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There have been significant recent developments in the OA publishing world, and an increasing focus on monographs in particular. There are a number of existing and emerging OA monograph policies, which are leading to an increased focus on business models. Given this dynamic landscape, it was felt that a more in-depth understanding was needed of European monograph publishers’ current business models for open access, their challenges, and their views on how infrastructure for open access monographs could be improved. This white paper builds on the previous OPERAS Business Models Special Interest Group white paper on Business Models for Open Access (Speicher, et al., 2018). In particular, OPERAS wished to gain a better understanding about how the social sciences and humanities (SSH) publishing community applies or could apply collaborative models for open access books, and what issues it encounters in this context. We further wanted to recognise the challenges publishers faced when engaging with or thinking about engaging in collaborative models for OA books. Are there sufficient funds, enough human resources? Are relevant infrastructures in place? What kind of support is needed? This white paper reports on an OPERAS survey, which was held between February and April 2021 and was designed to serve two core aims: To further our understanding of the scholarly publishing landscape and of the challenges that publishers face in the context of publishing OA monographs. To identify main trends (including opportunities and challenges) and the knowledge of collaborative funding and infrastructure models in OA publishing in SSH. The survey received a total of 77 responses from 17 countries: 14 EU states, the UK, Norway, and the United States. The results provide a more comprehensive insight into how OPERAS can make a tangible change and best support the community in building sustainable paths of transition towards collaborative models for open access books. This white paper presents some early observations from the preliminary analysis of the findings.

This report discusses the scholarly communication issues in Social Sciences and Humanities that are relevant to the future development and functioning of OPERAS. The outcomes collected here can be divided into two groups of innovations regarding 1) the operation of OPERAS, and 2) its activities. The “operational” issues include the ways in which an innovative research infrastructure should be governed (Chapter 1) as well as the business models for open access publications in Social Sciences and Humanities (Chapter 2). The other group of issues is dedicated to strategic areas where OPERAS and its services may play an instrumental role in providing, enabling, or unlocking innovation: FAIR data (Chapter 3), bibliodiversity and multilingualism in scholarly communication (Chapter 4), the future of scholarly writing (Chapter 5), and quality assessment (Chapter 6). Each chapter provides an overview of the main findings and challenges with emphasis on recommendations for OPERAS and other stakeholders like e- infrastructures, publishers, SSH researchers, research performing organisations, policy makers, and funders. Links to data and further publications stemming from work concerning particular tasks are located at the end of each chapter.

Arheološko nalazište broda potonulog kod otočića Gnalića na ulazu u Pašmanski kanal jedno je od najpoznatijih europskih i svjetskih lokaliteta. Očuvanost jedinstvene građe arheološkog nalazišta omogućuje proučavanje plovidbe, brodogradnje i međunarodne trgovine Venecije na zalasku renesanse. U kasnu jesen 1583, trgovački brod Gagliana grossa isplovio je iz Venecije natovaren raznovrsnom robom, s ciljem dostizanja luke Carigrada. Teret broda su činili mahom cijenjeni proizvodi europskih radionica, poput mjedenih svijećnjaka, široke ponude staklenih predmeta, sitnih predmeta za svakodnevnu upotrebu te tekstila. Među trgovačkim teretom je ukrcana i velika količina sirovina za izradu boje. Pronalazak sirovina u svojoj originalnoj ambalaži osobito je značajan budući da je moguće vizualizirati izgled sirovina i njihov način transporta, što je do sada bilo poznato samo temelju podataka iz pisanih povijesnih izvora. Potonuli brod nalazi se na jugoistočnoj padini otočića Gnalića na dubini od 26 do 30 metra. Premda