Digital Humanities Strategy

2022 ◽  
pp. 378-434

This chapter outlines a strategy for digital humanities that can address some of the challenges that have arisen due to informing technologies. The chapter begins by giving a definition of humanism and by describing the nature of the humanistic attitude. The chapter next considers the role that mythology plays in humanism. After this, a matrix model of the humanities is presented that shows the role of the humanities in a computerized society. Then, a digital humanities research strategy is discussed with specific recommendations for implementing such research. This is followed by a discussion of the role that supercomputers play in research. Strategies for creating content in the digital humanities are then explored in disciplines such as philosophy, archeology, and history. Next, strategies for publishing and distributing information are described. The chapter concludes by considering strategies for teaching digital humanities and for developing digital social resonance.

2018 ◽  
Vol 69 (1) ◽  
pp. 111-120
Author(s):  
Pavol Žigo

Abstract The contribution deals with the degree of unity, complexity, intensity and their relatedness to the dispositional experience within linguistic investigation. Contemporary research strategies in linguistics testify to the liberalization of language and to the effort to re-evaluate the previous attitudes to the linguistic canon. A considerable role within formulating the theories about linguistic changes is played by the ability to identify the natural basis of the common thought of the ordinary users of language, by their public opinion concerning language, their voice of naturalness, their ability – as well as the strength – of their prejudices, but not to elevate/promote/raise the particular mistakes into the role of changes. A thorough theory of the identification or of the definition of linguistic changes and of the dynamism in language should be able to question also its own discourse and view it within the perspective of the phenomenal idea of R. Barthes “Do not do what I say but what I do”.


Digital Humanities in Latin America performs a number of tasks: a re-definition of the nations’ symbolic territories, which implies their exploration as digital contexts, experiments, media products, or even as uneven battlefields; a re-examination of the role of transnational networks in the configuration of new identities and/or communities, as exemplified by the cases of the Andean, Latin, and Afro-Latin networks discussed in this book; and a highlighting of the importance of cases that complexify the interaction between national territories and transnational flows through the remixing of aesthetic and political codes. Cognizant of the risks implicit in hegemonic agency, its object is to serve as a vehicle of communication between the Latin American digital humanities and the English-speaking circles of this field in the US and the UK, while at the same time documenting the existence and viability of pertinent academic initiatives south of the border.


2017 ◽  
Vol 225 (3) ◽  
pp. 189-199 ◽  
Author(s):  
Tina B. Lonsdorf ◽  
Jan Richter

Abstract. As the criticism of the definition of the phenotype (i.e., clinical diagnosis) represents the major focus of the Research Domain Criteria (RDoC) initiative, it is somewhat surprising that discussions have not yet focused more on specific conceptual and procedural considerations of the suggested RDoC constructs, sub-constructs, and associated paradigms. We argue that we need more precise thinking as well as a conceptual and methodological discussion of RDoC domains and constructs, their interrelationships as well as their experimental operationalization and nomenclature. The present work is intended to start such a debate using fear conditioning as an example. Thereby, we aim to provide thought-provoking impulses on the role of fear conditioning in the age of RDoC as well as conceptual and methodological considerations and suggestions to guide RDoC-based fear conditioning research in the future.


2014 ◽  
pp. 79-130 ◽  
Author(s):  
Ales Novak

The term ?business model' has recently attracted increased attention in the context of financial reporting and was formally introduced into the IFRS literature when IFRS 9 Financial Instruments was published in November 2009. However, IFRS 9 did not fully define the term ‘business model'. Furthermore, the literature on business models is quite diverse. It has been conducted in largely isolated fashion; therefore, no generally accepted definition of ?business model' has emerged. Therefore, a better understanding of the notion itself should be developed before further investigating its potential role within financial reporting. The aim of this paper is to highlight some of the perceived key themes and to identify other bases for grouping/organizing the literature based on business models. The contributions this paper makes to the literature are twofold: first, it complements previous review papers on business models; second, it contains a clear position on the distinction between the notions of the business model and strategy, which many authors identify as a key element in better explaining and communicating the notion of the business model. In this author's opinion, the term ‘strategy' is a dynamic and forward-looking notion, a sort of directional roadmap for future courses of action, whereas, ‘business model' is a more static notion, reflecting the conceptualisation of the company's underlying core business logic. The conclusion contains the author's thoughts on the role of the business model in financial reporting.


