tag:blogger.com,1999:blog-363950612024-03-05T12:03:18.052+01:00Digital & Public Historyby @sergenoiretAnonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.comBlogger52125tag:blogger.com,1999:blog-36395061.post-22572253842044728432018-09-04T11:46:00.005+02:002018-09-04T11:47:31.076+02:00Blog Moved to http://dph.hypotheses.org<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: x-large;">This Blog has been transferred in 2015 to the academic blog portal <a href="http://hypotheses.org/">Hypotheses.org</a> with new address at:</span></h2>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-26790785337804384932015-11-11T15:04:00.001+01:002015-11-11T15:04:01.824+01:00Digital Public History Narratives with Photographs<div dir="ltr" style="text-align: left;" trbidi="on">
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This post is a slightly different version of <em>Digital Public History narratives with Photographs</em>. In: Public History Weekly 3 (2015) 31, DOI: <a class="external" data-mce-href="http://dx.doi.org/10.1515/phw-2015-4706" href="http://dx.doi.org/10.1515/phw-2015-4706">dx.doi.org/10.1515/phw-2015-4706</a>. (German and French versions also available in PHW).</div>
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<strong>Social Media are “a group of Internet-based applications that build on the ideological and technological foundations of Web 2.0, and that allow the creation and exchange of user-generated content.”</strong>[1]<strong> They facilitate various forms of web communication between individuals and communities. They can bring users together to discuss common issues and to share traces of the past. Local communities’ engagement with the past, mediated or not, are made possible through Web 2.0 practices. New virtual contacts could be built when communities are no longer present in physical spaces.</strong>[2]</div>
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<a href="http://public-history-weekly.oldenbourg-verlag.de/" target="_blank">http://public-history-weekly.oldenbourg-verlag.de/</a></div>
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Everybody’s got talent: user-generated knowledge</h2>
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If social media allow dispersed communities to reconnect online and share their memories, today, understanding how common people use social media and play with history tells us many things about which pasts are important in our present.[3]<br />Everybody promotes her/himself. TV “reality shows” such as <em>Got Talent</em>[4] are the most followed TV broadcasts worldwide because they select unknown people and connect them with an audience. These shows reveal unexpressed skills and creative capacities the same way online social media websites crowd-source knowledge and reconnect with the past. Like TV talent shows, social media allow different publics to promote themselves, their family history, and their communities.<br />Sociologist Pierre Bourdieu defined the systematic repetition of similar family photographs as emblematic of popular behaviour and culture.[5] Sharing different generations’ family pictures in social media shapes collective memories.[6] On the other hand, such popular demand for genealogy[7] only scratches the surface of major events in history and is often disconnected from “big history” and broader contexts. But photography, in social media, describes popular behaviours – “selfies” today – [8] and, thanks to linked data technologies, Google Maps, and Street View, adds spatial dimensions and time boundaries to individual memories.</div>
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Pinning your images with Historypin, a digital time machine</h2>
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“Historypin is a digital time machine that creates a new way for the world to see and share history.”[9] Linked data and the Semantic Web connect digital contents, combining primary sources with geography.[10] Old pictures can be “pinned” in the present: family pasts may be re-enacted today. Heritage institutions, but also common people, organize forms of storytelling because the technology is easy. Public historians take<em>Historypin</em> seriously to engage with specific communities.[11] Using <em>Historypin</em>, the American National Archives is now everywhere outside the building in the virtual space[12] and solicits everybody’s contribution to historical archives, inviting the wider public to “pin your history to the world.”[13] In Florence, during a public exhibition (2014) commemorating the 70th anniversary of the end of the German occupation,[14] citizens brought their documents on site, using the <em>MemorySharing</em> project. Old 1944 documents were scanned and included in today’s maps of Florence. New Zealand soldiers are now re-enacted directly on Google Street View.[15] You can fade the vintage picture[16] to see the contemporary layer of the street.<br />Could academic historians use the potential of digital public history, with <em>Historypin</em>, a tool that makes it easy to re-enact even difficult pasts? Alon Confino tried to reconstruct the pre-1948 invisible Palestinian past of Tantura, Dor in today’s Israel. Confino studied cadastral maps, aerial photography, and images of Palestinians recorded prior to May 22–23, 1948. But user-generated content from social media would add original Palestinian diaspora documents: re-enacting 1948 Palestinian memories should be possible.[17]</div>
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Visual narrative public history</h2>
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Inspired by a photograph, Michael Hughes’ Flickr project “Souvenirs”,[18] <em>Looking into the Past</em> merges past and present in a unique image.[19] “Ghosting family pasts”, thanks to digital technologies, is very popular for resuscitating memories. Merging old pictures and recent images shortens the digital timeline and activates different regimes of historicity in the present.[20]<br />Emblematic of many others projects around the world, the <em>Past Present Project</em> in Tumblr[21] publishes family pictures where past and present overlap.[22] Images showing the pastness of places shape a nostalgic present, such as the merged urban temporalities of the Hungarian artist Zoltán Kerényi,[23] or Hebe Robinson’s <em>Northern Norway Echoes</em>, a project placing old family photos from a Lofoten fishing village, abandoned after WW2, in today’s landscape.[24] Sometimes called rephotography,[25] these new images contain different time layers in one unique image. Even WW1 images are “ghosted” in a past-present continuum.[26] The same is done with WW2 images by the Russian photographer Sergey Larenkov in <em>Link to the Past</em>.[27] The author of a website about Krakow “looks for very old photos of the city and takes new ones from the very same spot, so my readers can compare and see what has changed”.[28] Keith Jones, in<em>Liverpool then and now</em>,[29] lets us discover “blended shots”: old black and white images merged with colour images.[30]</div>
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Past-present relationships in photographs</h2>
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The Italian photographer, Isabella Balena, took pictures of the Gothic Line ruins that stopped the allied offensive in 1944 in central Italy sixty years after the event. <em>Ci resta il nome, a photographic journey through the memory of WW2 in Italy</em> is a good example of visual narrative public history.[31] What is important in Balena’s systematic reproduction of monuments and traces of the violent past is to show how the place where Mussolini was shot in April 1945 tells about both presentism and oblivion and is open to the present and new futures.<br />But photography may also show that the present has lost its connection with the past. Total disconnection with history is what Serge Gruzinski demonstrates with the cover picture of his book, <em>L’Histoire pour quoi faire?</em>:[32] young, post-colonial Algerians playing soccer. Their goalkeeper stands in front of an ancient Roman arch, a symbol of lost memories. The arch does not mean anything to them. Instead, in the context of today’s Isis campaigns, the Islamic State extremists destroy past heritages, so that history could be rewritten and memory cancelled forever.[33]</div>
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<strong>Literature</strong></div>
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<li>François Hartog: Régimes d’historicité: présentisme et expériences du temps., Paris: Seuil, 2003 (Regimes of historicity: presentism and experiences of time, translated by Saskia Brown, New York: Columbia University Press, 2015.</li>
<li>Serge Gruzinski: L’Histoire pour quoi faire?, Paris: Fayard, 2012.</li>
<li>Serge Noiret: “Nulla sarà più come prima: considerazioni sul Digital Turn e le fonti fotografiche dal punto di vista della storiografia.” in Gian Piero Brunetta and Carlo Alberto Zotti Minici (eds.): La fotografia come fonte di storia, atti del convegno (Venezia, 4-6 ottobre 2012), Venezia, Istituto Veneto di Scienze, Lettere ed Arti, 2014, pp.248-268.</li>
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<strong>External links</strong></div>
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<li>1940-1944 Firenze in guerra: <a class="external" data-mce-href="http://www.firenzeinguerra.com/" href="http://www.firenzeinguerra.com/">http://www.firenzeinguerra.com</a> (Last accessed 5.10.2015)</li>
<li>Historypin – a global community collaborating around history: <a class="external" data-mce-href="http://www.historypin.org/" href="http://www.historypin.org/">http://www.historypin.org</a> (Last accessed 5.10.2015)</li>
<li>Flickr Group “Looking Into the Past”: <a class="external" data-mce-href="http://www.flickr.com/groups/lookingintothepast/" href="http://www.flickr.com/groups/lookingintothepast/">http://www.flickr.com/groups/lookingintothepast/</a> (Last accessed 5.10.2015)</li>
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<small>[1] Andreas M. Kaplan, and Michael Haenlein, “Users of the world, unite! The challenges and opportunities of social media”, in Business Horizons, 53/1, 2010 pp. 59-68.<br />[2] Dario Miccoli studies how the Jewish diaspora from the Maghreb is today “reconnected” through the web and social media. See “Digital museums: narrating and preserving the history of Egyptian Jews on the Internet”, in E. Trevisan Semi, D. Miccoli and T. Parfitt (eds.), Memory and Ethnicity. Ethnic Museums in Israel and the Diaspora, Newcastle: Cambridge Scholars, 2013, pp.195-222; “Les Juifs du Maroc, Internet et la construction d’une diaspora numérique”, in Expressions Maghrébines, 13/1, 2014, pp.75-94.<br />[3] André Gunthert: “Shared Images”, in Études photographiques, 24, novembre 2009, <a class="external" data-mce-href="http://etudesphotographiques.revues.org/3436" href="http://etudesphotographiques.revues.org/3436">http://etudesphotographiques.revues.org/3436</a> (Last accessed 5.10.2015); “L’image conversationnelle”, in Études photographiques, 31, 2014, <a class="external" data-mce-href="http://etudesphotographiques.revues.org/3387" href="http://etudesphotographiques.revues.org/3387">http://etudesphotographiques.revues.org/3387</a> (Last accessed 5.10.2015).<br />[4] A list of countries offering, after the USA in 2006 and GB in 2007, an emulation of Got Talent is available in Wikipedia,<a class="external" data-mce-href="https://en.wikipedia.org/wiki/Got_Talent" href="https://en.wikipedia.org/wiki/Got_Talent">https://en.wikipedia.org/wiki/Got_Talent</a>; America’s Got Talent (2006), <a class="external" data-mce-href="http://www.nbc.com/americas-got-talent" href="http://www.nbc.com/americas-got-talent">http://www.nbc.com/americas-got-talent</a>; La France a un incroyable talent (2006), <a class="external" data-mce-href="http://www.m6.fr/emission-la_france_a_un_incroyable_talent/" href="http://www.m6.fr/emission-la_france_a_un_incroyable_talent/">http://www.m6.fr/emission-la_france_a_un_incroyable_talent/</a>; Britain’s got talent <a class="external" data-mce-href="http://www.itv.com/britainsgottalent" href="http://www.itv.com/britainsgottalent">http://www.itv.com/britainsgottalent</a>; general information in Wikipedia, <a class="external" data-mce-href="https://en.wikipedia.org/wiki/Britain%27s_Got_Talent" href="https://en.wikipedia.org/wiki/Britain%27s_Got_Talent">https://en.wikipedia.org/wiki/Britain%27s_Got_Talent</a> (All last accessed 5.10.2015).<br />[5] Pierre Bourdieu, Luc Boltanski, Roger Castel and Philippe de Vendeuvre: Photography, a Middle-Brow Art, Stanford: Stanford University Press, 1990.<br />[6] Richard Chalfen, “La photo de famille et ses usages communicationnels”, Études photographiques, n. 32, 2015,<a class="external" data-mce-href="http://etudesphotographiques.revues.org/3502" href="http://etudesphotographiques.revues.org/3502">http://etudesphotographiques.revues.org/3502</a> (Last accessed 5.10.2015).<br />[7] Jerome De Groote: “International Federation for Public History Plenary Address: On Genealogy”, in The Public Historian, Vol. 37, No. 3, August 2015, pp. 102-127, DOI: 10.1525/tph.2015.37.3.102 (Last accessed 5.10.2015).<br />[8] André Gunthert: “The consecration of the selfie”, in Études photographiques, 32, 2015, <a class="external" data-mce-href="http://etudesphotographiques.revues.org/3537" href="http://etudesphotographiques.revues.org/3537">http://etudesphotographiques.revues.org/3537</a> (Last accessed 5.10.2015)<br />[9] Historypin in Wikipedia, <a class="external" data-mce-href="https://en.wikipedia.org/wiki/Historypin" href="https://en.wikipedia.org/wiki/Historypin">https://en.wikipedia.org/wiki/Historypin</a> (Last accessed 5.10.2015); see also Hunter Skipworth: Historypin turns Google Street View into a window on the past, June 21, 2010, The Telegraph,<a class="external" data-mce-href="http://www.telegraph.co.uk/technology/google/7854922/Historypin-turns-Google-Street-View-into-a-window-on-the-past.html" href="http://www.telegraph.co.uk/technology/google/7854922/Historypin-turns-Google-Street-View-into-a-window-on-the-past.html">http://www.telegraph.co.uk/technology/google/7854922/Historypin-turns-Google-Street-View-into-a-window-on-the-past.html</a> (Last accessed 5.10.2015); Beat Brüsch: “L’histoire en noir et blanc”, in: Mots d’Image, <a class="external" data-mce-href="http://www.motsdimages.ch/L-histoire-en-noir-et-blanc.html" href="http://www.motsdimages.ch/L-histoire-en-noir-et-blanc.html">http://www.motsdimages.ch/L-histoire-en-noir-et-blanc.html</a><br />[10] “A global community collaborating around history […]”, <a class="external" data-mce-href="http://www.historypin.com/" href="http://www.historypin.com/">http://www.historypin.com/</a> (Last accessed 5.10.2015). Historypin was created by the non-profit company Shift with support from Google and launched at the Museum of the City of New York in July 2011. “Enabling networks of people to share and explore local history, make new connections and reduce social isolation” was the goal of the company. See Historypin,<a class="external" data-mce-href="http://www.shiftdesign.org.uk/products/historypin/" href="http://www.shiftdesign.org.uk/products/historypin/">http://www.shiftdesign.org.uk/products/historypin/</a> (Last accessed 5.10.2015).<br />[11] Meg Foster: “Online and Plugged In? Public History and Historians in the Digital Age”, in Public History Review, Vol.21, 2014, pp. 1-19,<a class="external" data-mce-href="http://epress.lib.uts.edu.au/journals/index.php/phrj/article/view/4295/4601" href="http://epress.lib.uts.edu.au/journals/index.php/phrj/article/view/4295/4601">http://epress.lib.uts.edu.au/journals/index.php/phrj/article/view/4295/4601</a> (Last accessed 5.10.2015)<br />[12] Kris Jarosik: “Primary Sources With Some Help from Historypin”, in The National Archives Education Updates,<a class="external" data-mce-href="http://education.blogs.archives.gov/2014/12/16/primary-sources-on-history-pin/" href="http://education.blogs.archives.gov/2014/12/16/primary-sources-on-history-pin/">http://education.blogs.archives.gov/2014/12/16/primary-sources-on-history-pin/</a> (Last accessed 5.10.2015).<br />[13] NARA, <a class="external" data-mce-href="http://www.archives.gov/social-media/historypin.html" href="http://www.archives.gov/social-media/historypin.html">http://www.archives.gov/social-media/historypin.html</a> (Last accessed 5.10.2015).<br />[14] <a class="external" data-mce-href="http://www.regione.toscana.it/-/1940-1944-firenze-in-guerra" href="http://www.regione.toscana.it/-/1940-1944-firenze-in-guerra">http://www.regione.toscana.it/-/1940-1944-firenze-in-guerra</a> (Last accessed 5.10.2015); Filippo Macelloni and Lorenzo Garzella: MemorySharing a Firenze, <a class="external" data-mce-href="http://www.firenzeinguerra.com/memorysharing/" href="http://www.firenzeinguerra.com/memorysharing/">http://www.firenzeinguerra.com/memorysharing/</a> (Last accessed 5.10.2015). Francesco Cavarocchi and Valeria Galimi: Firenze in Guerra, 1940-1944, Florence: Firenze University Press, 2014, pp. XXIV-XXV.<br />[15] The historic centre of Florence on a Google map is now available with new, embedded documents from 1944. This is the direct link with geographical coordinates:<br /><a class="external" data-mce-href="https://www.historypin.org/map/#!/geo:43.789874,11.271481/zoom:13/date_from:1944-01-01/date_to:1944-12-31/" href="https://www.historypin.org/map/#!/geo:43.789874,11.271481/zoom:13/date_from:1944-01-01/date_to:1944-12-31/">https://www.historypin.org/map/#!/geo:43.789874,11.271481/zoom:13/date_from:1944-01-01/date_to:1944-12-31/</a> (Last accessed 5.20.2015).<br />[16] Kaye, George Frederick, 1914-2004. Looking towards the Porta Romana in southern Florence, Italy, in World War II,<a class="external" data-mce-href="http://natlib.govt.nz/records/22827427" href="http://natlib.govt.nz/records/22827427">http://natlib.govt.nz/records/22827427</a> (Last accessed 5.10.2015)<br />[17] Alon Confino : “Miracles and Snow in Palestine and Israel: Tantura, a History of 1948.”, in Israel Studies, vol. 17, n. 2, 2012, pp. 25-61, (photos are published on pages 44-55).<br />[18] <a class="external" data-mce-href="https://www.flickr.com/photos/michael_hughes/sets/346406/" href="https://www.flickr.com/photos/michael_hughes/sets/346406/">https://www.flickr.com/photos/michael_hughes/sets/346406/</a> (Last accessed 5.10.2015).<br />[19] Ghosting the Past is the title of a picture showing two generations of the same family pausing on Capitol Hill. Like their grandparents, the next generation visited the same “realm of American memory”. (Looking into the Past <a class="external" data-mce-href="http://www.flickr.com/groups/lookingintothepast/" href="http://www.flickr.com/groups/lookingintothepast/">http://www.flickr.com/groups/lookingintothepast/</a> (Last accessed 5.10.2015)).<br />[20] François Hartog: Regimes of historicity: presentism and experiences of time (translated by Saskia Brown), New York: Columbia University Press, 2015.<br />[21] Christian Carollo’s Past Present Project in Tumblr, <a class="external" data-mce-href="http://pastpresentproject.com/" href="http://pastpresentproject.com/">http://pastpresentproject.com</a>; The Past Present Project in Instagram,<a class="external" data-mce-href="https://instagram.com/sayhellotoamerica/" href="https://instagram.com/sayhellotoamerica/">https://instagram.com/sayhellotoamerica/</a>; The Past Present Project in Facebook <a class="external" data-mce-href="https://www.facebook.com/pastpresentproject" href="https://www.facebook.com/pastpresentproject">https://www.facebook.com/pastpresentproject</a> (All last accessed 5.10.2015).<br />[22] “I wondered,” said the photographer Christian Carollo, “what if I could replicate my grandfather’s photograph 30 years later?”<a class="external" data-mce-href="http://pastpresentproject.com/about" href="http://pastpresentproject.com/about">http://pastpresentproject.com/about</a> (Last accessed 5.10.2015).<br />[23] 25 photos du passé se superposent avec le présent pour vous faire découvrir leurs histoires<br /><a class="external" data-mce-href="http://soocurious.com/fr/25-photos-du-passe-se-superposent-avec-le-present-pour-vous-faire-decouvrir-leurs-histoires/" href="http://soocurious.com/fr/25-photos-du-passe-se-superposent-avec-le-present-pour-vous-faire-decouvrir-leurs-histoires/">http://soocurious.com/fr/25-photos-du-passe-se-superposent-avec-le-present-pour-vous-faire-decouvrir-leurs-histoires/</a> (Last accessed 5.10.2015)<br />[24] Hebe Robinson: Echoes, <a class="external" data-mce-href="http://www.heberobinson.com/#mi=2&pt=1&pi=10000&s=0&p=1&a=0&at=0" href="http://www.heberobinson.com/#mi=2&pt=1&pi=10000&s=0&p=1&a=0&at=0">http://www.heberobinson.com/#mi=2&pt=1&pi=10000&s=0&p=1&a=0&at=0</a> (Last accessed 5.10.2015)<br />[25] Loïc Haÿ: Quand la rephotographie rencontre le numérique, <a class="external" data-mce-href="https://tackk.com/rephotographie" href="https://tackk.com/rephotographie">https://tackk.com/rephotographie</a> (Last accessed 5.10.2015)<br />[26] Pictured: Fascinating World War One photographs mixed with today’s modern landscapes, April 22, 2014,<a class="external" data-mce-href="http://www.mirror.co.uk/news/uk-news/world-war-one-photographs-mixed-3433146" href="http://www.mirror.co.uk/news/uk-news/world-war-one-photographs-mixed-3433146">http://www.mirror.co.uk/news/uk-news/world-war-one-photographs-mixed-3433146</a> (Last accessed 5.10.2015).<br />[27]Sergey Larenkov: Связь времен / Link to the Past, URL: <a class="external" data-mce-href="http://sergey-larenkov.livejournal.com/" href="http://sergey-larenkov.livejournal.com/">http://sergey-larenkov.livejournal.com</a><br />[28] Photos are divided; the old black and white image abuts the new one in full colour. The viewer may cancel parts – or the entirety – of one of the two combined images. (Kuba: Dawno temu w Krakowie, ht<a data-mce-href="//www.dawnotemuwkrakowie.pl/english/" href="https://www.dawnotemuwkrakowie.pl/english/">tp://www.dawnotemuwkrakowie.pl/english/</a>) (Last accessed 5.10.2015).<br />[29] Keith Jones: Liverpool Then and Now, <a class="external" data-mce-href="https://www.flickr.com/photos/keithjones84/sets/72157632063149974/" href="https://www.flickr.com/photos/keithjones84/sets/72157632063149974/">https://www.flickr.com/photos/keithjones84/sets/72157632063149974/</a> (Last accessed 5.10.2015).<br />[30] Liverpool Then and Now, <a class="external" data-mce-href="https://www.facebook.com/LiverpoolThenAndNow" href="https://www.facebook.com/LiverpoolThenAndNow">https://www.facebook.com/LiverpoolThenAndNow</a> (Last accessed 5.10.2015)<br />[31] Isabella Balena: Ci resta il nome., Milano: Mazzotta, 2004 and <a class="external" data-mce-href="http://isabalena.photoshelter.com/#!/about" href="http://isabalena.photoshelter.com/#!/about">http://isabalena.photoshelter.com/#!/about</a> (Last accessed 5.10.2015).<br />[32] Serge Gruzinski: L’Histoire pour quoi faire?, Paris: Fayard, 2012, pp.21-24.<br />[33] Isis Video Claims Attack On Unesco Iraq World Heritage Site, <a class="external" data-mce-href="https://youtu.be/iAWQHWU1H94" href="https://youtu.be/iAWQHWU1H94">https://youtu.be/iAWQHWU1H94</a> (Last accessed 5.10.2015).</small></div>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-59077053500592109742015-11-08T19:39:00.001+01:002015-11-08T19:39:47.854+01:00Digital Public History sessions at the XXII International Congress of Historical Sciences (ICHS-CISH)<div style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: small;"><span lang="EN-GB" style="color: black; letter-spacing: -0.75pt; line-height: 107%;">Academic Historians promoted a Historic1st
international reflection on the<i><span style="border: none windowtext 1.0pt; mso-border-alt: none windowtext 0cm; padding: 0cm;"> Digital Turn in History</span></i> during The
XXII International Congress of Historical Sciences organized by the </span><span style="letter-spacing: -0.75pt; line-height: 107%;"><a href="http://www.cish.org/EN/index.html" target="_blank"><span lang="EN-GB" style="border: none windowtext 1.0pt; color: black; mso-ansi-language: EN-GB; mso-border-alt: none windowtext 0cm; padding: 0cm; text-decoration: none; text-underline: none;">International
Committee for Historical Sciences – Comité International des Sciences
Historique </span></a></span><span lang="EN-GB" style="color: black; letter-spacing: -0.75pt; line-height: 107%;">(ICSH-CISH) in the city
of Jinan in China, between August 23 and August 29, 2015
in </span><span lang="EN-US" style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 1pt none windowtext; color: black; letter-spacing: -0.75pt; line-height: 107%; padding: 0cm; text-transform: uppercase;"><a href="http://www.sdhotel.com.cn/en/index.html" target="_blank"><span style="color: black; text-decoration: none; text-transform: none; text-underline: none;">Shandong Hotel</span></a></span><span lang="EN-US" style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 1pt none windowtext; color: black; letter-spacing: -0.75pt; line-height: 107%; padding: 0cm;">. (You can
still </span><span style="letter-spacing: -0.75pt; line-height: 107%;"><a href="http://www.cish.org/congres/Programme_Congres.pdf"><span lang="EN-GB" style="border: none windowtext 1.0pt; color: black; mso-ansi-language: EN-GB; mso-border-alt: none windowtext 0cm; padding: 0cm; text-decoration: none; text-underline: none;">Download the Full Programme</span></a></span><span lang="EN-GB" style="color: black; letter-spacing: -0.75pt; line-height: 107%;">, look at the </span><span style="letter-spacing: -0.75pt; line-height: 107%;"><a href="http://www.cish.org/congres/Practical%20information.odt"><span lang="EN-GB" style="border: none windowtext 1.0pt; color: black; mso-ansi-language: EN-GB; mso-border-alt: none windowtext 0cm; padding: 0cm; text-decoration: none; text-underline: none;">Practical
Information</span></a></span><span lang="EN-GB" style="color: black; letter-spacing: -0.75pt; line-height: 107%;"> and </span><span style="letter-spacing: -0.75pt; line-height: 107%;"><a href="http://www.ichschina2015.org/cms/"><span lang="EN-GB" style="border: none windowtext 1.0pt; color: black; mso-ansi-language: EN-GB; mso-border-alt: none windowtext 0cm; padding: 0cm; text-decoration: none; text-underline: none;">visit the
Jinan Congress Web Site</span></a></span><span lang="EN-GB" style="color: black; letter-spacing: -0.75pt; line-height: 107%;">.)</span></span></div>
<span style="font-family: "trebuchet ms" , sans-serif; font-size: small;"><span style="color: black; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; text-transform: uppercase;"><div style="text-align: left;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnoSysOoeP0yrFkL4d4Lo2lHLFqzANEGBYqV_Al1YxWpnmqKUA47x_TPFLu5FrWfbjHV9Dm1VvRWX8Bs9c0k_DX3UpjTEyMoanEg7MxDwZRzMLHxxdqOvLUBsYB_zTlM_NI-LQJQ/s1600/IFPH+jinan+2015.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnoSysOoeP0yrFkL4d4Lo2lHLFqzANEGBYqV_Al1YxWpnmqKUA47x_TPFLu5FrWfbjHV9Dm1VvRWX8Bs9c0k_DX3UpjTEyMoanEg7MxDwZRzMLHxxdqOvLUBsYB_zTlM_NI-LQJQ/s1600/IFPH+jinan+2015.jpg" /></a></div>
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<div class="entry" style="background-color: white; border: 0px; font-family: Arial, sans-serif; font-size: 18px; font-stretch: inherit; line-height: 1.6em; margin: 0px; padding: 0px; vertical-align: baseline;">
<div class="entry-inner" style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">For the first time in its own history, the ICHS promoted some panels and events around Digital History tahnks to the <a href="https://www.historians.org/" style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition-duration: 0.2s; transition-timing-function: ease; vertical-align: baseline;" target="_blank">American Historical Association</a> (AHA) and t<span lang="EN-US" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">he <a href="http://ifph.hypotheses.org/" style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition-duration: 0.2s; transition-timing-function: ease; vertical-align: baseline;" target="_blank">Internal Federation for Public History</a>(IFPH-FIHP), a permanent <a href="http://www.cish.org/EN/membres/internal-commissions.html#public" style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition-duration: 0.2s; transition-timing-function: ease; vertical-align: baseline;" target="_blank">Internal Commission of the CISH</a>. Both associations actively contributed to the main <a href="http://www.cish.org/congres/Programme_Congres.pdf" style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition-duration: 0.2s; transition-timing-function: ease; vertical-align: baseline;">CISH programme</a> in Jinan. The IFPH also organized its <a href="http://ifph.hypotheses.org/jinan-2015" style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition-duration: 0.2s; transition-timing-function: ease; vertical-align: baseline;" target="_blank">2nd Annual International Conference</a> during the <a href="http://www.ichschina2015.org/" style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition-duration: 0.2s; transition-timing-function: ease; vertical-align: baseline;" target="_blank">XXII International Congress of Historical Sciences</a> with a session dedicated to <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Digital Public History</em>.</span></span></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">One of the four Major Themes during this quinquennial meeting of historians from all over the world was about the Digital Turn in History/<em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Le tournant numérique en Histoire. </em>Many defections were registered still in July but, at the end, Robert Frank, professor of History of International Relations at Paris 1 Sorbonne and, at the time of the conference, still secretary general of the <a href="http://www.cish.org/EN/index.html" style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition-duration: 0.2s; transition-timing-function: ease; vertical-align: baseline;" target="_blank">International Committee for Historical Sciences</a>, succeeded in maintaining three different digital history events: two panels and an evening session about digital public history.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji786Vgxj3AlUJ5fUJIBzJptsn-byza4MMc_03wQHVopBR-1ZWhZtrcrifoQgLgmbeRT_uTheEHIGwktSbJ9iWD2BxZicBmCUTgrZJX2cU87cWhCTiSmHQQJktxMfJ6ilA5SHkIQ/s1600/CISH-Jinan-2015.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEji786Vgxj3AlUJ5fUJIBzJptsn-byza4MMc_03wQHVopBR-1ZWhZtrcrifoQgLgmbeRT_uTheEHIGwktSbJ9iWD2BxZicBmCUTgrZJX2cU87cWhCTiSmHQQJktxMfJ6ilA5SHkIQ/s320/CISH-Jinan-2015.png" width="320" /></a></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">This was the specific digital history programme</span></div>
<h3 style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #444444; font-family: inherit; font-size: 28px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 400; letter-spacing: -0.5px; line-height: 1.3em; margin: 0px 0px 14px; padding: 0px; vertical-align: baseline; word-wrap: break-word;">
<span style="border: 0px; color: red; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Session 1: Digital History: Challenges and Possibilities </span></h3>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">9 AM-12:15 PM<em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> – </em>Movie Hall, Shandong Hotel – http://www.ichschina2015.org/cms/Agendanew/1084.jhtml</span></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> </span><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">With the support of the American </em><em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Historical Association </em></span></span></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Organizers: </span></span></div>
<ul style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: none; margin: 0px 0px 15px 30px; padding: 0px; vertical-align: baseline;">
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Tom Dublin</span> (SUNY Binghamton) and <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Kathryn Kish Sklar </span>(SUNY Binghamton)</span></li>
</ul>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Participants:</span></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; font-weight: inherit; margin-left: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigjKR5Rke3zmeu6k3ziWobIFhmLWpbC5kIx36fsIX-Q20MxotLk0iWTLty2wn_k7QZKu4EL95z927kETLGw5EmPlBOX-tZ9sqnGM4hAlDiHJ9IpNPqM0NRb78JNs92whgw4-IWlA/s1600/IMG_6758.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigjKR5Rke3zmeu6k3ziWobIFhmLWpbC5kIx36fsIX-Q20MxotLk0iWTLty2wn_k7QZKu4EL95z927kETLGw5EmPlBOX-tZ9sqnGM4hAlDiHJ9IpNPqM0NRb78JNs92whgw4-IWlA/s400/IMG_6758.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">What is PH International, Interview Jinan, August 27, 2015</td></tr>
</tbody></table>
<ul style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: none; margin: 0px 0px 15px 30px; padding: 0px; vertical-align: baseline;">
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Tom Dublin and Kathryn Kish Sklar (SUNY Binghamton): <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">History of Women: Challenges of archival database construction</em></span></li>
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Kathryn Sklar:<em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> </em><em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">New Digital Media and the New History of Human Right</em>s</span></li>
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Patrick Murray-John: <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Omeka, a (partly) international platform</em></span></li>
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Serge Noiret: <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Who owns History and Memory in the web? Challenges and Possibilities of Digital Public History</em></span></li>
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Alla Kovalova: <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Digital Historiography and Authors’ Rights: Challenges and Perspectives</em></span></li>
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Yvan Combeau (Université de La Réunion-Océan Indien): <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The Screen and Digital Archives</em><em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> </em></span></li>
</ul>
<h3 style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #444444; font-family: inherit; font-size: 28px; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 400; letter-spacing: -0.5px; line-height: 1.3em; margin: 0px 0px 14px; padding: 0px; vertical-align: baseline; word-wrap: break-word;">
<span style="border: 0px; color: red; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Session 2: New Tools, New Narratives, New Histories</span></h3>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">2 PM-5:15 PM- </span><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Movie Hall, Shandong Hotel</span><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> </span></span></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Discussants:</span></span></div>
<ul style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: none; margin: 0px 0px 15px 30px; padding: 0px; vertical-align: baseline;">
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Tom Dublin</span> (SUNY Binghamton) and <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Kathryn Kish Sklar </span>(SUNY Binghamton)</span></li>
</ul>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Participants: </span></span></div>
<ul style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: none; margin: 0px 0px 15px 30px; padding: 0px; vertical-align: baseline;">
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Adam Kosto (Columbia University): <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Digital Developments: Medieval European Diplomatic Sources</em></span></li>
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Silvia Orlandi (Sapienza University of Rome): <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">EAGLE European network of ancient Greek and Latin epigraphy: Ancient inscriptions in the digital era</em></span></li>
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Andrea Nanetti (Singapore Nanyang Technical University) and Siew Ann Cheong (Singapore Nanyang Technical University): <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Web based automatic narratives for interactive global histories: The maritime silk road 1205-1533</em></span></li>
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Guido Abbattista: <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Digital frontiers for research on Modern History: resources and methodology</em></span></li>
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Jean-François Sirinelli: <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">L’historien, le politique et le numérique : un triangle complexe</em></span></li>
</ul>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span lang="EN-US" style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The International Federation for Public History (IFPH) contributed also to organise seminars and sessions with the ICHS about Digital (Public) History and the Digital Turn in History described below.</span></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span lang="EN-US" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"></span></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Major </span><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Theme 4</span><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> – </em></span><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Digital Turn in History</span></span></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Thème majeur 4 – </em></span><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Le tournant numérique en Histoire</em></span></span></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Evening Session </span>– 7:45 PM-9:30 PM/<em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">19 h 45-21 h 30 – </em>Movie Hall, Shandong Hotel</span></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Promoting Digital History internationally: Roy Rosenzweig Center for History and New Media projects and the role of THATCamp (The Humanities and Technology Camp) – </span></span><span style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Promouvoir l’Histoire Numérique internationale: Les projets du Roy Rosenzweig Center for History and New Media et le rôle de THATcamp (The Humanities and Technology Camp)</em></span></span></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">– <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Serge Noiret</span> (President of the International Federation for Public History; European University Institute, Florence): <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Introduction</em></span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpftU6u4M1keyItZhSBbJsGaLTqYiIiA8HWpR4j0S4u0qhuvm1rGPcchYKP7ZB4Y0D6zn-nnwUIwH1eXQU-X8GR-kE3AY39PsRLL4n50Ub3bQ4_-UTc9hqgw2fMEmE3XRU5zLO4Q/s1600/IMG_2839.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpftU6u4M1keyItZhSBbJsGaLTqYiIiA8HWpR4j0S4u0qhuvm1rGPcchYKP7ZB4Y0D6zn-nnwUIwH1eXQU-X8GR-kE3AY39PsRLL4n50Ub3bQ4_-UTc9hqgw2fMEmE3XRU5zLO4Q/s320/IMG_2839.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">University of Shandong Students helping at any moment</td></tr>
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<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; color: #666666; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; color: black; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">– <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Patrick Murray-John</span> (Roy Rosenzweig Center for History and New Media, Department of History and Art History, George Mason University): <em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The Humanities And Technology Camp: How an informal conference structure spreads knowledge and interest in the Digital Humanities</em></span></div>
<hr style="background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom-color: rgb(238, 238, 238); border-bottom-style: solid; border-width: 0px 0px 2px; font-weight: inherit; height: 1px; margin: 30px 0px;" />
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="color: black;"><a href="http://www.ichschina2015.org/cms/Agendanew/1089.jhtml" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition-duration: 0.2s; transition-timing-function: ease; vertical-align: baseline;" target="_blank"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Round Table 9/Table ronde 9</span> </a>– <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Why Public History ?</span></span></span></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">9 AM-12/9 h-12 h – Zibo Hall, Shandong Hotel</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSCmYeoqGdx1x9va3IlcRyO_nAl0M7Ylx_sTQrssd3dU5nMvVJAhUFg4nnGX27DGtvs_BkDXn16zGd7sfOHT_kavRsdstUIWi5-YgmubZJv64ibDBCrBgWBPTrsVZbbLQwEtF1vA/s1600/DSC07351.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSCmYeoqGdx1x9va3IlcRyO_nAl0M7Ylx_sTQrssd3dU5nMvVJAhUFg4nnGX27DGtvs_BkDXn16zGd7sfOHT_kavRsdstUIWi5-YgmubZJv64ibDBCrBgWBPTrsVZbbLQwEtF1vA/s640/DSC07351.JPG" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Participants to the Roundtable "Why Public History"</td></tr>
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<span style="font-family: inherit; font-size: inherit; font-style: inherit; font-variant: inherit; line-height: inherit;"> </span><br />
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">With the support of the <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">International Federation for Public History</span></span></div>
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<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> </span><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Organizers</span>: <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Alix Green</span>, (University of Central Lancashire) and <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Arnita A. Jones</span>, (International Federation for Public History)</span></div>
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<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Commentators</span>:</span></div>
<ul style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: none; margin: 0px 0px 15px 30px; padding: 0px; vertical-align: baseline;">
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Anna Adamek, Curator, Canada Science and Technology Museum, Canada</span></li>
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Philip L. Cantelon, Chief Executive Officer, History Associates Incorporated, USA</span></li>
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Bonny Ibhawoh, Associate Professor of History, McMaster University, Canada</span></li>
<li style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Serge Noiret, History Information Specialist, European University Institute, Italy</span></li>
</ul>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> 3. <span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Fri</span><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">day August 28</span> – 2 PM-5:15 PM<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> – </em></span>Zaozhuang Hall,<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> </span>Shandong Hotel<span lang="EN-US" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">: </span>International Federation for Public History 2nd Annual Conference – #IFPH2015 – </span><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Session 3: Digital Public History</span></div>
<hr style="background-attachment: initial; background-clip: initial; background-color: #eeeeee; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; border-bottom-color: rgb(238, 238, 238); border-bottom-style: solid; border-width: 0px 0px 2px; font-weight: inherit; height: 1px; margin: 30px 0px;" />
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">IC 1<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> </span><a href="http://www.ichschina2015.org/cms/Agendanew/1090.jhtml" style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; transition-duration: 0.2s; transition-timing-function: ease; vertical-align: baseline;" target="_blank">Friday 28 August afternoon/<em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Vendredi 28 août après-midi</em></a></span></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">2 PM-5:15 PM/</span><em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">14 h-17 h 15</span></em><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> – </em></span></span><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: 600; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Zaozhuang Hall, Shandong Hotel</span></span></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Session 3: Digital Public History</span></div>
<div style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin-bottom: 1em; padding: 0px; vertical-align: baseline;">
<span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Chair: Serge Noiret (European University Institute, Florence)</span></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCWs-UDoV3QNR1GBHk_ORXsoufL7oh7kaidQXQbZGIj4YtigOl4pyI1kKE_Oi4USAp4j5HZjlAvR5LkPZVZ8fCl2okMxD-6tkcQdfCIMn7HvEKC8cmTRBTpPP8CWVrDGryc1Rjzg/s1600/DSC07770.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCWs-UDoV3QNR1GBHk_ORXsoufL7oh7kaidQXQbZGIj4YtigOl4pyI1kKE_Oi4USAp4j5HZjlAvR5LkPZVZ8fCl2okMxD-6tkcQdfCIMn7HvEKC8cmTRBTpPP8CWVrDGryc1Rjzg/s400/DSC07770.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jenny Gregory & Patrick Moore before the session on DPH</td></tr>
</tbody></table>
<ul style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: none; margin: 0px 0px 15px 30px; padding: 0px; vertical-align: baseline;">
<li style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">– Jenny Gregory (University of Western Australia):</span><br /><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Public History and the Use of Social Media</span></span></li>
<li style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; list-style: square; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">– Patrick Moore (University of West Florida):</span><br /><span style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="border-image-outset: initial; border-image-repeat: initial; border-image-slice: initial; border-image-source: initial; border-image-width: initial; border: 0px; font-family: inherit; font-size: inherit; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The Many Faces of an Historical APP: Next Exit History,” the Classroom and Community</span></span></li>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-18246721137859639422015-06-29T16:44:00.001+02:002015-06-29T16:54:34.359+02:00Italy’s first Master’s Degree in Public History starts in September 2015<div dir="ltr" style="text-align: left;" trbidi="on">
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><a data-mce-href="http://www.masterpublichistory.unimore.it/site/home.html" href="http://www.masterpublichistory.unimore.it/site/home.html" target="_blank">The University of Modena and Reggio Emilia, Department of Language and Cultural Studies, launches Italy's first Master's degree in Public History, beginning with the 2015/2016 academic year. The master is a<strong> </strong>2<sup>nd</sup> level Master's Degree in Public History.</a></span></h3>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><strong>"<em>History is us, no one is to feel excluded</em>" (Francesco De Gregori).</strong></span><br />
