The Palgrave Handbook of Digital and Public Humanities

Description

This handbook brings together recent international scholarship and developments in the interdisciplinary fields of digital and public humanities. Exploring key concepts, theories, practices and debates within both the digital and public humanities, the handbook also assesses how these two areas are increasingly intertwined. Key questions of access, ownership, authorship and representation link the individual sections and contributions. The handbook includes perspectives from the Global South and presents scholarship and practice that engage with a multiplicity of underrepresented ‘publics’, including LGBTQ+ communities, ethnic and linguistic minorities, the incarcerated and those affected by personal or collective trauma. Acknowledgments Contents Notes on Contributors List of Figures List of Tables 1 Introduction: Palgrave Handbook of Digital and Public Humanities 1.1 Doing Digital and Public Humanities: Key Concepts and Debates 1.2 Overview of Thematic Sections and Chapters 1.3 Coda Notes References Part I Scholarship, Creative Practice and Engaging with “Publics” 2 Digital Humanities and Hybrid Education: Higher Education in, with and for the Public 2.1 Introduction 2.2 Unpacking the Notion of Hybridity and Hybrid Education 2.3 Digital Humanities Through Hybrid Higher Education 2.4 Case 1: #dariahTeach—A Platform for Hybrid Digital Humanities Education 2.5 Case 2: IGNITE—Learning with Creative Ecosystems in Digital Transition 2.6 Conclusion Notes References 3 Experiential Education as Public Humanities Practice 3.1 Introduction 3.2 Active Reading vs. Civic Action 3.3 Rethinking the Mind–Body Divide 3.4 Limited Points of View 3.5 Benefits of Experiential Education to Students 3.6 Making Public Connections 3.7 Conclusion Notes References 4 Open-Data, Open-Source, Open-Knowledge: Towards Open-Access Research in Media Studies 4.1 Introduction: The Issue with Open-Access in Media Studies 4.2 The Importance of Wikidata as an Open-Data Source 4.3 Wikidata for Media Research: A State of the Art 4.4 Case Study 4.5 Conclusion Notes References 5 Adventures in Digital and Public Humanities: Co-Producing Trans History Through Creative Collaboration 5.1 Introduction 5.2 Background of the Project 5.3 “…Look at All This Evidence. It’s Really Mind Blowing.” 5.4 “the magic happened…in those conversations” 5.5 “a gentle way of involving everybody” 5.6 Conclusion  Notes References 6 SémantiQueer: Making Linked Data Work for Public History 6.1 Introduction 6.2 What Is Linked Data, and What Is it Doing in Public History Projects? 6.3 The Case for Linked Data 6.4 Case Study: The Lesbian and Gay Liberation in Canada Project 6.4.1 Expanding the Project Scope Through Archival Research and Linked Data 6.5 Conclusion Notes References 7 Working with Incarcerated Communities: Representing Women in Prison on Screen 7.1 Introduction 7.2 Between Sympathy and Spectacle: Mediating the Voices of Imprisoned Women 7.3 Participatory Storytelling and the Limitations of Co-Authorship Within Carceral Contexts: A Case Study of On the Outside 7.4 Conclusion: Towards a Decarcerated Public Humanities? Notes References Part II Making Memory, Making Community 8 Publics, Memory, Affect (or, Rethinking Publicness with Peter Watkins and Hannah Arendt) 8.1 Introduction 8.2 Acting in Public: Arendtian Departures 8.3 Peter Watkins’s Imaginary of Publicness 8.4 Imaginaries of Publicness: Notes Toward a Concept Notes References 9 The Role of Digital and Public Humanities in Confronting the Past: Survivors’ of Ireland's Magdalene Laundries Truth Telling 9.1 Introduction 9.2 The Waterford Memories Project 9.3 Digital Humanities and Oral Histories in the WMP 9.3.1 The Benefits of a Digital Humanities Approach for the WMP 9.4 Concluding Comments Notes References 10 The Precarious Digital Micropublics of #MeToo: An Ethnographic Account of Facebook Public Groups and Pages 10.1 Introduction 10.2 Feminist Collectives, Consciousness-Raising, and the Promise of Solidarity 10.3 What Is a Digital Collective? 10.4 #MeToo as a Feminist Movement? 