1,720,973 research outputs found
The Linked Finding Aid as a Platform for Textual Research: The Case Study of the Giuseppe Raimondi Archive
Full text linkThis paper makes new suggestions for rethinking archival finding aids by means of linked open data. It does so by outlining some features of a conceptual model for writers’ archives developed for the Digital Library of the Department of Classical Philology and Italian Studies of the University of Bologna.
The model, extending CIDOC-CRM/LRMoo, allows for the representation of complex collections of interrelationships between heterogeneous archival entities, especially texts. It also adopts named graphs as a way of enriching the finding aid with additional and possibly competing interpretations by researchers.
Through the case study of Giuseppe Raimondi’s archive, the paper suggests how the adoption of linked open data can broaden the role of the digital finding aid to serve as a platform for archival and textual research
LIFT - Linked Data from TEI
No full textLIFT is a Python-based tool for transforming your TEI XML edition into a knowledge graph, ready for publication as linked open data on the web. LIFT comes with a thorough documentation, designed to help you understand and reuse the methodology and technology behind the too
The Critical Apparatus Ontology (CAO): Modelling the TEI Critical Apparatus as a Knowledge Graph
Full text linkThis paper seeks to explore the use of semantic web technologies to enhance the re- /presentation of the critical apparatus that accompanies a TEI digital scholarly edition. The apparatus is a key instrument for critical editions. Its encoding poses a challenge for researchers, who strive to achieve highly expressive digital representations of their scholarly views. So far, no comprehensive ontology has been developed for the representation of the critical apparatus. This study makes a first step towards filling this gap by proposing the Critical Apparatus Ontology, an OWL ontology for representing the critical apparatus as a knowledge graph
Increscit dolor et fervet odium. Seneca: la dimensione psico-fisica della passione
No full textThanks to the analysis of some Senecan tragedies, we come to understand the concept of hatred within Stoic philosophy. A quick comparison with Plutarch's assumptions allows us to highlight the fact that hatred is attributable to man and that it is not possible to reduce its power. Hatred is motivated by the desire to do evil. According to Seneca, hatred either arises from an offense (and therefore can be avoided when one learns not to provoke anyone) or it is gratuitous, and at this point only common sense can provide a remedy. Hatred is different from envy: compared to the latter, however, it is unlimited, whereas envy can give way to reasonableness when we realize that, although it is not fair, it is felt towards those who are lucky, and we see that, finally, no wrong was suffered.
Medea is aware of her hatred and transforms it into clear anger. The fact that hatred - to be understood as a "desire for revenge" and, at the same time, as settled disposition - has translated into anger must induce the reader/viewer to frame the situation in a broader context which, from an emotional point of view , could be "comprehensive" of the passion/rationality intertwining: hatred, in fact, does not seem to preclude space for rational activity. Anger blinds, hatred does not: rather, it sharpens the attention that can be devoted to a plan of revenge
Digital Library (FICLIT)
No full textDigital Library FICLIT è la nuova biblioteca digitale del Dipartimento di Filologia Classica e Italianistica dell’Università di Bologna, ideata e sviluppata nell'ambito del Progetto di Eccellenza grazie alla collaborazione tra il laboratorio di scansioni ADLab, il centro di ricerca /DH.arc e la Biblioteca Umanistica “Ezio Raimondi”. La DL nasce con lo scopo di gestire, valorizzare e rendere fruibile il patrimonio documentario conservato presso alcune delle principali biblioteche di Ateneo, e non solo.
Per rispondere alle esigenze di diverse tipologie di utenza, è possibile navigare attraverso le collezioni digitali e i percorsi proposti oppure effettuare ricerche per parametri o di singoli oggetti. La DL si appoggia alla piattaforma cms Omeka S e utilizza la tecnologia iiif per la gestione e l’accesso alle immagini, che vengono visualizzate con Mirador Viewer.The digital version (data and metadata) of cultural archives and collection held and maintained by the Department of Classical Philology and Italian Studie
Paolo Bufalini. Appunti (1981-1991)
No full textThe Semantic Digital Edition of Paolo Bufalini’s notebook aims at creating a scholarly edition enhanced by Semantic Web technologies. The digital edition, initially encoded in TEI/XML, focuses on inter and intra-textuality aspects. The RDF version of the edition aims at reconstruct the broad library owned by the scholar and enrich available information with data extracted from external source
Leopardi: Wiki Leopardi, Leopardi Ecdosys, Leopardi 3D:
Full text linkThe digital projects presented in this report, related to Leopardi’s works, show how the digital medium provides different paradigms depending on the philological cases addressed, and that – as in paper philology – there is no ‘perfect’ edition. The model adopted for the representation of the printed tradition of the Canti – Wiki Leopardi – was developed in an educational context, and constitutes the experimentation of a collaborative edition with a high degree of specialization of the participants. The edition, which since its opening to the public in April 2020 has had more than 6,000 contacts, has a generalist and didactic vocation and makes it possible to combine the evolution of the structure of the book with that of the individual variants. On the other hand, the Leopardi Ecdosys project adopts a stratigraphic representation using the ‘graph’ method, which is very well suited to the case study used: the Neapolitan notebook of the Idylls, in which the ‘days’ of copying and the four correction campaigns can be effectively represented in the multiplicity of their correction layers. The last project presented, Leopardi 3D, which is still in progress, applies RTI (Reflectance Transformation Imaging) technology to the same Neapolitan notebook. Through a series of high-definition photos, taken with grazing light and reflections on a convex surface, it is possible, after post-imaging recomposition, to represent the three-dimensionality of the manuscript and highlight its compositional stratigraphy, in a truly ‘immersive journey’ through the manuscript, no longer considered as a two-dimensional object, but three-dimensional, where the third dimension is that of time.I progetti digitali che vengono presentati nella relazione, relativi all’opera leopardiana, mostrano come il mezzo digitale fornisca paradigmi diversi a seconda dei casi filologici affrontati, e che – come nella filologia cartacea – non vi sia un’edizione ‘perfetta’. Il modello adottato per la rappresentazione della tradizione a stampa dei Canti – WIKI Leopardi – è stato sviluppato in ambito didattico, e costituisce la sperimentazione di una edizione collaborativa ad alto tasso di specializzazione dei partecipanti. L’edizione, che dall’apertura al pubblico, nell’aprile 2020, ha avuto più di 6000 contatti, ha una vocazione generalista e didattica e permette di coniugare l’evoluzione della struttura del libro, con quella delle singole varianti. Diversamente, il progetto Ecdosys Leopardi, adotta una rappresentazione stratigrafica secondo il metodo dei ‘grafi’, che si adatta molto bene al caso di studio utilizzato: il quaderno napoletano degli Idilli, in cui le ‘giornate’ di copia e le quattro campagne correttorie, possono essere rappresentate efficacemente nella molteplicità dei loro strati correttori. L’ultimo progetto presentato, Leopardi 3D, ancora in corso, applica al medesimo quaderno napoletano la tecnologia Rti (Reflectance Trasformation Imaging), che attraverso una serie di foto ad alta definizione, realizzate a luce radente e in riflessione su superficie convessa, permettono, dopo la ricomposizione post imaging, di rappresentare la tridimensionalità del manoscritto ed evidenziarne la stratigrafia compositiva, in un vero e proprio ‘viaggio immersivo’ nel manoscritto, considerato non più come un oggetto a due dimensioni, ma tridimensionale, dove la terza dimensione è quella del tempo
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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