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<tr><td style="text-align: center;"><a data-mce-href="http://ifph.hypotheses.org/files/2015/06/foto-Bertucelli.jpg" href="http://ifph.hypotheses.org/files/2015/06/foto-Bertucelli.jpg" style="-webkit-user-drag: none;"><img alt="foto Bertucelli" class="wp-image-749 size-full" data-mce-src="http://ifph.hypotheses.org/files/2015/06/foto-Bertucelli.jpg" src="http://ifph.hypotheses.org/files/2015/06/foto-Bertucelli.jpg" height="168" style="-webkit-user-drag: none; border: 0px none; margin: 0px; padding: 0px;" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8000001907349px;">Prof.Lorenzo Bertucelli, Director of the Master</span></td></tr>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: small;">The news in itself is amazing, congrats and best wishes are in order. So is the urge to enquire about the reasons for choosing small-town Italy for this somewhat belated arrival on the international PH scene, and the pretty town of Modena over Rome, Milan or Naples - their imposing resources and academic facilities notwithstanding. </span>"Let's not forget Modena's past as state capital and the worldwide reputation for excellence it enjoys today : from legendary Ferrari cars to the Philosophy Festival, to name but a few," says Professor of Contemporary History <a data-mce-href="http://personale.unimore.it/rubrica/dettaglio/lbertucelli" href="http://personale.unimore.it/rubrica/dettaglio/lbertucelli">Lorenzo Bertucelli</a>, who with colleague <a data-mce-href="http://personale.unimore.it/Rubrica/dettaglio/farnetti" href="http://personale.unimore.it/Rubrica/dettaglio/farnetti">Paolo Bertella Farnetti</a> designed the Master's program. "Glocalization aside,” he continues “Modena built on a tradition of culture and creativity pervading every activity in its territory -right in the center of the Emilia region. Among our partners in the Master's you will find some of the leading institutions in this process, such as the Historical Institute in <a data-mce-href="http://www.istitutostorico.com/" href="http://www.istitutostorico.com/">Modena</a> and the ISTORECO in <a data-mce-href="http://www.istoreco.re.it/" href="http://www.istoreco.re.it/">Reggio Emilia</a>, the <a data-mce-href="http://www.fondazionefossoli.org/it/" href="http://www.fondazionefossoli.org/it/">Fondazione Fossoli</a>, and the <a data-mce-href="http://www.istitutocervi.it/" href="http://www.istitutocervi.it/">Istituto Cervi</a>.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="color: #333333; line-height: 24px; text-align: left;"><span style="font-size: x-small;">Prof. Paolo Bertella Farnetti, Public History Master organizer</span></span></td></tr>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><span style="font-family: 'trebuchet ms', geneva, sans-serif;">We're talking about a permanent legacy created by a territory that experienced the major events in history – notably WWII and its most defining moments, both tragic and heroic. A strong regional identity has developed, based on deep historical roots, and it has been retained through many stages of </span><em>telling.</em><span style="font-family: 'trebuchet ms', geneva, sans-serif;"> Hence its particular propensity for public discourse and the reproduction of history as a shared narrative frame, closely interwoven with the associative fabric and, more generally, with its strong citizen participation in the public sphere and in the political process. </span>In the decades between the end of the war and the 1980s, this has often translated into a 'public use of history' in the classical sense. Taking advantage of established skills and considerable potential, that tradition can now morph into a 21st century best practice for Public History. "<em>Thanks to the rich network of organizations, museums, institutions and cultural centers within this common fertile ground, our Master's program is in a unique position to benefit from a wealth of knowledge, practices and expertise. Not only is this particularly valuable to the goals of Public History, but also provides our students with an extensive choice of reputable internships both nationally and internationally</em>." Rich in creative energy and international connections, Modena has been at the forefront in the creation of modern manufacturing districts and is now ready to revive its "cultural district" as well.</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">"<em>The goal of Public History is clear: take history out of a strictly academic setting and make it accessible and useful to a wider audience, employing a broad range of tools as a means to that end</em>," adds Paolo Bertella Farnetti. "<em>It's the right answer to the public's undeniable thirst for History. Often ignored by traditional historians, this demand ends up being addressed mostly by willing amateurs acting more or less in good faith, at the expense of historical truth. Academic history would have much to gain from the development of Public History. Equally relying on the scientific method, PH professionals seek to foster a love of history and its transformation into a shared value, as well as community engagement. It 's time to lend accuracy and visibility to this trend and to make full use of the rich - but often neglected - Italian historical heritage</em>. "</span></div>
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<span data-mce-style="text-decoration: underline; font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif; text-decoration: underline;"><strong>How to apply ?</strong></span></div>
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<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><strong>Registration </strong>deadline: September 4, 2015</span></li>
<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><strong>Tuition Fee</strong>: 2,700 EUR, payable in two equal installments</span></li>
<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><strong>Audit Fee</strong>: 600 EUR</span></li>
<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">The Master's Program will admit a minimum of 10 and a maximum of 50 students.</span></li>
<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">Lessons will take place from October 2015 to May 2016. </span><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">Classes will be held from 9 a.m. to 6 p.m. Fridays, and from 9 a.m. to 1 p.m. Saturdays .</span></li>
<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><strong>Course Locations</strong>: Unimore, Department of Linguistics and Cultural Studies, Modena; The Historical Institute, Sala Ulivi, Modena</span><br /><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><strong>Student Workload</strong>: 1500 hours including lectures, workshops, practical classes, independent study, internships and final dissertation</span></li>
<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><strong>Internships</strong> will take place between November 2015 and June 2016. </span><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">The final Dissertation will be submitted for assessment in the months of June and July, 2016.</span></li>
<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><strong>For more information, please contact</strong> Professor Lorenzo Bertucelli, Director: <a data-mce-href="mailto:lorenzo.bertucelli@unimore.it" href="mailto:lorenzo.bertucelli@unimore.it" target="_blank">lorenzo.bertucelli [at] unimore.it</a></span></li>
<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><strong> 2<sup>nd</sup> level Master's Degree in Public History website: </strong><a data-mce-href="http://www.masterpublichistory.unimore.it" href="http://www.masterpublichistory.unimore.it/">www.masterpublichistory.unimore.it</a></span></li>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">ITALIAN VERSION:</span></h3>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><a data-mce-href="http://www.masterpublichistory.unimore.it/site/home.html" href="http://www.masterpublichistory.unimore.it/site/home.html" target="_blank">Perché un Master in Public History? <strong>Nasce in Italia il primo Master in Public History, presso il Dipartimento di Studi linguistici e culturali dell'Università di Modena e Reggio Emilia, </strong>(anno accademico 2015-16)</a><a data-mce-href="http://ifph.hypotheses.org/files/2015/06/UNIMORE-Master-in-Public-History.png" href="http://ifph.hypotheses.org/files/2015/06/UNIMORE-Master-in-Public-History.png"><img alt="UNIMORE Master in Public History" class="aligncenter size-full wp-image-755" data-mce-src="http://ifph.hypotheses.org/files/2015/06/UNIMORE-Master-in-Public-History.png" src="http://ifph.hypotheses.org/files/2015/06/UNIMORE-Master-in-Public-History.png" height="130" style="display: block; margin-left: auto; margin-right: auto;" width="494" /></a></span></h3>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">“<em>La storia siamo noi…nessuno si senta escluso</em>” (Francesco De Gregori).</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><a data-mce-href="http://www.unimore.it/" href="http://www.unimore.it/">L’Università di Modena e Reggio Emilia</a>, in collaborazione con <a data-mce-href="http://www.fondazionefossoli.org/it/" href="http://www.fondazionefossoli.org/it/">Fondazione ex Campo Fossoli di Carpi</a>, <a data-mce-href="http://www.istitutostorico.com/" href="http://www.istitutostorico.com/">Istituto Storico di Modena</a>,<a data-mce-href="http://www.istoreco.re.it/" href="http://www.istoreco.re.it/"> Istoreco di Reggio Emilia</a> e<a data-mce-href="http://www.istitutocervi.it/" href="http://www.istitutocervi.it/">Istituto Cervi di Gattatico (RE)</a>, ha attivato un <strong>Master Universitario di II livello in Public History</strong> per l’anno accademico 2015-2016. Il Master introduce per la prima volta nell’Accademia italiana una nuova disciplina, diffusa con successo in numerosi paesi del mondo, soprattutto anglosassoni. E’ una sfida, ma anche una nuova frontiera di conoscenza e di opportunità di lavoro. La <strong>Public History</strong> è la storia applicata alla società in cui viviamo: consiste nel produrre, conservare e diffondere la storia nel territorio e nel tessuto sociale, con ogni tipo di linguaggio, di strumento e di tecnica, per e <em>con</em> ogni tipo di pubblico.</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">La notizia di per sé è straordinaria, con tutti gli auguri e scongiuri del caso. E' però forte la tentazione di chiedere subito agli organizzatori perché questa iniziativa, così in ritardo rispetto ad altri paesi, è nata "in provincia", nella graziosa città di Modena, e non a Roma, Milano o Napoli, con le loro imponenti risorse e strutture accademiche.</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">"Non dimentichiamoci che Modena ha un passato di capitale di Stato e incorpora alcune eccellenze conosciute a livello mondiale, dalla Ferrrari al Festival di filosofia", dice <a data-mce-href="http://personale.unimore.it/rubrica/dettaglio/lbertucelli" href="http://personale.unimore.it/rubrica/dettaglio/lbertucelli">Lorenzo Bertucelli</a>, professore di storia contemporanea che insieme al collega <a data-mce-href="http://personale.unimore.it/Rubrica/dettaglio/farnetti" href="http://personale.unimore.it/Rubrica/dettaglio/farnetti">Paolo Bertella Farnetti</a> ha organizzato il master. "Non starei neanche a scomodare la glocalisation - continua - penserei piuttosto alla sedimentazione prodotta dal lavoro di un 'distretto culturale' dell'Emilia centrale che ha avuto fra i protagonisti anche gli enti che collaborano al master (gli Istituti Storici di <a data-mce-href="http://www.istitutostorico.com/" href="http://www.istitutostorico.com/">Modena</a> e <a data-mce-href="http://www.istoreco.re.it/" href="http://www.istoreco.re.it/">Reggio Emilia</a>, la <a data-mce-href="http://www.fondazionefossoli.org/it/" href="http://www.fondazionefossoli.org/it/">Fondazione Fossoli</a>, l'<a data-mce-href="http://www.istitutocervi.it/" href="http://www.istitutocervi.it/">Istituto Cervi</a>). Parliamo di un'eredità prodotta da un territorio attraversato dalle grandi vicende della storia - in particolare la seconda guerra mondiale che ha visto concentrati qui tutti gli aspetti 'tragici' ed 'eroici' che l'hanno caratterizzata - e che soprattutto si è sempre RACCONTATO in relazione alla propria storia. Di qui una particolare sensibilità verso il discorso pubblico e la narrazione della storia come trama comunitaria costruita e innervata dal tessuto associazionistico e più in generale dalla forte partecipazione dei cittadini nello spazio pubblico (incluso quello politico). Nei decenni tra la fine della guerra e gli anni '80 del secolo scorso ciò si è spesso tradotto anche in un 'uso pubblico della storia', nel senso classico, ma ora quella tradizione può essere declinata nel XXI secolo, sfruttandone le attitudini e le potenzialità, in una buona pratica di Public History. La ricca rete di associazioni, musei, enti, centri culturali che stanno dentro questo humus comunitario, permette al Master di posizionarsi al centro di un network di conoscenze, pratiche e professionalità che appare particolarmente fecondo per gli scopi e la finalità della PH. E naturalmente per gli stage degli studenti che quindi possono usufruire di una articolata e sperimentata gamma di possibilità nazionali e internazionali."</span></div>
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<dt class="wp-caption-dt" style="-webkit-user-drag: none;"><a data-mce-href="http://ifph.hypotheses.org/files/2015/03/PH_EUI2.jpg" href="http://ifph.hypotheses.org/files/2015/03/PH_EUI2.jpg" style="-webkit-user-drag: none;"><img alt="" class="wp-image-515 size-large" data-mce-src="http://ifph.hypotheses.org/files/2015/03/PH_EUI2-500x333.jpg" src="http://ifph.hypotheses.org/files/2015/03/PH_EUI2-500x333.jpg" height="266" style="-webkit-user-drag: none; border: 0px none; margin: 0px; padding: 0px;" width="400" /></a></dt>
<dd class="wp-caption-dd" style="-webkit-user-drag: none; font-size: 11px; line-height: 17px; margin: 0px; padding: 0px 4px 5px;"><span style="font-size: x-small;"><i>Public History and the Media EUI Conference, February 2015. Workshop participants fabio Luppi & Manfredi Scanagatta from University of Modena and Reggio Emilia Public History Master enjoys a coffee break in the garden at Villa Salviati. (Photo courtesy of Serge Noiret)</i></span></dd></dl>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">Una città di provincia sì, ma piena di iniziative e di contatti internazionali, che è stata all'avanguardia nell'attuazione dei distretti industriali, pronta a cimentarsi nella costruzione di un nuovo 'distretto culturale'.</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">"L'obiettivo della PH è chiaro: far uscire la storia dall'università, farla fruire da un pubblico più vasto, da tutti, con tutti gli strumenti possibili." aggiunge <a data-mce-href="http://personale.unimore.it/Rubrica/dettaglio/farnetti" href="http://personale.unimore.it/Rubrica/dettaglio/farnetti">Paolo Bertella Farnetti</a>, "E' la risposta corretta all'innegabile domanda di storia che arriva dalla nostra società. Una domanda che viene spesso disattesa dagli storici tradizionali e che quindi viene affrontata per lo più da dilettanti volenterosi, più o meno in buona fede, con grave rischio per la verità storica. La storia accademica avrebbe molto da guadagnare dallo sviluppo della PH. Partendo sempre da una metodologia scientifica i professionisti della PH vogliono arrivare a <em>far amare</em> la storia, a farla diventare un valore condiviso e a coinvolgere il pubblico in questo processo. In Italia già molte iniziative fanno parte della Public History senza averne la consapevolezza. E' ora di dare rigore e visibilità a questa tendenza, è ora di utilizzare fino in fondo il patrimonio storico italiano, che è una ricchezza spesso immobilizzata".</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><em>Fabio Luppi</em></span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><strong>Come iscriversi?</strong></span></div>
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<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">Le <strong>iscrizioni</strong> sono aperte fino al 4 settembre 2015, alle ore 12:30.</span></li>
<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">Per l’accesso è necessario una laurea magistrale o vecchio ordinamento</span></li>
<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">Numero massimo di posti disponibili: 50.</span></li>
<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">Quota di iscrizione totale: 2700 euro (in due rate uguali) .</span></li>
<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">Quota di iscrizione per gli uditori 600 euro.</span></li>
<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><a data-mce-href="http://www.unimore.it/AZdoc/Bandocompleto27.pdf" href="http://www.unimore.it/AZdoc/Bandocompleto27.pdf">Bando d’ammissione</a></span></li>
<li><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">Direttore del Master: <a data-mce-href="mailto:lorenzo.bertucelli@unimore.it?subject=Messaggio%20provv.%20dal%20master" href="mailto:lorenzo.bertucelli@unimore.it?subject=Messaggio%20provv.%20dal%20master">Prof. Lorenzo Bertucelli</a></span></li>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0Modena MO, Italia44.6488366 10.92008669999995644.5584666 10.758725199999956 44.7392066 11.081448199999956tag:blogger.com,1999:blog-36395061.post-46055355400893015132015-06-29T16:43:00.000+02:002015-06-29T16:43:15.892+02:00Définir le champ de l’Histoire Publique Numérique, un atelier à THATCamp Paris 2015<div dir="ltr" style="text-align: left;" trbidi="on">
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Un atelier proposé pour THATCamp Paris a été voté par les participants à la "unconference" et s'est donc tenu le mercredi 10 Juin 2015 à 9 heures du matin. J’avais proposé -en mon nom et au nom de Mark Tebeau- l'atelier que Frédéric Clavert, un des organisateurs de THATcamp Paris, <a data-mce-href="http://thatcamp.org/people/inactinique/" href="http://thatcamp.org/people/inactinique/">membre du THATCamp Council</a>, a présenté en notre nom, mardi 9 juin au public quand, ni Mark ni moi n’étions encore à Paris. L'atelier portait sur la <a data-mce-href="http://tcp.hypotheses.org/892" href="http://tcp.hypotheses.org/892">définition du champ de la <em>Digital Public History</em> (DPH) ou, en français, Histoire Publique Numérique</a>.</div>
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<strong>Quelles en étaient les motivations ?</strong></div>
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En décembre 2016, l’éditeur <a data-mce-href="http://www.degruyter.com/" href="http://www.degruyter.com/">De Gruyter – Oldenbourg</a> à Munich publiera un <em>Handbook of Digital Public History </em>dans la série "<a data-mce-href="http://www.degruyter.com/view/serial/432101" href="http://www.degruyter.com/view/serial/432101">De Gruyter Reference</a>" en langue anglaise. <a data-mce-href="https://shprs.clas.asu.edu/people/mark-tebeau" href="https://shprs.clas.asu.edu/people/mark-tebeau">Mark Tebeau</a> (Arizona State University) et moi-même coordonnerons cet ouvrage de référence international.</div>
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Nous avons défini un projet d'index détaillé de chapitres et de thèmes et voudrions aussi choisir les projets d’histoire numérique publique les plus importants internationalement pour qualifier la discipline, ses pratiques et, justement, certaines de ses meilleurs réalisations et objets numériques à l'échelle internationale.</div>
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La proposition scientifique du Handbook (abstract) acceptée par l'éditeur est la suivante en anglais.</div>
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<strong>Aims and Scope for an Handbook on Digital Public History</strong></div>
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<em>This handbook will provide a systematic overview of the present state of international research in digital public history. Detailed individual studies by internationally renowned public historians, digital humanists and digital historians will elucidate central issues in the field and present a critical account of the major public history accomplishments, research activities, practices with the public and of their digital context; the handbook will apply an international and comparative public history approach, look at its historical development, focus on technical background and on the use specific digital media, software’s and digital tools; it will offer a glossary of common terms, software’s, practices in the field together with a multi-lingual bibliography adapted to each chapter. The Handbook will analyse connection with local communities and different publics worldwide when engaging in digital activities with the past, and indicate directions for future research, practices and teaching activities. The Handbook will delimit the field extension between digital humanities, digital history and public history through its main theoretical chapters connected with smaller descriptive sub-chapters describing and comparing specific projects internationally.</em></div>
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<strong> </strong><strong>Coordinateurs</strong><strong>:</strong></div>
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<a data-mce-href="http://dph.hypotheses.org/files/2015/06/mark-tebeau.jpg" href="http://dph.hypotheses.org/files/2015/06/mark-tebeau.jpg"><img alt="mark-tebeau" class="alignright wp-image-790" data-mce-src="http://dph.hypotheses.org/files/2015/06/mark-tebeau-300x225.jpg" height="175" src="http://dph.hypotheses.org/files/2015/06/mark-tebeau-300x225.jpg" style="float: right;" width="233" /></a></div>
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<strong>Mark Tebeau</strong>, Associate Professor in the <u>School of History, Philosophy, & Religious Studies</u> at Arizona State University, Director of Arizona State University Public History Program, (Phoenix, AR, USA)</div>
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Contact information:</div>
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Email: Mark.Tebeau@asu.edu,</div>
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Website: <a data-mce-href="http://www.marktebeau.com/" href="http://www.marktebeau.com/">http://www.marktebeau.com</a>,</div>
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Blog: <a data-mce-href="http://urbanhumanist.org/" href="http://urbanhumanist.org/">http://urbanhumanist.org</a></div>
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Commercial: <a data-mce-href="http://curatescape.org/" href="http://curatescape.org/">http://curatescape.org</a></div>
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<a data-mce-href="http://dph.hypotheses.org/files/2013/05/IMG_1513-e1433062971828.jpg" href="http://dph.hypotheses.org/files/2013/05/IMG_1513-e1433062971828.jpg"><img alt="" class=" alignleft wp-image-540" data-mce-src="http://dph.hypotheses.org/files/2013/05/IMG_1513-300x300.jpg" height="184" src="http://dph.hypotheses.org/files/2013/05/IMG_1513-300x300.jpg" style="float: left;" width="184" /></a></div>
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<strong>Serge Noiret</strong>, History Information Specialist (PhD) at the European University Institute, Florence, Italy</div>
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<u>Contact Information:</u></div>
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Email: Serge.Noiret@eui.eu</div>
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Blog: <a data-mce-href="http://dph.hypotheses.org/" href="http://dph.hypotheses.org/">http://dph.hypotheses.org</a> (<a data-mce-href="http://sergenoiret.blogspot.it%29/" href="http://sergenoiret.blogspot.it%29/">http://sergenoiret.blogspot.it)</a></div>
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Project: <a data-mce-href="http://primary-sources.eui.eu/" href="http://primary-sources.eui.eu/">http://primary-sources.eui.eu</a></div>
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<strong><a data-mce-href="http://dph.hypotheses.org/files/2015/06/thatcamp2015_vignette_10x10cm.png" href="http://dph.hypotheses.org/files/2015/06/thatcamp2015_vignette_10x10cm.png"><img alt="thatcamp2015_vignette_10x10cm" class=" size-full wp-image-787 alignright" data-mce-src="http://dph.hypotheses.org/files/2015/06/thatcamp2015_vignette_10x10cm.png" height="283" src="http://dph.hypotheses.org/files/2015/06/thatcamp2015_vignette_10x10cm.png" style="float: right;" width="283" /></a>Questions posées aux participants de l'atelier de THATcamp Paris 2015 #tcp2015 : </strong><strong> </strong></div>
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<li>What should be here which isn’t there</li>
<li>What is there and should not be there</li>
<li>Key examples for each entry (what do you think each entry should be about)</li>
<li>Good authors, volunteers to contact us and suggesting who we should contact</li>
<li>This is an International program so essays truly international should come from all around the world</li>
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<strong>Résultats de l'Atelier de THATcamp du Jeudi 10 Juin 2015</strong></div>
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L'atelier "<u>Définir le champ de l’Histoire Publique Numérique</u>" a suscite des questions différentes autour des chapitres, des projets et des acteurs de la DPH. Il a permis aussi de susciter des collaborateurs potentiels pour le Handbook vu que nous sommes, Mark et moi, dans la phase d’attribution de chapitres et de recherche de collaborateurs.</div>
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Toutefois, la définition de ce qu'est la "Publi History" a été au centre de la discussion avent même d'entrer dans une interaction histoire numérique, histoire publique.</div>
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La question fondamentale, liée a l'architecture du Handbook, a été la suivante: en quoi de nombreux chapitres se différentient-ils de ce qu'un humaniste numérique pourrait écrire ? Quel est la spécificité de l'Histoire Publique Numérique dans chacun de ces chapitres?</div>
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Les résultats du <a data-mce-href="https://mensuel.framapad.org/p/auKhoS9222" href="https://mensuel.framapad.org/p/auKhoS9222">FramePAD sur cet atelier</a> et de la discussion à laquelle ont participé: Martin Grandjean, Frédéric Clavert, Sébastien Poublanc, Vincent Auzas, Nathalie Casanova, Léonard Laborie, Lyriane Bonnet sont les suivants. Ils touchent a la fois les demandes des participants et les informations données par les participants eux-mêmes, des participation potentielle au Handbook.</div>
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<em>Question qui touche la langue anglaise de l'ouvrage et la relecture des articles ecrit par les auteurs internationaux: Oui, l'ouvrage sera entièrement en anglais, mais l'editeur financera la relecture des chapitres.</em></div>
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<em>Quelle est la distinction entre humanités numériques et histoire publique numérique ?</em></div>
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<em>Quelle est la relation avec une communauté d'utilisateurs. </em></div>
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<em>Existe-t-il une histoire publique non numérique ?</em></div>
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<em> </em><em>Serge Noiret rappelle l'origine britannique de l'histoire publique: enregistrement des mémoires des mineurs britanniques au moment des grandes crises sous Thatcher: enregistrement de leur mémoire AVEC eux.</em></div>
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<em>Cite l'exemple des </em><em><a data-mce-href="https://www.waterloo2015.org/" href="https://www.waterloo2015.org/">commémorations comme celle du 200e. de la bataille de Waterloo les 18-20 Juin 2015</a></em><em>, sur le site même de la bataille avec une reconstitution de ses phases avec plus de 5.000 "reenactors".</em></div>
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<em> </em><em>Il n'y a pas d'histoire publique sans historiens académiques.</em></div>
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<em>Léonard Laborie: inclure des exemples de projets qui ont été mis en échec? Frédéric Clavert, la question complémentaire étant gestion de la fin d'un projet, la "sustainability" des projets ajoute Serge Noiret.</em></div>
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<em>Voir si on peut inclure un chapitre sur les commémorations du centenaire de la Première Guerre mondiale: avec comparaison France / Royaume Uni. Avec Frédéric Clavert mais pas seul et </em><em><a data-mce-href="https://www.linkedin.com/profile/view?id=147344159&authType=NAME_SEARCH&authToken=HTSt&locale=fr_FR&srchid=482562291433924565685&srchindex=1&srchtotal=36&trk=vsrp_people_res_name&trkInfo=VSRPsearchId%3A482562291433924565685%2CVSRPtargetId%3A147344159%2CVSRPcmpt%3Aprimary%2CVSRPnm%3Atrue" href="https://www.linkedin.com/profile/view?id=147344159&authType=NAME_SEARCH&authToken=HTSt&locale=fr_FR&srchid=482562291433924565685&srchindex=1&srchtotal=36&trk=vsrp_people_res_name&trkInfo=VSRPsearchId%3A482562291433924565685%2CVSRPtargetId%3A147344159%2CVSRPcmpt%3Aprimary%2CVSRPnm%3Atrue">Marie-Christine Bonneau</a></em><em> se portent volontaires. Il faudrait des participants de la Mission du Centenaire scientifiques et de l'Imperial War Museum pour evaluer les projets d'histoire publique plus large.</em></div>
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<em> </em><em>Contacter: </em><em>luccianomelanie@yahoo.fr - talie - Traces de l'Antiquité à Lille et en Eurorégion</em></div>
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<em> </em><em>Voir NYC Memory. Équivalent à Londres. Projet Marseille.</em></div>
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<em> </em><em>Voir Base de données sur les Monuments aux Morts.</em></div>
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<em>Martin Grandjean à disposition pour l'aspect "Social Media" (Rewriting history in 140 characters </em><em><a data-mce-href="http://www.martingrandjean.ch/rewriting-history-140-characters/)" href="http://www.martingrandjean.ch/rewriting-history-140-characters/)">http://www.martingrandjean.ch/rewriting-history-140-characters/)</a></em></div>
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<em>Frederic Clavert demande s'il y a des différences entre DH e DPH dans le domaine des langages numériques. Comment le Handbook fera ressortir la spécificité de l’histoire publique. Dans l’index (TOCs) des éléments sont spécifiquement DPH, d'autres pourraient être autant histoire numérique / DH que DPH. Comment faire ressortir les spécificités.</em></div>
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<em> </em><em>On suggère d’avoir des chapitres qui sont écrits par des amateurs historiens directement (généalogie notamment).</em></div>
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<em><span class="author-a-iz65zz80zsz85zpeqz90zz82zgz65z6z73z3z84z">Comment justifie-t-on un Handbook sur l'histoire publique </span><span class="author-a-iz65zz80zsz85zpeqz90zz82zgz65z6z73z3z84z b">NUMÉRIQUE</span><span class="author-a-iz65zz80zsz85zpeqz90zz82zgz65z6z73z3z84z">?</span></em></div>
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<em>Serge Noiret répond que la révolution numérique se retrouve dans les pratiques et objets des historiens publics. cf. Roy Rosenzweig Center for History and New Media: forts développements autour et donc avec les utilisateurs - centre de l'histoire publique. L'historien.ne publique travaille avec des communautés et pour ces communautés. </em></div>
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<em> </em></div>
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<em><span class="author-a-z80zz65zz84zvdz80zz83zao2z90zz87zk6z77zz76z">Importance des "Environmental Humanities" pour la DPH: Digital Environmental Humanities, McGill : </span><span class="author-a-z80zz65zz84zvdz80zz83zao2z90zz87zk6z77zz76z url"><a data-mce-href="http://dig-eh.org/projects/" href="http://dig-eh.org/projects/">http://dig-eh.org/projects/</a></span><span class="author-a-z80zz65zz84zvdz80zz83zao2z90zz87zk6z77zz76z"> ; pour la partie Européenne : </span><span class="author-a-z80zz65zz84zvdz80zz83zao2z90zz87zk6z77zz76z url"><a data-mce-href="http://eseh.org/" href="http://eseh.org/">http://eseh.org/</a></span><span class="author-a-z80zz65zz84zvdz80zz83zao2z90zz87zk6z77zz76z"> (émanation française : RUCHE : </span><span class="author-a-z80zz65zz84zvdz80zz83zao2z90zz87zk6z77zz76z url"><a data-mce-href="https://leruche.hypotheses.org/)" href="https://leruche.hypotheses.org/)">https://leruche.hypotheses.org/)</a></span></em></div>
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<span data-mce-style="background-color: #ccffff;" style="background-color: #ccffff;"><b>Handbook Draft Structure for THATCamp Paris 2015</b></span></h3>
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<h3>
<span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b" data-mce-style="background-color: #ccffff;" style="background-color: #ccffff;"><b>Introduction</b></span></h3>
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<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b" data-mce-style="font-size: 12pt;" style="font-size: 12pt;"><b>Introduction & Definitions</b></span></li>
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<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b" data-mce-style="font-size: 12pt;" style="font-size: 12pt;"><b>A Digital Public History of DPH</b></span></li>
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<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b" data-mce-style="font-size: 12pt;" style="font-size: 12pt;"><b>The Historiographical Foundations of DPH</b></span></li>
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<li><span data-mce-style="font-size: 12pt;" style="font-size: 12pt;"><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Manifesto</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (5000-word culmination): Appendix that gets published separately</span></span></li>
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<span data-mce-style="background-color: #ccffff;" style="background-color: #ccffff;"> <b>Section 1: Historiography</b></span></h3>
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<i>Section 1 explores the themes, disciplines, linkages to other fields, as well as the context of public history practice. In each essay, the writers take on key aspects of the topic, with attention to how the intersection of the digital & public has transformed these fields/themes. It especially considers the theoretical aspects of the fields.</i></div>
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</div>
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<ol class="list-number1" start="1">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Digital Humanities & History </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">In what ways has public history shaped the digital humanities and digital history?</span></li>
</ol>
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<ol class="list-number1" start="2">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Public History</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> In what ways has the digital revolution reshaped public history theory, practice, and training? </span></li>
</ol>
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<ol class="list-number1" start="3">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>International Public History Movement</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (Local-Global-International)</span></li>
</ol>
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<ol class="list-number1" start="4">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">How has digital public history shape the spread of public history from the United States through the globe.</span></li>
</ol>
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<ol class="list-number1" start="5">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Oral History </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">In what ways has the emergence of digital public history reshaped oral history practice?</span></li>
</ol>
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<ol class="list-number1" start="6">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Public Archeology</b></span></li>
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<ol class="list-number1" start="7">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Politics</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (of the past)</span></li>
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<ol class="list-number1" start="8">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Nostalgia</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (memory today) </span></li>
</ol>
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<ol class="list-number1" start="9">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Heritage</b></span></li>
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<ol class="list-number1" start="10">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Violent Pasts</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> Our ability to document and represent conflict, war, social unrest, inequality, and genocides has grown more sophisticated. </span></li>
</ol>
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<ol class="list-number1" start="11">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b> Identities </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">The studies of identify formation in terms of class, race, gender, and indigenous cultures remains central to historical work; how has this work been transformed by digital and public history?</span></li>
</ol>
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<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b> Realm of Memory</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> Memory sites, including monuments and commemorations, have become more accessible in the digital age, producing wider understandings.</span></li>
</ol>
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<ol class="list-number1" start="13">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b> Environment </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">Environmental humanities and sustainability have emerged as central concerns in digital public history in recent years. The NICHE (Canadian Network) as well as projects such as the environment & society portal from the Rachel Carson Center are examples of that work.</span></li>
</ol>
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<ol class="list-number1" start="14">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b> Museums </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">Museums have opened significantly as a result of the digital revolution, providing new modes of engaging public audiences, as well as imagining their function in an increasingly device-driven world.</span></li>
</ol>
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<ol class="list-number1" start="15">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b> Archives/Library </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">Archives & libraries face extraordinary challenges as books slowly disappear and our engagement with them becomes more and more digitally mediated. </span></li>
</ol>
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<ol class="list-number1" start="16">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b> Communication</b></span></li>
</ol>
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<ol class="list-number1" start="17">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b> How digital public history has blurred past & present? </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> How digital public history is confronting periods and periodization?</span></li>
</ol>
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<h3>
<span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b" data-mce-style="background-color: #ccffff;" style="background-color: #ccffff;"><b>Section 2: Contexts</b></span></h3>
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<span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt i"><i>Section 2 explores the places and contexts where digital public history is practices; it pays attention to scales of institution, locale (global, regional, national), and theoretical challenges faced in each domain.</i></span></div>
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<ol class="list-number1" start="1">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Museums</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> What does it mean to practice in specific history contexts, based on scale—w/attention to national/international?</span></li>
</ol>
</div>
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<ol class="list-number1" start="3">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Museum </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">How has digital public history mattered in non-history contexts (such as natural history, art, or other museums, w/attention to international?</span></li>
</ol>
</div>
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<ol class="list-number1" start="5">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Virtual Museum</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> + Exhibitions The emergence of the digital has produced the possibility for the virtual museum and exhibition. </span></li>
</ol>
</div>
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<ol class="list-number1" start="7">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Archives</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> How has archival practice been transformed? (Think: “what’s on the menu”)</span></li>
</ol>
</div>
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<ol class="list-number1" start="9">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Born Digital Archives </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">Born digital archives have emerged. What are the issues associated with these (for example SAADA.org)?</span></li>
</ol>
</div>
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<ol class="list-number1" start="11">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Libraries</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (dp.la & europeana) The digital has raised the possibility of the virtual Library at Alexandria. What does digital public history tell us about the implications for large-scale library projects, such as dp.la or Europeana?</span></li>
</ol>
</div>
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<ol class="list-number1" start="13">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Digital Libraries</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (no connection with real libraries) The Digital library has supplanted the physical library. Or has it?</span></li>
</ol>
</div>
<div class="" id="magicdomid133" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="15">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Technological </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">Devices matter in the digital age. How does the machine shape the delivery of public history? (Think the history and character of devices and technologies, from the CD to the DVD to floppy disks.)</span></li>
</ol>
</div>
<div class="" id="magicdomid134" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="17">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">“</span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Privatized” Public History</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (market driven PH). Consulting and marketing for a private enterprise, e.g. Getty Archive, Fratelli Alinari Archive; what are the philosophical and practical considerations?</span></li>
</ol>
</div>
<div class="" id="magicdomid135" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="19">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Publishing</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">: How we publish PH has changed. Consider twitter micro-blogging, open-access, peer review, evaluation, sharing, crowdsourcing, Hypothesis, PressForward. What’s happening to text?</span></li>
</ol>
</div>
<div class="" id="magicdomid136" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="21">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>University History Teaching</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> How have digital & public history have altered the history classroom--both for the instructor and learner; includes emergence of digital humanities curriculum?</span></li>
</ol>
</div>
<div class="" id="magicdomid137" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="23">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">P</span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>ublic History & Humanities Training</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">: How do we alter public history curricula to confront the digital turn? What should the new public history curriculum look like, as it pertains to digital history, includes professional development for people in the field?</span></li>
</ol>
</div>
<div class="" id="magicdomid138" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="25">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>The Digital Public History Course:</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> What does this course look like?</span></li>
</ol>
</div>
<div class="" id="magicdomid139" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="27">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Pre-University</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> Consider the context of High School, Primary & Secondary Education, perhaps Euroclio.org and project Historiana. How is the digital/public intersection changing & enhancing both approaches & engagement of schools with history, institutions, & publics?</span></li>
</ol>
</div>
<div class="" id="magicdomid140" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="29">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Grassroots</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> Local communities have begun to document and produce their own historical knowledge; how does this transform the relation to the past?</span></li>
</ol>
</div>
<div class="" id="magicdomid141" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="31">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Federal Governments Policy </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">(truly international: US, Canada, & EU)</span></li>
</ol>
</div>
<div class="" id="magicdomid142" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="32">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>State & Local Governments</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (also international)</span></li>
</ol>
</div>
<div class="" id="magicdomid143" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="33">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>National Parks & Historic Sites </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">(is this in Federal Government)</span></li>
</ol>
</div>
<div class="" id="magicdomid144" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="34">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Landscape & Space</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">: parks, gardens, cemeteries, monuments; emphasis on local </span></li>
</ol>
</div>
<div class="" id="magicdomid145" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="35">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Historic Preservation & Cultural Resource Management </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">The field of cultural resource management and preservation continue to focus attention on physical landscapes; how has emergence of a digital public history altered this work, in theory and practice?</span></li>
</ol>
</div>
<div class="" id="magicdomid146" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="37">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>UNESCO </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">How has the digital & public revolution transformed the work of international bodies, such as UNESCO?</span></li>
</ol>
</div>
<div class="" id="magicdomid149" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<h3>
<span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><span data-mce-style="background-color: #ccffff;" style="background-color: #ccffff;">Section 3: Practices: Engagement, Communities, & Curation</span> </span></h3>
</div>
<div class="" id="magicdomid151" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt i"><i>Section 3 explores how public history practice has changed and digital practice has emerged as a result of the intersection of digital public history. This section focuses on best practices and approaches, using case studies and examples where possible. The big ideas for this section include public engagement, community building, the evolution of curation, and emergence of big data.</i></span></div>
<div class=" list-start-number1" id="magicdomid153" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="1">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Strategies for the digital & public future</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (theoretical)</span></li>
</ol>
</div>
<div class="" id="magicdomid154" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="2">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Professional Policies</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (What are the best practices of digital public history: i.e. open/closed access; open sources; filtering, algorithms, sustainability, programs?)</span></li>
</ol>
</div>
<div class="" id="magicdomid155" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="3">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Law & Ethics</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (i.e. Ownership & Copyright)</span></li>
</ol>
</div>
<div class="" id="magicdomid156" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="4">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Visualization</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (a kind of narrative but through visual means) Blogging & Textual Narrative (also video blog, podcasts, micro-blogging, tumblr, twitter)</span></li>
</ol>
</div>
<div class="" id="magicdomid157" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="5">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Mapping</b></span></li>
</ol>
</div>
<div class="" id="magicdomid158" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="6">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Data Standards & Practice</b></span></li>
</ol>
</div>
<div class="" id="magicdomid159" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="7">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Collecting & Archiving</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (best practices)</span></li>
</ol>
</div>
<div class="" id="magicdomid160" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="8">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Exhibiting</b></span></li>
</ol>
</div>
<div class="" id="magicdomid161" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="9">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Conserving</b></span></li>
</ol>
</div>
<div class="" id="magicdomid162" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="10">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Funding for the Past in the Future</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (funding, sustainability, emergence of a field in the funding)</span></li>
</ol>
</div>