10.5 C-R Work Online 10.6 This Is Not Your Living Room, or the Dangers of #MeToo Facebook Groups 10.7 Facebook Groups as Folk Data 10.8 Conclusion: The Facebook Micropublics of Precarity and Exploitation Notes References 11 Literature, Technology, Society: A Digital Reconstruction of Cultural Conflicts in Chinua Achebe’s Things Fall Apart 11.1 Introduction 11.2 The Context of the Study 11.3 Theoretical Issues 11.4 Digital Literary Discourse as Public Humanities 11.5 Computational Stylometry: Unveiling Fresh Understanding of Text 11.6 Methodology 11.7 Data Analysis and Discussion 11.8 Concordancing Keywords as Discourse 11.9 Conclusion References 12 Multilingual Handwritten Text Recognition (MultiHTR) or Reading Your Grandma’s Old Letters in German, Russian, Serbian, and Ottoman Turkish with Artificial Intelligence 12.1 Introduction 12.2 Handwritten Text Recognition 12.3 Focus Languages and Public Interaction 12.4 Visual Conditions of the Manuscripts 12.5 German 12.6 Russian 12.6.1 Body Texts and Tables 12.6.2 Quantity Over Quality? 12.7 Serbian 12.8 Ottoman Turkish 12.8.1 Text Directionality 12.8.2 Layout 12.8.3 Transcription Standards 12.9 Conclusion Notes References Part III Mobilizing the Archive 13 Open Pedagogy and the Archives: Engaging Students in Public Digital Humanities 13.1 Introduction 13.2 Students and the Archive 13.3 Pedagogical Orientations 13.4 Curation and Digitization 13.5 Modeling Text and Correspondence 13.6 Transcriptional and Contextual Encoding 13.7 Conclusion: Transformation and Sustainability References 14 Practices and Challenges of Popularizing Digital Public Humanities During the COVID-19 Pandemic in Japan 14.1 Introduction: Japan, Where Public Humanities Is Still in Its Infancy 14.2 The Corona Archive @ Kansai University as a Digital Public History Project: Its Position in Japan and the World 14.3 Features of the Corona Archive @ Kansai University 14.3.1 Adoption of User Participation and Eligibility for Contributions 14.3.2 System Construction and Material to Be Collected 14.3.3 Dealing with Copyright and Portrait Rights Issues 14.3.4 Ensuring a Long-Term Preservation System 14.4 Public Humanities Practices for Collecting Material 14.4.1 Archivathon 14.4.2 The Discovery of Material on the Spanish Flu 14.4.3 Memory Posts 14.5 Analyzing the Materials of the Corona Archive @ Kansai University in the Context of Establishing Public Humanities in Japan 14.5.1 Overall Characteristics of Photographs 14.5.2 Analyzing Memory Posts from a Public Humanities Perspective 14.6 Conclusion: Challenges in and Suggestions for Popularizing (Digital) Public Humanities in Japan Notes References 15 Breaking the “Class” Ceiling: The Challenges and Opportunities of Creating a Digital Archive of Edwardian Working-Class Book Inscriptions 15.1 Introduction 15.2 The Case for a Digital Archive of Edwardian Working-Class Book Inscriptions 15.3 Diversifying the Digital Archive: Challenges and Opportunities 15.3.1 Challenge 1: The Survival of Working-Class Inscriptions in Official Institutions 15.3.2 Opportunity 1: Sourcing Material from Outside Official Institutions 15.3.3 Challenge 2: The Accessibility of Working-Class Inscriptions in Official Institutions 15.3.4 Opportunity 2: Collaboration with Official Institutions as an Entry Point to Digital Archiving 15.3.5 Challenge 3: Traditional Attitudes to “Ordinary Writing” 15.3.6 Opportunity 3: Arranging Events to Challenge Perceptions on the Value of “Ordinary Writing” 15.4 Conclusion Notes References 16 Learning Seneca: A Case Study on Digital Presentations of North American Indigenous Languages 16.1 Part I 16.2 Part II 16.3 Part III 16.4 Part IV Notes References Part IV Digital Cultural Heritage 17 Acting on the Cultural Object: Digital Representation of Children’s Writing Cultures in Museum Collections 17.1 Introduction: The Museum’s Potency 17.2 Children’s Cultures 17.3 Museums and the Ethics of Child-Created Objects 17.4 Museums’ Interpretation and Representation of Childhood: The Potential and Challenges of Digital Technologies 17.5 Child-Written Texts and Connections to Digital Culture 17.6 Edinburgh’s Museum of Childhood: Introduction to the Museum’s Collections 17.7 Valuing Child-Created Objects: Interview with a Curator 17.8 Conclusion Notes References 18 A Data-Driven Approach to Public-Focused Digital Narratives for Cultural Heritage 18.1 Introduction 18.2 Digital Narratives for Cultural Heritage 18.3 Crowdsourced Digitization Projects 18.4 Immersive and Virtual Museums 18.5 Gamification and