Bergen Open Access Publishing (University of Bergen Library)
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Bringing Research Data Management to Academic Libraries
No full textModern research institutions are faced with rapidly increasing challenges imposed by data-driven science and have to deal with new demands from funding agencies and publishers regarding open access to research data as well as from the Code of Conduct for Research Integrity on reproducibility of results. In reply to these requirements, the Technical University of Denmark (DTU) has adapted a two-fold strategy of bringing together decision-makers, relevant support units in the administration and researchers from all departments for the task of designing policies and services in alignment with common traditions in the different fields of research. This mixed “bottom-up” / “top-down” approach ensures that best practices for research data management can be implemented in the daily routines of employees in a practical and supportive way while ensuring that the researchers can live up to all relevant administrative, legal and ethical standards.
In this presentation, we will show how DTU Library has taken over a central position in this process by investigating the needs and demands from researchers in the different fields, drafting procedures and guidelines for research data management and establishing support functions and training for all aspects of the data life cycle. Within this new and complex area, the creation of new positions for research data management at the library in addition to an optimal utilization of existing resources and knowledge has been crucial for building up the necessary expertise and thus for the success of the strategy.
AuthorsFalco Jonas Hüser, PhDProject Officer – Research Data Managementemail: [email protected] 0000-0001-9645-6691Paula Maria Martinez Lavanchy, PhDProject Officer – Research Data Managementemail: [email protected] 0000-0003-1448-091
Maestro! Yrkesmusikers sociala praktik, relativa framgång och habitus
Get PDFMaestro! The social practice, relative success and habitus of professional musiciansIn art music the Maestro is an important figure. The Maestro is an outstanding musician and teacher at one of the prestigious music colleges in Sweden. To be admitted as a student of a Maestro is to be granted access to the atrium of music. However, this is no guarantee of actually succeeding as a musician. Who is the Maestro? Which social practice is the Maestro part of, and which social practice is he/she maintaining? Who achieves a position as an outstanding musician, and what is required to hold such a position? The empirical material consists of three in-depth interviews with central musicians and teachers at the prestigious music colleges, which is used to reconstruct their positions and dispositions. The relative success of the musicians is understood in relation to the concept of habitus and in relation to a profession in transformation. Keywords: Maestro, musicians, social practice, habitus, relative succes
A Revisionary Theoretical Framework of Responsibility: A Philosophical Exploration of Incapacity for Responsible Behaviour (utilregnelighet)
Get PDFThe article presents the main features of a theory of responsibility and the conditions that determine who can and cannot be held responsible, with a focus on different types of incapacity for responsible behaviour. The article has four parts. The first three parts answer the following questions: what is responsibility; what is capacity for responsible behaviour; and, what is incapacity for responsible behaviour. Part four answers some possible objections. The answers are based on Antonio Damasio’s understanding of the mind, Manuel Vargas’ revisionary theory of responsibility, and previous work by the author on free will
It was Tomorrow
No full textAli, Mahmoud and Mohamed are three Egyptian men who lived in Italy without documents for almost ten years. Suddenly thanks to an amnesty they finally manage to legalise their status and their future is re-inhabited by possibilities. As part of their need to rediscover their dreams and hopes they decide to take the journey back to the first places of arrival, where they disembarked from the boats that had brought them as teenagers to Italy after crossing the Mediterranean. The film follows them back to the emblematic places of the past, where memories are intertwined with fantasies about what could be, or could have been, their possible new life. Collaborative documentary filmmaking is accompanied by creative narrative processes such as theatre, storytelling, photography and participatory animation
Quiet Life
No full textAn alternative perspective on migration depicted through a gallery of portraits of a not so quiet daily life in Kavala, a small town in Northern Greece. A glimpse of life in a place which, as numerous others in Greece and across Europe, has severely been affected by several socio-political changes over the last decade; mass movements of populations, economic crisis, young people fleeing abroad, are some of them. Kavala is also a town through which refugees have been passing on their way to Northern Europe. The evolving social structures have made the town feel to some of its residents as prison - a home in decline - while to others it is their escape route - a temporary paradise. An ageing local community juxtaposed with a young refugee family residing in the town because of a distant war. While silently contemplating on the past and patiently waiting for the future to come, they are all living a normal, seemingly quiet life
SHUKRI, A NEW LIFE
No full textA glimpse into the realities of life in Europe for thousands of migrants.
Thirty-one-year old Shukri left her four children in Somalia in 2008, walked across North Africa and risked a hazardous raft trip across the Mediterranean to seek a better life in Europe. She is one of thousands of such migrants who attempt the journey each year and although she has been given refugee status in Italy her future still looks bleak. Filmmaker Rossella Schillaci followed Shukri and in the following account describes the realities of her life - and those of thousands of others. In the winter of 2008, over 400 Somali and Sudanese refugees squatted in an abandoned building that had once housed a medical clinic in downtown Turin, northern Italy. The Italian government\u27s indifference towards refugees left them with little alternative. Once refugees are issued a sojourn permit, they are left to fend for themselves, with just a few receiving temporary housing and education. Many rely on Catholic volunteer relief associations for help, but these cannot provide housing and the waiting lists for dormitories seem endless. Many refugees live and sleep on the streets. In larger cities, they squat in old buildings or abandoned factories, enduring overcrowded and grim living conditions often without water or electricity
Voyance, chronotopie et intertextualité dans Dora Bruder de Patrick Modiano
No full textIn Dora Bruder, Patrick Modiano gives the following comment on his own novelistic writing: “Like many writers before me, I believe in coincidence, and, sometimes, in the novelist’s gift for clairvoyance - the word ‘gift’ not being the right one, for it implies a kind of superiority. Clairvoyance is simply part of the profession: the essential leaps of imagination, the need to fix one’s mind on detail - to the point of obsession, in fact - so as not to lose the thread and give in to one’s natural laziness. All this tension, this cerebral exercise, may well lead in the long run to ‘flashes of intuition concerning events past and future’, as defined by Larousse dictionary under ’clairvoyance’.” (Dora Bruder (Paris 1997), English edition: The Search Warrant, Harvill Secker, London 2014, p. 47-48).
