledge are therefore taken into account and the partners co-create results together, to address real-life problems through innovative and intersectoral approaches. In this perspective, practice abstracts and videos are intended to communicate a short summary of information or recommendations that have been observed or developed during the lifetime of a project, as well as to provide good practices as role models for replication in other contexts. As part of SmartCulTour’s WP6, Task 6.4 included the production of practice abstracts and the recording of relevant videos on interventions that were identified in the SmartCulTour Labs for their relevance as interesting and insightful cultural tourism interventions, and were either taking place in the region and supported by the Lab’s activities, implemented within the SmartCulTour project or co-designed by Labs’ stakeholders for future implementation. These are innovative/promising direct and indirect interventions, or a combination thereof, for the sustainable development of cultural tourism, with potential/possible impacts on sustainability and resilience of the destination. Accordingly, each Lab Manager was requested to produce one or more practice abstracts and videos, by providing practical information and outlining the main objectives and findings related to the selected intervention(s). Deliverable 6.2 gathers the texts of the practice abstracts produced by each of the six SmartCulTour Living Labs, along with the links to access the videos on the SmartCulTour website and YouTube channel. Two typologies of videos were produced: presentation video(s) of each Living Lab, and videos showcasing the intervention(s) selected, designed and/or implemented by each of them. These materials were developed primarily with a communication purpose to facilitate information sharing with those who can directly apply the findings, namely cultural tourism practitioners, policy-makers, etc. Local stakeholders were also involved in the production of the practice videos, so as to let them shape the storytelling for their own destination, while leveraging local ownership of the interventions. In order to boost their dissemination and outreach, the practice abstracts are available both in English and in the Living Lab’s local language, while the videos are subtitled in English or in the local language, as needed.

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    Authors: González Doreste, Dulce María;

    This work analyses the theme of rape from a historical perspective by looking at late fifteenth and sixteenth-century records produced in the course and in the wake of the Querelle des Femmes debate. The characteristics associated to rape are studied especially when concerning illustrious women found in the collective catalogues of these authors. Specific attention is devoted to the lexicon used to describe sexual aggression, as well as to the exempla chosen from classical mythology, the Bible or ancient history, as is the case with Lucrecia. Although all of them share the rape element as a decisive aspect of these women's biographies, thussubjecting them to well known types, this work tries to detect the nuances in some particular descriptions and narrative options concerning the aggresion. Thus, by pointing out the manipulation of the rape tradition, we regard this textual body as endowed with a much widerrange of meanings and interpretations than it has usually been attributed. En este trabajo se trata el tema de la violación desde una perspectiva histórica, basandóse en textos de finales del siglo xv y xvi que fueron escritos en el marco de la Querelle des Femmes. Se analiza el tratamiento que se la da a la violación de algunas ilustres mujeres que forman parte de estos catálogos colectivos por parte de los autores, así como el léxico que se utiliza para hacer alusión a la agresión sexual. Los exempla seleccionados son tomados de la mitología clásica, la Biblia o la historia antigua, como es el caso de Lucrecia. Todos tienen en común que la violación es un aspecto destacable en la biografía de estas mujeres, que conforman estereotipos conocidos, pero la manipulación a los que se les somete por parte de los autores de estos tratados dan relecturas y puntos diferentes con respecto a la agresión sufrida.

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    Authors: Klug, Helmut W.;

    Cooking recipes as historical source between food production and consumption The handwritten tradition of German cooking recipe texts before 1500 comprises about 5000 recipes that were written down from 1350 onwards. The texts mirror the eating habits of the upper class from the 10th to the 17th century. In the international research project CoReMA – Cooking Recipes of the Middle Ages, these texts were transcribed for a digital research corpus of the entire recipe corpus. Cooking recipes represent a major source for culinary history. They convey first hand how the staples produced in agriculture and imported via long-distance trade were processed into food. Cooking recipes document eating habits both in abstract form (as universal, basic recipe) and in temporal, regional and personal aspects (as individual renditions of a recipe). For the late medieval cooking recipe tradition, these data are available in the form of annotated ingredients and cooking tools, the provenance of the source manuscripts, the writing dialects, and the dates of origin. The individual recipes communicate certain eating habits, culinary preferences or combinations of ingredients. To some extent they also document social as well as diachronic change. In contrast to archaeological finds recipes communicate rather a theoretical approach towards foodstuffs. With the help of the data created in the CoReMA project, the presentation will focus on plant based ingredients. The questions covered will include: What are the plants named in the cooking recipes? What dishes are cooked with plants? How are these ingredients processed? What tools are used for processing? The presentation will on the one hand outline the text corpus as well as the potential the text type cooking recipe might provide for archaeological research. On the other, it will offer an overview of the food plants and their processing, but also a summary of the questions they raise.