je istraživan u kampanjama 1967., 1968., 1972., 1973. i 1996. godine, sustavno se istražuje tek od 2012. godine u sklopu projekta Brodolom kod Gnalića – ogledalo renesansnog svijeta pod vodstvom Irene Radić Rossi s Odjela za arheologiju Sveučilišta u Zadru. Istraživanja povijesnih dokumenata u Državnom arhivu u Veneciji, koja se odvijaju paralelno s podvodnim istraživanjima, otkrila su niz detalja o životnom vijeku broda Lazzara, Moceniga i Bassadona, nakon promjene vlasnika poznatog kao Gagliana grossa. Arhivski dokumenti su iznijeli na vidjelo podatke o posljednjem trgovačkom pothvatu broda, ali i niz informacija o posadi, teretu, životu kapetana, brodskog pisara i posljednjeg vlasnika. Cilj doktorske disertacije je dokumentirati, istražiti i proučiti sirovine za proizvodnju boje koje su činile dio tereta potonulog broda. Doktorska disertacija prikuplja rezultate arheoloških istraživanja, rezultate karakterizacije materijala provedene putem kemijskih analiza, te podatke iz sekundarnih povijesnih izvora, s ciljem boljeg razumijevanja proizvodnje, trgovine i pomorskog transporta ovog osebujnog tereta. Sirovine za proizvodnju boja se zatim kritički obrađuju u okviru mediteranskog kulturno-povijesnog i gospodarskog konteksta 16. stoljeća. Od samih početaka istraživanja tijekom 60-ih i 70-ih godina, na lokalitetu je zabilježena zamjetna količina sirovina i poluproizvoda upakiranih u drvene bačve i kutije. Nalazi sirovina po prvi put su objavljeni 1970. godine u radu O sirovinama, autora Ive Keleza, u publikaciji Vrulje 1: Glasilo Narodnog Muzeja u Zadru. Iako je riječ o jedinstvenom arheološkom nalazu materijala za bojanje sačuvanog u količinama namijenjenim velikom tržištu, nitko u znanstvenim krugovima nije se detaljnije posvetio ovoj tematici. Interes za ovom vrstom nalaza ponovo je iskazan tek tijekom podvodnih istraživanja u razdoblju od 2012. do 2014. godine kada su se pod sedimentom počeli nazirati obrisi bačvi ispunjenih nepoznatim sadržajem. Preliminarne analize prikupljenih uzoraka provedene su na Odsjeku za geologiju Prirodoslovno-matematičkog fakulteta Sveučilišta u Zagrebu. Radi potrebe istraživanja i izrade doktorske disertacije, ispitivanje sastava uzoraka materijala nastavljeno je u 2018. godini u Interdisciplinarnom centru za konzervaciju i restauraciju kulturne baštine (CICRP) u Marseilleu, u Francuskoj, te u 2019. godini u laboratoriju Ateliergebouw u Amsterdamu, u Nizozemskoj. U prostoru brodskog potpalublja najbrojnije su bačve visine do 50 cm, ispunjene koničnim čunjićima olovnog bjelila (olovni karbonat, ceruzit, ponekad u kombinaciji s bazičnim olovnim karbonatom, hidroceruzitom). Područjem bačava dominira sedam primjeraka duljine oko jedan metar, od kojih je šest ispunjeno crvenim okerom, tj. mješavinom hematita, kvarca i alunita. Ostali materijali za bojanje pronađeni su izvan originalne transportne ambalaže u različitim dijelovima potpalublja. Osim olovnog bjelila i crvenog okera, potvrđeno je postojanje boje cinobera (živinog sulfida, odnosno vermiliona, te moguće cinabarita), minija (olovnog II, IV oksida ili crvenog olova), orealgara i pararealgara (sirovina na bazi arsenovih sulfida), stibnita ili blistavca (antimonovog III sulfida), elementarne žive te crvenog lakovnog pigmenta, pripremljenog na bazi alunita, s talogom organske boje izrađene od kukaca košenil (boja karmin), korijena biljke broć (boja kraplak) i brazilskog drva (boja brazilin). Bitno je spomenuti da živa nije izravno korištena kao boja, već je služila za izradu živinog sulfida ili vermiliona, te je često korištena za pozlaćivanje ili posrebrenje predmeta i za izradu ogledala. Prisustvo žive u brodskom teretu može biti vezano i uz zalihe brodskog liječnika jer je živa služila za liječenje niza bolesti, te je u istom kontekstu potvrđena u teretu ratnih kraljevskih brodova Mary Rose (Engleska) i Kronan (Švedska). Namjena sirovina pronađenih na brodolomu kod Gnalića nije precizno određena. Prema povijesnim izvorima, poznato je da većina njih nije imala samo funkciju slikarskog pigmenta, već su imale široku primjenu kao kozmetički i medicinski preparati. Neke od navedenih sirovina bile su neizostavni dodatci za proizvodnju stakla i bojanje tekstila. U radu se namjerno izostavlja termin pigment, s obzirom da bi korištenje termina pigment ograničilo korištenje nalaza isključivo kao slikarskog materijala, eliminirajući ostale upotrebe