Introduction: Digital humanities as dissonant

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dc.contributor.author O'Sullivan, James
dc.date.accessioned 2018-02-27T11:42:32Z
dc.date.available 2018-02-27T11:42:32Z
dc.date.issued 2018-01-23
dc.identifier.citation O'Sullivan, J. (2018) 'Introduction: Digital Humanities as Dissonant', Digital Studies/Le champ numérique, 8(1): 3 (7pp). doi: 10.16995/dscn.286 en
dc.identifier.volume 8 en
dc.identifier.issued 1 en
dc.identifier.startpage 3-1 en
dc.identifier.endpage 3-7 en
dc.identifier.issn 1918-3666
dc.identifier.uri http://hdl.handle.net/10468/5549
dc.identifier.doi 10.16995/dscn.286
dc.description.abstract The Digital Humanities Summer Institute gives students and scholars a chance to broaden their knowledge of the Digital Humanities within a feasible timeframe. The DHSI Colloquium was first founded by Diane Jakacki and Cara Leitch to act as a means of supporting graduates who wanted to be a part of such a gathering. The Colloquium has grown in recent years, to the point where it is now seen as an important part of the field’s conference calendar for emerging and established scholars alike, but it remains a non-threatening space in which students, scholars, and practitioners can share their ideas. This issue is testament to that diversity, as well as the strength of the research being presented at the Colloquium. It includes Scott B. Weingart and Nickoal Eichmann-Kalwara, Mary Borgo, William B. Kurtz, and John Barber. “What’s Under the Big Tent?: A Study of ADHO Conference Abstracts,” which portrays the discipline as one which is dominated by specific groups and practices. Using the Victorian Women Writers Project as a case-study, Mary Borgo treats models for the sustainable growth of TEI-based digital resources. William B. Kurtz details his experiences working on a digital initiative, in this instance, Founders Online: Early Access, and engages with the need for such projects to hold broader public appeal. John Barber’s “Radio Nouspace: Sound, Radio, Digital Humanities,” describes the curation of sound within the context of radio, and how such activity connects to creative digital scholarship. Together, these articles represent the purpose of facilitating a community comprised of divergent interests and perspectives, a community which can often be positively dissonant. en
dc.format.mimetype application/pdf en
dc.language.iso en en
dc.publisher Open Library of Humanities en
dc.rights © 2018 The Authors. This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. en
dc.rights.uri http://creativecommons.org/licenses/by/4.0/ en
dc.subject DHSI en
dc.subject Colloque en
dc.subject Digital Humanities Summer Institute en
dc.subject Colloquium en
dc.subject Digital scholarship en
dc.title Introduction: Digital humanities as dissonant en
dc.type Article (peer-reviewed) en
dc.internal.authorcontactother James O'Sullivan, College Of Acsss Office, University College Cork, Cork, Ireland. +353-21-490-3000 Email: james.osullivan@ucc.ie en
dc.internal.availability Full text available en
dc.date.updated 2018-02-27T11:36:27Z
dc.description.version Published Version en
dc.internal.rssid 427626999
dc.description.status Peer reviewed en
dc.identifier.journaltitle Digital Studies/Le champ numérique en
dc.internal.copyrightchecked No !!CORA!! en
dc.internal.licenseacceptance Yes en
dc.internal.IRISemailaddress james.osullivan@ucc.ie en


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© 2018 The Authors. This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/. Except where otherwise noted, this item's license is described as © 2018 The Authors. This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/.
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