Research Methods for the Digital Humanities
This volume introduces the reader to the wide range of methods that digital humanities employ, and offers a practical guide to the study, interpretation, and presentation of cultural material and practices. In this instance, the editors consider digital humanities to include both the use of computing to understand cultural material in new ways, and the application of theories and methods from the humanities to interpret new technologies. Each chapter provides a step-by-step guide to cutting-edge methodologies so that students can make informed decisions about the methods they use, consider ethical practices, follow practical procedures, and present their work effectively. Readers will develop practical and reflexive understandings of the software and digital devices that they study and use for research, and the book will help new researchers collaborate and contribute to their scholarly communities, and to public discourse. As contemporary humanities work becomes increasingly interdisciplinary, and increasingly permeated by and with digital technologies, this volume helps new researchers navigate an evolving academic environment. Humanities and social sciences students will find this textbook an invaluable resource for assessing and creating digital projects.
This chapter focuses on the application of visitor studies methodologies to museums as cultural institutions that incorporate digital media into their cultural programming and social activities. It provides a comprehensive guide to three types of research methods employed by contemporary museums to study online visitors: quantitative, behavioral and qualitative. Illuminating how traditional museum visitor research tools informed emerging digital methods, the chapter describes important procedures of online museum audience studies. Step by step, three sections introduce more sophisticated online methods, which add new dimensions to the understanding of virtual visitors.
Conference abstracts for DHd2017, Bern. (http://www.dhd2017.ch/)
This essay questions whether digital literary studies can still be meaningfully regarded as part of literary studies. This heretical question is motivated by a praxeological view of a research project for the network analysis of dramatic texts, in particular by reflecting on the project’s underlying ›epistemic thing‹, which in this case consists of specifically-formatted structural data (and not the actual primary texts themselves). What does this corpus of structural data, which was extracted from 465 plays spanning the period from 1730 to 1930, have to do with the ›epistemic things‹ of literary studies? We explore this question by providing insight into our analyses, which describe the structural evolution of the ›plays‹, try to locate ›small world‹ properties in our corpus, and develop new metrics for plot analysis. The results show not only how digital methods can supplement or enrich literary studies; they also raise questions about how digital the field of literary studies already is, since its research objects are increasingly available in digital forms.
We describe the creation of a corpus of Russian-language drama, comprising hundreds of texts from the middle of the 18th century to the first third of the 20th century. Texts are encoded in the XML-based markup standard TEI, the focus is on extra-linguistic, structural annotations, although additional annotation layers can be added easily.
The way researchers in the arts and humanities disciplines work has changed significantly. Research can no longer be done in isolation as an increasing number of digital tools and certain types of knowledge are required to deal with research material. Research questions are scaled up and we see the emergence of new infrastructures to address this change. The DigitAl Research Infrastructure for the Arts and Humanities (DARIAH) is an open international network of researchers within the arts and humanities community, which revolves around the exchange of experiences and the sharing of expertise and resources. These resources comprise not only of digitised material, but also a wide variety of born-digital data, services and software, tools, learning and teaching materials. The sustaining, sharing and reuse of resources involves many different parties and stakeholders and is influenced by a multitude of factors in which research infrastructures play a pivotal role. This article describes how DARIAH tries to meet the requirements of researchers from a broad range of disciplines within the arts and humanities that work with (born-)digital research data. It details approaches situated in specific national contexts in an otherwise large heterogeneous international scenario and gives an overview of ongoing efforts towards a convergence of social and technical aspects.
As a digital museum ethnographer, I would like to devote this chapter to sharing my personal experience in addressing ethical considerations while conducting research on museum visitors’ behavior in online spaces. My research looks at online museums as important sites of cross-cultural communication. These sites project powerful political and cultural messages across borders and engage not only local but predominantly international audiences. Captivated by the diversity of online museum programs that connect people across the globe, opening up virtual spaces for cross-cultural learning, and immersing online visitors into educational experiences, I traveled the world to conduct a number of case studies. I researched digital spaces of large international museums in Canada, the United States, the United Kingdom, Australia, and Singapore. My ethnographic research revealed that museum online communities as social interactive worlds can be powerful tools of cultural representation or mis-representation, sites of memory and identity construction, and building citizenry or political battlegrounds of resistance and social riots. Online museums can build unique “bridges” among communities for improving intercultural competence and tolerance or, in contrast, can invoke religious and cultural wars. These insights and findings were possible due to immersive ethnographic research within different digital museum spaces. I explored various online museum communities and collected and analyzed a large amount of textual and visual data demonstrating various behaviors of online “museum goers.”