By analyzing some selected passages from this novel, I study some relations between M. Bakhtin’s theory of the chronotope and the effects of the novelist Modiano’s “gift for clairvoyance” as presented in the quotation above. I also comment on some representations of intertextuality and intratextuality in Dora Bruder
Gender Affirming Voicework: An Introduction for Music Therapy
No full textInformed by personal experiences, my queer autoethnographic research, and literature from the fields of speech-language pathology, vocal pedagogy, and music therapy, I offer an introduction to gender affirming voicework in music therapy, the training that it might involve, and several questions/issues that need further exploration. As a new holistic method grounded in a queer theoretical framework, I envision this work to be a therapeutic space focused on accessing and embodying affirming gender expressions by working with the intersections of the physical voice, the psychological voice, and the body as these each become relevant to an individual. This work involves the use of singing, vocal improvisation, chanting, toning, movement, imagery, and relaxation experiences to address areas of vocal function and emotion/identity. Stigma and trauma can come with living in this incredibly gendered and binary world. As such, gender affirming voicework emphasizes radically and queerly listening to our own vocal, psychological, and bodily expressions and the ways these fluidly shift from moment to moment. This is in efforts to speak, sing, move, and live in the most affirming and authentic way we can.Il gender che afferma il voicework: un\u27introduzione alla musicoterapia
Informato da esperienze personali, la mia ricerca auto-etnografica queer* e la letteratura nel campo della patologia del linguaggio, la pedagogia vocale e la musicoterapia, offro un\u27introduzione all’affermazione gender del Voicework in musicoterapia, formazione che potrebbe comportare varie domande e temi per ulteriori approfondimenti. Come nuovo metodo olistico basato su una struttura teorica queer, immagino che questo lavoro sia uno spazio terapeutico incentrato sull\u27accesso e l\u27incarnazione dell’affermazione di espressioni gender, lavorando con le intersezioni tra voce fisica, voce psicologica e del corpo, man mano che ognuna di esse diventa rilevante per un individuo. Questo lavoro prevede l\u27uso di esperienze di canto, improvvisazione vocale, intonazione, tonificazione, movimento, immagini e rilassamento, al fine di affrontare aree di funzione vocale e di identità/emozione. Lo stigma e il trauma possono venire dal vivere in questo mondo incredibilmente binario e di genere. Come tale, l’affermazione gender nel voicework enfatizza radicalmente e in modo queer l\u27ascolto delle nostre espressioni vocali, psicologiche e corporee, nonché il modo in cui queste fluiscono da momento a momento. Questo succede nel tentativo di parlare, cantare, muoversi e vivere nel modo più affermativo e autentico che possiamo.
* Socialmente eccentrico rispetto alle definizioni di normalità codificate dalla cultura dominante, anche in riferimento all’orientamento sessuale e all’identità di genere.
Traduzione di Claudio Cominard
Saïd et Genet. La représentation des Palestiniens et la question de l’orientalisme chez Jean Genet
No full textDuring the last two decades of his life, Jean Genet (1910-86) stopped writing novels and plays. Instead he wrote non-fictional stories and essays, many of with depicted Palestinian soldiers and refugees living in Jordan and Lebanon. In this article, Genet’s representation of Palestinians is discussed in the perspective of Edward Said’s orientalism theory. At first sight, the fact that Genet is a Westerner writing in French about a foreign people whose language he does not speak might suggest that he moulds Palestinian reality in order to fit Western thought and Western aesthetics, thereby producing orientalist discourse. However, rather than exploiting the East to strengthen Western identity, Genet uses Eastern reality to undermine Western thought. It is concluded that Genet does not meet Said’s criteria of orientalism since the Palestinians are situated at the centre of his world and occupy a privileged position that surpasses the interests of Western politics, culture, and identity
L\u27intraduisible et l\u27implicite. Frontières ou zones de contact en traduction ?
No full textThe untranslatable and the implicit often represent the two limits of translation - the untranslatable by what can be expressed in only one language, and the implicit by what is not expressed in one language. Phenomena in a constant margin, phenomena in a liminary position (see Jacques Derrida), they overlap several territories, ranging from cultural to linguistic. Between the "nothing is translatable" and the "everything is translatable" delimited by Susan Apter, and the possible or impossible equivalences of Eugene Nida, these two notions are always troublesome, or at least, in motion. Indeed, the definitions themselves are sometimes blurred. What is untranslatable? Does "intraductible" mean inexplicable, unpredictable or incomprehensible? And how can we determine the implicit, since it is, above all, an absence, a meaning that lies beyond or below the text? However, despite this apparent absence, the transfer of the unsaid can be translated, but often by other linguistic means than those used in the source language.
Since languages (in this context French and Danish) are not isomorphic, translation remains intimately linked to this reality. The task of the translator is to know how to transmit the combination of the implicit and the explicit, but also to try to explain what at first sight seems untranslatable in order to respect the (implicit) intention of the discourse of the language source