koje sugeriraju povijesni izvori. Iz istog razloga je izbjegnuto korištenje engleskog termina pigments, stoga je u engleskoj verziji korištena inačica koja glasi colouring materials. Metodologija rada dijeli istraživanje na četiri faze: podvodno istraživanje i uzorkovanje, dokumentacija uzoraka, analize karakterizacije i identifikacije, te proučavanje sekundarnih povijesnih izvora. Podvodno istraživanje i uzorkovanje zahtijevalo je detaljnu pripremu u vidu proučavanja dokumentacije sa istraživanja iz 60-ih, 70-ih te 1996, pohranjene u Konzervatorskom odjelu u Zadru, te dokumentacije projekta Brodolom kod Gnalića – Ogledalo renesansnog svijeta. Nadalje, u 2017. godini proveden je detaljan pregled nalazišta tijekom kojeg su zabilježeni najbitniji položaji za uzorkovanje, te su potom isti opisno i fotografskidokumentirani. Zatim je izvršeno uzorkovanje odabranih položaja na nalazištu. U laboratoriju CICRP je izrađena fotodokumentacija uzorka, uključujući i dokumentaciju pod vidljivim (VIS), ultraljubičastim (UV), infracrvenim (IR) te infracrvenim zračenjem s 'lažnim' bojama (IRfc). Dokumentacija pod različitim zračenjem, tj. valnim duljinama, olakšala je odabir čestica za analize jer su različite boje ukazale na kontaminirane dijelove uzorka. Fotogrametrijsko dokumentiranje izvršeno je samo na uzorcima kojima je bilo važno zabilježiti oblik kalupa, kao što je to slučaj olovnog bjelila. Zapažanja mikroskopom su provedena kako bi se opisala homogenost ili heterogenost uzorka, te oblici, boje i veličine čestica. Analize karakterizacije su provedene pomoću rendgenske fluorescencijske spektroskopije (XRF); skenirajućeg elektronskog mikroskopa s energodisperzivnim detektorom rendgenskih zraka (SEM-EDX); rendgenske difrakcije na prahu (XRD); infracrvene spektroskopije s Fourierovom transformacijom (FTIR); te Raman spektroskopije (RS). Ukoliko su navedene analize sugerirale postojanje organskih materijala, upotrijebljena je tekućinska kromatografija ultravisoke djelotvornosti (UHPLC). U prilozima od broja šest do dvadeset prikazani su rezultati analiza, a diskusija o svakom zasebno može se pronaći u poglavlju broj deset. U potrazi za povijesnim podatcima o načinu proizvodnje, preradi te trgovanju sirovinama, odabrano je nekoliko različitih vrsta sekundarnih izvora: traktati o metalurgiji (Vannoccio Biringuccio, De la Pirotechnia; Georgious Agricola, De Re Metallica), slikarstvu (Merrifield, 1968), objavljeni inventari mletačkih trgovaca bojama (Matthew 2002; Krischel 2002; Matthew & Berrie 2010), dokumenti o osiguranju na brodovima u razdoblju od 1592. do 1609. godine izdani dvojicom javnih bilježnika G. A. Cattija i A. Spinellija (Tenenti 1959). Na prijelazu u 16. stoljeće, status Venecije kao trgovačke sile se uvelike mijenja zbog događanja u Sredozemlju te na oceanu. Otkrićem nove pomorske rute prema Indiji preko Rta Dobre Nade, Portugalci su preuzeli vodstvo u trgovini začinima te osigurali ulogu posrednika trgovaca začinima u Zapadnoj Europi. Izgubivši prevlast na tržištima Zapadne Europe, Venecija gubi monopol nad trgovinom začinima. Iako dodatno ugrožena napadima Osmanlija, Venecija ipak uspijeva održati trgovačke veze sa istočnim Mediteranom sve do kraja šesnaestog stoljeća. Tek dolaskom snažnog engleskog, francuskog i nizozemskog brodovlja u posljednjim desetljećima šesnaestog stoljeća, Venecija više ne uspijeva konkurirati na tržištu. Opadanje trgovačkog intenziteta je uzrokovala i nedostupnost drva, što je rezultiralo smanjenom brodograđevnom aktivnošću i smanjenjem broja novoizgrađenih trgovačkih brodova. Premda je turbulentno šesnaesto stoljeće obilježeno stalnom borbom za prevlast nad mletačkim prekomorskim i kopnenim posjedima, u samom centru Venecije se gubitak moći nije dao naslutiti. Tijekom 16. stoljeća Venecija je slovila kao 'grad boje', što se može protumačiti na dva načina. Vizualni identitet Venecije, raznobojne fasade, te česta upotreba mramora u arhitekturi ostavljali su posjetioce očaranima, kako svjedoče doživljaji pisaca onodobnih priručnika o putovanju. S druge strane, trgovački i proizvodni kapaciteti Venecije pokazuju koliko je 'grad boje' bio zaista opravdan naziv. Osim što se mogla pohvaliti dostupnošću minerala i organskih materijala europskog, istočnjačkog, pa čak i američkog porijekla, mletačke radionice i trgovine su bile poznate po posebnim tehnikama obrade i proizvodnje sirovina za izradu