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    Authors: Kemal Demir;

    Tarih boyunca siyasî varlığını sürdüren her devletin sahip olduğu istihbarat ve casusluk ağı zamanının güçlü Türk-İslâm devletlerinden biri olan Gazneliler’de de yer almıştır. Devletin kurucusu Sebük Tegin oğluna verdiği öğütte her yere casuslar göndermesini ve ona göre tedbirler almasını söylemiştir. Bir devlet geleneği olduğu anlaşılan bu husus devletin yıkılışına kadar devam etmiş ve Gazneli sultanları casuslar kullanmaktan çekinmemiştir. Bu araştırmada Gazneli Devleti’nin istihbarat teşkilatına değinilmemiş, kaynaklarda “casusluk” olarak zikredebileceğimiz uygulamalar üzerinde durulmuştur. Kaynaklarda doğrudan casuslukla alakalı bilgiler kısıtlıdır. Çoğu zaman “haber aldı”, “haber verdi”, “haberi oldu”, “duydu”, “bilgilendirildi” gibi kelimeler kullanılmakta olup elde edilen bilgilerin istihbarat ve casuslukla alakalı olduğu anlaşılmaktadır. Fakat genellikle bu gibi durumlarda ne olduğu açıkça zikredilmediği gibi bu bilgilerin nasıl elde edildiği de bazen anlaşılamamaktadır. Bu yüzden bu yapılan bu çalışmada sultanların, şehzadelerin ve devlet adamlarının casusları nereye, ne amaçla görevlendirdikleri ve elde ettikleri malumatla ne kararlar aldığı gibi hususlar üzerinde durulacaktır.

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    From page 2 to page 6. This project has received funding from the European Union's Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No 892230. The PI is Francesca Saggini. See CORDIS website at https://cordis.europa.eu/project/id/892230

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    Authors: García Porras, Alberto; Busto Zapico, Miguel;

    One of the artistic aspects for which the Alhambra stands out is undoubtedly the decoration of its walls. It has long been noted that from a structural point of view the palaces were built with simple materials and techniques. It is common for their walls to be built of stone (masonry), brick or earth mixed with lime (tapial). However, the covering of these walls did give the builders of the Alhambra creative freedom. The internal walls of the various rooms of the Alhambra are profusely decorated with glazed ceramic pieces in plinths or plasterwork of different types on them. There is also no shortage of ceramic flooring or the application of decorated ceramic pieces on steps or, less frequently, on ceilings and roofs. The aim of this work is to carry out a preliminary study of the techniques and decorative motifs of the materials in the Museum's collection, distinguishing the different groups of ceramic pieces used as wall and floor coverings from the Nasrid period, when the first ceramic tile collections are documented, to the modern period. This chapter, therefore, should be understood as an initial, concise analysis, as the volume of material housed in the Museum is extraordinarily large, and the institution and researchers are strongly encouraged to promote and undertake detailed analyses of these materials, as they are of great interest. Uno de los aspectos artísticos por los que destaca la Alhambra es, sin duda, por la decoración de sus paredes. Se ha señalado desde hace tiempo que desde el punto de vista estructural los palacios estaban construidos con materiales y técnicas sencillas. Suele ser habitual que sus muros estén construidos con piedra (mampostería), ladrillo o tierra mezclada con cal (tapial). Si embargo, el recubrimiento de estas paredes sí que otorgaba libertad creativa a los constructores de la Alham bra. Los muros internos de las distintas salas alhambreñas aparecen profusamente decorados con piezas de cerámica vidriada en zócalos o yeserías de distinto tipo sobre ellos. No faltan tampoco los pavimentos solados con cerámica o la aplicación de piezas cerámicas decoradas en escalones o, esta vez menos frecuente, en techos y cubiertas.

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