<div class="" id="magicdomid163" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="11">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Gaming</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (Playing and Fun) </span></li>
</ol>
</div>
<div class="" id="magicdomid164" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="12">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Crowdsourcing</b></span></li>
</ol>
</div>
<div class="" id="magicdomid165" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="13">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Social Media </b></span></li>
</ol>
</div>
<div class="" id="magicdomid166" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="14">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Shared Authority</b></span></li>
</ol>
</div>
<div class="" id="magicdomid167" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="15">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Community Building & Civic Engagement </b></span></li>
</ol>
</div>
<div class="" id="magicdomid168" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="16">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Storytelling</b></span></li>
</ol>
</div>
<div class="" id="magicdomid169" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="17">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Living History </b></span></li>
</ol>
</div>
<div class="" id="magicdomid170" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="18">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Activist History</b></span></li>
</ol>
</div>
<div class="" id="magicdomid171" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="19">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Narrative Practice</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">: Popular, Fiction (Imagination – Imagined history), </span></li>
</ol>
</div>
<div class="" id="magicdomid172" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="20">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Genealogy</b></span></li>
</ol>
</div>
<div class="" id="magicdomid173" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="21">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Curation</b></span></li>
</ol>
</div>
<div class="" id="magicdomid174" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="22">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Teaching & Training</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">: classroom, pedagogy, and program organization</span></li>
</ol>
</div>
<div class="" id="magicdomid175" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="23">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Organizing/preserving the self</b></span></li>
</ol>
</div>
<div class="" id="magicdomid176" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="24">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Amateur/non-professional public digital history</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (everyone their own historian?)</span></li>
</ol>
</div>
<div class="" id="magicdomid177" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="25">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Commercial practice</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">, DPH as Business, Market oriented DPH </span></li>
</ol>
</div>
<div class="" id="magicdomid184" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<h3>
<span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b" data-mce-style="background-color: #ccffff;" style="background-color: #ccffff;"><b>Section 4: Technology, Media, Data and Metadata</b></span></h3>
</div>
<div class="" id="magicdomid185" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<i>Section 4 explores various types of technologies, media, and metadata and how they’re being used in digital public history, with attention to the challenges in each of these domains--including the problems of engaging publics, the challenges of technological change, and modes of constructing historical argument. This section also explores how the technological itself--both in its implementation and theoritization--is transforming digital public history. The emphasis is on the emergence of both big ideas and categories of technology, as well as on the ways of organizing, dissemination, and sharing knowledge. With special attention to data and metadata, to hardware and software, as well as tool sets, essays in this section focuses not just on the present but suggests future direction.</i></div>
<div class=" list-start-number1" id="magicdomid188" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="1">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Book & Print</b></span></li>
</ol>
</div>
<div class="" id="magicdomid189" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="2">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Technological devices as mediators of media (also in technology)</b></span></li>
</ol>
</div>
<div class="" id="magicdomid190" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="3">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>GIS</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (the use of GIS, mapping programs, open street maps, designing maps, interpreting maps, arc-gis, q-gis (web & separate)</span></li>
</ol>
</div>
<div class="" id="magicdomid191" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="4">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Mobile & Locative Media</b></span></li>
</ol>
</div>
<div class="" id="magicdomid192" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="5">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>CMS</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (various strategies and approaches)</span></li>
</ol>
</div>
<div class="" id="magicdomid193" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="6">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Open Access</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (Theorizing, Application Programming Interfaces, Data Interoperability, Metadata standards, Licensing such as Creative Commons)</span></li>
</ol>
</div>
<div class="" id="magicdomid194" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="7">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Open Source</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (Theory, Challengenges, Tools, GitHub, Maintaining Community, examples: Omeka, Drupal, WordPress, etc.)</span></li>
</ol>
</div>
<div class="" id="magicdomid195" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="8">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Linked Open Data</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (Theory, challenges, taxonomies, ontologies, semantic web)</span></li>
</ol>
</div>
<div class="" id="magicdomid196" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="9">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Standards</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (Different types of standards: archival, library, data, metadata, etc.)</span></li>
</ol>
</div>
<div class="" id="magicdomid197" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="10">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Materiality and landscape in digital age </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">(including soundscapes & 3-D modelling) Sensory history has gained currency as digital tools have emerged that allow for immersive experiences and multi-dimensional modeling. </span></li>
</ol>
</div>
<div class="" id="magicdomid198" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="11">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>3D Visualization</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (prospective, what it means: new modes of presenting and representing past, Second Life, Occulus Rift)</span></li>
</ol>
</div>
<div class="" id="magicdomid199" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="12">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b> 3D Printing</b></span></li>
</ol>
</div>
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<ol class="list-number1" start="13">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Game Technologies </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">(Occulus Rift?, soundscapes, connections, implications)</span></li>
</ol>
</div>
<div class="" id="magicdomid201" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="14">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Programming </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">(languages, approaches, should the historian be a programmer?, implications of the need for specialized programming skills--consider the public history context of the need for designers, exhibit developers, marketing specialists, etc.)</span></li>
</ol>
</div>
<div class="" id="magicdomid202" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="15">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Websites </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">(I want a “website.” What does that mean? Consider the transition from web 1.0 to web 2.0 to web 3.0 technology; thinking about characteristics of public history web: participatory/not, open/not, types of content; public engagement/not, links; how web technologies are changing, such as HTML5, including device contexts)</span></li>
</ol>
</div>
<div class="" id="magicdomid203" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="16">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Video</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (video projects, streaming technologies, YouTube, Vimeo, portable devices, </span></li>
</ol>
</div>
<div class="" id="magicdomid204" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="17">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Photography</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (technologies, i.e. phones as cameras, photoshop, FLICKR etc., re-photography, HistoryPin, merging past/present locations (mixing past/present), cinemagraphs, focus on how technologies (both of taking photos and of representing photos, as well as sharing photos) shape the intersection of digital/public history; is this a new form of narrative in its own right? selfies</span></li>
</ol>
</div>
<div class="" id="magicdomid205" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="18">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Audio </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">(oral history in the digital age, transom </span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt u url"><a data-mce-href="http://transom.org/" href="http://transom.org/">http://transom.org/</a></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> for public radio, SoundCloud, streaming, podcasts, the emergence of sound studies, </span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt i"><i>these three categories: focus on how technologies (both of taking photos/video/audio and of representing photos, as well as sharing photos) shape the intersection of digital/public history;</i></span></li>
</ol>
</div>
<div class="" id="magicdomid206" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="19">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Social Media</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (focus on technologies of social media)</span></li>
</ol>
</div>
<div class="" id="magicdomid207" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="20">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Reference/Management Tools </b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt">(Zotero, Evernote, and other tools for building references, and links.)</span></li>
</ol>
</div>
<div class="" id="magicdomid208" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="21">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Metadata</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (What is it? and why you should care? archival/library standards and machine metadata.)</span></li>
</ol>
</div>
<div class="" id="magicdomid209" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="22">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Big Data</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (What this means for public engagement in history and cultural institutions; what does it mean for a digital data driven public history; what does proliferation of data mean for local institutions?)</span></li>
</ol>
</div>
<div class="" id="magicdomid210" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="23">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Aggregation</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (Wikipedia, but also tools for content Aggregation, in cultural realm this includes such as dp.la, Europeana, new modes of engaging public outside ...)</span></li>
</ol>
</div>
<div class="" id="magicdomid211" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
<ol class="list-number1" start="24">
<li><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt b"><b>Discovery & Connection</b></span><span class="author-a-3z80zz69zz77zz87z0pz89zkz83zc38z73zz85zt"> (Connected Histories; Moving beyond Google: technologies for linking, connecting, & discovery of cultural information)</span></li>
</ol>
</div>
<div class="" id="magicdomid179" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 16px; line-height: 24px;">
</div>
</div>
Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-80955480611120714142015-05-31T17:46:00.001+02:002015-05-31T17:46:52.970+02:00Digital public history: bringing the public back in<div dir="ltr" style="text-align: left;" trbidi="on">
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;"><span style="background-color: white;">This post is a slightly different version of "Digital public history: bringing the public back in." In: </span><a data-mce-href="http://public-history-weekly.oldenbourg-verlag.de/" href="http://public-history-weekly.oldenbourg-verlag.de/" style="background-color: white;" target="_blank">Public History Weekly</a><span style="background-color: white;"> 3 (2015) 13, DOI: </span><a class="external" data-mce-href="http://dx.doi.org/10.1515/phw-2014-2647" href="http://dx.doi.org/10.1515/phw-2014-2647" style="background-color: white;">dx.doi.org/10.1515/phw-2014-2647</a><span style="background-color: white;">. (German and French translations also available in PHW).</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrh8CaHPjVrZZLRiT31J3I0RIIAuoWCAoHoFS70vqC_BcrHFLVhmgGWpgwtVdmHKMd7npk5-Un7SKKFZY5_TTHpXp0zZuh2FB7YgqWuEe0toLnwCVFTfwn8aRQ1nWVtIJgF-zjbA/s1600/Public+History+Weekly.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrh8CaHPjVrZZLRiT31J3I0RIIAuoWCAoHoFS70vqC_BcrHFLVhmgGWpgwtVdmHKMd7npk5-Un7SKKFZY5_TTHpXp0zZuh2FB7YgqWuEe0toLnwCVFTfwn8aRQ1nWVtIJgF-zjbA/s400/Public+History+Weekly.png" width="400" /></a></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">Digital History has reshaped the documentation methods of historians, especially their means of accessing and storing history. However, this seismic shift has occurred without any thorough critical discussion of these digital tools and practices. Digital history aims to create new forms of scholarship and new digital objects for the web.[1] But we need to ask in which ways—if any—Digital Public History (DPH) is distinct from an innovative digital history?</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">From Digital Humanities to Digital History</span></h2>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 12pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 12pt;">"Digital historical culture" is part of the wider "digital culture" permeating our society through the Internet. The sociological concept of digital culture was developed by Manuel Castells[2] and Willard McCarty[3]. In Italy, Tito Orlandi theorized the emergence of a new <em>Koine</em> based on his further development of scientific and methodological concepts of humanities computing as web-based communication processes.[4] By contrast, the digital humanities provide methodologies and practices that, analogous to the sciences, are suitable for the humanities.[5] These practices and concepts are elaborated within the various disciplines.[6] Thus, after the digital turn, digital historians are confronted with new epistemological issues when analysing the past.[7] They plan exhibitions with memory institutions (libraries, archives, museums, and galleries) dedicated to presenting artefacts and documents ; they collect, preserve, and curate digitised and born digital documents for these institutions;[8] they create new tools and software to support their activities; they also use social media; following the digital turn, moreover, they are not confined to analysing written materials, but also strive to devise new forms of text-mining for processing large amounts of data between “close and distant reading” activities .[9] Digitally connected historians do not perform their profession beyond the discipline: rather, they apply their methods, traditions, and skills to deal with primary sources in different contexts and to reconstruct the past using new types of narratives.[10] Technology facilitates what is still a recognizable history profession, although digital humanities technology is part of a new historian’s craft. Historians, that is, are involved deeply in technological transformations that affect the humanities as a whole.</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">New practices and new tools</span></h2>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 12pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 12pt;">In the field of digital history, we are what we do and what we create. New practices and new tools define the nature and the scope of the field. Importantly, digital history corresponds not only with the tradition of the digital humanities. The question of the originality of our methods, tasks, and ultimate goals within the digital realm was raised already at an early stage in Italy; it was always clear that our priorities were quite different from those of other digital humanists.[11] Digital history, then, is about a proper epistemological dimension, one specific to historians.[12] As historians, we need to create contents, to control those contents, and to use tools in the digital realm that are different from those needed by other digital humanists confronted with literary and linguistic computing, text analysis, text encoding, and annotation. Stephen Robertson, director of the Center for History and New Media has argued, perhaps for the first time ever in the English speaking world, that digital history is different from literary studies and might be considered another discipline. His reflections influenced the 20th anniversary celebrations of the Center[13], held in the autumn of 2014, which highlighted the importance of digital media for the history profession.[14] Robertson emphasised two points: “First, the collection, presentation, and dissemination of material online is a more central part of digital history. […] Second, in regards to digital analysis, digital history has seen more work in the area of digital mapping than has digital literary studies, where text mining and topic modeling are the predominant practices.”[15]</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">Digital History vs. Digital Public history</span></h2>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 12pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 12pt;">In parallel with what they write professionally about the past, historians have always queried the usefulness of their own practices in reconstructing the past. In so doing, they have explored which (other) methods or techniques might illuminate the past. Which new tools or techniques, when applied to reconstructing the past, could help transform primary sources into narratives? We first need to consider whether the historiographical process has always been communicated fruitfully to the public, not only through the written forms of scholarship typical of academic historians, but also through a differentiation between forms of communication adapted to different audiences using different media, or what Sharon M. Leon calls <em>User-Centered Digital History</em>.[16] Being able to translate the past into history and being able to communicate with an identified audience are essential skills for public historians, who must ask themselves “why do history if it is not for the public?” As a research field, DPH invites us to interpret the past and to prepare it for the future using technology, experiences, practices, methods, and social communication processes that underscore the need to consider what public history has already highlighted, namely, to think about audiences so as to enhance interpretation and communication processes.</span><br /><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 12pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 12pt;">Should we go further back in the genealogy of humanities computing (to the 1980s, for instance), which became the digital humanities following the rise of the Internet in the early 1990s? Perhaps not, but what is part of the conversation is to understand whether DPH differs not only from the Digital Humanities, as argued, but also from Digital History. What distinguishes DPH or what I have elsewhere called digital history 2.0 (participative, crowdsourced, networked, socially mediated history)[17] from so-called “academic“ forms of Digital History?</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">Digital Public History and the Civic Dimension of the Past</span></h2>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 12pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 12pt;">Web 2.0 technologies enable us to engage with different communities and their knowledge and memories worldwide, thereby adding a digital dimension to traditional public history practices. After the birth of a participatory web 2.0 around 2004, different communities started to share their past globally without the mediation of historians. On the contrary, after the digital turn oral historians-cum-mediators applied their skills as historians to conveying oral memories.[18] In the digital realm, archivists keep track of civil memories using their specific skills.[19] Might we then conclude that DPH is about how a community of people shares experiences about the past via the web, experiences that are mediated through public historians’ digital skills and expertise, in the capacities as oral historians, archivists, museum staff, etc.? Is this the dimension that defines the field as bottom-up (often crowdsourced), top-down (creation of digital multi/media forms of communicating the past), user-oriented, interactive, and shared? DPH interrelates a public, its past, and public historians whereas digital history offers new digital scholarship without requiring epistemological interaction with the public as an essential condition. Digital History “enriches” the web with new forms of narratives and findings. Unlike 2.0 crowdsourced and connected web, DH is not used primarily to engage with specific publics and to reach specific social targets. DPH instead is above all about producing history in the public sphere through interactive digital means. Taking advantage of the digital turn, DPH aims to bring new voices from the past into the present because those pasts matter and because digital technologies are suited to communicating history via and in the web.</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif;" style="font-family: 'trebuchet ms', geneva, sans-serif;">_____________________</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[1] Franziska, Heimburger and Émilien Ruiz: «Has the Historian’s craft gone digital? Some observations from France», <em>Diacronie. </em><em>Studi di Storia Contemporanea,</em> n. 10/2, 2012,</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;"><<a data-mce-href="http://www.studistorici.com/2012/06/29/heimburger-ruiz_numero_10/" href="http://www.studistorici.com/2012/06/29/heimburger-ruiz_numero_10/">http://www.studistorici.com/2012/06/29/heimburger-ruiz_numero_10/</a>> (last accessed 09.04.15).</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[2] Manuel Castells:<em> The Internet Galaxy: Reflections on the Internet, Business, and Society</em>. New York, Oxford University Press, 2001.</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[3] Willard Mccarty: <em>Humanities Computing</em>. Basingstoke, Palgrave Macmillan, 2005.</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[4] Tito Orlandi: <em>Informatica Umanistica</em>. Roma, La Nuova Italia Scientifica, 1990.</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[5] Susan Schreibman, Ray Siemens, John Unsworth (eds.): <em>A Companion to Digital Humanities</em>, Oxford, Blackwell, 2004; see <http: companion="" www.digitalhumanities.org=""> (last accessed 09.04.15). Clare Warwick: <em>Digital Humanities in Practice</em>., London, Facet Publishing, 2012; Melissa Terras, Julianne Nyhan, and Edward Vanhoutte: <em>Defining Digital Humanities: A Reader</em>. London, Ashgate, 2013; Pierre Mounier (ed.), <em>Read/Write Book 2. </em><em>Une introduction aux humanités numériques</em>, Marseille, OpenEdition Press, 2012, </http:></span><span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;"><<a data-mce-href="http://books.openedition.org/oep/226" href="http://books.openedition.org/oep/226">http://books.openedition.org/oep/226</a>>, (last accessed 09.04.15).</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[6] Statistics, geo-location, the mapping of the past, visual studies, 3D reconstructions, the creation, management and analysis of big series of data’s and of digital primary sources , all these specific elements, part of a "datification" process of the world, are defining the field of digital history v. the broader area of digital humanities. (See Peter Haber: <em>Digital Past: Geschichtswissenschaft im digitalen Zeitalter</em>. München, Oldenbourg Verlag, 2011.)</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[7] Philippe Rygiel “L’inchiesta storica in epoca digitale”<em>, </em>in <em>Memoria e Ricerca</em>, n.35, 2010, pp. 185-197.</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[8] A recent Canadian report on the impact of the digital revolution has universal value when it says: “Memory institutions are a window to the past. Through stories, physical objects, records, and other documentary heritage, they provide Canadians with a sense of history, a sense of place, a sense of identity, and a feeling of connectedness — who we are as a people […].” “Why Memory Institutions Matter”, in Council of Canadians Academies: <em>Leading in the Digital World: Opportunities for Canada’s Memory Institutions. </em><em>The Expert Panel on Memory Institutions and the Digital Revolutio</em>n., February 2015, pp. 4-6. <a data-mce-href="http://www.scienceadvice.ca/uploads/eng/assessments%20and%20publications%20and%20news%20releases/memory/CofCA_14-377_MemoryInstitutions_WEB_E.PDF" href="http://www.scienceadvice.ca/uploads/eng/assessments%20and%20publications%20and%20news%20releases/memory/CofCA_14-377_MemoryInstitutions_WEB_E.PDF">http://www.scienceadvice.ca/uploads/eng/assessments%20and%20publications%20and%20news%20releases/memory/CofCA_14-377_MemoryInstitutions_WEB_E.PDF</a> (last accessed 09.04.15)</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[9] Franco Moretti: Distant Reading. London: Verso, 2013.</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[10] See, for example, different projects (like <em>Digital Humanities No</em>w, http://digitalhumanitiesnow.org/ ) that curate the integration of selected blog posts worldwide into new forms of digital scholarship using the PressForward plugin for WordPress <a data-mce-href="http://pressforward.org/" href="http://pressforward.org/">http://pressforward.org/</a> (last accessed 09.04.15).</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[11] “Storia e Internet: la ricerca storica all’alba del terzo millennio”, in Serge Noiret (ed.): Linguaggi e Siti: la Storia On Line, in <em>Memoria e Ricerca</em>, n.3, January-June 1999, pp. 7-20.</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">See also <a data-mce-href="http://www.fondazionecasadioriani.it/modules.php?name=MR&op=showfascicolo&id=12" href="http://www.fondazionecasadioriani.it/modules.php?name=MR&op=showfascicolo&id=12">http://www.fondazionecasadioriani.it/modules.php?name=MR&op=showfascicolo&id=12</a> (last accessed 09.04.15).</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[12] Daniel J. Cohen, Max Frisch, P.Gallagher, Steven. Mintz, Kirsten Sword, A.Murrell Taylor, William G. Thomas III, and William J Turkel: “Interchange: The Promise of Digital History<em>”</em>, in <em>The Journal of American History</em>, 2, 2008, pp. 452-91, <http: interchange.html="" jah="" journals="" www.historycooperative.org="">.(last accessed 09.04.15).</http:></span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[13] RRCHNM: <em>20th Anniversary Conference</em>, <http: chnm.gmu.edu="" th="">. (last accessed 09.04.15).</http:></span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[14] Daniel .J. Cohen and Roy Rosenzweig: <em>Digital history: a guide to gathering, preserving, and presenting the past on the Web</em>., Philadelphia, University of Pennsylvania Press, 2005 and <em>Clio Wired. The future of the past in the digital age</em>. New York, Columbia University Press, 2011.</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[15] Stephen Robertson: The Differences between Digital History and Digital Humanities. <a data-mce-href="http://drstephenrobertson.com/blog-post/the-differences-between-digital-history-and-digital-humanities/" href="http://drstephenrobertson.com/blog-post/the-differences-between-digital-history-and-digital-humanities/">May 23, 2014</a> ; <a data-mce-href="http://drstephenrobertson.com/blog-post/the-differences-between-digital-history-and-digital-humanities/" href="http://drstephenrobertson.com/blog-post/the-differences-between-digital-history-and-digital-humanities/">http://drstephenrobertson.com/blog-post/the-differences-between-digital-history-and-digital-humanities/</a> (last accessed 09.04.15).</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[16] <a data-mce-href="http://digitalpublichistory.org/" href="http://digitalpublichistory.org/">http://digitalpublichistory.org/</a> (last accessed 09.04.15).</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[17] «Y a t-il une Histoire Numérique 2.0 ? » in Jean-Philippe Genet and Andrea Zorzi (eds.) <em>Les historiens et l’informatique. Un métier à réinventer</em>., Rome: Ecole Française de Rome, 2011, pp. 235-288.</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[18] In her keynote lecture at the 2nd Brazilian Public History Conference (September 2014), Linda Shopes said that digital history—added to social history and the presence of a targeted audience—is now central to oral history practices. Digital techniques have given back “orality” to oral history. A digital dimension has integrated online histories into web site projects, opened up public history internationally by extending traditional oral history projects, and enhanced the capacity to share interviews in audio/video formats globally and through open access. These practices enable communities to interact in their own language. A deeper understanding of local cultures differentiates international DPH from digital history and, even more, from digital humanities activities, the latter all too often being confined to the English language. See <em>Rede Brasileira de Historia Publica</em>: <a data-mce-href="http://historiapublica.com.br/" href="http://historiapublica.com.br/">http://historiapublica.com.br/</a> (last accessed 09.04.15).</span></div>
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<span data-mce-style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;" style="font-family: 'trebuchet ms', geneva, sans-serif; font-size: 10pt;">[19] “The materials in them hold us to our values and nourish our debates on civil society. By ensuring preservation, authenticity, and access to their holdings […] memory institutions help guarantee transparency and accountability. Indeed, authentic records and their availability are at the heart of civil governance. Archives in particular are essential for addressing human rights concerns, often because these concerns are not identified until well after an injustice has occurred.” “Why Memory Institutions Matter”, cit.</span></div>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-19392577698389199502015-05-02T17:14:00.000+02:002015-05-03T22:46:04.763+02:00"The Americans": Spy Story? Dramma Coniugale? Public History della Guerra Fredda?<div dir="ltr" style="text-align: left;" trbidi="on">
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<strong><em><a data-mce-href="http://dph.hypotheses.org/files/2015/04/The-Americans.jpg" href="http://dph.hypotheses.org/files/2015/04/The-Americans.jpg"><img alt="The-Americans" class=" wp-image-594 size-full alignnone" data-mce-src="http://dph.hypotheses.org/files/2015/04/The-Americans.jpg" src="http://dph.hypotheses.org/files/2015/04/The-Americans.jpg" height="116" width="640" /></a></em></strong></div>
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<strong><em>The Americans</em>,<a data-mce-href="#_ftn1" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftn1" name="_ftnref1">[1]</a> serie TV (35 episodi, tre serie), 2013-2015, produzione FOX </strong>(Fox 21 Television Studios e download possibile da diverse fonti, anche in un blog italiano (<a data-mce-href="http://www.thelordofstreaming.it/americans-serie-tv/" href="http://www.thelordofstreaming.it/americans-serie-tv/" target="_blank" title="The Americans">The Lord of Streaming</a>) come sul sito di <a data-mce-href="http://eurostreaming.tv/the-americans-streaming/" href="http://eurostreaming.tv/the-americans-streaming/" target="_blank" title="streaming">Eurostreaming.t</a><strong><a data-mce-href="http://eurostreaming.tv/the-americans-streaming/" href="http://eurostreaming.tv/the-americans-streaming/" target="_blank" title="streaming">v</a>). <a data-mce-href="#_ftn2" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftn2" name="_ftnref2">[2]</a> </strong><<a data-mce-href="http://www.fxnetworks.com/shows/the-americans/episodes" href="http://www.fxnetworks.com/shows/the-americans/episodes">http://www.fxnetworks.com/shows/the-americans/episodes</a>>.</div>
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<strong> </strong>«Tutto è lecito in amore e in guerra fredda» è il motto della serie televisiva <em>The Americans</em>, che è arrivata alla terza stagione nel 2015 (una quarta stagione è prevista), riscuotendo un grande successo di critica, già dalla prima serie, e di pubblico, <a data-mce-href="http://www.hitfix.com/tv/the-americans/recaps" href="http://www.hitfix.com/tv/the-americans/recaps" target="_blank" title="Americans recaps">soprattutto dalla terza serie</a>.<a data-mce-href="#_ftn3" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftn3" name="_ftnref3">[3]</a></div>
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Benché girati a New York, gli episodi si svolgano a Washington all’inizio degli anni ’80, con la fine del mandato di Jimmy Carter (1977-1981): le elezioni del 1980 vedono il trionfo repubblicano di Ronald Reagan, presidente per due mandati dal 1981 al 1989. La prima serie, andata in onda nel 2013, comincia infatti poco dopo il 1980 e la nascita di una politica estera marcatamente anti-comunista da parte di Reagan, che segna la fine della politica di <em>détente</em> elaborata da Carter dopo la guerra del Vietnam; si tratta di una radicalizzazione che accelera la lenta disintegrazione dello Stato sovietico durante il decennio.<a data-mce-href="#_ftn4" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftn4" name="_ftnref4">[4]</a><a data-mce-href="http://dph.hypotheses.org/files/2015/04/the-americans-demi.jpg" href="http://dph.hypotheses.org/files/2015/04/the-americans-demi.jpg"><img alt="the-americans demi" class="alignright wp-image-593 size-full" data-mce-src="http://dph.hypotheses.org/files/2015/04/the-americans-demi.jpg" src="http://dph.hypotheses.org/files/2015/04/the-americans-demi.jpg" height="240" style="float: right;" width="320" /></a><a data-mce-href="#_ftn4" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftn4" name="_ftnref4"></a></div>
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Il regista <a data-mce-href="http://www.imdb.com/name/nm2913498/?ref_=nmbio_bio_nm" href="http://www.imdb.com/name/nm2913498/?ref_=nmbio_bio_nm">Joe (Joseph) Weisberg (1966-)</a> ci offre con <em>The Americans</em> una trama suggestiva nella quale si intrecciano le vicenda familiari e amorose di una coppia di spietate spie sovietiche trapiantate negli Stati Uniti da anni: Phillip (Matthew Rhys) e Elizabeth Jennings (Keri Russell). I Jennings posseggono una piccola agenzia di viaggio che permette di giustificare numerosi spostamenti e di coprire cosi le loro attività spionistiche.<a data-mce-href="#_ftn5" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftn5" name="_ftnref5">[5]</a></div>
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Weisberg, cresciuto in una famiglia ebraica, si è laureato a Yale, dopo aver seguito corsi di storia russa nell’epoca Reagan, e nel 1990 decide di lavorare per la Cia, rompendo con il suo ambiente “liberal” di origine. Le sue scelte e la sua esperienza nei servizi segreti americani diventarono romanzo -scritto dopo essersene allontanato dopo la morte del padre nel 1997.<a data-mce-href="#_ftn6" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftn6" name="_ftnref6">[6]</a></div>
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Infatti l’a. della serie scrive un scenario molto “storico”, anche se le gesta delle nostre spie sono solo ispirate a fatti realmente accaduti: certamente la sua esperienza diretta alla Cia è servita per tracciare il personaggio di Stan Beeman (Noah Emmerich), l’agente dell’FBI che si occupa di controspionaggio e, in modo particolare, di scoprire le attività segrete dei sovietici, non esitando ad uccidere se necessario come, d’altronde, i Jennings. In <em>The Americans</em> Beeman si confronta direttamente con la coppia dei Jennings, suoi vicini di casa in un sobborgo residenziale, emblema del sogno della media-borghesia americana.</div>
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Quanto ai due protagonisti - Phillip e Elizabeth – secondo la trama si sono conosciuti all’università in Unione Sovietica, dopo sono entrati nel Kgb, e successivamente si sono sposati per nascondere le loro attività negli Stati Uniti. Alcuni flashback mostrano Elizabeth in Russia mentre si prepara al mestiere di spia. Con il passare degli episodi i due vengono raffigurati con differenze sempre più acute: Phillip esegue gli ordini, ma sempre con fare dubbioso, e risente del fascino del capitalismo e del sistema dei consumi americano, mentre Elizabeth rimane fanaticamente impermeabile alle lusinghe del benessere occidentale ed è pronta ad eseguire senza alcuna discussione gli ordini che le vengono dati.</div>
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<dt class="wp-caption-dt" style="-webkit-user-drag: none;"><a data-mce-href="http://dph.hypotheses.org/files/2015/04/iTunes-Podcasts-The-Americans-Slate-TV-Club-Insider-by-Slate-Magazine.png" href="http://dph.hypotheses.org/files/2015/04/iTunes-Podcasts-The-Americans-Slate-TV-Club-Insider-by-Slate-Magazine.png" rel="https://itunes.apple.com/us/podcast/americans-slate-tv-club-insider/id962741924?mt=2" style="-webkit-user-drag: none;" target="_blank"><img alt="iTunes Podcasts The Americans Slate TV Club Insider by Slate Magazine" class="wp-image-599 " data-mce-src="http://dph.hypotheses.org/files/2015/04/iTunes-Podcasts-The-Americans-Slate-TV-Club-Insider-by-Slate-Magazine.png" src="http://dph.hypotheses.org/files/2015/04/iTunes-Podcasts-The-Americans-Slate-TV-Club-Insider-by-Slate-Magazine.png" height="338" style="-webkit-user-drag: none; border: 0px none; margin: 0px; padding: 0px;" title="The Americans - Terza Serie - Itunes Podcasts" width="456" /></a></dt>
<dd class="wp-caption-dd" style="-webkit-user-drag: none; font-size: 11px; line-height: 17px; margin: 0px; padding: 0px 4px 5px;">"The creators, cast, and crew of FX’s original drama The Americans reveal behind-the-scenes details about the making of each episode in Season 3. The podcast [was] released shortly after The Americans airs on FX each Wednesday at 10 pm Eastern and Pacific. "</dd></dl>
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Nella terza serie il Kgb richiede di arruolare anche la figlia adolescente Paige. La madre è pronta ad acconsentire, mentre Philip si oppone, ritenendo che per i loro figli sia preferibile rimanere fuori da attività clandestine estremamente pericolose visto che entrambi i genitori rischiano quotidianamente la vita.</div>
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<dt class="wp-caption-dt" style="-webkit-user-drag: none;"><a data-mce-href="http://dph.hypotheses.org/files/2015/04/the-jennings-family-the-americans.jpg" href="http://dph.hypotheses.org/files/2015/04/the-jennings-family-the-americans.jpg" style="-webkit-user-drag: none;"><img alt="the-jennings-family-the-americans" class="wp-image-595 " data-mce-src="http://dph.hypotheses.org/files/2015/04/the-jennings-family-the-americans-500x271.jpg" src="http://dph.hypotheses.org/files/2015/04/the-jennings-family-the-americans-500x271.jpg" height="241" style="-webkit-user-drag: none; border: 0px none; margin: 0px; padding: 0px;" width="445" /></a></dt>
<dd class="wp-caption-dd" style="-webkit-user-drag: none; font-size: 11px; line-height: 17px; margin: 0px; padding: 0px 4px 5px;">The Jennings Family in the 3rd Series - La Famiglia dei Jennings nella terza Serie di "The Americans</dd></dl>
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Nella “vita normale” i protagonisti Phillip e il suo amico Stan si confidano le reciproche traversie sentimentali. Molto probabilmente Weisberg si riconosce nell’agente dell’FBI Beeman, un personaggio che viene raffigurato come leale al suo paese, ma con un matrimonio in piena crisi e sensibile alle attenzioni della bella spia <a data-mce-href="http://www.imdb.com/character/ch0401420/?ref_=ttfc_fc_cl_t6" href="http://www.imdb.com/character/ch0401420/?ref_=ttfc_fc_cl_t6">Nina Krilova (Annet Mahendru)</a> addetta dell’ambasciata sovietica. La giovane e ambiziosa Nina oscilla tra la voglia di svolgere bene il proprio lavoro per l’ambasciata e, invece, la tentazione di lasciare tutto e di inserirsi negli Stati Uniti grazie a Beeman, diventato suo amante.</div>
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Il «New York Times» nel gennaio 2013, dopo l’uscita dei primi episodi, ha sottolineato la capacità di Weisberg di mettere in scena il mondo dello spionaggio a partire dall'esperienza da lui vissuta: anche Weisberg ricorda quanto sia stato difficile destreggiarsi tra vita privata, famiglia e la professione di spia, che chiede continuamente di ricorrere alla menzogna.<a data-mce-href="#_ftn7" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftn7" name="_ftnref7">[7]</a> E in un intervista a Slate Weisberg ha spiegato che la serie oscilla tra un'interpretazione intimista: la famiglia di spie alle prese con relazioni coniugali tese e una storia più globale che rendesse conto delle tensioni dell'ultimo periodo di guerra fredda.</div>
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La storia è centrale nella presentazione di ogni episodio: fonti audiovisive, fotografie, documenti d’epoca, ritratti dei protagonisti di allora come Reagan, e oggetti simbolici di propaganda e emblemi dell’epoca tardo-sovietica riassumono le coordinate di quell'ultima parte della guerra fredda contro il comunismo.<a data-mce-href="#_ftn8" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftn8" name="_ftnref8">[8]</a> Ma non è una serie propriamente storica, che intende presentare un racconto storico della guerra fredda. Nondimeno la sua grande capacità attrattiva risiede nella ricostruzione di ambienti - nell’epoca finale della guerra fredda – in cui si ritrovano intrecci tra missioni pericolose e relazioni familiari. La storia delle tensioni tra Russia sovietica e Stati Uniti degli anni ’80 serve di sfondo al racconto delle missioni spionistiche, che si muovono tra il dispiegamento degli SS-20 in Europa dell’Est, la risposta americana con i missili Cruise, la fuga dei cervelli sovietici negli Usa dove lavorano anche a programmi militari nuovi come quello degli <em>Stealth</em>, gli aerei invisibili, e così via.<a data-mce-href="#_ftn9" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftn9" name="_ftnref9">[9]</a></div>
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La storia “si vede” soprattutto quando i personaggi accendono la televisione, quando si ha notizia della campagna Carter-Reagan e dell’elezione dell’ex-governatore della California e, soprattutto, dell’impatto sulle nuove relazioni con i sovietici, della violenta polemica anti-comunista di Reagan. Ad esempio l’attentato del 30 marzo 1981 a Washington, ad opera di uno squilibrato, è evocato nella seconda serie, attraverso immagini alla televisione, dove il segretario di Stato di allora, Alexander Haigh, interviene per rassicurare il paese.</div>
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Benché “sfumata”, la storia è onnipresente soprattutto nei dettagli maniacali della vita materiale di allora: le case, le macchine, i vestiti, i tagli di cappelli, gli oggetti di consumo, ecc. Chi ha vissuto gli anni precedenti il crollo del muro di Berlino si immerge immediatamente negli ambienti ricostruiti da <em>The Americans</em>, rivivendo i colpi di coda dell’Orso sovietico sempre più incapace di mantenere il passo dello sviluppo economico e militare della potenza americana e di rimanere una potenza globale. A titolo di esempio, di questo divario crescente si trovano tracce nello sconforto di Philip alla notizia della perdita di sottomarino nucleare sovietico e dell’equipaggio per colpa di problemi tecnologici.</div>
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Nel frattempo, la coppia protagonista è alle prese con richieste sempre più pressanti in provenienza da Mosca, e oggetto di attività del controspionaggio americano. Nella serie TV si trovano ricostruite anche le lotte intestine nell’apparato sovietico, i diversi livelli di poteri e di ordini, talvolta anche contradditori, le multiple forme di sorveglianza che gli agenti dovevano subire da parte della madrepatria.</div>
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Chi scrive ha visto la serie con due figli adolescenti, non particolarmente appassionati alla storia come viene insegnata a scuola in Italia. Nondimeno, sembrano aver apprezzato la lezione di <em>Public History </em>che questa serie Tv offre per ricostruire il clima della guerra fredda nel corso degli anni ’80. I due ragazzi - oltre a non perdersi nessun episodio - si sono incuriositi di quest’epoca, interessandosi della dinamica psicologica fra genitori e figli della famiglia Jennings. Il figlio ancora pre-adolescente Henry Jennings di 12 anni e, soprattutto, la figlia Paige di 14 anni, si scontrano contro un’autorità genitoriale che non riescono più a capire. Paige si ribella e cerca nelle comunità evangeliche del suo quartiere e nella bibbia un senso alla sua vita. La giovane Jennings cercherà anche di impegnarsi politicamente e socialmente grazie alla parrocchia, accrescendo il contrasto con l’ideologia e la cultura atea materna.</div>
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Si tratta di un dramma familiare che appassiona gli spettatori e che rende consuete anche le figure dei protagonisti, che si dibattono fra dilemmi di fedeltà alla patria, attrazione verso il sogno americano, difficoltà di vivere le relazioni di coppia e quella genitori-figli, in un modo da far rivivere quel mondo del pre-1989, che sembra scomparso così rapidamente dalla nostra memoria.</div>
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<a data-mce-href="#_ftnref1" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftnref1" name="_ftn1">[1]</a> <em>The Americans</em>, <http: episodes="" shows="" the-americans="" www.fxnetworks.com="">.</http:></div>
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<a data-mce-href="#_ftnref2" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftnref2" name="_ftn2">[2]</a> Dettagli tecnici sulla serie “The Americans” si trovano nella banca dati <em>Internet Movie Database</em> (IMBd), <http: ref_="fn_al_tt_1" title="" tt2149175="" www.imdb.com="">. Altre informazioni sono disponibili nella en.Wikipedia, <http: en.wikipedia.org="" he_americans_="" series="" wiki=""> e nella it.Wikipedia <http: he_americans_="" it.wikipedia.org="" serie_televisiva_2013="" wiki="">.</http:></http:></http:></div>
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<a data-mce-href="#_ftnref3" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftnref3" name="_ftn3">[3]</a> Per alcuni dati statistici sul numero di visioni delle serie tra la prima e la terza, vedere <em>“</em>The Americans” renewed for Fourth Season”, di Lesley Goldberg, in <em>The Hollywood Reporter</em>, 31 marzo 2015, <http: americans-renewed-fourth-season-785558="" live-feed="" www.hollywoodreporter.com="">.</http:></div>
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<a data-mce-href="#_ftnref4" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftnref4" name="_ftn4">[4]</a> Cfr. M. Del Pero, “<em>Morning in America”: la storiografia scopre Ronald Reagan</em>, in «<em>Storica»</em>, 13/38 (2007), pp. 9-31.</div>
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<a data-mce-href="#_ftnref5" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftnref5" name="_ftn5">[5]</a> Cfr. P. Deery e M. Del Pero: <em>Spiare e tradire: dietro le quinte della guerra fredda</em>, Milano, Feltrinelli, 2011.</div>