As it begins its second decade of development, the Digital Research Infrastructure for the Arts and Humanities (DARIAH) continues to forge an innovative approach to improving support for and the vibrancy of humanities research in Europe.
The author of the article considers the phenomenon of dynamic meaning generation in a dialogue. The starting points are the priority of the recipient's modality in perceiving the meaning of the message and the importance of momentary discursive characteristics when decoding it. The most difficult to understand are statements with implications, for their decoding the addressee needs a significant discursive arsenal (background knowledge, knowledge of speaker‘s personality, understanding of the specific context and speech situation, etc.). In the process of dialogue, when exchanging replicas, interpretation takes place and (often) the transformation of the essence of what has been said. We are talking about the self-organization of the process of meaning generating and the role of the subjective experience of the addressee in the individual sense-giving, which sometimes leads to a shift in the meaning. For a correct understanding of the addressee‘s replica, his communicative partner should recognize meaningful symbolic forms in the statement that rely on many operators in his consciousness, attracting possible ―preconceptions‖ and shifting their interpretation in a new direction. Such operators are, for example, standards, special forms of appraisal, means of intensifying of judgments, tropes, etc. The author argues that reinterpretation of the embedded meaning is fundamentally possible because each of us is always in one or another ―language state‖, which determines the choice of means and strategies for actualizing the speaker‘s idea and the degree of ―deformation‖ of the original meaning when perceiving an utterance. The dialogue is metaphorically represented by a pendulum: each participant, under the influence of his own subjective psychological state, contributes to the formation of the meaning of the perceived utterance.
The book is aimed at B1-B2 English language learners majoring in the fields of management and economics (marketing, management, enterprise management, logistics, human resource management). It includes nine chapters covering the areas relevant for building language competencies of a contemporary manager: leadership, team management, freelancing, customer care, marketing and entering new markets, advertising and branding, international cooperation. Each chapter contains active vocabulary sections, exercises for individual and group work aimed at developing professional and language skills of learners.
The book is relevant as it provides the integrated approach to buidling professional and language skills of a manager through role plays, presentations, case studies. The tasks enable learners to develop autonomy and critical thinking skills.
This paper focuses on the Tsoi Wall in Moscow, an iconic place on Russia’s music map that appeared in Moscow in 1990 in memory of the cult Soviet rock musician Viktor Tsoi, to develop a framework for studying non-auratic music place—that is, places that are not connected with the biographies of musicians or musical events, but emerge directly from the experiences of visitors and fans. These places are constantly negotiated and only lightly formalized, but are nevertheless enduring. To analyze this type of place, we propose a concept of institutionalization “in becoming.” The case of the Tsoi Wall reveals that light formalization (vague and changing positions and rules, and openness to different interpretations of a place and ways of using it) leads to the recognition of the place as a significant one and to its popularity. We put institutionalization “in becoming” in a wider context and juxtapose it with well-studied musical places in Europe and the US.
The article holds the idea that for A. Kojève during his lecture course «Introduction to Hegel's Reading» the central figure of the course was «Gestalt » of the Intellectual. The author of the article emphasizes: the beginning of the transition from Master–Slave relationship to the bourgeois world, Kojève sees in times of the late Roman Empire, and with the beginning of Modernity we have to do with the predominance of bourgeois as a human type. The Intellectual of Kojève represents as a kind of bourgeois, namely of the poor bourgeois wanting to be rich. The author traces the thought of Kojève: beginning with the humanists of Renaissance through moralists of the 16th century he comes to Enlightenment, which prepared the French Revolution and Napoleon’s Empire. With the fall of this Empire and the development of bourgeois national states («Slave without Master» or «Slave of the Capital») once more emerges the figure of the Intellectual (Romanticism, Liberalism) and the typical for this figure «Republic of Letters » reappear for Kojève. The article focuses on the fact that the Intellectual don’t like to sacrifice anything for Truth, Goodness or Beauty, he strives only for self-realization. The author comprehends the following reasoning of Kojève: the wish of recognition of Intellectual for him is simply a caricature of the authentic pursuit of universal recognition of the Citizen. For the last one, we must fight and risk our lives, while the Intellectual wants to stay «over the fray».
The European Proceedings of Social & Behavioural Sciences EpSBS