Sains Insani ◽  
2016 ◽  
Vol 1 (1) ◽  
pp. 10-14
Author(s):  
Ira Meilita Ibrahim ◽  
Taufik A. Latif ◽  
Afi Roshezry Abu Bakar ◽  
Muthualagan Thangavelu

The advancement of European dress to the rest of the world was linked to the definition of civilization as “a stage of social development considered to be more advanced” and “polite and good-mannered”. The widespread of their fashion style in the 19th and 20th centuries influenced the way the rest of the world attire. The fashion trend and dressing style thus change the purpose of dressing through time. The dressing style in campuses especially in private institutions of higher learning is under particular scrutiny, as it is often said to be inappropriate for a learning environment. This study looked at the importance of moral education, and its role in implementing the dress code for students among university students especially between two types of university i.e. public university and private university. It looked on the dressing style of students, both male and female, and the factors that lead to their dressing pattern which is common among students. This study also advocated the students’ understanding of the content of dress codes in their learning institution and the role played by moral education in regard to dress code. The overall study highlighted students’ perception towards the implementation of the dress code and punishment in their learning institution. The methodologies used to carry out this study are questionnaires and interviews. This study will therefore ascertain the important of dress code among students at higher learning institution and the role of moral education in cultivating values in order to dress properly or decently. Key Words: moral education, dress code, higher learning institution, civilization.


2011 ◽  
Vol 5 (2) ◽  
pp. 180-192 ◽  
Author(s):  
Nadège Mézié

During a field study of a year and a half in the Haitian mountains, I was forced to re-evaluate my research strategy, and consequently the object of my study, after a setback that denied me access to the American evangelical mission, which I had hoped to study from within. This failure to integrate as a non-Protestant researcher, led me to adopt a methodological falsehood to allow me to penetrate the Haitian evangelical mission. The researcher who chooses methodological falsehood has to fashion a passing and superficial redefinition of her appearance, beliefs and practices, and live her new religious identity according to the prevalent beliefs and norms. This paper will focus on the fieldworker’s daily performance in her role of “Christian woman,” and the strategies put in place to respond to the prescriptive criteria of the role being played.


2020 ◽  
Vol 17 (5) ◽  
pp. 462-476
Author(s):  
Alexander A. Ushkarev ◽  
Galina G. Gedovius ◽  
Tatyana V. Petrushina

The technological revolution of recent decades has already brought art to the broadest masses, and the unexpected intervention of the pandemic has significantly accelerated the process of migration of theatrical art to the virtual space, causing the corresponding dynamics of the audience. What is the theater audience in the era of digitalization and the spread of alternative forms of cultural consumption? How does the theater build its relationship with the audience today? In search of answers, we conducted a series of sociological surveys of the Chekhov Moscow Art Theater’s audience — both at the theater’s performances and in the online community of its fans. The purpose of this phase of the study was to answer the fundamental questions: do spectators surveyed in the theater and those surveyed online represent the same audience; what are their main differences; and what are the drivers of their spectator behavior? The article presents the main results of a comparative analysis of two images of the Moscow Art Theatre’s audience based on a number of content parameters by two types of surveys, as well as the results of a regression analysis of the theater attendance. The study resulted in definition of the qualitative and behavioral differences between the theater visitors and the viewers surveyed online, and identification of the factors of theater attendance for both of the represented audience groups. The study made it possible to clarify the role of age and other socio-demographic parameters in cultural activity, as well as the influence of preferred forms of cultural consumption (live contacts or online views) on one’s attitude to art, motivation and spectator behavior. The conclusions of the study, despite the uniqueness of the object, reflect the general patterns of the modern art audience’s dynamics.


2020 ◽  
Vol 6 (3) ◽  
pp. 17-20
Author(s):  
Farxod Tursunov ◽  

The article discusses the role of the digital economy in the development of the country, how it becomes the basis of the economy, new business models and management systems. The opinion of scientistsis analyzed, a definition of a digital enterprise is given


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