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<a data-mce-href="#_ftnref6" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftnref6" name="_ftn6">[6]</a> Cfr. J. Weinsberg, <em>An Ordinary Spy: A Novel</em>, New York, Bloomsbury USA, 2008.</div>
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<a data-mce-href="#_ftnref7" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftnref7" name="_ftn7">[7]</a> <a data-mce-href="http://topics.nytimes.com/top/reference/timestopics/people/h/laura_m_holson/index.html" href="http://topics.nytimes.com/top/reference/timestopics/people/h/laura_m_holson/index.html">L.M. Holson</a>, <em>The Dark Stuff, Distilled</em>, 29 marzo 2013, <a data-mce-href="http://www.nytimes.com/2013/03/31/fashion/joseph-weisberg-uses-his-cia-time-in-the-americans.html" href="http://www.nytimes.com/2013/03/31/fashion/joseph-weisberg-uses-his-cia-time-in-the-americans.html">http://www.nytimes.com/2013/03/31/fashion/joseph-weisberg-uses-his-cia-time-in-the-americans.html</a></div>
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<a data-mce-href="#_ftnref8" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftnref8" name="_ftn8">[8]</a> Sulla politica dei conservatori americani sotto Nixon e Ford, si veda di Mario Del Pero: <em>Henry Kissinger e l'ascesa dei neoconservatori: alle origini della politica estera americana</em>., Bari: Laterza, 2006 e dello stesso autore su Reagan: "Morning in America": la Storiografia scopre Ronald Reagan.", cit..</div>
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<a data-mce-href="#_ftnref9" href="http://dph.hypotheses.org/wp-admin/post.php?post=586&action=edit#_ftnref9" name="_ftn9">[9]</a> Leopoldo Nuti, Leopoldo, Frédéric Bozo, Marie-Pierre Rey and Bernd Rother, (a cura di): <em>The Euromissile Crisis and the End of the Cold War</em>. Stanford/Washington DC: Stanford University Press/Woodrow Wilson Center Press, 2015.</div>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-31757885288662893742015-05-01T17:19:00.000+02:002015-05-02T18:02:27.370+02:00A First Master in "Histoire Publique" at Paris Est Créteil will start in September 2015<div dir="ltr" style="text-align: left;" trbidi="on">
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<a data-mce-href="http://ifph.hypotheses.org/files/2015/03/Master-créteil-2015.png" href="http://ifph.hypotheses.org/files/2015/03/Master-cr%C3%A9teil-2015.png"><img alt="Master 2 - Public History - UPEC" class="wp-image-498 size-large aligncenter" data-mce-src="http://ifph.hypotheses.org/files/2015/03/Master-créteil-2015-500x212.png" src="http://ifph.hypotheses.org/files/2015/03/Master-cr%C3%A9teil-2015-500x212.png" height="212" style="display: block; margin-left: auto; margin-right: auto;" width="500" /></a></div>
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Promoted by <a data-mce-href="http://crhec.u-pec.fr/membres/enseignants-chercheurs/brice-catherine-288984.kjsp" href="http://crhec.u-pec.fr/membres/enseignants-chercheurs/brice-catherine-288984.kjsp" target="_blank" title="Catherine Brice">Catherine Brice</a>, contemporary history professor interested in cultural studies and material culture -Brice is well known for her work on 19th century Italy-, a first French Master in Public history will be launched for the academic year 2015-2016 at the <a data-mce-href="http://fr.wikipedia.org/wiki/Universit%C3%A9_Paris-Est_Cr%C3%A9teil_Val-de-Marne" href="http://fr.wikipedia.org/wiki/Universit%C3%A9_Paris-Est_Cr%C3%A9teil_Val-de-Marne" title="Université Paris-Est Créteil Val-de-Marne">Université de Paris Est, Créteil -Val de Marne</a> (UPEC - University of Paris East, Créteil).</div>
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Why introducing in France "a discipline without the name" until nowadays, "l'histoire publique", translated from the English expression "public history"?</div>
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<dt class="wp-caption-dt" style="-webkit-user-drag: none;"><a data-mce-href="http://ifph.hypotheses.org/files/2015/03/DSC01507.jpg" href="http://ifph.hypotheses.org/files/2015/03/DSC01507.jpg" style="-webkit-user-drag: none;"><img alt="DSC01507" class="wp-image-546 size-medium" data-mce-src="http://ifph.hypotheses.org/files/2015/03/DSC01507-300x200.jpg" src="http://ifph.hypotheses.org/files/2015/03/DSC01507-300x200.jpg" height="200" style="-webkit-user-drag: none; border: 0px none; margin: 0px; padding: 0px;" width="300" /></a></dt>
<dd class="wp-caption-dd" style="-webkit-user-drag: none; font-size: 11px; line-height: 17px; margin: 0px; padding: 0px 4px 5px;">Catherine Brice during the April 2013 NCPH Ottawa Conference, working group on "Teaching Public History" coordinated by Thomas Cauvin</dd></dl>
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Maybe Catherine's participation in the IFPH Working Group on "Teaching Public History," during the <a data-mce-href="http://ncph.org/cms/conferences/2013-annual-meeting/" href="http://ncph.org/cms/conferences/2013-annual-meeting/" target="_blank" title="NCPH Ottawa">2013 annual meeting of the National Council for Public History (Ottawa, Canada) </a>is one of the reasons for this choice? <a data-mce-href="http://www.history.louisiana.edu/Thomas_Cauvin.htm" href="http://www.history.louisiana.edu/Thomas_Cauvin.htm" target="_blank" title="Thomas Cauvin">Thomas Cauvin, now professor of Public History at the University of Louisiana</a> at Lafayette, coordinated the Ottawa NCPH-IFPH roundtable. Many participants from all continents shared idea's, experiences, reflections on how best creating programs of public history worldwide around common concepts and teaching activities. The round-table looked at some specific needs for international public history teaching programs.</div>
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<dt class="wp-caption-dt" style="-webkit-user-drag: none;"><a data-mce-href="http://ifph.hypotheses.org/files/2015/03/DSC01542.jpg" href="http://ifph.hypotheses.org/files/2015/03/DSC01542.jpg" style="-webkit-user-drag: none;"><img alt="Catherine Brice during the April 2013 NCPH Ottawa Conference, working group on "Teaching Public History" coordinated by Thomas Cauvin" class="wp-image-545 size-medium" data-mce-src="http://ifph.hypotheses.org/files/2015/03/DSC01542-300x200.jpg" src="http://ifph.hypotheses.org/files/2015/03/DSC01542-300x200.jpg" height="200" style="-webkit-user-drag: none; border: 0px none; margin: 0px; padding: 0px;" width="300" /></a></dt>
<dd class="wp-caption-dd" style="-webkit-user-drag: none; font-size: 11px; line-height: 17px; margin: 0px; padding: 0px 4px 5px;">Catherine Brice during the April 2013 NCPH Ottawa Conference, working group on "Teaching Public History" coordinated by Thomas Cauvin</dd></dl>
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Two years after the workshop, Prof. Brice is offering a rich, multifaceted, master who should promote the field in France focusing especially on history communication processes and the media used to transmit new forms of narratives and storytelling. Alternative forms of narrative may be developed being aware of how best using new technologies and the media within a web 2.0 environment. Working with different media and the public, requests new applied professional training that aren't thought in traditional academic history programs. At Paris Est-Créteil, the master would like to teach these new professional skills to people interested in knowing better about alternative careers with the past and the media, new communication processes and technologies needed to work with and for the public sharing historical narratives.</div>
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We have asked Prof.Brice why such a master (and why now?) so to understand better the reasons behind the creation of a challenging public history program within French universities. Here is what she told us first in French (<a data-mce-href="#Original" href="http://dph.hypotheses.org/wp-admin/post.php?post=574&action=edit#Original">see original below</a>) and then in English.</div>
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<dt class="wp-caption-dt" style="-webkit-user-drag: none;"><a data-mce-href="http://ifph.hypotheses.org/files/2015/03/brice.jpg" href="http://ifph.hypotheses.org/files/2015/03/brice.jpg" style="-webkit-user-drag: none;"><img alt="Prof. Catherine Brice" class="size-full wp-image-543" data-mce-src="http://ifph.hypotheses.org/files/2015/03/brice.jpg" src="http://ifph.hypotheses.org/files/2015/03/brice.jpg" height="200" style="-webkit-user-drag: none; border: 0px none; margin: 0px; padding: 0px;" width="200" /></a></dt>
<dd class="wp-caption-dd" style="-webkit-user-drag: none; font-size: 11px; line-height: 17px; margin: 0px; padding: 0px 4px 5px;">Prof. Catherine Brice</dd></dl>
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"<em>The Paris-Est Créteil History Department will start in September 2015, a 2nd level Master in Public History. This will be the first Master of this kind in France. Two observations fostered such an innovative decision. First of all, there's a social demand for history that continues to grow; this is a demand for popular history through new forms of publications, radio, television, the web .... This request is coming from the general public. But at the same time, we realized that increasingly different actors are looking for history narratives: private companies, local authorities, cultural institutions, etc.. The presence of Memory at national level, but also the growing interest by commercial firms to communicate a narrative also about the history of their products, their brands, their expertise, testifies about a global public need for history. However, it is rare that historians are solicited as experts of the past if not at the very end of the process and sometimes only to document the past. A second observation is that history is a wonderful discipline to teach critical thinking, the capacity to dominate primary sources and to make them speak about the past. Today, history students in France do not always want to become teachers. At the crossroads of these two main considerations, it seemed that, trying the adventure of public history based on the experience of what exists in other countries, answers both the social demand and students' aspirations for their future in the job market. By offering a curriculum that combines theoretical issues dealing with memory, history and the public, offering seminars made by professional for teaching master students how to handle historical discourses, promoting professional internships that will immerse them in the job market, we hope to offer to young historians, the instruments and the practices needed to making history through other channels</em>" (See in <a data-mce-href="#Original" href="http://dph.hypotheses.org/wp-admin/post.php?post=574&action=edit#Original" title="Original French answer">French original answer</a>)</div>
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The leaflet of the course is bilingual, we reproduce here the English version. We hope, as IFPH-FIHP, these new teaching programs in public history and the communication of history will extend themselves widely in other continental European countries: similar masters programs are a good way to open continental European universities to the field and its practices.</div>
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Serge Noiret</div>
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MASTER 2 - PUBLIC HISTORY - DOING HISTORY IN A DIFFERENT WAY - RADIO, TV, WEB, PRESS, MUSEUMS, EVENTS: THE HISTORIAN IS EVERYWHERE</div>
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<strong>Desire for History, Desire for stories</strong></div>
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Public History is the history produced for the wide audience. It is the history that we see represented in films, documentaries, websites, historical novels, magazines and museums. It is the history put in the service of the political memory of the city, of public institutions, or of specific social groups and enterprises. It is the history which is seen, listened, read and appreciated by millions of people in the cinemas, on the TV, in books and in visits.</div>
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<li>Public history is a recognized discipline, which is taught all around the world, from the United States, Canada, and the UK, to Germany, Latin America and China.</li>
<li>The Master in Public History addresses to students who have already been trained as historians and who would like to learn how to adapt their work to the new reality and new means of doing history. The specialists in Public History will learn how to combine academic historical skills with different techniques of communication (magazines, radio, TV, web, corporate communications etc.).</li>
<li>This Master will enable students to apply for jobs offered by various institutions which seek, in one way or another, to make history public (companies, local communities, museums, radio and TV production companies, publishing houses etc.). Jobs could include web editor, editorial assistant, writer (historical cartoons, documentaries), etc.</li>
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<strong>The first Master of Public History in France</strong></div>
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The Master 2 in Public History will open at UPEC in September 2015. This will be the first Master of this sort in France, which is designed to give young historians the necessary academic and technical skills to meet the growing demands of society and of their profession. It is aimed at students with a Master 1 in History.</div>
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The Master 2 in Public History has an international dimension brought by an agreement with the University of Trieste.</div>
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<strong>Courses</strong></div>
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<span data-mce-style="text-decoration: underline;" style="text-decoration: underline;">First semester</span>: Courses will be taught by professors and researchers of the UPEC and by other professionals. They will include theory ("History, Memory, publics") and practice ("Writing public history”, "History and web", "History, TV and radio," etc.), as well as international training in English and training in historical research.</div>
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A tutored project will allow students to work in a professional environment.</div>
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A trip to Trieste (Italy) will strengthen the international dimension of the Master 2 in Public History. An Erasmus agreement is already in place with the University of Trieste.</div>
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<span data-mce-style="text-decoration: underline;" style="text-decoration: underline;">Second semester</span>: Students will conduct an internship of 4 to 6 months (in a company, a museum, a publishing house, radio, TV etc.). At the end of their internship they will have to present a report. They will be followed by a tutor from the UPEC, who will work in collaboration with the host institution of the trainees.</div>
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The knowledge of English is required for this course.</div>
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<strong>How to apply?</strong></div>
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Send your application, including an analytical CV and a letter of motivation, by ordinary mail and by email, within July 1, to:</div>
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<li>Ordinary mail: Marylin DAHERON , UPEC, CRHEC, Secrétariat des masters, 61 avenue du Général de Gaulle, 9400 CRETEIL</li>
<li>Email : <a data-mce-href="mailto:catherine.brice@u-pec.fr" href="mailto:catherine.brice@u-pec.fr">brice@u-pec.fr</a></li>
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An oral interview will be held between 1 and 15 July. Your registration to the Master is subject to obtaining your degree M1 before the start of the courses.</div>
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Contacts : Catherine Brice, Professeur d’histoire contemporaine à l’UPEC,</div>
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<a data-mce-href="mailto:catherine.brice@u-pec.fr" href="mailto:catherine.brice@u-pec.fr">catherine.brice@u-pec.fr</a></div>
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Jérôme Bazin, Maître de conférence en histoire contemporaine à l’UPEC, <a data-mce-href="mailto:jerome.bazin@u-pec.fr" href="mailto:jerome.bazin@u-pec.fr">jerome.bazin@u-pec.fr</a></div>
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Virginie Mathé, Maîtresse de conférence en histoire ancienne à l’UPEC, <a data-mce-href="mailto:virginie.mathe@u-pec.fr" href="mailto:virginie.mathe@u-pec.fr">virginie.mathe@u-pec.fr</a></div>
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<strong>Original in French </strong><strong><a class="mce-item-anchor" href="https://www.blogger.com/null" name="Original" style="-webkit-user-modify: read-only; -webkit-user-select: all; background: url(http://dph.hypotheses.org/wp-includes/js/tinymce/skins/lightgray/img/anchor.gif) 50% 50% no-repeat rgb(213, 213, 213); border: 1px dotted rgb(58, 58, 58); cursor: default; display: inline-block; height: 9px !important; width: 9px !important;"></a></strong></div>
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"Le département d'histoire de Paris-Est Créteil lance, en septembre 2015, un master 2 professionnalisant d'Histoire Publique. Ce sera le premier en France. Cette décision part d'un double constat: tout d'abord une demande sociale en histoire qui ne cesse de s'amplifier, se manifestant par des publications de divulgation historique, des émissions de radio, de télévision...Une demande venant du grand public, donc. Mais en même temps on s'aperçoit que répondent à cette demande des acteurs de plus en plus diversifiés : entreprises, collectivités locales, institutions. Les vagues mémorielles, au niveau national, mais aussi l'intérêt toujours croissant des entreprises à communiquer sur l'histoire de leurs produits, de leurs marques, de leurs savoir-faire en témoignent. Pourtant, il est rare que les historiens soient sollicités autrement qu'en bout de chaîne, dans une fonction d'expertise ou de simple documentation. Et, second constat, l'histoire est une formidable discipline de pensée, d'esprit critique, de maîtrise des sources et de leur restitution. Or tous les étudiants qui font de l'histoire en France jusqu'au Master n'ont pas toujours envie de devenir enseignant. A la croisée de ces deux constats, il nous a semblé que tenter l'aventure de l'histoire publique en s'appuyant sur l'expérience de ce qui existe ailleurs répond à la fois à cette demande sociale et aux aspirations des étudiants. En leur proposant un cursus alliant enseignement théorique sur les enjeux de liens entre mémoire, histoire et publics, des enseignements faits par des professionnels destinées à leur apprendre à manier la divulgation historique, et un stage en entreprise qui les immergera dans le monde du travail, on espère ainsi donner à de jeunes historiens les moyens de continuer à faire de l'histoire, autrement".</div>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-68609149448931004322015-01-31T20:11:00.000+01:002015-01-31T20:11:03.204+01:00Workshop Public History and the Media, February 2015<div dir="ltr" style="text-align: left;" trbidi="on">
<header style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">The <a data-mce-href="http://ifph.hypotheses.org" href="http://ifph.hypotheses.org/" title="IFPH">IFPH-FIHP</a>, together with the <a data-mce-href="http://ncph.org" href="http://ncph.org/" target="_blank" title="NCPH">NCPH</a> and other associations and cultural institutions, sponsors <a data-mce-href="http://www.eui.eu/SeminarsAndEvents/Events/2015/February/PublicHistoryandtheMedia.aspx" href="http://www.eui.eu/SeminarsAndEvents/Events/2015/February/PublicHistoryandtheMedia.aspx" title="ph">an important workshop on Public History </a>which will take place at the History and Civilisation Department, <a data-mce-href="http://www.eui.eu" href="http://www.eui.eu/" target="_blank" title="eui">European University Institute</a>, in Florence-Fiesole, Italy, 11th, 12th and 13th February 2015. The goals of the workshop, the name of the participants and the full programme are published below. Two professors in the History and Civilization Department at the EUI shared the scientific organisation with the responsible of this blog: Prof. <a data-mce-href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/People/Professors/Mola.aspx" href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/People/Professors/Mola.aspx" target="_blank" title="molà">Luca Molà</a> and Prof. <a data-mce-href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/People/Professors/Riall.aspx" href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/People/Professors/Riall.aspx" target="_blank" title="riall">Lucy Riall</a>. Sandra Toffolo, project manager for <a data-mce-href="http://primary-sources.eui.eu" href="http://primary-sources.eui.eu/" target="_blank" title="ehps">European History Primary Sources</a> coordinates the administration of the workshop. W<span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">ho is, in general, interested by Public History, the interconnection between the discipline and the media, the differences between academic and public history, the public history job market and digital public history issues, is warmly encouraged to attend this workshop open freely to everybody.</span></header><header style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;"></header><header style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">------------------------------------------------</span><h1>
Public History and the Media</h1>
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<dt class="wp-caption-dt"><a data-mce-href="http://dph.hypotheses.org/files/2015/01/10426760_10206009617059332_927044538242862274_n.jpg" href="http://dph.hypotheses.org/files/2015/01/10426760_10206009617059332_927044538242862274_n.jpg"><img alt="Photography by Serge Noiret for the Workshop "Public History and the Media" (San Francisco - March 2014)" class="size-medium wp-image-559 " data-mce-src="http://dph.hypotheses.org/files/2015/01/10426760_10206009617059332_927044538242862274_n-300x146.jpg" height="146" src="http://dph.hypotheses.org/files/2015/01/10426760_10206009617059332_927044538242862274_n-300x146.jpg" style="-webkit-user-drag: none; border: 0px none; cursor: default; margin: 0px; padding: 0px;" width="300" /></a></dt>
<dd class="wp-caption-dd" style="font-size: 11px; line-height: 1.5; margin: 0px; padding: 0px 4px 5px;">Photography by Serge Noiret for the Workshop "Public History and the Media" (San Francisco - March 2014)</dd></dl>
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In recent decades, public enthusiasm for history and popular engagement with the past has grown dramatically. The popularity of history is manifested most visibly in the proliferation of television documentaries and historical dramas but it is also discernible in the rebirth of the historical novel, the organization of large-scale commemorations of historical anniversaries, the development of new historical museums and exhibitions, re-enactments and living history activities and the emergence of public history as a separate field of academic study. Digitization has also brought history and historical research to the broader public in hitherto unconceivable ways. Yet, for the most part, and with some notable exceptions, academic historians have remained extraneous to these developments, and their relationship to the public is different from that of public historians.</div>
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Is this difference between academic and public historians only about different professional ambitions, separate audiences and a different use of communication media? While it is not possible to become a public historian without an academic background, it is possible to be an academic historian without engaging in public history. Both are professional historians working with the past: their roles and their audiences are complementary although their practices are different in terms of methodology and forms of communication. Moreover, the development of public history raises questions about historical interpretation and the political use of the past that concern all historians, and should provoke a debate about ownership of the past in which both academic and public historians have much to contribute.</div>
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This <a data-mce-href="http://www.eui.eu/SeminarsAndEvents/Events/2015/February/PublicHistoryandtheMedia.aspx" href="http://www.eui.eu/SeminarsAndEvents/Events/2015/February/PublicHistoryandtheMedia.aspx" target="_blank" title="Programme PH conference EUI">workshop will take place at the European University Institute in Florence</a>, Italy and is organised by the <a data-mce-href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/Index.aspx" href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/Index.aspx" target="_blank" title="HEC">History and Civilisation Department</a>, The <a data-mce-href="http://www.eui.eu/Research/HistoricalArchivesOfEU/Index.aspx" href="http://www.eui.eu/Research/HistoricalArchivesOfEU/Index.aspx" target="_blank" title="HAEU">Historical Archives of the European Union</a> and the <a data-mce-href="http://www.eui.eu/ProgrammesAndFellowships/AcademicCareersObservatory/Index.aspx" href="http://www.eui.eu/ProgrammesAndFellowships/AcademicCareersObservatory/Index.aspx" target="_blank" title="MWP">Max Weber Programme’s Academic Careers Observatory</a>. The scientific organizers, Luca Molà, Serge Noiret and Lucy Riall, brought together a number of leading practitioners in the field of public history and the media to discuss the current state of the field and in order to explore the relationship between public history and academic history. The first day of the workshop will be given over to exploring the relationship between history and media culture, with panels on oral history, publishing and teaching, films and the phenomenon of so-called ‘media dons’. The second day will focus on digital public history tools, practices and narratives. The third day will deal with the history of public history in the USA, discuss public history as an alternative career and look at public history in museums and exhibitions.</div>
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<dt class="wp-caption-dt"><a data-mce-href="http://ifph.hypotheses.org/files/2015/01/DSC01975.jpg" href="http://ifph.hypotheses.org/files/2015/01/DSC01975.jpg"><img alt="Florence" data-mce-src="http://ifph.hypotheses.org/files/2015/01/DSC01975.jpg" height="315" src="http://ifph.hypotheses.org/files/2015/01/DSC01975.jpg" style="-webkit-user-drag: none; border: 0px none; cursor: default; margin: 0px; padding: 0px;" width="472" /></a></dt>
<dd class="wp-caption-dd" style="font-size: 11px; line-height: 1.5; margin: 0px; padding: 0px 4px 5px;">Photography by Serge Noiret: Florence from the Badia Fiesolana, European University Institute</dd></dl>
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<strong>Day 1 - </strong>Wednesday 11 February 2015 – Villa Schifanoia, Sala Europa</div>
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8.30-9.00 Registration (Sala Bandiere<b>)</b></div>
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9.00-9.30 Welcome and Introduction</div>
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9.30-11.00 <strong>Session 1 - <i>Oral History</i></strong></div>
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Chair: <b>Luisa Passerini</b> (EUI)</div>
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<i>‘L’Archivio degli Iblei’ and ‘Terramatta’: Sharing Memories Publically - </i><b>Chiara Ottaviano </b>(Cliomedia Officina, Turin)</div>
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<i>Oral History and Video Performance - </i><b>Giovanni Contini Bonacossi </b>(Associazione Italiana Storia Orale)</div>
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<em>‘Italy in a Day’</em> <i>by Gabriele Salvatores: The First Italian User Generated Film - </i><b>Ilaria Castiglioni</b> (Indiana Production, Milan)</div>
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<b> </b>11.00-11.30 Coffee Break</div>
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<b> </b>11.30-13.00 <strong>Session 2 - <i>Publishing</i></strong></div>
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Chair: <b>Lucy Riall</b> (EUI)</div>
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<i>Big History: Making New History Books into Major Events - </i><b>Simon Winder</b> (Penguin)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>From Written to Live History: A Publisher’s Experience - </i><b>Giuseppe Laterza</b> (Laterza Editore)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
13.00-14.30<i> </i>Lunch</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
14.30-16.00 <strong>Session 3 - <i>Teaching Public History and the Use of Textbooks</i></strong></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
Chair: <b>Stéphane Van Damme</b> (EUI)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Inventing Europe: Teaching Europe Through the Lens of Technology - </i><b>Suzanne Lommers</b> (Foundation for the History of Technology)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i> </i><i>Master Narratives and History Education: Wasn’t the Spanish Reconquest Actually a Conquest? - </i><b>Mario Carretero</b> (EUI & Universidad Autonoma Madrid)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Teaching Digital Public History - </i><b>Enrica Salvatori</b> (Università degli Studi di Pisa)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
16.00-16.15 Break</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
16.15-17.15 Session 4 - <i>TV and Radio</i></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
Chair: <b>Youssef Cassis</b> (EUI)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Broadcasting History: The Constraints and Possibilities of the Medium - </i><b>Luca Molà</b> (EUI) and<b> Lucy Riall</b> (EUI) in conversation with <b>Amanda Vickery</b> (Queen Mary University of London)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
17.15-17.45 Coffee Break</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
17.45-20.15 <strong> Rai Fiction Film: <i>Un mondo nuovo</i> <i>- Altiero Spinelli</i></strong></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Introduction</i></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<b>Pier Virgilio Dastoli</b> (Consiglio Italiano del Movimento Europeo) and <b>Alberto Negrin</b> (Director)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
Projection of the Film (with English subtitles)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
Q & A</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<strong> Day 2 - </strong>Thursday 12 February 2015 – Historical Archives of the European Union, Villa Salviati</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
9.00-9.45<b><i> </i></b><strong>Keynote Lecture - <i>What is Digital Public History? - </i></strong><b>Mark Tebeau </b>(Arizona State University)<b></b></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
9.45-11.15 Session 5 - <i>Digital Public History Narratives</i></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
Chair: <b>Rebecca Conard</b> (Middle Tennessee State University)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Urban Media Archive in the City of Lviv: From Collecting to Engaging - </i><b>Bohdan Shumylovych</b> (EUI & Center for Urban History of East-Central Europe)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>CENDARI: The Collaborative European Digital Archive Infrastructure for the Study of WW1 and Medieval Culture - </i><b>Andrea Buchner </b>(University of Birmingham)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>From the War to the Web: Crossing Borders with the Europeana 1914-1918 Project - </i><b>Ad Pollé</b> (Europeana)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
11.15-11.45 Coffee Break</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
11.45-13.15 <strong>Session 6 - <i>Digital Archives</i></strong></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
Chair: <b>Dieter Schlenker</b> (EUI-Historical Archives of the European Union)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>The Medici Archive: Private Collection and Public Use - </i><b>Alessio Assonitis</b> (The Medici Archive Project)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>The Venice Time Machine Project - </i><b>Frédéric</b> <b>Kaplan</b> (École Polytechnique Fédérale de Lausanne)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
13.15-15.00 Lunch</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
15.00-16.30 <strong>Session 7 - </strong><strong><i>Mobile and Time-Based History</i></strong></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
Chair: <b>Mark Tebeau</b> (Arizona State University)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Memory Sharing and the New Media in Exhibiting Florence 1940-1944 - </i><b>Valeria Galimi</b> (Università della Tuscia)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Oral History Contents in the Web: The Memoro Archive - </i><b>Luca Novarino</b> (Memoro Project)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i> </i><i>In Susan Horner’s Florence - </i><b>Alyson Price</b> (The British Institute of Florence)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
16.30-17.00 Coffee Break</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
17.00-18.30 <strong>Session 8 - <i>European Narratives</i></strong></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
Chair: <b>Federico Romero</b> (EUI)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Writing a New History of Europe - </i><b>Frédéric Clavert</b> (Labex EHNE, Paris)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Using EU Websites for the History of European Integration - </i><b>Dieter Schlenker</b> (EUI-Historical Archives of the European Union)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>HistoGraph: Human and Machine Computation for European Integration Studies - </i><b>Lars Wieneke</b> (CVCE Luxembourg)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<strong> Day 3</strong> - Friday 13 February 2015 – Badia Fiesolana, Refectory</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
9.00-10.30 <strong>Session 9 - <i>Public History in the USA</i></strong></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
Chair: <b>Serge Noiret</b> (EUI)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>The Pragmatic Turn in American Historical Thought and Public History Education in the United States - </i><b>Rebecca Conard</b> (Middle Tennessee State University)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Reflective Practice: Public History’s Signature Pedagogy - </i><b>Patricia Mooney-Melvin</b> (Loyola University Chicago)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Public History in the 21<sup>st</sup> Century: Entrepreneurial Practice within a Shifting Professional Market - </i><b>Patrick Moore</b> (President National Council on Public History; University of West Florida, Pensacola; Historical Research Associates)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
10.30-11.00 Coffee Break</div>
<div class="mceTemp" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">
<dl class="wp-caption alignright" data-mce-style="width: 310px;" id="" style="background-color: #f3f3f3; border-radius: 3px; border: 1px solid rgb(221, 221, 221); float: right; margin: 10px 0px; padding-top: 4px; text-align: center; width: 310px;">
<dt class="wp-caption-dt"><a data-mce-href="http://ifph.hypotheses.org/files/2015/01/maneggio-bagno-ripoli-DSC00059-bis.jpg" href="http://ifph.hypotheses.org/files/2015/01/maneggio-bagno-ripoli-DSC00059-bis.jpg"><img alt="Florence" data-mce-src="http://ifph.hypotheses.org/files/2015/01/maneggio-bagno-ripoli-DSC00059-bis-500x333.jpg" height="200" src="http://ifph.hypotheses.org/files/2015/01/maneggio-bagno-ripoli-DSC00059-bis-500x333.jpg" style="-webkit-user-drag: none; border: 0px none; cursor: default; margin: 0px; padding: 0px;" title="Photography by Serge Noiret, Florence from Bagno a Ripoli" width="300" /></a></dt>
<dd class="wp-caption-dd" style="font-size: 11px; line-height: 1.5; margin: 0px; padding: 0px 4px 5px;">Photography by Serge Noiret, Florence from Bagno a Ripoli</dd></dl>
</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
11.00-13.00 Session 10 - EUI HEC Alumni Roundtable</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Which Kind of Public Historians Are We? Public History as an Alternative Job Market for EUI Alumni - </i></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
Chair: <b>Thomas Cauvin</b> (University of Louisiana at Lafayette)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
Speakers:</div>
<ul style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">
<li><b>Dan H. Andersen</b> (Freelance Historian, Reenactor, and Writer, Copenhagen)</li>
<li><b>Jozefien De Bock</b> (Curator Project Migration, STAM -City Museum Ghent)</li>
<li><b>Christine Dupont</b> (European Parliament-House of History)</li>
<li><b>Torsten Feys</b> (Public History Programme Ghent University)</li>
<li><b>Ciaran O’Scea</b> (Curator, Irish and the Spanish Monarchy Exhibition, Archivo General de Simancas)</li>
<li><b>Sven Mesinovic</b> (Museumspädagoge (freelance) Stiftung Deutsches Technikmuseum Berlin)</li>
<li><b>Markus J. Prutsch</b> (European Parliament)</li>
<li><b>Aurora Savelli</b> (Portale ‘Storia di Firenze’)</li>
<li><b>Sandra Toffolo</b> (EUI-European History Primary Sources)</li>
<li><b>Gerben Zaagsma</b> (Project Anne Frank, Lichtenberg-Kolleg - the Göttingen Institute of Advanced Study)</li>
</ul>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
13.00-14.30 Lunch</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
14.30-17.00 <strong>Session 11 - <i>Museums and Exhibitions</i></strong></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
Chair: <b>Luca Molà</b> (EUI)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Narrating Europe in a Museum? The House of European History - </i><b>Étienne Deschamps </b>(European Parliament)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Origins and Evolution of a Private Museum - </i><b>Stefania Ricci</b> (Museo Salvatore Ferragamo, Florence)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<i>Museum-Based Research: The View from the Victoria & Albert - </i><b>Bill Sherman</b> (Victoria & Albert Museum) & <b>Marta Ajmar</b> (Victoria & Albert Museum)</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
17.00-17.30 <strong> Concluding Remarks and Coffee</strong></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
---------------------------------------------------------</div>
<div data-mce-style="text-align: center;" style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em; text-align: center;">
<a data-mce-href="http://ifph.hypotheses.org/files/2015/01/loghi-PH-conf-EUI.jpg" href="http://ifph.hypotheses.org/files/2015/01/loghi-PH-conf-EUI.jpg"><img alt="loghi-PH-conf-EUI" class="aligncenter" data-mce-src="http://ifph.hypotheses.org/files/2015/01/loghi-PH-conf-EUI.jpg" height="719" src="http://ifph.hypotheses.org/files/2015/01/loghi-PH-conf-EUI.jpg" style="border: 0px; cursor: default; display: block; margin-left: auto; margin-right: auto;" width="727" /></a></div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<strong>Scientific sponsors:</strong></div>
<ul style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px;">
<li> <a data-mce-href="http://www.medici.org" href="http://www.medici.org/" target="_blank" title="medici">Medici Archive Project</a></li>
<li> <a data-mce-href="http://www.cliomediaofficina.it" href="http://www.cliomediaofficina.it/" target="_blank" title="cliomedia">Cliomedia Officina</a></li>
<li> Portale ‘<a data-mce-href="http://www.storiadifirenze.org" href="http://www.storiadifirenze.org/" target="_blank" title="storia firenze">Storia di Firenze</a>’</li>
<li> <a data-mce-href="http://www.britishinstitute.it/" href="http://www.britishinstitute.it/" target="_blank" title="british institute">The British Institute of Florence</a></li>
<li><a data-mce-href="http://www.lvivcenter.org" href="http://www.lvivcenter.org/" target="_blank" title="LVIV">Center for Urban History of East-Central Europ</a>e</li>
<li> <a data-mce-href="http://ncph.org" href="http://ncph.org/" target="_blank" title="ncph">National Council on Public History</a></li>
<li> <a data-mce-href="http://www.cvce.eu" href="http://www.cvce.eu/" target="_blank" title="cvce">Centre virtuel de la connaissance de l’Europe</a></li>
<li> <a data-mce-href="http://primary-sources.eui.eu" href="http://primary-sources.eui.eu/" target="_blank" title="EHPS">European History Primary Sources</a></li>
<li> <a data-mce-href="http://ifph.hypotheses.org" href="http://ifph.hypotheses.org/" target="_blank" title="IFPH">International Federation for Public History</a></li>
<li> <a data-mce-href="http://www.ferragamo.com/museo/" href="http://www.ferragamo.com/museo/" target="_blank" title="ferragamo">Museo Salvatore Ferragamo</a></li>
</ul>
</div>
Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-54117284492553205222014-11-18T18:53:00.001+01:002014-11-18T18:53:28.508+01:00Public History International<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
This post is an extended version of "<a data-mce-href="http://public-history-weekly.oldenbourg-verlag.de/2-2014-34/internationalizing-public-history/" href="http://public-history-weekly.oldenbourg-verlag.de/2-2014-34/internationalizing-public-history/" target="_blank" title="IPH">Internationalizing Public History</a>. In: <a data-mce-href="http://public-history-weekly.oldenbourg-verlag.de/" href="http://public-history-weekly.oldenbourg-verlag.de/" target="_blank" title="PHW">Public History Weekly</a> 2 (2014) 34, DOI: <a data-mce-href="dx.doi.org/10.1515/phw-2014-2647" href="http://dph.hypotheses.org/wp-admin/dx.doi.org/10.1515/phw-2014-2647" target="_blank">dx.doi.org/10.1515/phw-2014-2647</a>" (German and French translations are also available).</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<a data-mce-href="http://public-history-weekly.oldenbourg-verlag.de/" href="http://public-history-weekly.oldenbourg-verlag.de/"><img alt="Public History Weekly BlogJournal for History and Civics Education" class=" wp-image-486 alignleft" data-mce-src="http://dph.hypotheses.org/files/2014/11/Public-History-Weekly-BlogJournal-for-History-and-Civics-Education.png" data-mce-style="margin: 10px;" height="256" src="http://dph.hypotheses.org/files/2014/11/Public-History-Weekly-BlogJournal-for-History-and-Civics-Education.png" style="border: 0px; cursor: default; float: left; margin: 10px;" width="332" /></a>Public History today is a worldwide discipline which considers the presence of the past -and the construction of history- outside academic settings. The practice of History has always been “public” in a way but individual and collective memories are nowadays invading the public sphere. Conflicting perceptions of the past and the inability to forget are asking for professional mediation because the past is not becoming history anymore. Public Historians answer the increasing demand for history worldwide and interpret the past with and for the public. Awareness of their global role fosters the internationalizing process of PH.</div>
<div style="color: #333333; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; line-height: 21px; margin-bottom: 1.3em;">
<strong>• Everybody’s interpreting its own past</strong>.</div>
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During the last thirty years, not only in Anglo-Saxon countries, historians engaged into public discussions about the past. Especially public historians were interested in collecting and interpreting memories using Oral History and digital technologies. Through social media and the web, conflicting collective memories of genocidal pasts, dictatorships, violent civil wars, have been displayed for a better public understanding in virtual and physical museums. Truth and Reconciliation Commissions and remembrance portals like the <a data-mce-href="http://www.sitesofconscience.org" href="http://www.sitesofconscience.org/" target="_blank" title="ICSC">International Coalition of Sites of Conscience</a>, interacted with local communities using public historians to recover forgotten and uncomfortable civil memories.</div>
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Looking at the presence of the past in the American society, David Thelen and Roy Rosenzweig noted something that can be extended to other countries (Australia and Canada studies the characteristics of national pasts in popular memories): even before the start of a participatory web 2.0 allowing individuals and communities to crowd-source their own vision of history, nonacademic public's were eager to re-memorize their family and local history. People also knew about history visiting memory and battlefield parks, true “lieux de Mémoire, and wandering in thematic museums and exhibitions with their popular narratives about nearby pasts.</div>
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Professional public historians, especially within the digital realm, are confronted with everybody’s public pasts. Historical expertise is needed worldwide for acquiring deeper contextualized understandings of history. Working within communities and for the public, public historians are the answer to such an universal quest for the past. Their task is to communicate history publically.</div>
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<strong>• Self-conscious or institutionalized ? Different paths to Public History.</strong></div>
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If we want to understand to what extend the discipline is existing internationally, we have to consider different settings. International Public History aims at understanding divergent historical paths to the discipline with specific professional skills. Forty years after its institutionalization as a university discipline in California, public history contaminated new countries. So what makes history public and public history growingly self-conscious today?<br /><a data-mce-href="http://dph.hypotheses.org/files/2014/09/rede-brasileira.png" href="http://dph.hypotheses.org/files/2014/09/rede-brasileira.png"><img alt="rede-brasileira" class="wp-image-442 alignleft" data-mce-src="http://dph.hypotheses.org/files/2014/09/rede-brasileira.png" data-mce-style="margin: 10px;" height="150" src="http://dph.hypotheses.org/files/2014/09/rede-brasileira.png" style="border: 0px; cursor: default; float: left; margin: 10px;" width="576" /></a>This September in Brazil, during the 2nd Simpósio Internacional de História Pública, on <a data-mce-href="http://simposio2014.historiapublica.com.br/" href="http://simposio2014.historiapublica.com.br/" target="_blank" title="2nd Simposio Brasileiro">Perspectivas da História Pública no Brasil</a>, the <a data-mce-href="http://historiapublica.com.br/" href="http://historiapublica.com.br/" target="_blank" title="Rede Brasileira">Rede Brasileira de História Pública</a> showcased a variety of multi-racial, social, political and local public history practices. Brazilian historians fostered workshops and participative media ateliers analyzing different facets of Brazilian PH as described in an introductory volume to the discipline (2011). But why the Rede, a federal decentralized network of historians belonging to different universities, used the term “international” for a conference about Brazilian public history? Universal practices and theoretical reflections on the impact of digital history and on the presence of oral history in Brazil populated roundtables and officinas (10-12 Sept.2014, Niterói, Rio de Janeiro) together with the participation of few international scholars.</div>
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Pioneer American oral historian Linda Shopes focused on the close integration between oral and public history. She discussed the concept of “shared authority” (Max Frisch) inaugurated by Raphael Samuel during the Seventies in Oxford. Samuel <em>resurrectionism</em> delivered to the miners their scattered memories sharing like Socrates, his own professional authority.<img alt="2nd Conference Public History Brazil" class="size-full wp-image-440 alignright" data-mce-src="http://dph.hypotheses.org/files/2014/09/rede-niteroi.png" data-mce-style="margin: 10px;" height="100" src="http://dph.hypotheses.org/files/2014/09/rede-niteroi.png" style="border: 0px; cursor: default; float: right; margin: 10px;" width="250" /> In Belgium and the Netherlands were the first international public history conference has been organized in <a data-mce-href="http://publichistory.humanities.uva.nl" href="http://publichistory.humanities.uva.nl/" target="_blank" title="IFPH">October 2014 at the University of Amsterdam</a> together with the NIOD, public history programs are being created within universities. Like with the <a data-mce-href="http://www.cish.org" href="http://www.cish.org/" target="_blank" title="CISH">International Committee for the Historical Sciences</a> hosting <a data-mce-href="http://ifph.hypotheses.org/jinan-2015/2" href="http://ifph.hypotheses.org/jinan-2015/2" target="_blank" title="IFPH 2015">PH panels in China in 2015</a>, in Italy and in Germany, academic historical associations added public history panels to their conferences (<a data-mce-href="http://www.sissco.it/articoli/cantieri-di-storia-vii-327/programma-328/" href="http://www.sissco.it/articoli/cantieri-di-storia-vii-327/programma-328/" target="_blank" title="Cantieri VII">Cantieri di Storia Sissco 2013</a>; <a data-mce-href="http://www.historikertag.de/Goettingen2014/" href="http://www.historikertag.de/Goettingen2014/" target="_blank" title="50 Historikertag">50 Deutscher Historikertag 2014</a>).</div>
