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Introduction The scholarly monograph has been compared to the Hapsburg monarchy in that it seems to have been in decline forever! It was in 2002 that Stephen Greenblatt, in his role as president of the US Modern Language Association, urged his membership to recognise what he called a ‘crisis in scholarly publication’. It is easy to forget now that this crisis, as he then saw it, had nothing to do with the rise of digital technologies, e-publishing, or open access. Indeed, it puts his words in...

International audience; With this White Paper, which gathers contributions from more than 25 experts of 3D imaging, modellng and processing, as well as professionals concerned with the interoperability and sustainability of research data, the PARTHENOS project aims at laying the foundations of a comprehensive environment centered on the researchers' practices concerning 3D digital objects.The topics addressed in the document are meant to help to ensure the development of standardized good practices relating to the production, the handling, the long-term conservation and the reuse of 3D objects. Therefore, even if the focus is put on technical questions (formats, processing, and annotation), the White Paper also identifies the need to clarify the legal status of 3D objects, in order to facilitate their reuse(s) in non-research contexts, in particular in Museums.

International audience; In recent years, European governments and funders, universities and academic societies have increasingly discovered the digital humanities as a new and exciting field that promises new discoveries in humanities research. The funded projects are, however, often ad hoc experiments and stand in isolation from other national and international work. What is lacking is an infrastructure to leverage these pioneering projects into systematic investigations, with methods and technical environments that can be taken up by others. The editors of this special issue are both directors of Digital Research Infrastructure for the Arts and Humanities (DARIAH), which aims to set up a virtual bridge between the many digital arts and humanities projects across Europe. DARIAH is being developed with an understanding that infrastructure does not need to imply a seemingly generic and neutral set of technologies, but should be based upon communities.

The textbook introduces works by Sappho, Christine de Pizan, Aphra Behn, Maria Edgeworth, Jane Austen, Charlotte Brontë, George Eliot, George Sand, Caroline Norton, Elizabeth Barrett Browning, Emily Dickinson, Laura Marholm, Amalie Skram, Virginia Woolf and Amy Lowell. Some of these authors are presented as the role-models, the others as writers looking for their own female tradition and finding it in the writings of their literary foremothers. These responses - in form of poems, extracts from essays and novels - are included in the textbook and enriched with comments, interpretations and tasks for students. In the introduction, the question of female literary tradition is discussed by presenting various theoretical answers from distinguished feminist scholars. Učbenik predstavlja dela Sappho, Christine de Pizan, Aphre Behn, Marije Edgeworth, Jane Austen, Charlotte Brontë, George Eliot, George Sand, Caroline Norton, Elizabeth Barrett Browning, Emily Dickinson, Laure Marholm, Amalie Skram, Virginije Woolf in Amy Lowell . Nekatere od teh avtoric so predstavljene kot vzornice, drugi kot literarne ustvarjalke, ki iščejo lastno žensko tradicijo in jo najdejo v spisih svojih literarnih prednic. Ti odzivi - v obliki pesmi, izvlečkov iz esejev in romanov - so vključeni v učbenik in obogateni s komentarji, interpretacijami in nalogami za študente in študentke V uvodu je vprašanje ženske literarne tradicije obravnavano s predstavitvijo različnih teoretičnih odgovorov uglednih feminističnih teoretičark.

This book is available as open access through the Bloomsbury Open programme and is available on www.bloomsburycollections.com. It is funded by Trinity College Dublin, DARIAH-EU and the European Commission. This book explores the challenges society faces with big data, through the lens of culture rather than social, political or economic trends, as demonstrated in the words we use, the values that underpin our interactions, and the biases and assumptions that drive us. Focusing on areas such as data and language, data and sensemaking, data and power, data and invisibility, and big data aggregation, it demonstrates that humanities research, focussing on cultural rather than social, political or economic frames of reference for viewing technology, resists mass datafication for a reason, and that those very reasons can be instructive for the critical observation of big data research and innovation.

Digital technology has made culture more accessible than ever before. Texts, audio, pictures and video can easily be produced, disseminated, used and remixed using devices that are increasingly user-friendly and affordable. However, along with this technological democratization comes a paradoxical flipside: the norms regulating culture's use — copyright and related rights — have become increasingly restrictive. This book brings together essays by academics, librarians, entrepreneurs, activists and policy makers, who were all part of the EU-funded Communia project. Together the authors argue that the Public Domain — that is, the informational works owned by all of us, be that literature, music, the output of scientific research, educational material or public sector information — is fundamental to a healthy society. The essays range from more theoretical papers on the history of copyright and the Public Domain, to practical examples and case studies of recent projects that have engaged with the principles of Open Access and Creative Commons licensing.