Serious Games 18.6 A Data-Driven Approach to Public-Focused Digital Heritage Narratives 18.6.1 Personalizing Audiences’ Narrative Experiences 18.6.2 Identifying Target Audience(s): Multiple Publics and Digital Data Analysis 18.6.3 Defining Narrative Goals and Delivery Method 18.6.4 Narrative Content Modelling: Digitized Archives and Social Media Content 18.6.5 Exemplifying Data-Driven Heritage Narrative Development: A Case Study 18.7 Conclusion Notes References 19 “People Inside”: Creating Digital Community Projects on the YARN Platform 19.1 Introduction 19.2 Co-Creation and Engagement: Diverse Communities on the Research Projects 19.3 Storage and Narrative: “Publics” Globally Across the Digital Database 19.4 Toolkit/Core Principles for Community-Based Research 19.4.1 Recognize the Complexities of Managing Relationships with the Community 19.4.2 Co-Produce Research Questions and Consult on Methods That Are Practicable 19.4.3 Allow Things to Go Wrong and Embrace Failures 19.4.4 Recognize the Limitations of Working with Large Institutions in a Community Context 19.4.5 Build Trust, Relationships and Legacy 19.5 Conclusion Notes References 20 3D Modelling of Heritage Objects: Representation, Engagement and Performativity of the Virtual Realm 20.1 Introduction: 3D Technology as a Cultural Phenomenon 20.2 The History of 3D Modelling Within a Heritage Context 20.3 Basics of 3D Modelling Technology 20.4 Representation as the Basis of Heritage Analysis 20.5 The Mode of Engagement 20.6 3D Digitization as a Community Effort 20.7 Digital Embodiment 20.8 Performativity and 3D Models 20.9 Conclusion: 3D Models as New Heritage? References 21 Making Museum Global Impacts Visible: Advancing Digital Public Humanities from Data Aggregation to Data Intelligence 21.1 Introduction 21.2 Playing with Museum Data: How and Why “Deep Mapping” Came About 21.3 Data Aggregation 21.4 Data Visualization 21.5 Data Intelligence 21.6 Conclusion Notes References Part V Engaging Space and Place 22 Maps, Music, and Culture: Representing Historical Soundscapes Through Digital Mapping 22.1 Introduction 22.2 Maps of the Estense Library: An Overview 22.3 The Sound of Modena 22.4 The Este Soundscape Project 22.4.1 The Cartographic System 22.4.2 The Database 22.5 Potential of the Platform for Teaching 22.6 Conclusion Notes References 23 Civic Interaction, Urban Memory, and the Istanbul International Film Festival 23.1 Introduction 23.2 Historical Context and Key Theoretical Concepts 23.3 Urbanization and Spatial Amnesia 23.4 “Beyoğlu is a tough nut. Those who enter it mindlessly with their axes should beware” 23.5 Emek, Space, and Power 23.6 “Hands off Our Labor” 23.7 Conclusion Notes References 24 Look at the Graves!: Cemeteries as Guided Tourism Destinations in Latvia 24.1 Introduction 24.2 Theoretical Overview 24.2.1 Why Do Cemeteries Matter in Tourism? 24.2.2 Cemetery Studies in Latvia 24.3 Methodology 24.4 Context: Cemeteries in Latvia 24.4.1 Typical Features of Cemeteries in Latvia 24.4.2 Annual Celebration of the Cemetery 24.5 Organized Tours to Cemeteries: Guides’ Perspective 24.5.1 Guiding Observational Tourism Practices 24.5.1.1 Guides’ Mission, Challenges, and Perspectives 24.5.1.2 Tourist Groups and Their Expectations 24.5.2 Participatory Tourism Practices 24.6 Discussion 24.6.1 Present Tourism Practices 24.6.2 Future Perspectives on Organized Tourism in Latvia 24.7 Conclusions Note References Part VI Public Discourse, Public Art and Activism 25 Public Historians, Social Media, and Hate Speech: The French Case 25.1 Introduction 25.2 Shaping Public Opinion Online 25.3 Social Media and Anti-Semitic Hate Speech 25.4 Social Media and Freedom of Speech 25.5 Anti-Semitism and Social Media: The French Case 25.6 Social Media and Public-Historical Engagement 25.7 Conclusion Note References 26 The Public Artist as a Fringe Agent for Sustainability: Practices of Environmentalist Driven Art-Activism and Their Digital Perspectives 26.1 Introduction: Investigating Engaged Art Practices 26.2 Turning to Environmentalist Practices 26.3 Civic Agency Is for the Public Artist 26.4 Inception of Sustainable Art 26.5 Categories of Sustainable Art 26.6 Creative Responses on the Fringe and Through the Digital: Two Case Studies 26.7 Conclusion: An Artistic Calling for a Sustainable Society Notes References Index