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In Greece, Public History and the role of the past in the present are openly discussed because of the dramatic financial crisis which brought new consensus to neo-Nazi parties. So, for Greek historians, making history in public is also a civil duty necessary to maintain the memory of the civil war, the resistance and the colonel dictatorship. Historians are challenging the present misuses of the past in Greece and they looked at how much the past is active in the present during a <a data-mce-href="http://ifph.hypotheses.org/101" href="http://ifph.hypotheses.org/101" target="_blank" title="Volos Conference">Greek Public History conference</a> in Volos in August 2013, (some papers have been recently published in the Italian journal <a data-mce-href="http://www.polistampa.com/php/sl.php?bc=41&idlibro=6222" href="http://www.polistampa.com/php/sl.php?bc=41&idlibro=6222" target="_blank" title="Ricerche Storiche">Ricerche Storiche</a>). But the same pattern is also evident in Brazil where the violent history of the military dictatorship is showcased in museums and exhibitions; or in Sri Lanka, where the<a data-mce-href="http://www.colomboscope.org/" href="http://www.colomboscope.org/" target="_blank" title="Colomboscope"> Colomboscope 2014</a> on “making history”, a national history festival remembered <a data-mce-href="http://herstoryarchive.org/" href="http://herstoryarchive.org/" target="_blank" title="herstories">Herstories</a>, women oral interviews telling about the horrors of a thirty years civil war.<a data-mce-href="http://herstoryarchive.org/" href="http://herstoryarchive.org/"><img alt="Sri_Lanka_herstories" class=" wp-image-299 alignright" data-mce-src="http://dph.hypotheses.org/files/2014/04/Sri_Lanka_herstories.png" data-mce-style="margin: 10px;" height="264" src="http://dph.hypotheses.org/files/2014/04/Sri_Lanka_herstories.png" style="border: 0px; cursor: default; float: right; margin: 10px;" width="382" /></a></div>
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When Greek neo-Nazis re-interpreted the national past to support their political claims, public historians questioned the political usefulness of history in the agora. Academic Historians answered this challenge publishing books, organizing conferences, commenting in the media the Greek civil war, the resistance and the colonel dictatorship and addressing local communities and their individual and collective memories.</div>
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<strong>• Glocal Public History meant consciousness of the past surrounding us.</strong></div>
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<img alt="Ricerche storiche A. XLIV N. 1 gennaio aprile 2014" class="wp-image-487 alignleft" data-mce-src="http://dph.hypotheses.org/files/2014/11/Ricerche-storiche-A.-XLIV-N.-1-gennaio-aprile-2014.png" data-mce-style="margin: 10px;" height="411" src="http://dph.hypotheses.org/files/2014/11/Ricerche-storiche-A.-XLIV-N.-1-gennaio-aprile-2014.png" style="border: 0px; cursor: default; float: left; margin: 10px;" width="356" /></div>
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Different ideas about what history is about socially developed differently and following different patterns globally. Nevertheless, Public History remains often a discipline without the name. Historians entering the public arena and creating narratives through the media weren’t always aware of the existence of a sub-field or a discipline called Public History. Academic historians have the tendency to call public history what is, de facto, a “public use of history”, engaging the discipline, its skills and practices with contemporary debates about the past in the <em>polis</em>. Only from few years now, and shifted by the digital turn in history which had a huge impact on Public History practices, new forms of awareness and of an overwhelming necessity of the field arose. This phenomena happened globally nonetheless the universal ambiguities and contradictions about a common professional definition of the field. The internationalization process is happening worldwide following such a multi-faceted process of globalization. It derives also from the crisis of academic history in our post-colonial societies. Emblematic of this process was the creation of the <a data-mce-href="http://ifph.hypotheses.org" href="http://ifph.hypotheses.org/" target="_blank" title="IFPH-FIHP">International Federation for Public History</a>. A NCPH international Public History Task Force transformed in 2010 into an internal commission of the Comité International des Sciences Historiques. Today, the IFPH is mandated to create international linkages between public historians and promote the development of our growing worldwide network of practitioners and foster national public history programs and associations.</div>
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<strong>• A decentralized <em>glocal</em> history asking for a global public role?</strong></div>
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Answering to this question qualifies <em>glocally</em> and internationally the role of public historians. Our world is now glocal, Europe have lost his central role in defining a universal idea of the past through its Eurocentric narrative, its colonial and post-colonial history. Subaltern studies theorized what was already evident publically: local pasts everywhere emerged forming multi-centered globalized pasts. This decentralization of history fostered the field worldwide, and favored the birth of what could be called glocal public history discipline.</div>
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Public History meant often working on the past with local communities and, in general, for their better understanding of their local-global memories. The process in itself is all about International Public History interpreted globally the same way: building oral interviews, remembering individual and collective memories, collecting and preserving sources, creating museums and exhibitions, confronting with difficult pasts and their interpretation. The usefulness of international public history relies on the universality of these glocal practices.</div>
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<strong>Bibliography</strong></div>
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• Giorgos Antoniou (ed.): <em>History and the Public Sphere in Contemporary Greece</em> in "Ricerche Storiche", XLIV/1, January-April 2014.<br />• Silke Arnold-de Simine: <em>Mediating memory in the museum: trauma, empathy, nostalgia</em>., Basingstoke: Palgrave Macmillan, 2013.<br />• Paul Ashton and Paula Hamilton: <em>History At The Crossroad: Australians and The Past</em>., Ultimo: Halstead Press, 2010<br />• Dipesh Chakrabarty: <em>Provincializing Europe: postcolonial thought and historical difference</em>., Princeton: Princeton University Press, 2000.<br />• Margaret Conrad, Jocelyn Létourneau and David Northrup: <em>Canadians and their Pasts: An Exploration in Historical Consciousness</em>, in <span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">“</span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">The Public Historian</span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">”</span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">, vol.31, n.1, February 2009, pp.15-34.</span><br />• Michael Frisch: <em>A Shared Authority: Essays On The Craft And Meaning Of Oral And Public History</em>., Albany: State University of New York Press, 1990.<br />• Paula Hamilton and Linda Shopes (eds.): <em>Oral History And Public Memories</em>., Philadelphia: Temple University Press, 2008.<br />• François Hartog and Jacques Revel: <em>Les usages politiques du passé</em>., Paris : Ecole des hautes études en sciences sociales, 2001<br />• Denise D. Meringolo: <em>Museums, monuments, and national parks : toward a new genealogy of public history</em>., Amherst : University of Massachusetts Press, 2012.<br />• Wolfgang Muchitsch: <em>Does war belong in museums? The representation of violence in exhibitions</em>., Bielefeld: Transcript, 2013.<br />• Serge Noiret: “La “Public History”, una Disciplina Fantasma?” in <em>Public History. Pratiche nazionali e Identità Globale</em>., in "Memoria e Ricerca", n.37, May-August 2011, pp.10-35.<br />• Serge Noiret: “Digital History 2.0”, in Frédéric Clavert and Serge Noiret (eds.): <em>Contemporary History in the Digital Age</em>, Bruxelles: Peter Lang, 2013, pp.155-190.<br />• Juniele Rabêlo de Almeida and Marta Gouveia de Oliveira Rovai (eds.) <em>Introdução à história pública</em>. São Paulo: Letra e Voz, 2011<br />• Roy Rosenzweig and David Thelen. <em>The Presence of the Past: Popular Uses of History in American Life</em>. Columbia University Press, 1998<br />• Raphael Samuel: <em>Past and present in contemporary culture</em>., London: Verso, 1994.<br />• Robert Weyeneth: <em>“Writing Locally, Thinking Globally”</em>, in "Public History News", vol.33, n.1, December 2012, p.8.<br />• Guy Zelis (ed.): <em>L'historien dans l'espace public: l'histoire face à la mémoire, à la justice et au politique</em>., Loverval: Labor, 2005.</div>
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<strong>Websites</strong></div>
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• <a data-mce-href="http://www.sitesofconscience.org" href="http://www.sitesofconscience.org/">International Coalition of Sites of Conscience </a><br />• <a data-mce-href="http://publichistorycommons.org/international/" href="http://publichistorycommons.org/international/">Public History Commons, International section</a><br />• <a data-mce-href="http://ifph.hypotheses.org" href="http://ifph.hypotheses.org/">International Federation for Public History</a><br />• <a data-mce-href="http://historiapublica.com.br/" href="http://historiapublica.com.br/">Rede Brasileira de Historia Publica</a><br />• <a data-mce-href="http://simposio2014.historiapublica.com.br/" href="http://simposio2014.historiapublica.com.br/">Perspectivas da História Pública no Brasil</a><br />• <a data-mce-href="http://www.cish.org" href="http://www.cish.org/">Comité International des Sciences Historiques</a><br />• <a data-mce-href="http://ncph.org" href="http://ncph.org/">National Coalition for Public History</a><br />• <a data-mce-href="http://dph.hypotheses.org" href="http://dph.hypotheses.org/">Digital & Public History</a><br />• <a data-mce-href="http://www.historikertag.de/Goettingen2014/" href="http://www.historikertag.de/Goettingen2014/">50 Deutscher Historikertag 2014</a><br />• <a data-mce-href="http://www.sissco.it" href="http://www.sissco.it/">Società Italiana per lo Studio della Storia contemporanea</a><br />• <a data-mce-href="http://www.colomboscope.org/" href="http://www.colomboscope.org/">Colomboscope 2014 – Making History</a><br />• <a data-mce-href="http://herstoryarchive.org/" href="http://herstoryarchive.org/">Herstories</a><br />• <a data-mce-href="http://en.metapedia.org/" href="http://en.metapedia.org/">Metapedia. The Alternative Encyclopedia</a></div>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-39786132245547393972014-10-21T17:11:00.002+02:002014-11-26T17:43:37.519+01:00Storia Digitale o Storia con il Digitale ? E' lecito porre la domanda ?<div dir="ltr" style="text-align: left;" trbidi="on">
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;">La storia digitale ha rimodellato la documentazione dello storico e gli strumenti usati per accedervi, immagazzinarla e trattarla senza tuttavia che l’uso critico di questi strumenti -che non sono asettici nel rapporto tra lo storico e le fonti digitali-, fossero questionate a dovere nell’università italiana.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;">A livello internazionale invece, il terremoto del <i>digital turn</i> ha suscitato molti interrogativi nella professione confrontata globalmente con le incertezze sul futuro di una storiografia con il digitale, tra inquietudine e rigetto. La storia digitale richiede di riscrivere e reinterpretare i metodi professionali e di dominare le nuove pratiche nel digitale.<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn1" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn1" title="">[1]</a> I cambiamenti delle pratiche professionali degli storici sono tali che ci dobbiamo interrogare su quali sia l’impatto di quella storia digitale sulle forme tradizionali di narrazione del passato e sui tempi della storia.<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn2" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn2" title="">[2]</a> Ci possiamo chiedere se, alla luce della diffusione pubblica delle tecnologie, non dobbiamo rivedere in profondità il rapporto stesso che intratteniamo con il passato, la memoria e la storia nel presente.<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn3" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn3" title="">[3]</a></span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><img alt="weller-history_in_digital_age" class="wp-image-454 alignright" data-mce-src="http://dph.hypotheses.org/files/2014/10/weller-history_in_digital_age.jpg" data-mce-style="margin: 10px;" src="http://dph.hypotheses.org/files/2014/10/weller-history_in_digital_age.jpg" height="350" style="border: 0px; cursor: default; float: right; margin: 10px;" width="219" /></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="font-size: medium;"> Le pratiche degli storici impegnati a dominare -e anche forgiare- la tecnologia, avrebbero avuto come effetto di creare dei ghetti e di impaurire la professione tutta confrontata con il <i>digital turn</i>. Esistono difficoltà obiettive nel gestire le tecnologie digitali sempre più diffuse nel pubblico e usate -spesso egregiamente- all’infuori della professione.<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn4" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn4" title="">[4]</a> <i>Les incertitudes d'une mutation </i>scriveva Rolando Minuti nel 2002<i>,</i><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn5" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn5" title="">[5]</a><i> Promises and perils of Digital History,</i> ammonivano Daniel J.Cohen e Roy Rosenzweig nel loro manuale di <i>digital history</i> pubblicato nel 2006,<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn6" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn6" title="">[6]</a> mentre ancora nel 2013, il catalano Anaclet Pons scrive un libro sulla storia digitale intitolandolo <i>El desorden digital</i><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn7" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn7" title="">[7]</a> in riferimento alla babele di una documentazione digitale difficile da dominare come lo aveva descritto Borges.<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn8" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn8" title="">[8]</a> Questi studiosi interpretano il <i>digital turn</i> e la <i>digital history</i> partendo da una </span><span data-mce-style="font-size: medium;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">riflessione sui cambiamenti del mestiere di storico tradizionale. L’approccio non è né ottimista né pessimista, ma è quello di chi vuole capire le mutazioni tecnologiche alla luce di un positivismo critico –Cohen e Rosenzweig parlano di “tecno-realismo”-</span><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn9" data-mce-style="font-size: 14px; line-height: 1.5em;" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn9" style="line-height: 1.5em;" title="">[9]</a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> non sottomesso alla tecnologia stessa, ma certamente interessato a essa. </span></span></span><span style="font-family: 'Trebuchet MS', sans-serif;">Toni Weller nel suo libro “</span><i style="font-family: 'Trebuchet MS', sans-serif;">History in the Digital Age</i><span style="font-family: 'Trebuchet MS', sans-serif;">”,</span><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn10" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn10" style="font-family: 'Trebuchet MS', sans-serif;" title="">[10]</a><span style="font-family: 'Trebuchet MS', sans-serif;"> insegna che non tutti gli storici che utilizzano le risorse digitali e il computer sono “storici digitali”. Egli evidenzia l’impatto morbido della rivoluzione tecnologica applicata alle pratiche preesistenti degli storici e in continuità con le loro tradizioni professionali.</span><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn11" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn11" style="font-family: 'Trebuchet MS', sans-serif;" title="">[11]</a> <span data-mce-style="line-height: 1.5em;" style="font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em;">In sintonia con queste deduzioni di Weller, i risultati di un importante inchiesta Americana sulle pratiche della storiografia con il digitale sottolineano che “</span><i data-mce-style="font-size: 14px; line-height: 1.5em;" style="font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em;">the underlying research methods of many historians remain fairly recognizable even with the introduction of new tools and technologies, but the day to day research practices of all historians have changed fundamentally</i><span data-mce-style="line-height: 1.5em;" style="font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em;">”.</span><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn12" data-mce-style="font-size: 14px; line-height: 1.5em;" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn12" style="font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em;" title="">[12]</a></div>
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<span style="clear: right; float: right; font-family: Trebuchet MS, sans-serif; margin-bottom: 1em; margin-left: 1em;"><img alt="THATCamp Paris 2010" class=" wp-image-459 alignright" data-mce-src="http://dph.hypotheses.org/files/2014/10/THATCamp-Paris-2010.png" data-mce-style="margin-top: 10px; margin-bottom: 10px;" src="http://dph.hypotheses.org/files/2014/10/THATCamp-Paris-2010.png" height="400" style="border: 0px; float: right; margin-bottom: 10px; margin-top: 10px;" title="Manifesto di ThatCamp Paris" width="298" /></span><span data-mce-style="font-size: medium;"></span></div>
<span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="font-size: medium;">Sempre dello stesso parere, la versione italiana del manifesto dell’Umanistica digitale nei suoi tre primi punti, recita che “<i>l</i><i>a svolta digitale della società esplora e modifica le condizioni di produzione e di diffusione dei saperi</i>” e che “<i>le Digital Humanities riguardano l’insieme delle Scienze umane e sociali, delle Arti e delle Lettere, […] [e] non fanno tabula rasa del passato. Si appoggiano, al contrario, sull’insieme dei paradigmi, dei saperi e delle conoscenze proprie di queste discipline, mobilitando gli strumenti e le prospettive peculiari del digitale; le Digital Humanities designano una “interdisciplina” che include metodi, dispositivi e prospettive euristiche legate al digitale nel campo delle Scienze umane e sociali</i>. <a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn13" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn13" title="">[13]</a> Questo <i>Manifesto </i>stilato durante THATcamp Parigi (<i>The Humanities and Technology Camp,</i> 2010) fu ridiscusso un anno dopo durante THATcamp Firenze (2011),<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn14" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn14" title="">[14]</a> quando umanisti digitali italiani e francesi si confrontarono in un processo di internazionalizzazione della disciplina<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn15" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn15" title="">[15]</a>.</span></span><br />
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<span style="font-family: 'Trebuchet MS', sans-serif;">Comunque si pensi, riflettere sull’impatto transdisciplinare delle nuove pratiche che costituiscono le fondamenta della transdisciplina chiamata</span><span style="font-family: 'Trebuchet MS', sans-serif;"> </span><i style="font-family: 'Trebuchet MS', sans-serif;">Umanistica Digitale</i><span style="font-family: 'Trebuchet MS', sans-serif;"> </span><span style="font-family: 'Trebuchet MS', sans-serif;">(</span><i style="font-family: 'Trebuchet MS', sans-serif;">Digital Humanities</i><span style="font-family: 'Trebuchet MS', sans-serif;">) con le tradizioni epistemologiche e filologiche della storia è così diventato essenziale. E di fatti, la "cultura storica digitale" è parte di una più vasta "cultura digitale" che permea la nostra società attraverso la rete internet e sotto varie forme comunicative. Il concetto sociologico di</span><span style="font-family: 'Trebuchet MS', sans-serif;"> </span><i style="font-family: 'Trebuchet MS', sans-serif;">cultura digitale</i><span style="font-family: 'Trebuchet MS', sans-serif;"> </span><span style="font-family: 'Trebuchet MS', sans-serif;">proviene dall’opera di Manuel Castells</span><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn16" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn16" style="font-family: 'Trebuchet MS', sans-serif;" title="">[16]</a><span style="font-family: 'Trebuchet MS', sans-serif;"> </span><span style="font-family: 'Trebuchet MS', sans-serif;">e anche dai lavori di Willard McCarty all’UCL</span><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn17" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn17" style="font-family: 'Trebuchet MS', sans-serif;" title="">[17]</a><span style="font-family: 'Trebuchet MS', sans-serif;"> </span><span style="font-family: 'Trebuchet MS', sans-serif;">mentre in Italia, Tito Orlandi,</span><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn18" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn18" style="font-family: 'Trebuchet MS', sans-serif;" title="">[18]</a><span style="font-family: 'Trebuchet MS', sans-serif;"> </span><span style="font-family: 'Trebuchet MS', sans-serif;">ha teorizzato addirittura la nascita di una neonata</span><span style="font-family: 'Trebuchet MS', sans-serif;"> </span><i style="font-family: 'Trebuchet MS', sans-serif;">koinè</i><span style="font-family: 'Trebuchet MS', sans-serif;">, con un nuovo statuto disciplinare basato sull'elaborazione metodologica e scientifica del precedente concetto d’</span><i style="font-family: 'Trebuchet MS', sans-serif;">informatica umanistica</i><span style="font-family: 'Trebuchet MS', sans-serif;"> </span><span style="font-family: 'Trebuchet MS', sans-serif;">che incontra la rete internet e la comunicazione via web.</span><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn19" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn19" style="font-family: 'Trebuchet MS', sans-serif;" title="">[19]</a><br />
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;">Vanno così valorizzate le peculiarità disciplinari dello storico digitale: la ricerca di fonti differenti e le diverse trame narrative del web. Se è vero che l’umanistica digitale offre metodologie e pratiche comuni alle scienze che compongono l’area umanistica,<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn20" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn20" title="">[20]</a> è vero anche che queste pratiche e questi concetti sono forse maggiormente elaborati a livello di singole discipline.<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn21" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn21" title="">[21]</a> Questo avviene riguardo alle diverse tradizioni scientifiche che ritrovano poi nella “république du virtuel”, un universalismo che supera le divisioni tra scienze umanistiche per forgiare nuove pratiche <i>transdisciplinari</i> e strumenti e linguaggi usati in tutte le discipline umanistiche. (Per esempio si usano protocolli aperti e compatibili nei siti della rete come gli <i>standards</i> di marcatura dei documenti,<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn22" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn22" title="">[22]</a> i meta-dati descrittivi come il <i>Dublin Core Project</i>,<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn23" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn23" title="">[23]</a> o i programmi e prodotti <i>open sources<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn24" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn24" title=""><b>[24]</b></a> </i>come Zotero<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn25" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn25" title="">[25]</a> che favoriscono progetti collaborativi. Le banche dati, le biblioteche digitali e gli <i>open archives</i> sono ora compatibili tra di loro<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn26" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn26" title="">[26]</a><i> </i>attraverso un’interoperabilità dei loro dati, i cosiddetti <i>linked open data</i> dell’OAI-PMH (<i>Open Archives Initiative Protocol for Metadata Harvesting</i> o, in italiano il “Protocollo per il raccoglimento dei metadati dell'<i>Open Archive Initiative</i>”). <a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn27" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn27" title="">[27]</a>)</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;">Quasi tutte le problematiche tradizionali del mestiere di storico, dalla delimitazione di un’ipotesi di ricerca alla scoperta, all’accesso e alla gestione dei documenti e delle fonti, fino al conseguimento di un impianto narrativo e, soprattutto, alla comunicazione della storia e dei risultati della ricerca, e, infine all’insegnamento della storia, passano oramai in parte o <i>in toto</i>, attraverso lo schermo del computer: queste pratiche si annidano all’interno della ragnatela. La storia digitale si potrebbe così definire come “<i>tutto il complesso universo di produzioni e scambi sociali aventi come oggetto la conoscenza storica, trasferito e/o direttamente generato e sperimentato in ambienti digitali (ricerca, organizzazione, relazioni, diffusione, uso pubblico e privato, fonti, libri, didattica, performance e via dicendo)</i>.”<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn28" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn28" title="">[28]</a></span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;">Invece, se si pensa al calcolo statistico, alla geo-localizzazione, alla gestione dei <i>big data</i>, enorme quantità di dati/fonti digitali disponibili come fonti che permettono pratiche trasversali di <i>text-mining</i> al loro interno,<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn29" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn29" title="">[29]</a> -Peter Haber parlava addiritura di processo di “datificazione”-,<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn30" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn30" title="">[30]</a> ai programmi che interrogano le immagini direttamente sui loro pixel, etc., la <i>storia digitale</i>, all’interno della <i>transdiciplina</i> dei <i>digital humanities</i>, non è soltanto fatta dell’utilizzo di nuovi strumenti digitali che facilitano vecchie pratiche. Si tratta anche dello sviluppo di un rapporto stretto con le tecnologie suscettibili di modificare i parametri stessi della ricerca. Lo storico è in grado di porre nuove questioni epistemologiche nell’analisi del passato dopo l’avvento del digitale. Tuttavia, solo una minoranza di <i>storici digitali</i> domina gli strumenti che rispondono a nuovi interrogativi scientifici. Meno ancora essi creano programmi originali che permettono nuove analisi e nuove forme d’interazione con le fonti e il loro trattamento in funzione d’ipotesi di ricerca facilitate dall’analisi computazionale.<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn31" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn31" title="">[31]</a></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="font-size: medium;">Lo storico oggi in Italia come altrove, <a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn32" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn32" title="">[32]</a> è storico con il digitale, molto meno <i>storico digitale </i>o umanista digitale<i>,</i><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn33" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn33" title="">[33]</a> ma è la storia stessa (fonti e storiografia) e la memoria del passato che sono, <i>de facto</i>, diventate digitali a prescindere di come gli storici individualmente e/o come gruppo professionale organizzato, si rapportino oggi al <i>digital turn, </i>ai<i> digital humanities </i>e alla <i>storia digitale</i>. La connivenza virtuosa con le tecnologie nonostante l’assenza di un quadro disciplinare istituzionalizzato per le <i>Digital Humanities</i> come in Inghilterra per esempio,<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn34" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn34" title="">[34]</a> ha avuto delle ricadute diffuse e positive sul mestiere di storico nel suo insieme anche in Italia.<a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn35" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftn35" title="">[35]</a> E’ certamente la comunicazione pubblica e una diffusa presenza del passato e delle memorie di ognuno in rete per le quali manca spesso la coscienza storica, che questionano il ruolo dello storico di professione nei confronti del mondo digitale.<a data-mce-href="http://dph.hypotheses.org/files/2014/10/thatcampflorence.png" href="http://dph.hypotheses.org/files/2014/10/thatcampflorence.png"></a></span><span data-mce-style="font-size: medium;"><a data-mce-href="http://dph.hypotheses.org/files/2014/10/thatcampflorence.png" href="http://dph.hypotheses.org/files/2014/10/thatcampflorence.png"><br /></a></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdVnKpdGCVTvY6ASF1JV2OF7AKbmgJOvie-pNq9nYeqfWdDxvB886Vh1wgZW4eaMlJpi-b_2LUFWvqUOo4g6JDhZmsUVPR8SerJJ-Kf-74xEKQx_NX8oLb2M2AqzMBWNvOcKN1hg/s1600/thatcampflorence.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdVnKpdGCVTvY6ASF1JV2OF7AKbmgJOvie-pNq9nYeqfWdDxvB886Vh1wgZW4eaMlJpi-b_2LUFWvqUOo4g6JDhZmsUVPR8SerJJ-Kf-74xEKQx_NX8oLb2M2AqzMBWNvOcKN1hg/s1600/thatcampflorence.png" height="120" width="640" /></a></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref1" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref1" title="">[1]</a> FREDERIC CLAVERT, e SERGE NOIRET (a cura di): <em>L’histoire contemporaine à l’ère numérique - Contemporary History in the Digital Age</em>, Bruxelles, Peter Lang, 2013.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref2" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref2" title="">[2]</a> FRANCOIS HARTOG: <i>Régimes d’historicité. </i><i>Présentisme et expériences du temps</i>, Seuil, Paris, 2012; Pierre Nora intervistato sul significato dei “lieux de mémoire” ribadiva la necessità per gli storici di dare un senso e una vita <i>nel presente</i> alle trace della memoria collettiva della nazione. (PIERRE NORA: <i>Historien Public</i>., Paris, Gallimard, 2011, pp.446-47.)</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref3" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref3" title="">[3]</a> PHILIPPE JOUTARD: <i>Révolution numérique et rapport au passé</i>, in PIERRE NORA (a cura di) <i>La culture du passé</i>, in «Le Débat», n.177, 2013/5, novembre-dicembre 2013, pp.145-52.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref4" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref4" title="">[4]</a> SERGE NOIRET : <i>La digital history: histoire et mémoire à la portée de tous</i>, in Pierre Mounier (a cura di) : <i>Read/Write Book 2. Une introduction aux humanités numériques, </i>Marseille, OpenEdition Press, 2012, p. 151-177, URL: [<a data-mce-href="http://press.openedition.org/258" href="http://press.openedition.org/258" target="_blank" title="mounier">http://press.openedition.org/258</a>].</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref5" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref5" title="">[5]</a> ROLANDO MINUTI: <i>Internet et le métier d'historien: réflexions sur les incertitudes d'une mutation</i>. Paris, PUF, 2002.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref6" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref6" title="">[6]</a> DANIEL .J. COHEN e ROY ROSENZWEIG: <i>Digital history: a guide to gathering, preserving, and presenting the past on the Web</i>., Philadelphia, University of Pennsylvania Press, 2005; vedere inoltre degli stessi autori, <i>Clio Wired. The future of the past in the digital age</i>., New York, Columbia University Press, 2011.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref7" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref7" title="">[7]</a> ANACLET PONS: <i>El desorden digital: guía para historiadores y humanistas</i>., Siglo XXI de España, Madrid, 2013.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref8" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref8" title="">[8]</a>. J.L BORGES, <i>La Biblioteca de Babel </i>in ”Ficciones“<i>, </i>Alianza, Madrid, 1971, pp.89-100. Sull’incapacità di trovare una risposta nella “babele” dell’informazione, oggi nel web, il tema affrontato da Borges nel 1941, vedere il saggio di C. ROLLASON,: “Borges’ “Library of Babel” and the Internet", in <i>IJOWLAC - Indian Journal of World Literature and Culture</i>, 1/1, Gennaio-Giugno 2004, pp.117-120, ripubblicato qui: URL: [http://www.themodernword.com/borges/borges_papers_rollason2.html].</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref9" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref9" title="">[9]</a> COHEN e ROSENZWEIG, <i>Digital History</i>, cit., p.3.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref10" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref10" title="">[10]</a> Weller distingue tra “those historians who were professionally engaged in digital tools and technologies in their work … and those who did not consider the subject within their remit at all, despite regularly using email, distribution lists, digitized newspapers or images and many other online resources.”, TONI WELLER: <i>History in the Digital Age., </i>London, Routledge, 2012, p.2.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref11" data-mce-style="line-height: 1.5em;" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref11" style="line-height: 1.5em;" title="">[11]</a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> Lo stesso approccio cauto sull’impatto delle nuove tecnologie si ritrova in Italia in alcun recenti riflessioni sul significato della storia digitale. Il gruppo di giovani studiosi che fanno capo alla rivista </span><i data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">Diacronie</i><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> adopera questa visione cauta nel fascicolo a cura di Elisa Grandi, Deborah Paci e Émilien Ruiz: </span><a data-mce-href="http://www.studistorici.com/dossier/n-10-giugno-2012/" href="http://www.studistorici.com/dossier/n-10-giugno-2012/" target="_blank" title="diacronie 2012"><i data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">Digital History. La storia nell’era dell’accesso</i></a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">., in “Diacronie. Studi di Storia Contemporanea", 10/2, 2012; la stessa cautela si ritrova in un saggio che introduce il numero speciale della rivista storica BMGN nel Benelux a cura di GERBEN ZAAGSMA: </span><a data-mce-href="http://www.bmgn-lchr.nl/index.php/bmgn/article/view/URN%3ANBN%3ANL%3AUI%3A10-1-110020" href="http://www.bmgn-lchr.nl/index.php/bmgn/article/view/URN%3ANBN%3ANL%3AUI%3A10-1-110020" target="_blank"><i data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">On Digital History</i></a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">., in </span><em>BMGN - Low Countries Historical Review</em><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">, Vol. 128/4, dicembre 2013</span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">.</span></span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref12" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref12" title="">[12]</a> J. RUTNER e R. C. SCHONFELD,: <i><a data-mce-href="http://www.sr.ithaka.org/news/understanding-historians-today-%E2%80%94-new-ithaka-sr-report" href="http://www.sr.ithaka.org/news/understanding-historians-today-%E2%80%94-new-ithaka-sr-report" target="_blank" title="Ithaka">Supporting the Changing Research Practices of Historians</a>: Final Report from ITHAKA S+R, December 10, 2012</i>.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref13" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref13" title="">[13]</a> Il <i>Manifesto dei Digital Humanities</i> elaborato da Marin Dacos e da chi assistette nel 2010 al THATcamp Parigi, fu presentato e approvato anche al primo THATcamp italiano, THATCamp Firenze all’Istituto Universitario Europeo, dal mondo dell’umanistica digitale italiana. Le proposte del manifesto sono volutamente generiche per identificare un momento di passaggio e di cambiamento e non legare il contenuto del manifesto ad una sola cultura, un solo paese o a pochi gruppi di innovatori. Si veda di M. DACOS: <a data-mce-href="http://tcp.hypotheses.org/482" href="http://tcp.hypotheses.org/482" target="_blank" title="TCamp"><i>Manifesto delle Digital Humanities, 26 marzo 2011</i></a>, pubblicato in italiano dopo THATCamp Florence, nel marzo 2011, URL: [http://www.thatcampflorence.it].</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref14" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref14" title="">[14]</a> <a data-mce-href="http://florence2011.thatcamp.org" href="http://florence2011.thatcamp.org/" target="_blank" title="TC florence"><i>THATcamp Florence, 23<sup>rd</sup>-26th March 2011</i></a>.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref15" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref15" title="">[15]</a> L’AUICD italiana (<a data-mce-href="http://www2.umanisticadigitale.it/" href="http://www2.umanisticadigitale.it/" target="_blank" title="AUICD">Associazione per l'Informatica Umanistica e la Cultura Digitale</a>) aderisce all’E<b>A</b>DH, (<i>European Association for Digital Humanities</i>), URL: [http://eadh.org], una delle componenti dell’ADHO (<i>Alliance of Digital Humanities Organizations</i>), URL: [<a data-mce-href="http://www.digitalhumanities.org/" href="http://www.digitalhumanities.org/" title="ADHO">http://www.digitalhumanities.org/</a>], che raggruppa le associazioni internazionali di Umanistica Digitale; per motivi di diversificazione linguistica e culturale, è stato fondato durante il <a data-mce-href="http://thatcamp35.hypotheses.org" href="http://thatcamp35.hypotheses.org/" target="_blank" title="TC Saint malo">THATCamp Saint-Malo</a> in Francia nel 2013, un associazione francofona di umanistica digitale, <i>Humanistica</i> con sede in Canada (URL: <a data-mce-href="http://www.humanisti.ca/" href="http://www.humanisti.ca/">http://www.humanisti.ca</a>). Il campo è oggi in piena espansione organizzativa ed associativa a livello mondiale.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref16" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref16" title="">[16]</a> Sui mutamenti profondi, culturali, sociali ed economici, in corso nella nostra società dopo l’avvento di internet, si veda di MANUEL CASTELLS: <i>La nascita della società in rete</i>, Milano, EGEA-Università Bocconi, 2002 e dello stesso autore: <i>The Internet galaxy: reflections on the Internet, business, and society</i>., New York, Oxford University Press, 2001.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref17" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref17" title="">[17]</a> WILLARD MCCARTY: <i>Humanities computing</i>., Basingstoke, Palgrave Macmillan, 2005.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref18" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref18" title="">[18]</a> TITO ORLANDI: <i>Informatica Umanistica</i>., Roma, La Nuova Italia Scientifica, 1990. Per una bibliografia degli scritti di Orlandi rimando alla sua pagina web personale: <a data-mce-href="http://rmcisadu.let.uniroma1.it/~orlandi/pubinf.html" href="http://rmcisadu.let.uniroma1.it/~orlandi/pubinf.html" target="_blank" title="Tito Orlandi"><i>Pubblicazioni relative all'Informatica umanistica</i></a>, oltre che alla bibliografia contenuta in LORENZO PERILLI e DOMENICO FIORMONTE (a cura di), <i>La Macchina del Tempo. Studi di informatica umanistica in onore di Tito Orlandi</i>, Firenze,. Le Lettere, 2011.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref19" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref19" title="">[19]</a> La nuova disciplina sarebbe da inserire nell’Area 10<i>: Scienze dell’antichità, filologico-letterarie e storico-artistiche</i>, e nell’Area 11: <i>Scienze storiche, filosofiche, pedagogiche e psicologiche</i>. (GINO RONCAGLIA,: <a data-mce-href="http://www.merzweb.com/testi/saggi/informatica_umanistica.htm" href="http://www.merzweb.com/testi/saggi/informatica_umanistica.htm" target="_blank" title="Gino"><i>Informatica umanistica: le ragioni di una disciplina</i></a>). Si veda anche il manifesto <i>P<a data-mce-href="//roncaglia.homeip.net/infum/proposta/" href="http://roncaglia.homeip.net/infum/proposta/" target="_blank" title="gino2">roposta di costituzione del settore scientifico-disciplinare: Informatica applicata alle discipline umanistiche (ovvero: Informatica umanistica)</a></i>, e a mia conoscenza il primo manuale italiano per la didattica dell’Informatica Umanistica che ne anticipava già le concezioni, TERESA NUMERICO, e ARTURO VESPIGNANI, (a cura di): <i>Informatica per le scienze umanistiche</i>., Bologna, Il Mulino, 2003.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref20" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref20" title="">[20]</a> Il primo manuale (2004) accessibile dal 2007 gratuitamente in linea è di SUSAN SCHREIBMAN, RAY SIEMENS, JOHN UNSWORTH (a cura di) <a data-mce-href="http://www.digitalhumanities.org/companion/" href="http://www.digitalhumanities.org/companion/" target="_blank" title="Companion"><i>A Companion to Digital Humanities</i></a>, Oxford, Blackwell, 2004. CLARE WARWICK: <i>Digital Humanities in Practice</i>., London, Facet Publishing, 2012; M.K. GOLD: <i>Debates in the digital humanities</i>., Minneapolis, University of Minnesota Press, 2012; MELISSA TERRAS, JULIANNE NYHAN, e EDWARD VANHOUTTE: <i>Defining Digital Humanities: A Reader</i>., London, Ashgate, 2013; sulle pratiche degli storici dopo il “digital turn”, rimando anche a SERGE NOIRET: “Storia Digitale: sulle risorse di rete per gli storici.”, in <i>La Macchina del Tempo. Studi di informatica umanistica in onore di Tito Orlandi</i>, cit., pp.201-25.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref21" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref21" title="">[21]</a> PHILIPPE RYGIEL: <i>L’inchiesta storica in epoca digitale, </i>in <i>Memoria e Ricerca</i>, n.35, 2010, p.163-.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref22" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref22" title="">[22]</a> <i>Text Encoding Initiative (TEI)</i> URL: [<a data-mce-href="http://www.tei-c.org/index.xml" href="http://www.tei-c.org/index.xml" target="_blank">http://www.tei-c.org/index.xml</a>].</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref23" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref23" title="">[23]</a> <i>Dublin Core Metadata Initiative</i> (DCMI), URL: [<a data-mce-href="http://dublincore.org/" href="http://dublincore.org/" target="_blank">http://dublincore.org/</a>]<strong>.</strong><b></b></span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref24" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref24" title="">[24]</a> <i>Open Source Initiative</i> (OSI) è un progetto per rendere accessibile la codifica dei programmi e banche dati a tutti, URL: [<a data-mce-href="http://www.opensource.org/" href="http://www.opensource.org/" target="_blank">http://www.opensource.org/</a>].</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref25" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref25" title="">[25]</a> <i>Zotero</i>, URL: [<a data-mce-href="http://www.zotero.org" href="http://www.zotero.org/" target="_blank">http://www.zotero.org</a>].</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref26" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref26" title="">[26]</a> <i>Open Archives Initiative </i>(OAI), URI: [<a data-mce-href="http://www.openarchives.org/" href="http://www.openarchives.org/" target="_blank">http://www.openarchives.org/</a>].</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref27" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref27" title="">[27]</a> <i>Open Archives Initiative. </i><i>Protocol for Metadata Harvesting</i>, URL: [<a data-mce-href="http://www.openarchives.org/pmh/" href="http://www.openarchives.org/pmh/">http://www.openarchives.org/pmh/</a>].</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref28" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref28" title="">[28]</a> GIANCARLO MONINA: <i>Storia digitale. Il dibattito storiografico</i> <i>in Italia</i>, in <i>Memoria e Ricerca</i>, n.43/2, pp.185-202, qui, p.185.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref29" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref29" title="">[29]</a> VIKTOR MAYER-SCHÖNBERGER, e KENNETH CUKIER<i>:</i><b> </b><i>Big Data: a Revolution That Will Transform How We Live, Work, and Think</i>. Boston, Houghton Mifflin Harcourt, 2013. Vedere inoltre di DANAH BOYD e KATE CRAWFORD, <i>Critical Questions for Big Data</i>, in “Information, Communication & Society”<i>, </i>15/5, 2012, pp.662‑679 e, di KATE CRAWFORD: <a data-mce-href="http://www.foreignpolicy.com/articles/2013/05/09/think_again_big_data#sthash.7vCEuA2r.dpuf" href="http://www.foreignpolicy.com/articles/2013/05/09/think_again_big_data#sthash.7vCEuA2r.dpuf" target="_blank" title="Crawford"><i>Think Again: Big Data. Why the rise of machines isn't all it's cracked up to be</i></a>, in “Foreign Policy”, 10 Maggio 2013. Infine, per un esempio dell’uso della <i>dataficazione</i> a storia vedere JORIS VAN EIJNATTEN, TOINE PETERS e JAAP VERHEUL: <a data-mce-href="http://www.bmgn-lchr.nl/index.php/bmgn/article/view/URN%3ANBN%3ANL%3AUI%3A10-1-110023" href="http://www.bmgn-lchr.nl/index.php/bmgn/article/view/URN%3ANBN%3ANL%3AUI%3A10-1-110023" target="_blank"><i>Big Data for Global History: The Transformative Promise of Digital Humanities</i></a>., in <em>BMGN - Low Countries Historical Review</em>, n.128/4, 2013, pp.55-77.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref30" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref30" title="">[30]</a> Il concetto di “data driven history” è quello che ha usato il compianto PETER HABER per definire il mondo nuovo della storia digitale, nel suo <i>Digital past: Geschichtswissenschaft im digitalen Zeitalter</i>, München, Oldenbourg Verlag, 2011.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref31" data-mce-style="line-height: 1.5em;" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref31" style="line-height: 1.5em;" title="">[31]</a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> DANIEL J. COHEN, MAX FRISCH, P.GALLAGHER, STEVEN. MINTZ, KIRSTEN SWORD, A.MURRELL TAYLOR, WILLIAM G. THOMAS III, e WILLIAM J TURKEL.: </span><a data-mce-href="http://www.historycooperative.org/journals/jah/95.2/interchange.html" href="http://www.historycooperative.org/journals/jah/95.2/interchange.html" target="_blank" title="Interchange"><i data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">Interchange: The Promise of Digital History</i></a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">, in </span><i data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">The Journal of American History</i><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">, 2, 2008, pp.452-91.</span></span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref32" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref32" title="">[32]</a> Anche se per loro, la rivoluzione digitale passa da una nuova conoscenza transdisciplinare e dalla collaborazione tra diverse scienze; vedere di STEPHANE LAMASSÉ, e PHILIPPE RYGIEL, <a data-mce-href="http://rsl.revues.org/411; DOI: 10.4000/rsl.411" href="http://rsl.revues.org/411;%20DOI:%2010.4000/rsl.411" target="_blank" title="RSL"><i>Nouvelles frontières de l’historien</i></a> , in «Revue Sciences/Lettres», n.2, 2014, DOI: 10.4000/rsl.411.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref33" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref33" title="">[33]</a> E’ quello che rileva Claudia Favero nella sua inchiesta per sapere “<i>What does it mean to be a digital historian in Italy and in the UK?” </i>basata purtroppo su un numero molto circoscritto d’interviste qualificate in entrambi I paesi. L’autrice delimita nella sua analisi, problemi e contradizioni degli storici che s’interrogano sul loro lavoro con il digitale o che fanno storia digitale, in CLAUDIA FAVERO: <a data-mce-href="http://www.hrionline.ac.uk/openbook/chapter/dhc2012-favero" href="http://www.hrionline.ac.uk/openbook/chapter/dhc2012-favero" target="_blank" title="Favero"><i>Digital Historians in Italy and the United Kingdom: Perspectives and Approaches</i></a>., in CLARE MILLS, MICHAEL PIDD e ESTHER WARD: <i>Proceedings of the Digital Humanities Congress 2012</i>. <i>Studies in the Digital Humanities</i>., Sheffield, HRI Online Publications, 2014.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref34" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref34" title="">[34]</a> <i>Defining digital humanities: a reader</i>., cit.. Una critica dell’uniformità culturale dei <i>digital humanities</i>, una definizione alternative e una descrizione degli ambiti disciplinari in Europa e altrove sono forniti da MARIN DACOS e PIERRE MOUNIER:<a data-mce-href="http://issuu.com/institut_francais/docs/if_humanites-numeriques/1?e=10421545/7080989" href="http://issuu.com/institut_francais/docs/if_humanites-numeriques/1?e=10421545/7080989" target="_blank" title="Dacos-Mounier"> <i>Humanités numériques – État des lieux et positionnement de la recherche française dans le contexte international</i></a>., Marseilles, OpenEdittion/Institut Français, 2014, pp.29-36.</span></span></div>