boje. S obzirom na kvalitetu proizvoda, obradu po posebnoj recepturi i raznolikost izbora pri kupnji, ne iznenađuje podatak da je nemali broj trgovaca, majstora i slikara putovao u Veneciju radi opskrbe slikarskim materijalima. Osobito je vrijedno spomenuti trgovce bojama (mlet. vendecolori) koji su se kao profesija profilirali krajem 15. stoljeća. Nekoliko očuvanih inventara trgovaca bojama sadržava iznimno vrijedne podatke o ponudi sirovina u Veneciji u 16. stoljeću. Brodolom kod otočića Gnalića za sada je jedino izravno svjedočanstvo pomorske trgovine sirovinama za izradu boja u razdoblju renesanse. Uzimajući u obzir veliko značenje boja u razvoju renesansne umjetnosti, ali i svakodnevnom životu na svim društvenim razinama, proučavanje materijala za bojanje iz tereta broda potonulog kod Gnalića u kontekstu renesansnih događaja, doprinijelo je poznavanju proizvodnje, trgovine i pomorskog transporta. Pisanjem doktorske disertacije, autorica nastoji upozoriti na postojanje sirovina za izradu boje na nalazištima brodoloma. Doktorska disertacija je skroman doprinos kojim se predlaže prikladna metodologija identifikacije sirovina te se istovremeno upućuje na znanstveni potencijal u okviru proučavanja trgovine sirovinama za izradu boje i slikarskih materijala. In late October 1583, the merchant ship Gagliana grossa headed from Venice loaded with cargo of various provenance. A large part of the cargo consisted of colouring materials intended for the markets of the Eastern Mediterranean. Instead of reaching its destination, the ship sank in Northern Dalmatia, at the southern entrance to the Pašman channel in the vicinity of the city of Biograd na Moru. Archaeological excavations conducted in several phases from 1967 to 2018 yielded thousands of artefacts, giving scholars an opportunity to study the material culture of the late 16th century. Although all recovered objects have historical importance and can be studied from different aspects, the colouring materials recovered from the cargo are unique and particularly interesting finds. These are the first direct archaeological evidence of Venetian international trade in colouring materials. Venice was a central hub, where the products of different European regions, the Eastern Mediterranean and even America were imported; highly experienced Venetian manufacturers and colour sellers processed the products and made colouring materials appreciated by artisans, artists and merchants. To date, the knowledge of the trade in colouring materials has been entirely based on studies of archival documents; unfortunately, records which testify to international trade with colouring materials, especially Venetian trade with the Eastern Mediterranean, are scarce. On the other hand, existing inventories of colour seller shops provide insight into available materials; from them we can learn which materials were in demand. Combining this historical data with the archaeological finds from the Gnalić shipwreck site gives us a glimpse into which materials available in Venice were also in demand in the Eastern Mediterranean in the late 16th century. In order to investigate the trading of colouring materials in the Late Renaissance based on the Gnalić shipwreck finds, this dissertation objective is to merge archaeological data, historical data and the data from the characterization analyses (XRF, XRD, SEM-EDX, RS, FTIR, UHPLC). All things considered, the dissertation provides new knowledge about Renaissance-era colouring materials obtained from a uniquely preserved site.

The aim of this paper is to discuss a single context from a small mud brick tomb, AS 84b, built immediately south of large wooden boat (AS 80) at Abusir South. This context is exceptional due to the fact that the rela tively small Shaft 2 contained a very large number of fully preserved vessels found in situ at diverse depths of the shaft, as well as hundreds of additional fragments in the general fill. The vast majority of the pottery belonged to a single type, namely beer jars with a tall slender body with a sharp pointed base (Abusir J-1c). Among them, at least half of the examples exhibited an intentional hole made in the base of the jar. This paper also offers a short typological and morphometric study of these beer jars and an interpretation of the deposit as a whole within our current knowledge of diverse funerary contexts.

