The Palgrave Handbook of Digital and Public Humanities

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