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<span data-mce-style="font-size: medium;"><span style="font-family: Trebuchet MS, sans-serif;"><a data-mce-href="/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref35" href="http://dph.hypotheses.org/Users/Serge/Dropbox/digital%20history/noiret_storia_digitale_v1_ottobre_2014_storia_della_storiografia.doc#_ftnref35" title=""><b><b>[35]</b></b></a> Malgrado ciò, la valutazione scientifica in positivo dell’Umanistica Digitale che include anche il lavoro degli storici con il digitale, è tuttora penalizzata nei suoi aspetti transdiciplinari dall’accademia italiana. L’<i>Associazione per l’Informatica Umanistica e la Cultura Digitale</i> (<a data-mce-href="http://www.umanisticadigitale.it" href="http://www.umanisticadigitale.it/" target="_blank">AUICD</a>) ha denunciato sul sito ROARS, “le gravi circostanze emerse con la pubblicazione dei risultati dell’Abilitazione Scientifica Nazionale, che rischiano di compromettere in modo serio e preoccupante il futuro della formazione e della ricerca in un settore, quello dell’informatica umanistica e delle <i>digital humanities</i>, concordemente giudicato di importanza strategica per l’innovazione tecnologica e per la conservazione del patrimonio culturale”.<b> </b>(<i><a data-mce-href="http://www.roars.it/online/osservazioni-critiche-dellaiucd-sullasn/" href="http://www.roars.it/online/osservazioni-critiche-dellaiucd-sullasn/" target="_blank" title="Permanent Link to Osservazioni critiche dell’AIUCD sull’ASN">Osservazioni critiche dell’AIUCD sull’ASN</a></i>).</span></span></div>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-57053360366627952342014-05-18T18:49:00.000+02:002014-05-20T15:16:52.867+02:00European Ideals, Public History and the vote for the EU Parliament, May 22-25, 2014<div dir="ltr" style="text-align: left;" trbidi="on">
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<a data-mce-href="http://www.eui.eu/Projects/EUDO/euandi/Index.aspx" href="http://www.eui.eu/Projects/EUDO/euandi/Index.aspx" rel="attachment wp-att-5056" style="clear: right; float: right; font-family: Georgia, 'Times New Roman', 'Bitstream Charter', Times, serif; font-size: 14px; margin-bottom: 1em; margin-left: 1em;"><img alt="euandi-EUDO-EUI" class=" wp-image-5056 alignright" data-mce-src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/euandi-EUDO-EUI.png" src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/euandi-EUDO-EUI.png" height="132" style="border: 0px; float: right;" width="320" /></a><span data-mce-style="line-height: 1.5em;" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em; text-align: left;">Since the Lisbon Treaty in 2007, </span><a href="http://epthinktank.eu/2014/05/19/direct-european-elections-the-history-of-the-right-to-vote/" target="_blank"><span data-mce-style="line-height: 1.5em;" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em; text-align: left;">European citizens are able to better </span><span style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 24px; text-align: left;">decide</span><span style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 24px; text-align: left;"> </span></a><span data-mce-style="line-height: 1.5em;" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em; text-align: left;">the kind of Europe they would like to live in: the EU Parliament influences the choice of the President of the European Commission. T</span><span style="color: #333333; font-family: Trebuchet MS, sans-serif; line-height: 21px; text-align: left;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">he <a data-mce-href="http://www.eui.eu/Projects/EUDO/euandi/Index.aspx" href="http://www.eui.eu/Projects/EUDO/euandi/Index.aspx" target="_blank" title="EUandI"><b>EUandI </b>project </a>(EUI) provides European citizens with a tool that helps them deciding which party to </span></span><span style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 21px; text-align: left;">vote for in the EP elections (May 22-</span><span data-mce-style="line-height: 1.5em;" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em; text-align: left;">25), based on </span><span data-mce-style="line-height: 1.5em;" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em; text-align: left;">their preferences concerning best policies for tomorrow's Europe</span><span data-mce-style="line-height: 1.5em;" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em; text-align: left;">. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRII5zqAvMgVMcGT0iRjbOjCrhNNPF5UgHRc0IIevkdTvQahgX5RwyhLsMI8qwLl6xkdgWaFTO9-VF009LzM4BfLcbo32k5xuF-wYnQ_1JohRZr_MqqzQ1jjFH8uJi6Dfyq7f4rA/s1600/French+poster+for+the+first+direct+elections+to+the+European+Parliament+-+CVCE.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRII5zqAvMgVMcGT0iRjbOjCrhNNPF5UgHRc0IIevkdTvQahgX5RwyhLsMI8qwLl6xkdgWaFTO9-VF009LzM4BfLcbo32k5xuF-wYnQ_1JohRZr_MqqzQ1jjFH8uJi6Dfyq7f4rA/s1600/French+poster+for+the+first+direct+elections+to+the+European+Parliament+-+CVCE.png" height="400" width="263" /></a><span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">But communicating to national public opinions why such a democratic activity is a fundamental issue influencing the future of Europe, has become a very hard task today. The EU hardly speaks directly to its citizens. More important, the EU does not refer to the historical construction of a united Europe and it is silent about European Memories with the only exception of the Holocaust. History and Memory<em> </em>do not offer decisive arguments to bring European citizens to the polls, building the future on a common knowledge about the past. </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">Moreover, digital social media -Twitter uses the hashtag <a data-mce-href="https://twitter.com/search?q=%23EP2014&src=hash" href="https://twitter.com/search?q=%23EP2014&src=hash" target="_blank" title="#EP2014">#EP2014</a> for the polls- are often silent about the historical dimension of the European Integration process and its importance today. </span></span><span style="font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em;">History is sometimes abused to support present political goals but it remains often far away from political debates.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">The broader narrative about the history of Europe encounters </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">also</span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">negative criticisms reaching far beyond an interpretation of the historical process. Sometimes European intellectuals </span><span style="background-color: white;"> (including </span><span style="background-color: white;">contemporary historians) </span><span style="line-height: 1.5em;">are eager to stress all the problems experienced by the EU integration</span><span style="background-color: white;"> process</span><span style="line-height: 1.5em;">. History, however, is not only about facts, but also about which facts are selected to interpret the past. And the writing of history takes into account contemporary contexts, ideologies and cultures. Historians are divided in their visions of the European past: should they still promote the idealistic contribution of the peace-keeping effect of European integration, as the Commission does? Clearly, today, unemployment and the power of the banks are far more visible than the results of the recent enlargment, which created a new peaceful space that includes Central and Eastern Europe and the Balkans. The enlargment, however, also entails putting together conflicting pasts and memories. Today's enlarged Europe faces huge problems: how to integrate all new and old countries and how to renew the western European idealism in the postwar era and applying it to these new but different pasts and active memories ? </span></span></div>
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<span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"><span style="font-family: Trebuchet MS, sans-serif;">National public opinions are not interested in the historical dimension of our common pasts, but, rather, in today's unemployment in the Union. </span></span><span style="font-family: 'Trebuchet MS', sans-serif;">European citizens and politicians are generally unable to interpret the broader EU historical framework. Their public discussions revolve around very short term social, economic and financial issues.</span><span style="font-family: 'Trebuchet MS', sans-serif;"> </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"><span style="font-family: Trebuchet MS, sans-serif;">The whole EU byzantine institutional architecture, </span></span><span style="font-family: 'Trebuchet MS', sans-serif; line-height: 24px;">including the directly elected European Parliament, a</span><span style="font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em;">nd the EU decision making process, are perceived as far away from ordinary lives. EU citizens know about their family memories, but they don't feel part of a wider European history.</span></div>
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<img alt="Museum-Europe-BXL" class="size-full wp-image-5057 alignleft" data-mce-src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/Museum-Europe-BXL.png" src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/Museum-Europe-BXL.png" height="148" style="border: 0px; cursor: default; float: left;" width="175" /></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">There are not enough cultural initiatives dealing with conflicting memories and engaging the public with the broader European past and its contradictions. For example, the </span><a data-mce-href="http://www.expo-europe.be/" data-mce-style="line-height: 1.5em;" href="http://www.expo-europe.be/" style="line-height: 1.5em;" target="_blank" title="Musée de L'Europe">Museum of Europe </a>in Brussels in 2010 held an exhibition called <a data-mce-href="http://www.expo-europe-usa.be/" href="http://www.expo-europe-usa.be/" target="_blank" title="America"><em>America, it's also our history</em></a> and remained inactive from then.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">T<span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">he </span><a data-mce-href="http://www.europarl.europa.eu/visiting/en/visits/historyhouse.html" data-mce-style="line-height: 1.5em;" href="http://www.europarl.europa.eu/visiting/en/visits/historyhouse.html" style="line-height: 1.5em;" title="House of European History">House of European History</a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> (expected late 2015) </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">in Brussels, an initiative of the</span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"><a data-mce-href="http://bookshop.europa.eu/en/building-a-house-of-european-history-pbBD3012991/?CatalogCategoryID=6R8KABstitkAAAEjvJEY4e5L" href="http://bookshop.europa.eu/en/building-a-house-of-european-history-pbBD3012991/?CatalogCategoryID=6R8KABstitkAAAEjvJEY4e5L" target="_blank" title="House of Europe">European Parliament itself</a>, aims at establishing a large interpretative forum about different European pasts. The visitor experience will be shaped through a permanent exhibition, with the purpose of educating the public about European history </span></span><span style="background-color: white;"><span style="font-family: Trebuchet MS, sans-serif;">beyond national boundaries,</span></span><span style="line-height: 1.5em;"><span style="font-family: Trebuchet MS, sans-serif;"> a history made of divergent pasts.</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"><a data-mce-href="http://blogs.eui.eu/library/?attachment_id=5058" href="http://blogs.eui.eu/library/?attachment_id=5058" rel="attachment wp-att-5058"><img alt="House_European_History_BXL" class=" wp-image-5058 alignright" data-mce-src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/House_European_History_BXL.png" src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/House_European_History_BXL.png" height="229" style="border: 0px; cursor: default; float: right;" width="368" /></a></span></span><span style="font-family: 'Trebuchet MS', sans-serif;">Building museums, commemorating past events, creating exhibitions, are the kind of cultural initiatives needed today. The vision of the European founding fathers, their dream of </span><span style="font-family: 'Trebuchet MS', sans-serif;">a united and peaceful Europe has </span><span style="background-color: white; font-family: 'Trebuchet MS', sans-serif;">disappeared from </span><span style="background-color: white; font-family: 'Trebuchet MS', sans-serif;">political discussions and although it remains a central theme in academic historiography, it has no impact on the wider European public. </span><span style="font-family: 'Trebuchet MS', sans-serif;"> But voting for the EU parliament is a concrete political action that</span><span style="font-family: 'Trebuchet MS', sans-serif;"> allows each citizen to be part of a shared process started with </span><span style="background-color: white; font-family: 'Trebuchet MS', sans-serif;">the long peaceful transition between the 20th and the 21st centuries in Europe.</span></div>
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<span style="color: #333333; font-family: Trebuchet MS, sans-serif; line-height: 21px;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">The "<a data-mce-href="http://www.cvce.eu/obj/statement_by_winston_churchill_on_the_committee_for_a_united_europe_23_january_1948-en-d831fb15-9fa9-4040-a52d-90d1c00e20c4.html" href="http://www.cvce.eu/obj/statement_by_winston_churchill_on_the_committee_for_a_united_europe_23_january_1948-en-d831fb15-9fa9-4040-a52d-90d1c00e20c4.html" target="_blank">United Europe" imagined by Churchill in January 1948</a>, had to be unified looking at </span><span data-mce-style="line-height: 1.5em;"></span></span></span><span style="color: #333333; font-family: Trebuchet MS, sans-serif;"><span style="line-height: 24px;">"<i>moral, cultural, </i></span></span><span style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 24px;"><i>sentimental and social unities and affinities throughout all Europe</i>..</span><span data-mce-style="line-height: 1.5em;" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">.. " Two years later, </span><a data-mce-href="http://www.deslettres.fr/lettre-de-robert-schuman-konrad-adenauer-leurope-ne-se-fera-pas-dun-coup-ni-dans-construction-densemble-elle-se-fera-si-des-realisations-concretes-creent-dabord-solidarite-de/" href="http://www.deslettres.fr/lettre-de-robert-schuman-konrad-adenauer-leurope-ne-se-fera-pas-dun-coup-ni-dans-construction-densemble-elle-se-fera-si-des-realisations-concretes-creent-dabord-solidarite-de/" target="_blank">Robert Schuman wrote confidentially to Konrad Adenauer on May 7 1950</a>, just before submitting <a data-mce-href="http://bookshop.europa.eu/is-bin/INTERSHOP.enfinity/WFS/EU-Bookshop-Site/en_GB/-/EUR/ViewPublication-Start?PublicationKey=QA8010276" href="http://bookshop.europa.eu/is-bin/INTERSHOP.enfinity/WFS/EU-Bookshop-Site/en_GB/-/EUR/ViewPublication-Start?PublicationKey=QA8010276" target="_blank" title="Plan Schuman">his famous "plan"</a> to the French Government, that a peaceful European construction for the future had to be built </span><span data-mce-style="line-height: 1.5em;" style="background-color: white; color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em;">remembering the violent pasts and conflicts between France and Germany</span><span data-mce-style="line-height: 1.5em;" style="background-color: white; color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em;">.</span><span data-mce-style="line-height: 1.5em;" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em;"> </span><span data-mce-style="line-height: 1.5em;" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em;">For Schuman, Europe integration needed concrete steps. And the <i>European Coal and Steel Community</i> (1952) was the first concrete initiative towards a unified and peaceful Europe. Many other concrete steps followed since then, until the signature of the Lisbon Treaty (2007). But the European integration process is slowly growing <span style="background-color: white;">generation after generation</span>. In this letter (republished in a very interesting <a data-mce-href="http://www.deslettres.fr/" href="http://www.deslettres.fr/" target="_blank" title="DEs lettres">French digital history project called <em>Des Lettres</em></a>), Robert Schuman wrote:</span><span data-mce-style="line-height: 1.5em;" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em;"> </span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"><img alt="Robert_Schuman-1929-640x600" class=" wp-image-5028 alignleft" data-mce-src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/Robert_Schuman-1929-640x600.jpg" src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/Robert_Schuman-1929-640x600.jpg" height="360" style="border: 0px; cursor: default; float: left;" width="384" />"</span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">Monsieur le Chancelier, </span></span></div>
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<em><span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">A la veille de proposer au Gouvernement Français de prendre une décision importante pour l'avenir des relations franco-allemandes, de l'Europe et de la Paix, je [...] désire aussi vous expliquer l'esprit dans lequel j'ai rédigé cette déclaration. </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">La paix mondiale ne saurait être sauvegardée sans des efforts créateurs à la mesure des dangers qui la menacent. La contribution qu'une Europe organisée et vivante peut apporter à la civilisation est indispensable au maintien de relations pacifiques. [...] </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"><strong>L'Europe ne se fera pas d'un coup ni dans une construction d'ensemble</strong>. Elle se fera si des réalisations concrètes créent d'abord une solidarité de fait. [...]</span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">." </span></span></em></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="background-color: white;">Schuman's plan was all about a peaceful Europe. He started from an economic agreement. But behind economy, </span><em style="background-color: white;">Europeanism</em><span style="background-color: white;"> was making a first concrete step towards integration. This process accelerated in the 21st century with the accession of central and eastern European countries to the EU. As the Ukraine example shows, the EU is an appealing ideal of peace, democracy and human rights for many. </span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Young generations in the Union have lost the memory of the 20th century global conflicts, the memory of their pasts. They ignore the reasons why the EU started to be concretely built by people like Schuman and Adenauer. Such a memory is not active in our present and has been forgotten by new nationalist anti-Euro(pean) parties. New narratives about Europe legitimaze today's euroskepticism <span style="background-color: white;"> </span><span style="background-color: white;">and reinforce the power of antagonistic nationalisms.</span></span></div>
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<img alt="Expo 14 18 c'est notre histoire" class="aligncenter size-full wp-image-5026" data-mce-src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/Expo-14-18-cest-notre-histoire.png" src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/Expo-14-18-cest-notre-histoire.png" height="168" style="border: 0px; display: block; margin-left: auto; margin-right: auto;" width="640" /></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="background-color: white; color: #333333; line-height: 21px;">Academic history is about free individual research and can be defined as "deep history", a critical analysis of the past with no need to link contemporary issues with it. But there is also a </span><em style="background-color: white; color: #333333; line-height: 21px;">useful history</em><span style="background-color: white; color: #333333; line-height: 21px;"> for the present based on the findings of academic historiography: </span></span><span style="font-family: Trebuchet MS, sans-serif;"><span style="line-height: 24px;">public history. The latter engages with memory issues in society and reaches a broader public opinion aiming at a more diffused knowledge of the past.</span><span style="line-height: 1.5em;"> This could become the role of the </span><a href="http://biblio.eui.eu/record=b1746092~S5" style="line-height: 1.5em;" target="_blank">House of History</a><span style="line-height: 1.5em;">. </span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="line-height: 24px;">A "useful history" also caracterises the one year exhibition </span></span><span style="font-family: 'Trebuchet MS', sans-serif; line-height: 24px;">in Brussels, </span><span style="font-family: Trebuchet MS, sans-serif;"><span style="line-height: 24px;">commemorating</span><span style="line-height: 1.5em;"> the centenary of the 14-18 conflict:</span><span style="line-height: 1.5em;"> </span><em style="line-height: 1.5em;">the First World War is our history</em><span style="line-height: 1.5em;">. </span></span><span style="font-family: 'Trebuchet MS', sans-serif; line-height: 1.5em;">At the end of the visit the public is asked to answer questions, such as: what would you have done at the eve of WW1? But, more important, the exhibition ends with a slide showing the EU receiving the Nobel Prize for Peace 2012. This connection with the violent 20th century history is a metaphor: a peaceful Europe was created from the battlefield of Verdun to the Lisbon Treaty. This exhibition integrates the past as a living dimension of contemporary reflections about EU policies.</span></div>
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<span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"><a data-mce-href="http://blogs.eui.eu/library/?attachment_id=5053" href="http://blogs.eui.eu/library/?attachment_id=5053" rel="attachment wp-att-5053"><img alt="14-18-et-UE-2" class="aligncenter wp-image-5053" data-mce-src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/14-18-et-UE-2.jpg" src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/14-18-et-UE-2.jpg" height="427" style="border: 0px; display: block; margin-left: auto; margin-right: auto;" width="640" /></a></span><span style="color: #0000ee;"><span style="line-height: 24px;"><u><br /></u></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Public Historians in the Museum of Europe, together with <i><a href="http://tempora-expo.be/" target="_blank">Tempora</a></i>, a Belgian private society specialized in design and management of exhibitions, have organized <em>14-18 It's Our History</em>, (<a data-mce-href="http://youtu.be/m5sdOntsy4o" href="http://youtu.be/m5sdOntsy4o" target="_blank" title="14-18">video available</a>) which connects generations throughout the 20th century with today's Europe. </span><span style="background-color: white;"><span style="font-family: Trebuchet MS, sans-serif;">Academic historians adopt a critical approach to the past in all circumstances and are skeptical about creating a "useful" historical connection between the traumatic battle of Verdun and the 2012 Nobel price. But such an approach could also be valid to narrate 20th century history.</span></span></div>
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<a data-mce-href="http://blogs.eui.eu/library/?attachment_id=5052" href="http://blogs.eui.eu/library/?attachment_id=5052" rel="attachment wp-att-5052"><span style="font-family: Trebuchet MS, sans-serif;"><img alt="14-18-et-UE-1" class="aligncenter wp-image-5052" data-mce-src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/14-18-et-UE-1.jpg" src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/14-18-et-UE-1.jpg" height="243" style="border: 0px; display: block; margin-left: auto; margin-right: auto;" width="640" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">The European Integration process is not taught</span></span><span style="font-family: 'Trebuchet MS', sans-serif; line-height: 24px;"> in many EU educational systems</span><span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">. Digital media and the web can help building a better public awareness of the recent European past. Public historians can make an important contribution in this respect. In order to add a concrete historical dimension to the present, and a broader dimension to the European election, public historians in the <a data-mce-href="http://www.eui.eu/Research/HistoricalArchivesOfEU/Index.aspx" href="http://www.eui.eu/Research/HistoricalArchivesOfEU/Index.aspx" target="_blank" title="HAEU"><em>Historical Archives of the EU at the European University Institut</em>e</a> and in the <a data-mce-href="http://www.cvce.eu" href="http://www.cvce.eu/" target="_blank" title="CVCE"><em>Centre Virtual de la Connaissance de l'Europe</em></a> (CVCE) in Luxembourg, have published online key historical documents concerning the process of EU integration. These include symbolic contributions to the European construction such as</span></span><span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> </span><span style="background-color: white;">the Folon painting (1979) with the words, </span><em style="background-color: white;">Europe is Hope</em><span style="background-color: white;">. </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> A digital communication of primary sources concerning European history promotes European citizenship and, maybe also a growing participation to the polls at the EU parliament elections in May 2014. </span></span></div>
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<a data-mce-href="http://blogs.eui.eu/library/?attachment_id=5027" href="http://blogs.eui.eu/library/?attachment_id=5027" rel="attachment wp-att-5027"><span style="font-family: Trebuchet MS, sans-serif;"><img alt="image_gallery" class="aligncenter size-full wp-image-5027" data-mce-src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/image_gallery.jpg" src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/image_gallery.jpg" height="76" style="border: 0px; display: block; margin-left: auto; margin-right: auto;" width="640" /></span></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The CVCE published a short history of the EU Parliament with primary documents. The Center offers further readings to understand better the history of <a data-mce-href="http://www.cvce.eu/collections/unit-content/-/unit/d5906df5-4f83-4603-85f7-0cabc24b9fe1/4b950d4f-ddb9-4daa-a6b2-2352765de9fd/" href="http://www.cvce.eu/collections/unit-content/-/unit/d5906df5-4f83-4603-85f7-0cabc24b9fe1/4b950d4f-ddb9-4daa-a6b2-2352765de9fd/" target="_blank">the European Parliament</a>, <a data-mce-href="http://www.cvce.eu/collections/unit-content/-/unit/d5906df5-4f83-4603-85f7-0cabc24b9fe1/618c69ef-941b-4521-aa7d-43fcabe06602" href="http://www.cvce.eu/collections/unit-content/-/unit/d5906df5-4f83-4603-85f7-0cabc24b9fe1/618c69ef-941b-4521-aa7d-43fcabe06602" target="_blank">its composition</a>, <a data-mce-href="http://www.cvce.eu/collections/unit-content/-/unit/d5906df5-4f83-4603-85f7-0cabc24b9fe1/3ad859e9-1f29-4872-8ea3-47890f0ae772" href="http://www.cvce.eu/collections/unit-content/-/unit/d5906df5-4f83-4603-85f7-0cabc24b9fe1/3ad859e9-1f29-4872-8ea3-47890f0ae772" target="_blank">the election of its Members</a><u> and</u> the <a data-mce-href="http://www.cvce.eu/collections/unit-content/-/unit/d5906df5-4f83-4603-85f7-0cabc24b9fe1/ca7f13a3-ca17-4f05-875c-be9cfa994d6a" href="http://www.cvce.eu/collections/unit-content/-/unit/d5906df5-4f83-4603-85f7-0cabc24b9fe1/ca7f13a3-ca17-4f05-875c-be9cfa994d6a" target="_blank">number and distribution of seats</a> as well as the single <a data-mce-href="http://www.cvce.eu/collections/unit-content/-/unit/d5906df5-4f83-4603-85f7-0cabc24b9fe1/758abe99-de4e-4012-87a0-b94e4db98c22" href="http://www.cvce.eu/collections/unit-content/-/unit/d5906df5-4f83-4603-85f7-0cabc24b9fe1/758abe99-de4e-4012-87a0-b94e4db98c22" target="_blank">Statute for Members</a>. </span><span style="font-family: Georgia, Times New Roman, Bitstream Charter, Times, serif;">"</span><span style="font-family: Trebuchet MS, sans-serif;"><em>In view of the forthcoming European elections (22–25 May 2014), the CVCE offers a selection of resources (synopses, photos and graphics) and oral accounts about the European Parliament from its establishment in 1952 to the present day. <a data-mce-href="http://www.cvce.eu/european-elections-2014" href="http://www.cvce.eu/european-elections-2014" target="_blank">This wealth of resources is available in French and English</a>. In this way, the CVCE hopes to help improve public awareness of the European Parliament and contribute to a greater understanding of the issues involved in the European elections</em>."</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">A Digital Public History approach to the history of the European Parliament (access to digital primary sources), is also a way through which the <a data-mce-href="http://elections35.eui.eu/" data-mce-style="line-height: 1.5em;" href="http://elections35.eui.eu/" style="line-height: 1.5em;" target="_blank" title="HAEU">European University Institute Historical Archives of the European Union</a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> promotes a reflection on the past within a wider project about "<a href="https://www.flickr.com/photos/euiweb/sets/72157642852373675/" target="_blank">Civil Society and the European Elections, 2014</a>". A virtual exhibition, "<em>L<a href="http://elections35.eui.eu/" target="_blank">'Europa Vince. 35 years of European Elections</a></em>", illustrates some important historical moments of the 35 years old EU Parliament.</span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> </span></span></div>
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<tr><td style="text-align: center;"><a href="http://elections35.eui.eu/" target="_blank"><img alt="L’Europa vince – 35 Years of European elections" class="wp-image-5032 alignleft" data-mce-src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/L’Europa-vince-–-35-Years-of-European-elections.png" src="http://blogs.eui.eu/library/wp-content/uploads/2014/05/L%E2%80%99Europa-vince-%E2%80%93-35-Years-of-European-elections.png" height="394" style="border: 0px; margin-left: auto; margin-right: auto;" width="450" /></a></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;">"<em>The European Parliament represents over 500 million inhabitants divided among the 28 Member States of the European Union. It is the only institution of the EU which is elected directly by its citizens every five years, it constitutes the principal democratic basis of the Union. With the entry into vigor of the Treaty of Lisbon, the Parliament received equal status as the Council in the framework of the legislative procedure. [...] The background to the European elections is well documented in the archives of the European institutions and in the private fonds held in the <a data-mce-href="http://www.eui.eu/Research/HistoricalArchivesOfEU/Index.aspx" href="http://www.eui.eu/Research/HistoricalArchivesOfEU/Index.aspx" target="_blank" title="HAEU">Historical Archives of the European Union in Florence</a>. To illustrate the richness and the diversity of these fonds, the HAEU in partnership with the <a data-mce-href="http://www.europarl.europa.eu/aboutparliament/en/0097d628af/Introduction.html" href="http://www.europarl.europa.eu/aboutparliament/en/0097d628af/Introduction.html" target="_blank">Archives Service of the European Parliament</a> is offering an historical journey of the European Elections by means of a weekly selection of photos, posters, press cuttings and official documents</em>."</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Should we accept that Europe today is only about financial crisis, the power of banks, and unemployment? Such issues are certainly essential, but nevertheless, we should not forget Schuman's message delivered after the Second World War. Remembering history enlarges our narrow daily perspective and questions the fundamental reasons behind the vote itself and the possibility for each citizen to bet on a better future.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="font-family: 'Trebuchet MS', sans-serif;">It is hard to understand how much a digital public history approach to European History, together with public exhibitions and public commemorations of the past could help stimulating a renewed European idealism or, more directly, a better understanding of the European integration process and participation to the vote in May.</span></span></div>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-64112015544104822642014-04-24T18:40:00.000+02:002014-04-24T19:31:08.456+02:00A first year for DP.LA, the Digital Public Library of America<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiSdRpXVW4U1rFgDCmFTjluKCq58YvhWd1t28QWopRz-wHtCg20eMRkNW7vrKKFXcXG6tTKRtbHQxYiYkdtxl2m-NZYHCFuoQPyMy1CCivJDgkhqK5l033LKfezt-FlTmrHJFGHw/s1600/Digital+Public+Library+of+America.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiSdRpXVW4U1rFgDCmFTjluKCq58YvhWd1t28QWopRz-wHtCg20eMRkNW7vrKKFXcXG6tTKRtbHQxYiYkdtxl2m-NZYHCFuoQPyMy1CCivJDgkhqK5l033LKfezt-FlTmrHJFGHw/s1600/Digital+Public+Library+of+America.png" height="400" width="375" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;">On April 18th 2014, the <a data-mce-href="http://dp.la/" href="http://dp.la/">Digital Public Library of America's</a> celebrated its <span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">anniversary: a </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">first year of public access on the web.</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The DPLA is a platform that connects openly the online contents of many libraries, archives, museums and cultural institutions around the USA into a single portal. Everybody can search this digital library and the digital bookshelf<a data-mce-href="http://dp.la/bookshelf" href="http://dp.la/bookshelf" target="_blank"> in the DPLA is now made of many thousands</a> of single e-books titles from many different digital library partners in the USA.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">From a user's point of view, "DPLA offers a single point of access to millions of items from libraries, archives, and museums around the United States. Users can browse and search DPLA’s collections by <a data-mce-href="http://dp.la/timeline" href="http://dp.la/timeline">timeline</a>, <a data-mce-href="http://dp.la/map" href="http://dp.la/map">map</a>, <a data-mce-href="http://dp.la/bookshelf/" href="http://dp.la/bookshelf/">virtual bookshelf</a>, and faceted search; save and share <a data-mce-href="http://dp.la/info/help/accounts/" href="http://dp.la/info/help/accounts/">customized lists</a> of items; explore digital <a data-mce-href="http://dp.la/exhibitions/" href="http://dp.la/exhibitions/">exhibitions</a>; and interact with DPLA-powered apps in the <a data-mce-href="http://dp.la/apps" href="http://dp.la/apps">app library</a>."</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">The most simple URL ever used on the web "dp.la", is today an expanding digital library offering worldwide access to US open digital humanities culture. "The <a data-mce-href="http://dp.la/info/about/hubs/" href="http://dp.la/info/about/hubs/" target="_blank">DPLA Digital Hubs Program</a> is designed to establish a national network out of the over forty state/regional digital libraries and myriad large digital libraries in the US, bringing together digitized content from across the country into a single access point for end users, and an open platform for developers". Because the DPLA also fosters <a data-mce-href="http://dp.la/apps" href="http://dp.la/apps" target="_blank">collaboration with independent developers</a>: the "DPLA's application programming interface (API) and open data can be used by software developers, researchers, and others to create novel environments for learning, tools for discovery, and engaging apps".</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">But the project started in October 2011 at the<a data-mce-href="http://cyber.law.harvard.edu/" href="http://cyber.law.harvard.edu/"> Berkman Center for Internet & Society</a>, Harvard University, supported by the <a data-mce-href="http://www.sloan.org/" href="http://www.sloan.org/" target="_blank">Alfred P. Sloan Foundation</a>: "Hundreds of public and research librarians, innovators, digital humanists, and other volunteers—organized into six work-streams and led by a distinguished Steering Committee—helped to scope, design, and construct the DPLA." The DPLA is guided by a <a data-mce-href="http://dp.la/info/about/who/partner/board" href="http://dp.la/info/about/who/partner/board">Board of Directors</a> "comprised of leading public and research librarians, technologists, intellectual property scholars, and business experts" from around the USA and is based in the 19th century building (1848) of the <a data-mce-href="http://www.bpl.org/" href="http://www.bpl.org/" target="_blank">Boston Public Library</a>. Today, former Director of the <a data-mce-href="http://chnm.gmu.edu/" href="http://chnm.gmu.edu/">Roy Rosenzweig Center for History and New Media</a> at George Mason University, pioneer Digital Historian <span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"><a data-mce-href="http://www.dancohen.org/" href="http://www.dancohen.org/" target="_blank">Dan Cohen</a> is </span>DPLA <a data-mce-href="http://dp.la/info/about/who/staff" href="http://dp.la/info/about/who/staff">Executive Director</a>. (DPLA <a data-mce-href="http://dp.la/info/about/who/staff/" href="http://dp.la/info/about/who/staff/">staff</a> page and <a data-mce-href="http://dp.la/info/about/materials/" href="http://dp.la/info/about/materials/">Historical Materials page</a>).</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">To </span><a data-mce-href="http://arstechnica.com/business/2014/04/digital-public-library-of-america-to-add-millions-of-records-to-its-archive/" data-mce-style="line-height: 1.5em;" href="http://arstechnica.com/business/2014/04/digital-public-library-of-america-to-add-millions-of-records-to-its-archive/" style="line-height: 1.5em;" target="_blank">celebrate </a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">the a</span>nniversary<span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">, the non-profit library network announced six new partnerships with major digital libraries and archives: the </span><a data-mce-href="http://www.gpo.gov/" data-mce-style="line-height: 1.5em;" href="http://www.gpo.gov/" style="line-height: 1.5em;" target="_blank">US Government Printing Office</a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">, the </span><a data-mce-href="https://www.getty.edu/" data-mce-style="line-height: 1.5em;" href="https://www.getty.edu/" style="line-height: 1.5em;" target="_blank">J. Paul Getty Trust</a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">, the </span><a data-mce-href="http://www.cdlib.org/" data-mce-style="line-height: 1.5em;" href="http://www.cdlib.org/" style="line-height: 1.5em;" target="_blank">California Digital Library</a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">, the </span><a data-mce-href="http://ctdigitalarchive.org/" data-mce-style="line-height: 1.5em;" href="http://ctdigitalarchive.org/" style="line-height: 1.5em;" target="_blank">Connecticut Digital Archive</a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">, the </span><a data-mce-href="http://www.in.gov/memories/" data-mce-style="line-height: 1.5em;" href="http://www.in.gov/memories/" style="line-height: 1.5em;" target="_blank">Indiana Memory </a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">and the </span><a data-mce-href="http://cdm15018.contentdm.oclc.org/" data-mce-style="line-height: 1.5em;" href="http://cdm15018.contentdm.oclc.org/" style="line-height: 1.5em;" target="_blank">Montana Memory Project</a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">.</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">Very soon we may think that the DPLA together with </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> </span><a data-mce-href="http://www.europeana.eu/" data-mce-style="line-height: 1.5em;" href="http://www.europeana.eu/" style="line-height: 1.5em;" target="_blank">Europeana</a>,<span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> the European Digital Library, </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">will form the nucleus of a <em>World Digital Public Library </em>open to everybody in the world accessing the internet. </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK54j-anmG5IC9izoMs7kkAPqEhKFR3p7MRWj9EBkVXUWEKNm88mLtEw7bVp_tEBkfBJokegWgxYWhV_HyvtKsyP3nF7j0sIgUPmWWV1dBzKaEZ1lONLO1Z6AdAZG8dPoHoxFsXw/s1600/Europeana+1914-1918+-+untold+stories+&+official+histories+of+WW1+2014-02-21+11-40-02.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK54j-anmG5IC9izoMs7kkAPqEhKFR3p7MRWj9EBkVXUWEKNm88mLtEw7bVp_tEBkfBJokegWgxYWhV_HyvtKsyP3nF7j0sIgUPmWWV1dBzKaEZ1lONLO1Z6AdAZG8dPoHoxFsXw/s1600/Europeana+1914-1918+-+untold+stories+&+official+histories+of+WW1+2014-02-21+11-40-02.png" height="206" width="400" /></a></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">Already</span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> in November 2011, the "</span><em data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">two major digital library networks have reached an agreement to collaborate in ways that will make a large part of the world's cultural heritage available to a </em><em data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">large part of the world's population</em><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">." They both <a data-mce-href="https://cyber.law.harvard.edu/node/7159" href="https://cyber.law.harvard.edu/node/7159" target="_blank">decided to work together to promote the "interoperability" of their meta-</a></span><a data-mce-href="https://cyber.law.harvard.edu/node/7159" data-mce-style="line-height: 1.5em;" href="https://cyber.law.harvard.edu/node/7159" style="line-height: 1.5em;" target="_blank"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">data's</span></a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">. </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> Early Modern historian, author of <em>The Case for Books</em>, Robert Darnton -at that time member of the DPLA Steering Committee and University Librarian at the University of Harvard- said, "</span><em data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">The association between the DPLA and Europeana means that users everywhere will eventually have access to the combined riches of the two systems at a single click. The aggregated databases will include many millions of books, pamphlets, newspapers, manuscripts, images, recordings, </em></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">On 8 February 2013, the </span><a data-mce-href="http://dp.la/" data-mce-style="line-height: 1.5em;" href="http://dp.la/" style="line-height: 1.5em;">Digital Public Library of America</a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> released a new version of its </span><a data-mce-href="http://dp.la/about/map" data-mce-style="line-height: 1.5em;" href="http://dp.la/about/map" style="line-height: 1.5em;">Metadata Application Profile</a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> (MAP): "</span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">This new version is designed to build on the experience of the </span><a data-mce-href="http://pro.europeana.eu/web/guest/edm-documentation" data-mce-style="line-height: 1.5em;" href="http://pro.europeana.eu/web/guest/edm-documentation" style="line-height: 1.5em;">Europeana Data Model</a><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> (EDM)" <a data-mce-href="http://pro.europeana.eu/web/guest/pro-blog/-/blogs/1538026" href="http://pro.europeana.eu/web/guest/pro-blog/-/blogs/1538026" target="_blank">allowing the sharing of the Europeana metadata model</a>. </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">"The DPLA and Europeana have also collaborated on a virtual exhibition, exploring the stories of Europeans migrating to the US: <em><a data-mce-href="http://exhibitions.europeana.eu/exhibits/show/europe-america-en" href="http://exhibitions.europeana.eu/exhibits/show/europe-america-en">Leaving Europe: A New Life in America' exhibition</a></em>.</span><em data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">videos, and other materials in many formats</em><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">." And </span><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">Jill Cousins, Executive Director of Europeana, welcomed the agreement, saying that "</span><em data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">Europeana was designed to be open and interoperable, and to be able to collaborate with the DPLA is a validation of that aim. By this combined effort on two continents, Europeana and the DPLA hope to promote the creation of a global network with partners from around the world</em><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;">." </span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span data-mce-style="line-height: 1.5em;" style="line-height: 1.5em;"> L</span>ooking at this important partnership we may say that more then the digital library contents, the richness and innovative peculiarity of the DPLA project embedded in the semantic Web 3.0, is based on metadata exchange, interoperability of metadata and, above all, on a <span data-mce-style="text-decoration: underline;" style="text-decoration: underline;">full Open Access to all the DPLA metadata</span>.</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">A recent post published by <a data-mce-href="http://arstechnica.com/author/megan-geuss/" href="http://arstechnica.com/author/megan-geuss/" target="_blank">Megan Geuss</a>, staff editor for the blog<a data-mce-href="http://arstechnica.com/" href="http://arstechnica.com/" target="_blank"><em> Ars Tecnica</em></a> dedicated from 1998 to IT and Digital Technology issues in the USA (<em><a data-mce-href="http://arstechnica.com/business/2014/04/digital-public-library-of-america-to-add-millions-of-records-to-its-archive/" href="http://arstechnica.com/business/2014/04/digital-public-library-of-america-to-add-millions-of-records-to-its-archive/" target="_blank">Digital Public Library of America to add millions of records to its archive</a></em>) wrote that "t<em>he DPLA says that it has amassed more than seven million digitized items in its archives to date, and in 2013 attracted more than one million unique hits to its website. But the more impressive numbers come from the fact that the digital library made its metadata available to anyone. It reported today that over the year it received nine million hits to its API. Some of the apps that developers have made with the database include “a smartphone app called <a data-mce-href="http://dp.la/apps/6" href="http://dp.la/apps/6">OpenPics</a> that shows materials from DPLA related to the location where you are standing; a Pinterest-style app called <a data-mce-href="http://dp.la/apps/7" href="http://dp.la/apps/7">Culture Collage</a> that shows thumbnails of images related to a particular search on an endlessly scrolling page; and an app called <a data-mce-href="http://dp.la/apps/19" href="http://dp.la/apps/19">FindDPLA</a> that helps Wikipedia editors locate helpful primary sources to cite in their articles.” With third-party apps, the DPLA isn't just a public library, it lets anyone build their own public library to suit their needs.</em>"</span></div>
</div>
Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-80736082734179409242014-04-07T09:33:00.002+02:002014-05-20T15:09:47.837+02:00Public History: un nuovo modo di avvicinarsi alla storia? Una giornata di discussione all'Università Ca' Foscari di Venezia<div dir="ltr" style="text-align: left;" trbidi="on">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlI2HUC2W9exoPVdL0yYziYNnnyA1VD4Jb-e88d5HpPrtXFKN8McCcRlfolOFZXR_GhCl_5dUd-41Pf-Clgvu-ydv7O2z3JP2UX36VoGTlBZYUPyq3liyg-vOOHuTm7y3hqfK5EQ/s1600/51VPJ99MGTL._SS500_.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlI2HUC2W9exoPVdL0yYziYNnnyA1VD4Jb-e88d5HpPrtXFKN8McCcRlfolOFZXR_GhCl_5dUd-41Pf-Clgvu-ydv7O2z3JP2UX36VoGTlBZYUPyq3liyg-vOOHuTm7y3hqfK5EQ/s1600/51VPJ99MGTL._SS500_.jpg" height="320" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.worldcat.org/oclc/123896260">http://www.worldcat.org/oclc/123896260</a></td><td class="tr-caption" style="text-align: center;"></td></tr>
</tbody></table>