Dental twinning (or “double teeth”) is a rare developmental condition that implies the fusion of two or more adjacent teeth. Clinical literature reports individual cases and extensive population studies to clarify causation, distribution, heritability and differential diagnosis of the different types of dental twinning (i.e. fusion, gemination, and accretion) whereas, documentation for past populations is still scarce. Aims: the present study documents four new archaeological cases of dental twinning of deciduous teeth from four different Italian archaeological sites and positions them within the framework of the known literature. Materials and methods: the observed cases include five deciduous teeth from four subadults from Sardinia (Monte Sirai, 7th-4th cent. BCE and Santa Filitica, 7th cent. CE), Campania (Velia, 1st-2nd cent. CE) and Latium (Villamagna, 13th-15th cent. CE). The identification, descriptions and differential diagnoses of the anomalies were performed with the use of morphological analyses and, in one case, radiographic means. Results: all cases fall within the category of double teeth; each involving a different set of processes (gemination and dental fusion), teeth (deciduous central incisors, lateral incisors and canines), locations (upper and lower) and occurrence (unilateral and bilateral). Conclusion: to this day, cases reported in literature of dental twinning in archaeological samples are sparse and limited to specific geographical areas. This study adds four more cases from Italy suggesting such anomalies should be recorded in dental analyses in order to, one day, obtain a more reliable modelling of the frequencies and distributions in past populations.

ABSTRACT This paper analyses the motif of “the naked person” in Alexander Solzhenitsyn’s early work. Epic tales which belong to the so called “labour camp prose”, such as One Day in the Life of Ivan Denisovich (1959) and The Cancer Ward (1968), stand out in the context of this motif. Moreover, the “unbearable world” and the “naked person” have been structurally significant for the “labour camp prose” since Fyodor Dostoevsky and Anton Chekhov. All of them imply that these elements bring the reader closer to understanding the ontology of a person who is forbidden to wear a cross on his chest and thus seek protection from God and cultural myths. The paper examines historical developments of the “naked person” imagery in Russian literature from the seventeenth century to the Avantgarde and postmodernism by analysing relations between reality and the “unbearable world” (the space of labour camps) in which nakedness and misery are deemed to be charisma, gifts from God. The Cancer Ward is still one of Solzhenitsyn’s most widely read works in Europe and America. Unlike the peasants in the story, Kostoglotov, an intellectual, reflects on the value of freedom, prospects of choice and the nature of evil – something which Ivan Denisovich touches upon only vaguely. The author is interested in mechanisms of self-identity in horrendous living conditions. Solzhenitsyn’s The Cancer Ward is a variation of the classic “non-finito” narrative. The protagonist, who has endured hardship and overcome limits of the “unbearable world”, moves towards the house-ark as his life is just beginning. In fact, by employing terrible history, a labour camp and the hospital ward of the doomed, Solzhenitsyn’s text explores the driving forces behind a person’s self-identity, the most important of which are moral elevation, will, mercy and belief in life.

Thanks to funding received through the DARIAH-EU Working Group Funding framework and contributions from the Austrian and Croatian National consortiums, the DARIAH-EU working group ELDAH (Ethics and Legality in Digital Arts and Humanities, https://eldah.hypotheses.org/) was able to develop a tool that provides standardized consent form templates for obtaining legal consent from human participants: The DARIAH ELDAH Consent Form Wizard (CFW). The CFW enables digital scholars and the wider research infrastructure community to quickly and easily obtain a standardized consent form that is legally valid in all of the European Union. The tool is freely accessible online and is currently being translated into various languages.

The depiction of the family of Menihy on a lintel found at Abusir South attracts attention due to a component present in the compound personal names of his children. All but one of them have names including the element tjenenet, which is remarkable in the context of previously found mentions of the tjenenet sanctuary at Abusir South. The lintel belongs to the Sixth Dynasty finds discovered at the Czech archaeological con cession that had originally been part of tombs or cult places and were destroyed already in antiquity. Some reflections on the function of the tjenenet are included.

The work that has recently been carried out at Djedkare’s royal cemetery at South Saqqara has brought to light new evidence from the pyramid complex of Queen Setibhor, the wife of King Djedkare. Located to the north east of the king’s pyramid, this monument is of particular interest for its unusual architectural fea tures. The newly uncovered evidence makes it possible to bring the discussion on this extraordinary queen slightly further, focusing not only on the monument’s architecture but also on the remains of its decorative programme. This article presents some of the newly uncovered relief fragments from the queen’s pyramid complex. The reliefs, which very likely come from the portico, belonged to a decorative theme showing the queen, whose figure is not preserved, with her female attendants and female offering bearers. Other similar depictions are attested in smaller fragments from other parts of the queen’s monument. Parallels to this de piction can be found in other monuments of Old Kingdom queens, indicating that such a decorative theme was one of the usual queenly decorative programmes. The relief fragments also provide new evidence on the titles and epithets of Queen Setibhor, above which a winged solar disc with two uraei was carved. This evidence further underlines the exceptional role played by Queen Setibhor in the late Fifth Dynasty.