<span style="font-family: Trebuchet MS, sans-serif;">Come definire la Public History ?</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Come introdurre la Public History ?</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Finora i pochi manuali in inglese che di quest'argomento trattano -e in prospettiva (2015) anche la <i>Oxford Enciclopedia for Public History- </i>si sono limitati ad indagare sul come si fa storia fuori dall'università e con quali pubblici.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">La prospettiva è certamente molto vicina alle descrizioni delle pratiche individuali con il passato che le ego-storie hanno messo in mostra spiegando l'itinerario intellettuale degli individui alle prese con il mestiere di storico.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFh0HDMRn9Lmxd4CM0nmby53HhICEc4ss4mBQAPRPBB_fj4SHMDb1U7x2cA8Gg3OURK490_BwriX8q-5RtGJy7gzdTmD5aVrvgfxVDAcfGWPaYLH0oyjZJvJSSDxYmCfz3FnCsiQ/s1600/public_history_an_intro_howe_kemp_1986.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFh0HDMRn9Lmxd4CM0nmby53HhICEc4ss4mBQAPRPBB_fj4SHMDb1U7x2cA8Gg3OURK490_BwriX8q-5RtGJy7gzdTmD5aVrvgfxVDAcfGWPaYLH0oyjZJvJSSDxYmCfz3FnCsiQ/s1600/public_history_an_intro_howe_kemp_1986.jpg" height="320" width="213" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.worldcat.org/oclc/13008269"><span style="font-family: Trebuchet MS, sans-serif;">http://www.worldcat.org/oclc/13008269</span></a></td></tr>
</tbody></table>
<span style="font-family: Trebuchet MS, sans-serif;">Le due edizioni del bel libro curato da James B. Gardner e Peter S.La Paglia hanno aggiornato il primo vero manuale introduttiva alla "Public History" pubblicato nel 1986 da Barbara J.Howe e Emory L.Kemp, e sono l'emblema di un approccio personalizzato al campo della <i>Public History</i>.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">In quel libro, i Public Historians stessi descrivono le loro pratiche, le loro esperienze personali con la storia, i luoghi dove lavorano con la storia, i media di diffusione che usano per parlare del passato, i pubblici con i quali interagiscono.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">Si tratta di definire i "settings" gli ambiti, nei quali si fa storia pubblica, "public history", e di interrogarsi su come si fa storia in quelle dimensioni che non sono quelle tradizionali dell'insegnamento e della ricerca universitaria nella quale si insegna e si pubblica solo per i "pari". I "public historians", che portano fuori dall'accademia i valori professionali che definiscono il mestiere di storico, si propongono altre modalità di pubblicazione e di comunicazione della storia, spesso partecipative. E da questo punto di vista, le possibilità sono molte e diversificate, spesso appassionante, coinvolgenti e gioiose come tenteremo di vedere .durante la giornata Veneziana <a href="http://centrostoriaculturale.org/eventi/2014/3/21/cultural-history-journal-aprile-2014" target="_blank">di qui sotto</a>.</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">Università Ca’ Foscari</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Dottorato in Studi sull’Asia e sull’Africa</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Dottorato di ricerca in Storia sociale europea dal medioevo all'età contemporanea</span><br />
<a href="http://centrostoriaculturale.org/iniziative/2014/3/31/public-history-un-nuovo-modo-di-avvicinarsi-alla-storia" target="_blank"><span style="font-family: Trebuchet MS, sans-serif;">Centro Interuniversitario di Storia Culturale (CSC)</span></a><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdpkZuyg9kqiJrFhshiDF44sSQpiBBihLweWL32P4AEBGE86nH1XJ4tx86KNyB1LgonLUlM6iqqFGc9CrvJMxGDlE4qvYWq18ozKgFMUQjnXeFccgtTAlWZ-Zol0jv4jdYkCLkRQ/s1600/08_04_2014_PublicHistory_def.pdf+2014-04-07+15-18-02.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Trebuchet MS, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdpkZuyg9kqiJrFhshiDF44sSQpiBBihLweWL32P4AEBGE86nH1XJ4tx86KNyB1LgonLUlM6iqqFGc9CrvJMxGDlE4qvYWq18ozKgFMUQjnXeFccgtTAlWZ-Zol0jv4jdYkCLkRQ/s1600/08_04_2014_PublicHistory_def.pdf+2014-04-07+15-18-02.png" height="640" width="465" /></span></a></div>
<span style="font-family: Trebuchet MS, sans-serif; font-size: large;"><b>Public History. Un nuovo modo di avvicinarsi alla storia</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">Martedì 8 aprile 2014 h. 10.00</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">Ca’ Vendramin ai Carmini, sala A</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">10.00</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Rolf Petri,<b> Presentazione</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">10.15-11.00</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Serge Noiret, <b>Introduzione alla Public History</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">11.00-11.30</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Cécile Franchetti, <b>Un Time travel tra Venezia e Istanbul</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">11.30-12.00</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Emilio Franzina, <b>La comunicazione storica ‘in musica’ (anche) attraverso una<br />esperienza personale</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">12.00-12.30<b> Discussione</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">12.30-14.00 Pausa Pranzo</span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">14.00-14.30</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Vittorio Lora, <b>Teatro, musica e poesia: memorie divise</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">14.30-15.00</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Maria Pia Pedani, <b>Dalla Storia alle storie: la Sultana veneziana</b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">15.00-15.40</span><br />
<b><span style="font-family: Trebuchet MS, sans-serif;">Discussione</span></b><br />
<span style="font-family: Trebuchet MS, sans-serif;"><br /></span>
<span style="font-family: Trebuchet MS, sans-serif;">15.45-16.00</span><br />
<span style="font-family: Trebuchet MS, sans-serif;">Rolf Petri,<b> Conclusioni</b></span></div>
Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-26689675196963045392014-03-12T09:30:00.000+01:002014-04-07T15:02:56.028+02:00Holocaust Denial and the Web: a conference in Rome, April 10-11, 2014<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9vhzxY2y_kigJt3m1lOGmNfc-DxoUNA_US1KxxCO2FDRTHJGH6uU4lW65RYxKOOm8nBHUUviG4rianEmmqIYLWSicWBR3kXmWO1lznVPXVa2EfUVtMEBADmhqNsI4Bd9abr8w4A/s1600/52174b129d29c95d7e00003f-sissco-logo.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9vhzxY2y_kigJt3m1lOGmNfc-DxoUNA_US1KxxCO2FDRTHJGH6uU4lW65RYxKOOm8nBHUUviG4rianEmmqIYLWSicWBR3kXmWO1lznVPXVa2EfUVtMEBADmhqNsI4Bd9abr8w4A/s1600/52174b129d29c95d7e00003f-sissco-logo.jpeg" /></a></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">O</span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">n April 10 and 11 at the University of Rome 3 (Dipartimento Fisolofia, Comunicazione, Spettacolo) the SISSCO, (</span></span><a href="http://www.sissco.it/" target="_blank"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Società Italiana per lo Studio della Storia Contemporanea</span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">), will hold an important academic conference about the role of contemporary historians confronted with Holocaust denial on the web. </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Should legislation be voted in Italy contrasting Holocaust Negationism? </span></span><span style="font-family: "Trebuchet MS", sans-serif;">And, more generally, should History, when unable to build a firm culture of the past widely accepted in societies, be ruled by legislation? </span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">
</span></span><span style="font-family: "Arial", "sans-serif"; line-height: 115%;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">These issues have
been discussed in many European countries; some laws aiming at governing
legally the past and telling about politically correct memories and what
exactly is the truth about the past, have been voted in France, in Spain, and
in other countries. </span></span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Professional historians are generally against the idea </span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">to force societies to adopt a so-called "correct history of their pasts" defined by </span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">law and, in France, a committee was born using its</span></span><span style="font-family: "Trebuchet MS", sans-serif;"> own very active blog to contest the idea that telling the truth in history could be enforced by the law: the </span><i><a href="http://cvuh.blogspot.it/" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;">Comité de vigilance face aux usages publics de l'histoire</span></a><span style="font-family: "Trebuchet MS", sans-serif;"> </span></i><span style="font-family: "Trebuchet MS", sans-serif;">(Committee of vigilance on the public use of history)</span><i><span style="font-family: "Trebuchet MS", sans-serif;"> </span></i><span style="font-family: "Trebuchet MS", sans-serif;">wrote </span><a href="http://cvuh.blogspot.it/p/le-manifeste-du-cvuh-version-multi.html" style="font-family: 'Trebuchet MS', sans-serif;" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;">a manifesto on June 17, 2005</span></a><span style="font-family: "Trebuchet MS", sans-serif;"> against the "entrepreneurs of memory" and political uses or misuses of history.</span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">The debate has entered the public sphere in Italy too and the main association of </span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">contemporary history </span></span>academic historians, Sissco, collected a "dossier" analyzing </span></span><a href="http://www.sissco.it/index.php?id=1754" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">the press debate about holocaust denials </span></span></a><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">and promoted an</span></span><a href="http://www.sissco.it/fileadmin/user_upload/Attivita/comunicati/Dichiarazione_SISSCO_su_modifiche_art._414_cp.pdf" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> official petition</span></span></a><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> signed by many contemporary historians against the use of the law in history: "</span></span><i><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Modifiche all'articolo 414 del co</span></span></i><i><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">dice penale in materia di negazione di crimini di guerra e di genocidio o contro l'umanità e di apologia di crimini di genocidio e crimini di guerra</span></span></i><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">".</span></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">But the Holocaust of the Jews during the second world war is unique: should historians and the civil society accept that the Shoa</span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">h be openly and publicly contested and denied and hate speech widely diffused through the Internet? Is it possible to use a penal legislation against negationist web contents published everywhere in the world and accessible also in Italy? <span style="font-family: "Arial", "sans-serif"; line-height: 115%;">Should the Italian
legislator vote a law defending the truth against offensive, racist and anti-Semitic revisionist
propaganda and condemn hate speech legally? </span></span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">These activities and also the academic conference promoted in April in Rome described below, are showcasing the direct participation of academic historians in the policy in Italy, what was in the early '90 defined by Nicola Gallerano as being part of the "uso pubblico della storia". Will these political and academic activities be able to maintain also for the young generation the awareness of what happened in Europe during WW2 and about keeping alive a correct memory of the holocaust using properly the web? </span></span><br />
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><br /></span></span>
<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">It is of course my opinion that academic conferences are important but are not enough and that we need to act in the virtual space and promote the digital public history of the Shoah and of other genocides perpetrated by the Nazi and their allies looking at how best presenting the evidences of the Holocaust and engaging different communities about these issues.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8gOAwQTMfoCTHViZ0s-Zk0BTa9ftZFtowUv1i9RlkSSLC7HWsuVLIW7mA0BdE5XjvAbrYF9kA35UHyG5Uj8z4Rge_7yhqVlLUE9TLk1rPcOy0gxvxCEHTZKIHl2SWf9k6f2_LUw/s1600/EHRI+logo_3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8gOAwQTMfoCTHViZ0s-Zk0BTa9ftZFtowUv1i9RlkSSLC7HWsuVLIW7mA0BdE5XjvAbrYF9kA35UHyG5Uj8z4Rge_7yhqVlLUE9TLk1rPcOy0gxvxCEHTZKIHl2SWf9k6f2_LUw/s1600/EHRI+logo_3.jpg" height="156" width="200" /></a></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Building awareness of the past using a pu</span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">blic history approach is being</span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> done by the </span></span><a href="http://www.ehri-project.eu/" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">ERIH project</span></span></a><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> (<i>European Holocaust Research Infrastructure</i>) in Europe to support the Holocaust
research community, provide access to the primary sources dealing with the Holocaust and encourage
collaborative research in the field. </span></span><span style="font-family: "Trebuchet MS", sans-serif; text-align: justify;">What could be the role of public historians in </span><span style="font-family: "Trebuchet MS", sans-serif; text-align: justify;">maintaining a correct perception of what has been the Holocaust and engage with fighting negationism on the web? </span><span style="font-family: "Trebuchet MS", sans-serif; text-align: justify;"><span style="font-size: small;">How could the web itself, and social media, in close contact with other public activities, fight back an aggressive negationist approach like what is diffused online in </span></span><a href="http://en.metapedia.org/" style="font-family: 'Trebuchet MS', sans-serif; text-align: justify;" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Metapedia</span></span></a><span style="font-family: "Trebuchet MS", sans-serif; text-align: justify;"><span style="font-size: small;">, the so-called </span></span><i style="font-family: 'Trebuchet MS', sans-serif; text-align: justify;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">alternative encyclopedia</span></span></i><span style="font-family: "Trebuchet MS", sans-serif; text-align: justify;"><span style="font-size: small;"> if you look for the non-existing keyword "holocaust"? </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihN_8YbwUAeVf70M3eLeXLCnKJ1aE4DQcTAnnNXTVgkNCahaqulOz4BsmzefBDelYVLiIsn-qOUloy3StPWw3AF5Kew67rR9jGwWnxypVQe2HAVdlOkcL50299IdvEUchrhyqkWQ/s1600/Jewish+casualties+during+World+War+II+-+Metapedia+2014-03-11+18-26-11.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihN_8YbwUAeVf70M3eLeXLCnKJ1aE4DQcTAnnNXTVgkNCahaqulOz4BsmzefBDelYVLiIsn-qOUloy3StPWw3AF5Kew67rR9jGwWnxypVQe2HAVdlOkcL50299IdvEUchrhyqkWQ/s1600/Jewish+casualties+during+World+War+II+-+Metapedia+2014-03-11+18-26-11.png" height="400" width="353" /></a></div>
<span style="font-family: "Trebuchet MS", sans-serif; text-align: justify;"><span style="font-size: small;">Metapedians redirected the keyword "holocaust" -nothing to read about in a specific entry- to another <i>Metapedia</i> entry called "</span></span><i style="font-family: 'Trebuchet MS', sans-serif; text-align: justify;"><a href="http://en.metapedia.org/wiki/The_Holocaust%E2%84%A2" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Jewish casualties during World War II</span></span></a></i><span style="font-family: "Trebuchet MS", sans-serif; text-align: justify;"><span style="font-size: small;">" avoiding the use of what they call a useless and mystifying buzzword, the <i>Holocaust of the Jews</i>. </span></span>
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<span style="font-family: 'Trebuchet MS', sans-serif; text-align: justify;">So I quote here a full paragraph (accessed on Wednesday March 12, 2014) of this entry</span>
<span style="font-family: "Trebuchet MS", sans-serif; text-align: justify;"><span style="font-size: small;">in order to understand how far the negationist propaganda in the web </span></span><span style="font-family: 'Trebuchet MS', sans-serif; text-align: justify;">can go, contradicting all the basic evidences of historical research and the memory of who suffered in the nazi camps</span><span style="font-family: 'Trebuchet MS', sans-serif; text-align: justify;">. Reading this paragraph and the whole entry online, you will discover another history, the kind of narrative which is banned by law in other countries like in France and would be banned in Italy too voting a new legislation: </span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">"</span></span><i><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Some Jews controversially claim the German government had an "official policy" of extermination, where "6 million" were killed in homicidal gas chambers and turned into soap or lampshades. Confidence trickster, Elie Wiesel, applied the religious term "The Holocaust" to this framing in the 1970s. Since then, the construct has been used as a political weapon to promote Germanophobia and Europhobia in general. It is used as moral justification for the Zionist war on the Palestinians, as well as part of an illustrious money-making industry. In some countries it is illegal for historians and investigators to openly state a dissenting view and some have been incarcerated for thought criminality as prisoners of conscience</span></span></i><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">."</span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Digital Public Historians are present in other countries and monitoring this "negationist web" which engages -systematically in the case of Metapedia- in rewriting the past, all the past and supports nationalistic, fascist and Neo-Nazi ideologies. These holocaust deniers are using the web from many years now. They have embraced the web as their elected media to communicate a false narrative of many pasts in the Metapedia, not only about the Holocaust, and remove memories and evidences of scientific historical research from the web, when these results are not supporting their goals. These political propagandists are using the architecture and stylistic presentation of Wikipedia together with the so-called "objective way to present facts" that Wikipedia has promoted from its creation in 2001 to give a semblance of truth to their discourses and misuses of memories.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT4jTXx2v9RFLK8czr443U4CbBeau_HS_IQwTgq2f6abr_4yuWtai6lQ9La74n18hUb48hEhQLU7S2IRl_tCPxhnxvPA63cTbMGz6w2Aii7UA2HcUvPJFipU1MscuY7D8KOnO5pw/s1600/Public+History+of+the+Holocaust+-+European+Holocaust+Research+Infrastructure+2014-03-12+09-14-24.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhT4jTXx2v9RFLK8czr443U4CbBeau_HS_IQwTgq2f6abr_4yuWtai6lQ9La74n18hUb48hEhQLU7S2IRl_tCPxhnxvPA63cTbMGz6w2Aii7UA2HcUvPJFipU1MscuY7D8KOnO5pw/s1600/Public+History+of+the+Holocaust+-+European+Holocaust+Research+Infrastructure+2014-03-12+09-14-24.png" height="222" width="400" /></a></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">ERIH has already organized an important international c</span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">onference in July 2013 about <i><a href="http://www.ehri-project.eu/public-history-holocaust" target="_blank">Public History of the Holocaust: Historical Research in the Digital Age</a></i> "that was hosted by the Jewish Museum in Berlin. Facilitated by EHRI and
two other European infrastructure projects supporting humanities
research, <a href="http://www.dariah.eu/" target="_blank">DARIAH</a> and <a href="http://www.textgrid.de/" target="_blank">TextGrid</a>,
and sponsored by the German Ministry of Education and Research, the
conference brought together policy makers, archival and memory
institutions, and academics to reflect on the challenges and
opportunities the digital age offers for the public history of the
Holocaust."
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><a href="http://www.ehri-project.eu/berlin-conference-2013" target="_blank">Negationism in the digital realm</a> was one of the central issue of this discussion. </span></span> <span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Georgi Verbeeck, Professor of German History at the University of
Leuven, "...<i>reflecting on the
continuing problem of Holocaust negationism, arrived at a nuanced
assessment of the efficacy of current research and educational practices
to prevent similar atrocities from re-occurring. Many small narratives
of concrete experiences may provide powerful mirrors that can spur
individuals to effective responses and positive actions...." </i></span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">What is important to quote from Verbeeck's speech about how to use and promote the sources and memories of the Shoah in the digital realm, reflects on the fact that</span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><i> "the web is
particularly suited to organise and publish [...] small narratives</i>". </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">The concluding debates were saying about "</span></span><i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">the effectiveness of legal tools to counter internet hate speech; the
opportunities and limits of the digital environment for tackling new
historical questions; t</span></span></i><i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">he ever present danger of a (digital)
de-historicisation and de-contextualisation of Holocaust discourse</span></span></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">." </span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">We may hope that the Rome conference in April 2014 will engage with the later issues dealing with </span></span>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">the</span></span>
<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">digital public history</span></span> <span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">of the Holocaust. </span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> </span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><br /></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3JzcccLMXNSVDR361pT7U58fcnIEhTEf1op8_URfLMHOwxGEKg0hKgeM8FpW_cQTRq8DELmXwEtPMsqnEA5yGluruYrTxaf1mYjMODIq2mhp48A5Xo5HePP0XnLBpq97VXUpVPA/s1600/IBC-+La+storia+a+l++tempo+di+Internet.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3JzcccLMXNSVDR361pT7U58fcnIEhTEf1op8_URfLMHOwxGEKg0hKgeM8FpW_cQTRq8DELmXwEtPMsqnEA5yGluruYrTxaf1mYjMODIq2mhp48A5Xo5HePP0XnLBpq97VXUpVPA/s1600/IBC-+La+storia+a+l++tempo+di+Internet.png" height="190" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://online.ibc.regione.emilia-romagna.it/h3/h3.exe/apubblicazioni/Fanalisi" target="_blank">http://online.ibc.regione.emilia-romagna.it/h3/h3.exe/apubblicazioni/Fanalisi</a>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Measuring the presence of contemporary history in the web, the use and misuses of history in the digital realm, was the aim of a project started at the end of the 20th century between 1999 and 2000 in Italy. The results were published by the IBC (<i><a href="http://www.ibc.regione.emilia-romagna.it/%E2%80%8E" target="_blank">Istituto per I beni Artistici, Culturali e Naturali dell'Emilia Romagna</a></i>) in Bologna, in 2004, after three years of researches done by an interdisciplinary team of historians and public historians which looked at the Italian history web and collected I</span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">talian contemporary history web sites and proposed a critical method for analyzing them systematically. The project and the book were coordinated by </span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Antonino Criscione, Serge Noiret, Carlo Spagnolo and Stefano Vitali: <i><a href="http://online.ibc.regione.emilia-romagna.it/h3/h3.exe/apubblicazioni/Fanalisi" target="_blank">La Storia a(l) tempo di Internet: indagine sui siti italiani di storia contemporanea, (2001-2003)</a></i>., Bologna, Pátron editore, 2004. The authors verified that an active revisionist narrative was populating the web and promoting alternative memories of WW2. Memories of the militias of the Salo Republic, allied with the Nazi between 1943 and 1945 and co-authors with the Germans of the deportation of Italian Jews, was finding a media and a place to proliferate without boundaries, these boundaries that Italian academic historians and European public historians are now discussing.</span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">The web is easily accessible for everybody to produce its own vision of the past and is able to promote and diffuse alternative memories, something that I have explained in my essay in French, <i> <a href="http://press.openedition.org/258" target="_blank">La digital history : histoire et mémoire à la portée de tous</a>.</i></span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">So, the important conference in Rome will go forward in an extended academic reflection dealing with how the web could be used and misused to promote everybody's memory and vision of the past and contrast hate speech and holocaust deniers activities in the digital realm. </span></span><br />
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">This is the full program of the conference:</span></span></div>
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negazionismo nel Web: una sfida per gli storici</span></span></span></i></b></div>
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2014</span></span></span></b></div>
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<b><span lang="IT" style="background: white;"><span style="mso-spacerun: yes;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> </span></span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Università
Roma Tre</span></span></span></b></div>
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<b><span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Sede della Camera dei deputati</span></span></span></b></div>
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<b><span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Giovedì 10 aprile 2014</span></span></span></b></div>
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Università Roma Tre)</span></span></span></div>
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<b><span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">14,30</span></span></span></b></div>
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<span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Mario Panizza, Rettore Università degli studi
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<span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Paolo D'Angelo, Direttore Dipartimento
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<span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">David Meghnagi (Università Roma Tre)</span></span></span></div>
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della Dogana Vecchia </span></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">da confermare</span></span></i><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">)</span></span></span></a></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">
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<span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Presiede Renato Moro (Università Roma Tre)</span></span></span></div>
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<span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Claudio Vercelli (Istituto di studi storici
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<span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Valentina Pisanty (Università di Bergamo)</span></span></span></div>
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<span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Gabriele Rigano (Università per stranieri,
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<span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Emiliano Perra (University of Winchester)</span></span></span></div>
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<span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Valeria Galimi (Università della Tuscia)</span></span></span></div>
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<span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">dibattito</span></span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">
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<b><span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">14,30 </span></span></span></b></div>
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<span lang="IT" style="background-attachment: scroll; background-clip: border-box; background-color: white; background-image: none; background-origin: padding-box; background-position: 0% 0%; background-repeat: repeat; background-size: auto; line-height: 115%;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">(Sala
Zuccari, Palazzo Giustiniani, Via della Dogana Vecchia </span></span><i style="mso-bidi-font-style: normal;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">da confermare</span></span></i><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">)</span></span></span></div>
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<span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Introduce </span></span></span></div>
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<span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Ernesto De Cristofaro (Università di Catania)</span></span></span></div>
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<i><span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">La legislazione in Europa e in Italia</span></span></span></i><span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> </span></span></span></div>
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<b><span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Contro il negazionismo: Una legge utile o
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<span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">presiede Tommaso Detti </span></span></span></div>
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<span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Marcello Flores, Anna Rossi Doria ed altri, </span></span></span></div>
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<i><span lang="IT" style="background: white;"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">* In attesa di conferma</span></span></span></i></div>
</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;">March 2008 version of TC through the Internet Archive</span></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="color: #333333;">The 10th of October 2013, I will participate to</span><span lang="EN-US" style="color: #333333;"> </span><span lang="EN-US" style="color: #333333;"><a href="http://leadership2013.thatcamp.org/"><span style="color: blue; mso-bidi-font-size: 11.0pt;">THATcamp Leadership</span></a></span><span lang="EN-US" style="color: #333333;"> </span><span lang="EN-US" style="color: #333333;">at the</span><span lang="EN-US" style="color: #333333;"> </span><span lang="EN-US" style="color: #333333;"><a href="http://chnm.gmu.edu/"><span style="color: blue; mso-bidi-font-size: 11.0pt;">RRCHNM,
the Center for History and New Media at George Mason University</span></a>,
Fairfax, Virginia. THATcamp, </span><i><span lang="EN-US" style="background-color: white;">The
Humanities and Technology Camp</span></i><span lang="EN-US" style="background-color: white;"> was conceived at George Mason
in 2008 and became</span><span lang="EN-US" style="color: #333333;"> soon international. </span></span></div>
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<span lang="EN-US" style="color: #333333;"><span style="font-family: Trebuchet MS, sans-serif;">THATcamps were held in Paris in 2010 and 2013, in Florence at the European University Institute in
2011, in Lausanne and in Luxembourg/Trier in 2012 and <a href="http://thatcamp.org/camps/" target="_blank">many other THATcamps</a> in Europe and in other continents.</span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9Elai7OJd1Sllb1_2nYMROOAHrpUlYAO5ix5XvDedvzLvuBWOmfsAWF4NPPIZBpYwznljJkNHw3bk2WCD_KOvZpH_Y4vRegq-EyYVSnr3Ep8cWDJN6MiH0Hx_b549shPs-QnipQ/s1600/thatcampflorence_eui.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="128" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9Elai7OJd1Sllb1_2nYMROOAHrpUlYAO5ix5XvDedvzLvuBWOmfsAWF4NPPIZBpYwznljJkNHw3bk2WCD_KOvZpH_Y4vRegq-EyYVSnr3Ep8cWDJN6MiH0Hx_b549shPs-QnipQ/s200/thatcampflorence_eui.png" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: x-small;">THATcamp Florence 2011</span></td></tr>
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<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="color: #333333;">Participating to <a href="http://thatcamp.org/" target="_blank">ThatCamp</a> will allow you to perform Digital Humanities activities in informal ways. That’s why it has been called an</span><span lang="EN-US" style="color: #333333;"> </span><i><span lang="EN-US" style="color: #333333;">unconference.</span></i><i><span lang="EN-US" style="color: #333333;"> </span></i><span lang="EN-US" style="color: #333333;">Following the <a href="http://thatcamp.org/about/"><span style="color: blue;">CHNM's definition</span></a><i>, "</i></span><i><span lang="EN-US" style="background-color: white;">an unconference is a highly informal conference. Two differences are particularly notable. First, at an unconference, the program isn’t set beforehand: it’s created on the first day with the help of all the participants rather than beforehand by a program committee. Second, at an unconference, there are no presentations — all participants in an unconference are expected to talk and work with fellow participants</span></i><span lang="EN-US" style="background-color: white;"> </span><i><span lang="EN-US">in every session</span></i><span lang="EN-US" style="color: #333333;">." </span><span style="background-color: white;">During THATCamps "<i>humanists and technologists of all skill levels learn and build together in sessions proposed on the spot</i>".</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLaZWlhr5ItwyJ5rKVIGlqLIA-c2j_domyWJ01GMdcJO6nqUbSGjnfiHkhUIUJ394bTLNPNGJM-ie-SDQe4Hv-edaIl6QtzvvGVBDGzbqPUjUpgNHe_jTwYehPidMbdINfK5NNcg/s1600/logo-eui.png" imageanchor="1" style="clear: left; display: inline !important; float: left; font-family: 'Trebuchet MS', sans-serif; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLaZWlhr5ItwyJ5rKVIGlqLIA-c2j_domyWJ01GMdcJO6nqUbSGjnfiHkhUIUJ394bTLNPNGJM-ie-SDQe4Hv-edaIl6QtzvvGVBDGzbqPUjUpgNHe_jTwYehPidMbdINfK5NNcg/s1600/logo-eui.png" /></a><span style="font-family: Trebuchet MS, sans-serif;"><span style="background-color: white;">What should I propose to <i>THATcamp Leaderhip</i> is something I was wondering from sometimes now so I decided to post <a href="http://leadership2013.thatcamp.org/2013/10/06/beyond-turnitin-and-anti-plagiarism-softwares/" target="_blank">a session proposal on the GMU website</a> looking at what are my next duties for the History Department at </span><span lang="EN-US" style="color: #333333; line-height: 14.25pt;">the </span><span style="color: #333333; line-height: 14.25pt;"><span lang="EN-US"><a href="http://www.eui.eu/" target="_blank" title="EUI">European University Institute, Florence, Italy</a>. </span></span></span><span lang="EN-US" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 14.25pt;">The EUI Dean of Studies and the Academic Service decided to introduce systematically the use of anti-plagiarism software. The reason is for single Ph.D. researchers to look at the various chapters and drafts of their dissertation during the four years research/writing process and verify the originality of the contents. They want to avoid having researchers shamed and expelled out of the community of scholars </span><span style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 14.25pt;"><a href="http://www.youtube.com/watch?v=Mwbw9KF-ACY"><span lang="EN-US">like this student in Norway</span></a></span><span lang="EN-US" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 14.25pt;">! </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBZ80jdkiYlDQhp80tFvvOr6f_GLE8-M8B7XkI4pMH9UFCkAFXJdC-f7xP9CYmHtCDWWxrYf7-dE5Ln4Ecg4TZ31bF7y-ztV5rE7m4W4F2C0LcFfOf9XGWWJOKun80T-m3AoxsKg/s1600/Turnitin.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBZ80jdkiYlDQhp80tFvvOr6f_GLE8-M8B7XkI4pMH9UFCkAFXJdC-f7xP9CYmHtCDWWxrYf7-dE5Ln4Ecg4TZ31bF7y-ztV5rE7m4W4F2C0LcFfOf9XGWWJOKun80T-m3AoxsKg/s1600/Turnitin.png" /></a><span lang="EN-US" style="color: #333333; font-family: 'Trebuchet MS', sans-serif;">The software </span><span style="color: #333333; font-family: 'Trebuchet MS', sans-serif;"><a href="http://turnitin.com/" target="_blank" title="turnitin"><span lang="EN-US">Turnitin</span></a></span><span style="color: #333333; font-family: 'Trebuchet MS', sans-serif;"> <span lang="EN-US">has been chosen and new administrative rules introduced on how to use it. Now, scholars on both side of the Ph.D. writing process: he who writes it and he who is supervising it, are both involved with digital tools. This is something that never happened before. </span></span><span style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 14.25pt;">At the EUI, this task which was performed by the staff of the Dean of Studies and the Academic Service, has now to be performed directly by the thesis supervisor before the decision taken by the departments to officially accept that a candidate submit a thesis for discussion with the jury. </span><span style="font-family: Trebuchet MS, sans-serif; line-height: 14.25pt;"><span lang="EN-US" style="color: #333333;">So, at the end of the process, when the thesis is submitted, each supervisor should perform this new task against plagiarism directly on the manuscript of his/her supervise. This task -and the instruments that are available to perform it- are today an evidence of the worldwide shift towards </span><i><span lang="EN-US" style="color: #333333;">digital.</span></i><i><span lang="EN-US" style="color: #333333;"> </span></i><span lang="EN-US" style="color: #333333;">It</span><i><span lang="EN-US" style="color: #333333;"> </span></i><span lang="EN-US" style="color: #333333;">is taken for granted that everything we write is somewhere in the virtual space and can be retrieved and analyzed to avoid using someone else's ideas without acknowledging it. This is an extraordinary shift in the humanities sciences towards “other” humanities. It introduced a bit of digital humanities for everybody in a way!</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="color: #333333;">Introductory courses to plagiarism, originality check, good academic practices and, finally, to <i>Turnitin</i> itself, have been organized for the first time this academic year 2013-2014 for all new doctoral researchers. </span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">As History Information Specialist, I was asked to give my contribution both to the general discussion about plagiarism and to the correct way to use quotations in one's own research/writing activity. As far as the history department is concerned, I am helping its members –researchers, fellows and professors- to understand how they should proceed with the software. I will teach some <span style="color: #333333;"><a href="http://www.eui.eu/Research/Library/ResearchGuides/HistoryAndCivilization/AtelierMultimedia/Index.aspx" target="_blank" title="atelier multimédia"><span lang="EN-US">Atelier Multimédia course</span></a></span><span lang="EN-US" style="color: #333333;">s about it. </span></span><span lang="EN-US" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 14.25pt;">But it's</span><i style="font-family: 'Trebuchet MS', sans-serif; line-height: 14.25pt;"><span lang="EN-US" style="color: #333333;"> </span></i><span lang="EN-US" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 14.25pt;">not this specific contribution -in the EUI context- that I would like to question. </span><br />
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<span lang="EN-US" style="color: #333333; font-family: 'Trebuchet MS', sans-serif;">I would like to have the input of the participants -</span><span lang="EN-US" style="color: #333333; font-family: 'Trebuchet MS', sans-serif;">if my session proposal will be selected of course- and</span><span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="color: #333333;"> bring to the attention of </span><i><span lang="EN-US" style="color: #333333;">THATcamp Leadership </span></i><span lang="EN-US" style="color: #333333;">what were the many queries and reflections on the use of such software that challenged –at least for me- a “simple” task: showing how to use </span><i><span lang="EN-US" style="color: #333333;">Turnitin</span></i><span lang="EN-US" style="color: #333333;">. This task became more complicated than I thought. I started to think <i>beyond plagiarism</i> and to look at what an “originality check” was meaning in a new digital scholarly process in the Humanities and History. What could we all do with </span><i><span lang="EN-US" style="color: #333333;">Turnitin</span></i><span lang="EN-US" style="color: #333333;">? And taken for granted that all EUI scholars will have to use it, what should I tell to those who never used any software before?</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><img border="0" height="492" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3sBXNs08OwPe83hEvZV4eEhUG45QACBlcsgOHIVSndCVd5b4i7QcxpfRpl2WcqpJE3npAXYpXLxsvr_6zphDhabG8DvHy3xEnQHUnDOneEKJI9DqmFUFLwIfui7HR3zvfAXH9JQ/s640/THATCamp+Leadership+2013.png" width="640" /></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="color: #333333;">So my questions to </span><i><span lang="EN-US" style="color: #333333;">TC Leadership</span></i><span lang="EN-US" style="color: #333333;"> would be to look at this software (and other similar software’s) from a different viewpoint. Is it possible to allow our community of humanists and social scientists to integrate one of the most important methods that enriched the process of document retrieval and document analysis in the field of Digital Humanities -"text-mining"- when teaching how to use plagiarism software? </span><span style="color: #333333;">Here are some possible issues to discuss during THATcamp:</span><span style="color: #333333;"><o:p></o:p></span></span></div>
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<li class="MsoNormal" style="color: #333333; line-height: 14.25pt; mso-list: l1 level1 lfo2; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Turnitin is a software against
plagiarism. Are they any other software’s you would recommend and why? </span>Anything
in the OA/OS world ?</span></li>
</ul>
<ul type="disc">
<li class="MsoNormal" style="color: #333333; line-height: 14.25pt; mso-list: l6 level1 lfo3; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Do you use these software’s
only for originality checking and fighting plagiarism?</span></span></li>
</ul>
<ul type="disc">
<li class="MsoNormal" style="color: #333333; line-height: 14.25pt; mso-list: l5 level1 lfo4; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Which other tasks could they
perform? Are they allowing us to know more and more easily about the deep web
contents? </span>And if
so how and why?</span></li>
</ul>
<ul type="disc">
<li class="MsoNormal" style="color: #333333; line-height: 14.25pt; mso-list: l2 level1 lfo5; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">How could we trace the originality
of translated texts -from English to other languages and vice-versa-, using
different languages corpora?</span></span></li>
</ul>
<ul type="disc">
<li class="MsoNormal" style="color: #333333; line-height: 14.25pt; mso-list: l9 level1 lfo6; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Could we think to use </span><i><span lang="EN-US">Turnitin</span></i><span lang="EN-US"> to understand who is quoting what and in which contexts
and the many other ways we interact with big online commercial textual databases
like EEBO, ECCO, MOMW I & II, etc., or with open access web databases like
</span><a href="http://www.rousseauonline.ch/" target="_blank" title="Rousseau online"><i><span lang="EN-US">Rousseau online</span></i></a> <span lang="EN-US">?</span></span></li>
</ul>
<ul type="disc">
<li class="MsoNormal" style="color: #333333; line-height: 14.25pt; mso-list: l7 level1 lfo7; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Up to which extend, these
textual databases accessed through </span><i><span lang="EN-US">Turnitin</span></i><span lang="EN-US">, would allow contextualized
keyword searching, similarity searching, frequency searching, etc., so to understand
if a quotation we plan to use has already been used entirely or partially in
other writings, how, where and by whom?</span></span></li>
</ul>
<ul type="disc">
<li class="MsoNormal" style="color: #333333; line-height: 14.25pt; mso-list: l8 level1 lfo8; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Could we perform with </span><i><span lang="EN-US">Turnitin</span></i><span lang="EN-US"> a much more complex citations search then the one
we were allowed to perform from years now with the </span><a href="http://thomsonreuters.com/web-of-knowledge/" target="_blank" title="Web of Knowledge"><i><span lang="EN-US">Web of Knowledge (</span></i><span lang="EN-US">ISI)</span></a> <span lang="EN-US">when, looking
at the footnotes in a scholarly paper, we deduce that if somebody uses the
same quotations, he/she may research in the same field<i> </i>and have similar
ideas?</span></span></li>
</ul>
<ul type="disc">
<li class="MsoNormal" style="color: #333333; line-height: 14.25pt; mso-list: l4 level1 lfo9; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Which text-mining activities
are allowed using this software’s if we accept the fact that <i>Turnitin </i>is
a good Digital Humanities tool, able to perform one of the most important tasks
within “big amount of data's”: distance/close reading, searching for contexts,
origin of quotations, places of words in millions of documents?</span></span></li>
</ul>
<ul type="disc">
<li class="MsoNormal" style="color: #333333; line-height: 14.25pt; mso-list: l3 level1 lfo10; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; tab-stops: list 36.0pt;"><span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">And, as a consequence, could
we discuss if this is not only about plagiarism but if these kind of software’s
may become a vector to introducing wider communities –not only the digital
humanities community- to new ways to perform their research activities? Are
they taking care in a daily research activity -and even without knowing about
it-, of some characteristics, of both the </span><i><span lang="EN-US">linguistic turn</span></i><span lang="EN-US"> and the </span><i><span lang="EN-US">digital turn</span></i><span lang="EN-US"> if we may use big concepts?</span></span></li>
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<i style="font-family: 'Trebuchet MS', sans-serif; line-height: 19px;"><span lang="EN-US" style="color: #333333;">Turnitin</span></i><span lang="EN-US" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 19px;"> seems to be an instrument that allows new digital experiments with, unfortunately some technical limitations. Our session in Virginia, could try to problematically look at the systematic introduction of these tools in universities worldwide: now that you know how to use it and what’s in it, which tasks do you think you could perform with such a tool? In what ways this instrument could become useful to you? And, this is maybe the most important question, in a global world where digital documents and primary sources aren’t all written in English, how these experiments with digital texts could take care of different cultural and linguistic frameworks</span><span lang="EN-US" style="color: #333333; font-family: 'Trebuchet MS', sans-serif; line-height: 19px;">?</span></div>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com2tag:blogger.com,1999:blog-36395061.post-76625472967495331232013-09-17T11:19:00.001+02:002013-10-30T14:01:04.317+01:00Current Historiographical Research at the History and Civilisation Department, European University Institute, Florence, Italy<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5qox-5E6UYJoSm9ahYhVOSpQO1y0Z_HRkuCz_vr1LnIXYFxUbludLmGjupok9K7OS4yDWis3iy1Xl79dahQkQeXbcMFLypnbFznzyxmi9gkGSkBeDGuIftXXKiD8qIsidiglcQg/s1600/www.zeitenblicke.de+2013-9-17+10+11+6.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="369" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5qox-5E6UYJoSm9ahYhVOSpQO1y0Z_HRkuCz_vr1LnIXYFxUbludLmGjupok9K7OS4yDWis3iy1Xl79dahQkQeXbcMFLypnbFznzyxmi9gkGSkBeDGuIftXXKiD8qIsidiglcQg/s640/www.zeitenblicke.de+2013-9-17+10+11+6.png" width="640" /></a><br />
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">The Open Access e-journal </span></span><b><a data-mce-href="http://www.zeitenblicke.de/2013/1/" href="http://www.zeitenblicke.de/2013/1/" target="_blank" title="zeitenblicke"><i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Zeitenblicke</span></span></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> 12 (2013), Nr. 1</span></span></a></b><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">,
is an interesting issue -based on interviews organised by EUI Ph.D.
researchers and also single essays- dealing with the research community
and activities in the History and Civilisation Department at the </span></span><a data-mce-href="http://www.eui.eu" href="http://www.eui.eu/" target="_blank"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">European University Institute</span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> (EUI). </span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">These essays and interviews are showcasing and informing about
the many intellectual</span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> challenges that are part of the daily activities
of the </span></span><a data-mce-href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/ResearchAndTeaching/ResearchThemes/Index.aspx" href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/ResearchAndTeaching/ResearchThemes/Index.aspx" target="_blank" title="Research at HEC"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">EUI History</span></span></a><a data-mce-href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/ResearchAndTeaching/ResearchThemes/Index.aspx" href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/ResearchAndTeaching/ResearchThemes/Index.aspx" target="_blank" title="Research at HEC"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> department</span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Vhm67uVlsl7L1q9WtchLhNq1IvlYO4Nku4CL7UiyAX2ZNCBn6c-GXqhwOmRNRivwo1YDhrXWoiB8fTge5qbmL2Rset-Lz4SfwmRm2QyRA_VeRCwzpxY-QUxyao5MXgElHLoxHg/s1600/historicum-net.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Vhm67uVlsl7L1q9WtchLhNq1IvlYO4Nku4CL7UiyAX2ZNCBn6c-GXqhwOmRNRivwo1YDhrXWoiB8fTge5qbmL2Rset-Lz4SfwmRm2QyRA_VeRCwzpxY-QUxyao5MXgElHLoxHg/s640/historicum-net.png" width="640" /></a></div>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7NGeWYxxgQsEBgoHgr08Q7sycwxS4OPektt80o-muaCmC8fVjDIGB5Ni6sUv8uFFCF-Ol0CfyvkPgcQJj0ZVoH7UidshyideuBtM0UzhHmSnEIQI07R_Zbr6rER8vMDtJB5HAUg/s1600/sehepunkte.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><br /></a></div>
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<a data-mce-href="http://www.zeitenblicke.de/" href="http://www.zeitenblicke.de/" target="_blank"><i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Zeitenblicke</span></span></i></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> is part of the excellent </span></span><b><a data-mce-href="http://www.historicum.net/home/" href="http://www.historicum.net/home/" target="_blank" title="historicum"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Historicum.Net</span></span></a></b><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">, a portal for the Historical Sciences on the Internet in Germany.</span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> </span></span><i><a data-mce-href="http://www.sehepunkte.de/" href="http://www.sehepunkte.de/" target="_blank" title="Sehepunkte"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Sehepunkte</span></span></a></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">,
a component of the portal, is the best place to look for book reviews
in the fie</span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">ld of history in Germany -all historical periods are included
and interdisciplinary works are also reviewed-, and </span></span><i><a data-mce-href="http://www.lesepunkte.de/home/" href="http://www.lesepunkte.de/home/" target="_blank" title="Lesepunkte"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Lesepunkte</span></span></a></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">, a third component of the portal, is a platform for history teachers. </span></span><i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Historicum.net</span></span></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> is one of the best online history projects in Germany which</span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> is supported
by the State Library of Bayern, the University of Cologne and </span></span><a data-mce-href="http://www.historicum.net/service/partner/" href="http://www.historicum.net/service/partner/" target="_blank" title="partners"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">many other German partners</span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">.</span></span><i><a data-mce-href="http://www.historicum.net/index.php?id=3478" href="http://www.historicum.net/index.php?id=3478" target="_blank"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> Chronicon</span></span></a></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> is a sophisticated search engine which allows better knowledge of the portal’s complete contents</span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">. The only criticism that could be rais</span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">ed -but
this is an important one- is that nothing, not even the basic
descriptions of the different contents of the portal, has been
translated into English for the purpose of informing better a worldwide
community of interested historians. Internet is, above all, access to
global knowledge and the language of such a worldwide communication is
English today, a language that was indeed used for some of the papers
published in the </span></span><a data-mce-href="http://www.zeitenblicke.de/2013/1/" href="http://www.zeitenblicke.de/2013/1/" target="_blank" title="zeitenblicke"><i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Zeitenblicke's</span></span></i></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> overview of the EUI History Department's research activities.</span></span><br />
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<img border="0" height="134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7NGeWYxxgQsEBgoHgr08Q7sycwxS4OPektt80o-muaCmC8fVjDIGB5Ni6sUv8uFFCF-Ol0CfyvkPgcQJj0ZVoH7UidshyideuBtM0UzhHmSnEIQI07R_Zbr6rER8vMDtJB5HAUg/s640/sehepunkte.png" width="640" /></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">The issue is the result of an important initiative by some EUI history Ph.D. researchers. These promote the intellectual output and activities of the EUI History and Civilization Department dialogging
with some </span></span><a data-mce-href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/Index.aspx" href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/Index.aspx" target="_blank" title="EUI HEC Department"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">EUI history department</span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">
members, professors and former professors. In doing so, they reproduced
in an online open access journal, the constant intellectual dialogue
that is happening between all components of the Department, Ph.D.
researchers, post-doctoral fellows, visiting scholars and professors,
during the whole academic year.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">The title of this </span></span><a data-mce-href="http://www.zeitenblicke.de/2013/1/" href="http://www.zeitenblicke.de/2013/1/" target="_blank" title="zeitenblicke"><i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Zeitenblicke</span></span></i></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> monograph issue is "</span></span><b><i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Current Historiographical Research at the European University Institute"</span></span></i></b><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">.
Interviewers and authors of this issue are EUI Ph.D. researchers:
Tilman Kulke, Moritz von Brescius, Robrecht Declercq and James White.
They are the authors of a global introduction to this issue: </span></span><a data-mce-href="http://www.zeitenblicke.de/2013/1/Introduction" href="http://www.zeitenblicke.de/2013/1/Introduction" target="_blank" title="intro"><i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Diversity in Unity: An Introduction to Historiography at the European University Institute</span></span></i></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">.</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Former EUI professors like Sebastian Conrad, Antonella Romano and Martin van Gelderen are interviewed together with the </span></span><a data-mce-href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/People/Professors/Romero.aspx" href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/People/Professors/Romero.aspx" target="_blank" title="Romero"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Head of the History Department, Federico Romero</span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">, Professor of History of Post-War European Cooperation and Integration and </span></span><a data-mce-href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/People/Professors/Flores.aspx" href="http://www.eui.eu/DepartmentsAndCentres/HistoryAndCivilization/People/Professors/Flores.aspx" target="_blank"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Jorge Flores</span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">,
Professor of History of European Colonial and Post-Colonial Systems and
Director of Graduate Studies in the Department. All the </span></span><a data-mce-href="http://www.zeitenblicke.de/2013/1/Abstracts/index_html" href="http://www.zeitenblicke.de/2013/1/Abstracts/index_html"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">abstracts </span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">and the different interviews are publically accessible in </span></span><a data-mce-href="http://www.zeitenblicke.de/2013/1/" href="http://www.zeitenblicke.de/2013/1/" target="_blank" title="zeitenblicke"><i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Zeitenblicke</span></span></i></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">:</span></span><br />
<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></span></div>
<ul align="justify" style="text-align: left;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivjVXAqEuBJu7z9lKNBLd5jEYSThTHii9HwqU-3j4A7M2EfsYErH6Nu_yxDxQgMz3elkwR38PTi9b7lyd0CY_extdPccP-uksHp4pV-PAYMTNBRS4DJ0TjFpa2mp0CRq2uIWq8RA/s1600/www.zeitenblicke.de+2013-9-17+10+11+37.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivjVXAqEuBJu7z9lKNBLd5jEYSThTHii9HwqU-3j4A7M2EfsYErH6Nu_yxDxQgMz3elkwR38PTi9b7lyd0CY_extdPccP-uksHp4pV-PAYMTNBRS4DJ0TjFpa2mp0CRq2uIWq8RA/s1600/www.zeitenblicke.de+2013-9-17+10+11+37.png" /></a>
<li><i><a data-mce-href="http://www.zeitenblicke.de/2013/1/Conrad" href="http://www.zeitenblicke.de/2013/1/Conrad"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Interview über die Globalgeschichte mit Professor Sebastian Conrad. Fragen von Moritz von Brescius und Tilmann Kulke</span></span></a></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><br data-mce-bogus="1" /></span></span></li>
<li><i><a data-mce-href="http://www.zeitenblicke.de/2013/1/Gelderen" href="http://www.zeitenblicke.de/2013/1/Gelderen"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Doing
Things with Intellectual History: An Interview with Martin van Gelderen
By Brian Kjær Olesen, Jonas Gerlings, Kaarlo Havu, Daniel Knegt, Matti
La Mela, and Thomas Ø. Wittendorff </span></span></a></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><br data-mce-bogus="1" /></span></span></li>
<li><i><a data-mce-href="http://www.zeitenblicke.de/2013/1/Romano-Flores/" href="http://www.zeitenblicke.de/2013/1/Romano-Flores/"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">The Cultural History of Empire. An Interview with Professor Antonella Romano and Professor Jorge Flores by Moritz von Brescius</span></span></a></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><br data-mce-bogus="1" /></span></span></li>
<li><i><a data-mce-href="http://www.zeitenblicke.de/2013/1/Romero/" href="http://www.zeitenblicke.de/2013/1/Romero/"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">International History at the EUI. An Interview with Professor Frederico Romero by Frank Gerits</span></span></a></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><br data-mce-bogus="1" /></span></span></li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivjVXAqEuBJu7z9lKNBLd5jEYSThTHii9HwqU-3j4A7M2EfsYErH6Nu_yxDxQgMz3elkwR38PTi9b7lyd0CY_extdPccP-uksHp4pV-PAYMTNBRS4DJ0TjFpa2mp0CRq2uIWq8RA/s1600/www.zeitenblicke.de+2013-9-17+10+11+37.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><br /></a>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">The essays published in </span></span><a data-mce-href="http://www.zeitenblicke.de/2013/1/" href="http://www.zeitenblicke.de/2013/1/" target="_blank" title="zeitenblicke"><i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Zeitenblicke</span></span></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> 12 (2013), Nr. 1</span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> and completing this series of interviews </span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">are the following:</span></span></div>
<ul align="justify" style="text-align: left;">
<li><a data-mce-href="http://www.zeitenblicke.de/2013/1/Gerits" href="http://www.zeitenblicke.de/2013/1/Gerits"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Frank Gerits</span></span></a><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">: An International Approach to the Cultural Cold War. French Public Diplomacy Towards Africa (1945-1965)</span></span></li>
<li><a data-mce-href="http://www.zeitenblicke.de/2013/1/Havu/" href="http://www.zeitenblicke.de/2013/1/Havu/"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Kaarlo Johannes Havu</span></span></a><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">: Erasmus on Sovereignty, Politics and Rhetoric in Institutio</span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> principis Christiani</span></span></li>
<li><a data-mce-href="http://www.zeitenblicke.de/2013/1/Obradors-Suazo" href="http://www.zeitenblicke.de/2013/1/Obradors-Suazo"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Carolina Obradors Suazo</span></span></a><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">: From Citizenship to Citizenry. Towards a cultural approach to the figure of the citizen in the 15th century Barcelona</span></span></li>
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</span></span>
<li><a data-mce-href="http://www.zeitenblicke.de/2013/1/Olesen" href="http://www.zeitenblicke.de/2013/1/Olesen"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Brian Kjær Olesen</span></span></a><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">: Entagled Positions. From Comparative and Transnational History to Histories of Possible Meanings</span></span></li>
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</span></span>
<li><a data-mce-href="http://www.zeitenblicke.de/2013/1/Schulz" href="http://www.zeitenblicke.de/2013/1/Schulz"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Jan-Hendrik Schulz</span></span></a><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">:
Kontinuität und Scheitern sozialrevolutionärer Terrorismen in den
1980er Jahren- die französische Action Directe (AD) und die westdeutsche
Rote Armee Fraktion (RAF) im Vergleich</span></span></li>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">These papers, as all <a data-mce-href="http://cadmus.eui.eu/handle/1814/1926" href="http://cadmus.eui.eu/handle/1814/1926" target="_blank" title="Cadmus HEC">scholarly output of the History Department</a>, are indexed in the EUI institutional repository, <a data-mce-href="http://cadmus.eui.eu" href="http://cadmus.eui.eu/" target="_blank" title="cadmus">Cadmus</a>:</span></span></div>
<ul align="justify" style="text-align: left;">
<li><a data-mce-href="http://hdl.handle.net/1814/27999" href="http://hdl.handle.net/1814/27999" target="_blank" title="cadmus"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Diversity in unity : an introduction to historiography at the European University Institute</span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">, by Tilman KULKE, Moritz VON BRESCIUS, Robrecht DECLERCQ and James WHITE</span></span></li>
<li><a data-mce-href="http://hdl.handle.net/1814/28000" href="http://hdl.handle.net/1814/28000" target="_blank"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">An international approach to the Cultural Cold War : French public diplomacy towards Africa (1945-1965)</span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">, by Frank GERITS</span></span></li>
<li><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAsrV-Mpxu65CK32VZyI_9KgnKJg2OPv4QVKGhUuFYnU4_OsKPDyRYNVQXArx1AEmDnincJRNT9SpPSKvhqUjg0RaoAO7kZOnADbVfkr_1TUkDD-Q9Lb5aQz_v9rlcMwkgXZzahw/s1600/www.eui.eu+2013-9-17+10+25+18.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAsrV-Mpxu65CK32VZyI_9KgnKJg2OPv4QVKGhUuFYnU4_OsKPDyRYNVQXArx1AEmDnincJRNT9SpPSKvhqUjg0RaoAO7kZOnADbVfkr_1TUkDD-Q9Lb5aQz_v9rlcMwkgXZzahw/s320/www.eui.eu+2013-9-17+10+25+18.png" width="320" /></a><a data-mce-href="http://hdl.handle.net/1814/28001" href="http://hdl.handle.net/1814/28001" target="_blank"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Erasmus on sovereignty, politics and rhetoric in Institutio principis Christiani </span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">by Kaarlo Johannes HAVU</span></span></li>
<li><a data-mce-href="http://hdl.handle.net/1814/28002" href="http://hdl.handle.net/1814/28002" target="_blank"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">From citizenship to citizenry : towards a cultural approach to the figure of the citizen in the 15th century Barcelona</span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">, by Carolina OBRADORS</span></span></li>
<li><a data-mce-href="http://hdl.handle.net/1814/28003" href="http://hdl.handle.net/1814/28003" target="_blank"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Entagled positions : from comparative and transnational history to histories of possible meanings</span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">, by Brian Kjær OLESEN</span></span></li>
<li><a data-mce-href="http://hdl.handle.net/1814/28004" href="http://hdl.handle.net/1814/28004" target="_blank"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Kontinuität
und Scheitern sozialrevolutionärer Terrorismen in den 1980er Jahren-
die französische Action Directe (AD) und die westdeutsche Rote Armee
Fraktion (RAF) im Vergleich</span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">, by Jan-Hendrik SCHULZ.</span></span></li>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-85033485134703834092013-08-22T22:22:00.002+02:002013-09-21T09:12:59.995+02:00Why Public History? Building a Round Table for the CISH Jinan World History Congress, August 2015<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrEUD7NIe7RFDqR8FtKkbrlslwccxJ8GaE7h39ggCg8EmVVjigWPpyib9u8SJdiIEUtxbM-QMMjoiy5XHSUfuTeT-c87bgFJ0cKbWjkMQm6F74LmmX8aHscA5a2q7uoYk1iDlepA/s1600/IFPH.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrEUD7NIe7RFDqR8FtKkbrlslwccxJ8GaE7h39ggCg8EmVVjigWPpyib9u8SJdiIEUtxbM-QMMjoiy5XHSUfuTeT-c87bgFJ0cKbWjkMQm6F74LmmX8aHscA5a2q7uoYk1iDlepA/s200/IFPH.png" width="200" /></a>As <a href="http://www.cish.org/membres/commissions-internes.htm#public" style="border: 0px; color: #1982d1; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank" title="IFPH, Internal Commission of the ICHS">permanent internal commission </a>of the<a href="http://www.cish.org/membres/commissions-internes.htm#public" style="border: 0px; color: #1982d1; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank" title="IFPH, Internal Commission of the ICHS"> </a><a href="http://www.cish.org/" style="border: 0px; color: #1982d1; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank" title="CISH-ICHS">CISH-ICHS</a>, the IFPH-FIHP is fostering the broadest possible international participation to the <a href="http://www.publichistoryint.org/wordpress/?page_id=90" target="_blank">Call for Paper</a> launched by the <i>Comité International des Sciences Historiques – International Committee of Historical Sciences </i>and especially for the round table on “<strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Why Public History?”, </strong>organized by Arnita Jones (American Historical Association, USA, Secretary of the<a href="http://www.publichistoryint.org/wordpress/?page_id=10" target="_blank"> IFPH Steering Committee</a>) together with Alix Green (<span style="font-family: inherit; font-style: inherit;">University of Hertfordshire, </span><span style="font-family: inherit; font-style: inherit;">UK, Member of the IFPH-FIHP) during the next 22nd world history congress that will take place in Jinan, China in August 2015.</span></div>
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The deadline for the call for discussants is November 30, 2013.</div>
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The full CFP is available as a <a href="http://www.cish.org/congres/RT9-Why-Public-History.pdf" style="border: 0px; color: #1982d1; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" target="_blank" title="RT 9 Jinan CFP">PDF document</a> on the CISH-ICHS website but is also fully reproduced here below.</div>
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<span style="font-size: large; font-style: inherit;"><span style="border: 0px; font-family: Helvetica; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><i>XXIInd</i></span><span style="border: 0px; font-family: Helvetica; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><i> Comit</i></span></span><span lang="EN-US" style="font-family: Perpetua, serif;"><i><span style="font-size: x-large;">é</span></i></span><span style="font-size: large; font-style: inherit;"><span style="border: 0px; font-family: Helvetica; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><i> International des Sciences Historiques </i></span></span></h2>
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<span style="font-size: large;"><span style="border: 0px; font-family: Helvetica; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><i>(</i></span><span style="border: 0px; font-family: Helvetica; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><i>CISH-ICHS) Congress</i></span></span></h2>
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<span style="border: 0px; font-family: Helvetica; font-size: large; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Jinan, China 23 to 29 August 2015</span></h2>
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<span style="border: 0px; font-family: Helvetica; font-size: large; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><b>Round Table n.9: </b></span><strong style="background-color: transparent; border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><em style="border: 0px; font-family: inherit; font-weight: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><span style="font-size: large;">Why Public History?</span></em></strong></h2>
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One of the major difficulties in exploring and explaining public history—and the role of public historians—is the on-going issue of definition. Definitions are shaped by context, and can display significant differences and tensions, both within national disciplinary communities and between them.</div>
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Writing in 1991, former World History Association president, Alfred J. Andrea, offered a breadth of scope in his definition that offers, at least, a point of departure. He sees public history as the application of ‘historical skills and perspectives in the services of a largely non-academic clientele,’ and of ‘the dimension of historical time in helping to meet the practical and intellectual needs of society at large’. His range of examples of public history take in public policy analysis, the understanding of cultural heritage, and helping a corporation ‘plan its future through an understanding of its past’.<a href="http://sergenoiret.blogspot.it/2013/08/CISHPublicHistoryJinan2015.html#note1" style="border: 0px; color: #1982d1; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;" title="note1">1</a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVDBjEPYyk_TFXTyVi3ODBYR5PQRBECKzfmnsza2y1TJc7oMwPc7td7nRKZyGY3l_PAospBd96P5uZ2BJbeC8OAFgcg3D6vxWkmga75wu-FY8c-YloJLVQ5WS6OMhpPDnAA2t1jQ/s1600/CISH-Jinan-2015.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVDBjEPYyk_TFXTyVi3ODBYR5PQRBECKzfmnsza2y1TJc7oMwPc7td7nRKZyGY3l_PAospBd96P5uZ2BJbeC8OAFgcg3D6vxWkmga75wu-FY8c-YloJLVQ5WS6OMhpPDnAA2t1jQ/s320/CISH-Jinan-2015.png" width="320" /></a>Yet it is easy to become overly pre-occupied with definition. The inevitable difficulties involved – and the reality that any outcome will be contested – can prevent further enquiry. We can ask what public historians do, and present the diversity of activities as a proxy for definition, but there is a need to be more intellectually ambitious. The paper that this roundtable will discuss will propose a different way to proceed. One powerful way to explore what public history is is to ask ‘why is public history as it is?’. This approach allows us to consider those important questions of context, to draw out the influences that have shaped public history fields in different contexts and to make comparisons that point to further development and dialogue.</div>
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This roundtable will therefore have a comparative dynamic. Taking a global perspective will undoubtedly reveal many differences in terms of public history’s concerns, priorities and self-conceptions. But we imagine we will identify far more things in common. The search of affinities – as the basis by which international conversations about public history can begin – is one of our central aims.</div>
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We do not anticipate or prescribe the topics or questions respondents will want to focus on. Rather, we suggest here a number of purposes to which history can be put in public as a way to start the thinking process.</div>
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The purpose of a distinctive form of knowledge will affect how people should be prepared for practice. What are the requirements of a public history education and how might those be captured in qualifications? The term ‘public’ conceals a whole array of constituencies with different, sometimes conflicting, perspectives and interests. What might determine their relative prominence and how might we understand and mediate between groups? The legitimacy of collaboration with certain groups, for example policymakers or marginalized constituencies such as offenders, is an area for consideration. For every purpose, a set of responsibilities is entailed: how can public historians respond to and manage these obligations?</div>
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Commentators are not limited to these areas of enquiry; we welcome consideration of any aspect of public history that responds to the paper with the broad aims of the roundtable in mind.<br />
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Alix Green<br />
a.r.green [at] herts.ac.uk<br />
Lecturer in History and Policy University of Hertfordshire</div>
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Arnita Jones<br />
arnitajones [at] gmail.com<br />
Executive Director Emerita, American Historical Association</div>
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<span style="border: 0px; font-family: Helvetica; font-size: x-small; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">(1) </span><span style="border: 0px; font-family: Helvetica; font-size: x-small; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">Andrea, ‘On public history’, </span><span style="border: 0px; font-family: Helvetica; font-size: x-small; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><i>Historian </i></span><span style="border: 0px; font-family: Helvetica; font-size: x-small; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">53 (1991) p. 381.</span></div>
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Les propositions ne doivent pas dépasser 2.500 signes et doivent être envoyées avec une courte biographie, simultanément aux organisateurs (Alix Green et Arnita Jones) et au secrétaire général du CISH Robert Frank : <a href="mailto:sgcish1@gmail.com" style="border: 0px; color: #1982d1; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; text-decoration: none; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">sgcish1@gmail.com </strong></a>au plus tard <strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">le 30 novembre 2013</strong></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMia7LqS56SgUldElzW81tu8HFp5m4r47UP-Zbx3dms5tOSXqjirVmgOl4GiRxtSuZjunzWPpS_Zb1O-FHUpxx23GR9nhuokNVEnV5hb-gc9XAYYhyphenhyphenvYmE3GiFSDa8hbDoqp55yw/s1600/CFP-Public_History-Jinan-2015-full.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMia7LqS56SgUldElzW81tu8HFp5m4r47UP-Zbx3dms5tOSXqjirVmgOl4GiRxtSuZjunzWPpS_Zb1O-FHUpxx23GR9nhuokNVEnV5hb-gc9XAYYhyphenhyphenvYmE3GiFSDa8hbDoqp55yw/s320/CFP-Public_History-Jinan-2015-full.png" width="320" /></a>Proposals should be a maximum of 2.500 characters – 350 words and should be sent with a short biographical note to the organizers <span style="font-family: inherit; font-style: inherit;">(Alix Green and Arnita Jones) </span><span style="font-family: inherit; font-style: inherit;">and to the Secretary General Robert Frank : </span><a href="mailto:sgcish1@gmail.com" style="border: 0px; color: #1982d1; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;"><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">sgcish1@gmail.com</strong></a><span style="font-family: inherit; font-style: inherit;">. by the </span><strong style="border: 0px; font-family: inherit; font-style: inherit; margin: 0px; outline: 0px; padding: 0px; vertical-align: baseline;">30th November 2013.</strong></div>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-91010720158260844112013-08-21T12:01:00.000+02:002013-11-01T11:04:12.194+01:00Symposium: "Reading historical sources in the digital age", 5–6 December 2013, Luxembourg, Call for Paper extended to September 4<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRvhT9ZQXi0najzBOFQQHSmuu2mVcintL3dVs51Uy-kwJOwae9cExlGJaac_PapeJsGYXOITUJVQGXwc27LlBKNv_h5JQvcCuFmUit5ljAQvpdnpk6Q_mDmlrUeOIIQQZp0TXipw/s1600/51f3b3459d29c9cbc90000fc.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="117" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRvhT9ZQXi0najzBOFQQHSmuu2mVcintL3dVs51Uy-kwJOwae9cExlGJaac_PapeJsGYXOITUJVQGXwc27LlBKNv_h5JQvcCuFmUit5ljAQvpdnpk6Q_mDmlrUeOIIQQZp0TXipw/s200/51f3b3459d29c9cbc90000fc.jpeg" width="200" /></a><span style="font-family: Trebuchet MS, sans-serif;"><span class="textexposedshow"><span lang="EN-US" style="background: white; font-family: "Trebuchet MS","sans-serif"; mso-ansi-language: EN-US;"><br /></span></span></span>
<span style="font-family: Georgia, Times New Roman, serif;"><span class="textexposedshow"><span lang="EN-US" style="background: white; font-family: "Trebuchet MS","sans-serif"; mso-ansi-language: EN-US;">This year the <a href="http://www.digitalhumanities.lu/" target="_blank">DHLU Symposium</a> is the 3rd </span></span><span class="textexposedshow"><span style="background: white; font-family: "Trebuchet MS","sans-serif"; mso-bidi-font-weight: bold;"><b><span lang="EN-US" style="color: #c00000; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">DIgital HUmanities Luxembourg</span></b><span lang="EN-US" style="color: windowtext; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;"> conferenc</span><span lang="EN-US" style="color: windowtext;">e</span></span></span><span class="textexposedshow"><span lang="EN-US" style="background: white; font-family: "Trebuchet MS","sans-serif"; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">. </span></span><span lang="EN-US" style="line-height: 18px;">The <a href="http://www.digitalhumanities.lu/?p=372" target="_blank">PDF version of the CFP is available online </a>and is published integrally below.</span></span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="textexposedshow"><span lang="EN-US" style="background: white; font-family: "Trebuchet MS","sans-serif"; mso-ansi-language: EN-US; mso-bidi-font-weight: bold;">The
Symposium </span></span><span class="textexposedshow"><span lang="EN-US" style="background: white; font-family: "Trebuchet MS","sans-serif"; mso-ansi-language: EN-US;">will take place on the 5 and 6 December 2013 in Luxembourg. I <a href="http://sergenoiret.blogspot.it/2013/07/dhlu-2009-lhistoire-contemporaine-lere.html" target="_blank">already mentioned the past two editions</a> of DHLU in <i>Digital & Public History</i>, and the publication by Peter Lang, this summer 2013, of an edited book with papers presented during the first DHLU Symposium in 2009.</span></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span class="textexposedshow"><span lang="EN-US" style="background: white; font-family: "Trebuchet MS","sans-serif"; mso-ansi-language: EN-US;">This new </span></span><span class="textexposedshow"><span style="background: white;"><span lang="EN-US" style="color: windowtext; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">Call For Papers integrates three different approaches to the use of primary sources, secondary sources and to the process of writing history in the digital age: </span></span></span></span></div>
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<li><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 18px;">Distant/close reading (Data retrieval, analysis and visualization); </span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 18px;">Community reading </span></li>
<li><span style="font-family: Georgia, 'Times New Roman', serif; line-height: 18px;">Writing history &amp and Assessing scholarship. </span></li>
</ul>
<span style="font-family: Georgia, 'Times New Roman', serif; line-height: 115%; text-align: justify;"><span lang="EN-US">The CFP<b> </b></span></span><span class="textexposedshow" style="font-family: Georgia, 'Times New Roman', serif; line-height: 115%;"><span style="background: white;"><span lang="EN-US" style="color: windowtext;">was open</span></span></span><span class="textexposedshow" style="font-family: Georgia, 'Times New Roman', serif; line-height: 115%;"><span lang="EN-US" style="background: white; font-family: "Trebuchet MS","sans-serif"; mso-ansi-language: EN-US;"> until the 20th of August but
<b>has now been extended until the 4th of September. </b></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span lang="EN-US" style="background: white; font-family: "Trebuchet MS","sans-serif"; mso-ansi-language: EN-US;"><span class="textexposedshow"><b>DHLU 2013</b> -<span style="color: #c00000;"><a href="http://www.digitalhumanities.lu/"><span style="color: #c00000;">http://www.digitalhumanities.lu/</span></a></span>-
is organized by t</span></span><span class="textexposedshow"><span style="background: white;"><span lang="EN-US" style="color: windowtext; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">he <a href="http://www.cvce.eu/" target="_blank">CVCE</a></span></span></span><span class="textexposedshow"><span lang="EN-US" style="background: white; font-family: "Trebuchet MS","sans-serif"; mso-ansi-language: EN-US;">, together with the Jean Monnet Chair
in History of European Integration (University of Luxembourg, FLSHASE) and its
research programme ‘Digital Humanities Luxembourg’ — DIHULUX (research
unit <a href="http://wwwen.uni.lu/research/flshase/identites_politiques_societes_espaces_ipse" target="_blank"><i>Identités-Politiques-Sociétés-Espaces</i> (IPSE)</a>) — and the
<a href="http://wwwen.uni.lu/studies/flshase/master_en_histoire_europeenne_contemporaine_academique" target="_blank">University of Luxembourg’s Master’s in Contemporary European History</a>. </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRvhT9ZQXi0najzBOFQQHSmuu2mVcintL3dVs51Uy-kwJOwae9cExlGJaac_PapeJsGYXOITUJVQGXwc27LlBKNv_h5JQvcCuFmUit5ljAQvpdnpk6Q_mDmlrUeOIIQQZp0TXipw/s1600/51f3b3459d29c9cbc90000fc.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-family: Georgia, Times New Roman, serif;">"The Symposium will be structured around
the following research clusters, but may also include other related approaches. </span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span style="background-color: white; line-height: 115%;">After the inaugural DHLU Symposium in 2009 that focused on ‘Contemporary
history in the digital age’ and <a href="http://www.digitalhumanities.lu/?page_id=335" target="_blank">a second edition which tackled the methodological and theoretical implications of considering websites as primarysources (March 2012)</a>, this third edition will focus on the </span><span style="line-height: 115%;"><b>use of online
thematic research corpora</b></span><span style="background-color: white; line-height: 115%;">.</span></span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS","sans-serif"; mso-ansi-language: EN-US;"><span style="background-color: white; font-family: Georgia, Times New Roman, serif; line-height: 115%;"><br /></span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><span lang="EN-US" style="font-family: "Trebuchet MS","sans-serif"; mso-ansi-language: EN-US;"><span style="background: white;">
Given that more and more sources for contemporary history are being made
available online as digital research corpora — </span></span><span style="background: white;"><a href="http://www.cvce.eu/" target="_blank"><span lang="EN-US" style="color: windowtext; mso-ansi-language: EN-US; text-decoration: none; text-underline: none;">as on the
CVCE’s site</span></a></span><span lang="EN-US" style="background: white; font-family: "Trebuchet MS","sans-serif"; mso-ansi-language: EN-US;"> — and following on from the
first two editions which examined the methods used to develop these sources,
this third edition of Digital Humanities Luxembourg will focus on the various
ways in which this material is used by humanities researchers, particularly
contemporary historians and more specifically specialists in European
integration.</span></span></div>
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<span style="font-family: Georgia, Times New Roman, serif;"><b>Distant/close reading — Data retrieval, analysis and visualization</b></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">As increasing quantities of historical data are published on the web, the prospect of making simple use of these data — i.e. reading PDFs on screen or printing them out to read on paper — is becoming increasingly less realistic and methodologically sustainable. What options are open to researchers, and what are the concomitant methodological issues? This cluster will cover various themes, including: (big) data, text mining and semantic analysis, quantitative data approaches, network analysis, data visualisation (including GIS), and more generally the links between distant and close readings.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;"><b>Community reading</b></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Several online digital thematic collections, and more generally many online services available for research, offer users the possibility of registering, and sometimes of working together with other researchers, either directly or indirectly. This can lead to a collaborative and interactive reading of historical sources. Moreover, given the proliferation of these collections, what challenges and opportunities exist for cooperation and interoperability between communities? What consequences will this have on the way we currently conduct research in the humanities?</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;"><b>Writing history & Assessing scholarship</b></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Once researchers begin to use digital thematic collections, will it change the way they write history? This cluster will include practical papers (e.g. on how to cite digital resources) as well as more theoretical ones. It will also embrace issues relating to the validity and quality of data and research outputs based on digital thematic collections, as well as the evaluation of those collections as a new kind of online scholarly publication.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">We welcome papers focusing on digital humanities and social sciences from researchers and scholars at all stages of their careers. Papers examining cases related to European integration studies (EIS) are especially encouraged. Abstracts (max. 500 words), submitted together with a short CV (max. 250 words) and a list of publications, can be written in English or French and should be sent to the following contact email address, which can also be used for any enquiries: symposium.dhlu@cvce.eu.</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">The authors of the selected proposals will be invited to present their contributions in French or English at the DHLU Symposium 2013, to be held in Luxembourg, and their papers will be published in the Symposium proceedings (only English versions of the revised full papers will be accepted for publication). Participation costs will be covered up to a set limit.</span><br />
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<span style="font-family: Georgia, Times New Roman, serif;"><b>Scientific committee</b></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">- Claire Clivaz (University of Lausanne)</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">- René Leboutte (University of Luxembourg)</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">- Claudine Moulin (Trier University)</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">- Serge Noiret (European University Institute, Florence)</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">- Stéfan Sinclair (McGill University)</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">- Marianne Backes (CVCE)</span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;"><b>Coordination: </b></span><br />
<span style="font-family: Georgia, Times New Roman, serif;"><br /></span>
<span style="font-family: Georgia, Times New Roman, serif;">Lars Wieneke (CVCE)</span><br />
<span style="font-family: Georgia, Times New Roman, serif;">symposium.dhlu@cvce.eu</span><br />
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-33843279893917489592013-08-10T20:09:00.000+02:002013-08-19T13:02:25.339+02:00Uses and abuses of History: the first Public History international conference in Greece<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP7WOsOLOijiArgwHuhbScSL9AKrJhi9bUz3m4hrfGmASskmc25OpV_C592BjlWB-QR8FtQ5HHvSmfizZP_BT-wLcAxV-_XLnvf-mtB8bU8icmstZpYIFurKrt0mPEky7SfHb8nw/s1600/AFISA-ENG.jpg" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP7WOsOLOijiArgwHuhbScSL9AKrJhi9bUz3m4hrfGmASskmc25OpV_C592BjlWB-QR8FtQ5HHvSmfizZP_BT-wLcAxV-_XLnvf-mtB8bU8icmstZpYIFurKrt0mPEky7SfHb8nw/s640/AFISA-ENG.jpg" width="321" /></a><span style="font-family: Trebuchet MS, sans-serif;"> </span><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;"> Between
the 30rd of August and the 1st of September, the IFPH-FIHP (</span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;"><a href="http://publichistoryint.org/"><span lang="EN-US" style="color: blue; mso-ansi-language: EN-US;">International Federation for Public History</span></a></span><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">) will sponsor a Public History Conference
in Greece. </span><br />
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<span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">This Greek </span><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">Public history symposium could </span><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">become starting 2014-2015, a regular <i>International
Public History Summer School </i>sponsored by the IFPH-FIHP. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;"> The conference is entitled </span><b><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">Use and Abuse of History: the Public
History in Greece</span></b><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;"> and is organized
by the University of Macedonia thanks to the Municipality of Volos</span><b><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">. </span></b><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">This Greek Public history symposium focuses on
several aspects and issues that are central to Public History discussions in
continental Europe. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;"> </span><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">I met one of the scientific promoter, </span><span lang="EN-US" style="background: white; color: #333333; font-family: "Trebuchet MS","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"><a href="http://www.ihu.edu.gr/gateway/expertise/staff/Antoniou_Giorgos.html" target="_blank"><span style="color: blue;">Giorgos </span></a><a href="http://www.ihu.edu.gr/gateway/expertise/staff/Antoniou_Giorgos.html" target="_blank"><span style="color: blue;">Antoniou</span></a>, (School of
Humanitie</span><span lang="EN-US" style="background-color: white; background-position: initial initial; background-repeat: initial initial; font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">s, International Hellenic
University, Thessaloniki,</span><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;"> <span style="background: white;"><a href="mailto:g.antoniou@ihu.edu.gr"><span style="color: blue;">g.antoniou at ihu.edu.gr</span></a>) at the</span> <span style="background: white;"><a href="http://www.eui.eu/" target="_blank"><span style="color: blue;">European University Institute</span></a></span> <span style="background: white;">in Florence when he was a Ph.D. student in the History
Department. In 2006, at the end of his stay at the EUI, </span><span style="background: white;">Antoniou co-edited </span>with Professor Luisa Passerini<span style="background: white;"> a special issue of the Italian contemporary history
journal</span> <i><span style="background: white;">Memoria e Ricerca</span></i>
on the <a href="http://www.fondazionecasadioriani.it/modules.php?name=MR&op=showfascicolo&id=36" target="_blank"><span style="color: blue;">Memory of Civil Wars in contemporary
Societies</span></a>. Antoniou took recently part in our IFPH-FIHP
panel </span><i><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">Public History:
Cohesive or Disruptive ? Remembering Civil Wars and Violent Sub-National
Conflicts, </span></i><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">at the a</span><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">nnual
Meeting of the </span><span style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;"><a href="http://ncph.org/" target="_blank"><span lang="EN-US" style="color: blue; mso-ansi-language: EN-US;">National Council on Public History</span></a></span><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">, (NCPH) in Ottawa, Ontario, Canada,
April 17-20, 2013, “</span><i><span style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;"><a href="http://ncph.org/cms/conferences/2013-annual-meeting/" target="_blank"><span lang="EN-US" style="color: blue; mso-ansi-language: EN-US;">Knowing your Public(s).
The Significance of Audiences in Public History</span></a></span></i><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">”. </span></div>
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<span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;">This panel, as you can see below,
focused on some of the themes that will be discussed during the Public History
conference in Greece this month. <o:p></o:p></span></div>
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<span lang="EN-US" style="font-family: "Trebuchet MS","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Dirk Moses (</span><span lang="EN-GB" style="font-family: "Trebuchet MS","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">European University Institute</span><span lang="EN-US" style="font-family: "Trebuchet MS","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">)</span><span lang="EN-GB" style="font-family: "Trebuchet MS","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">, </span><span lang="EN-US" style="font-family: "Trebuchet MS","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">will deliver the keynote speech on <i>How and Why
the Use and Abuse of History is Inescapable, Inevitable and Invaluable for
Public Life;</i> </span><span lang="EN-GB" style="font-family: "Trebuchet MS","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Simon Prince </span><span lang="EN-US" style="font-family: "Trebuchet MS","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">(</span><span lang="EN-GB" style="font-family: "Trebuchet MS","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">Canterbury University</span><span lang="EN-US" style="font-family: "Trebuchet MS","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">)</span><span lang="EN-GB" style="font-family: "Trebuchet MS","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> will deliver a paper on<i> The Failure to Address the Past in
Northern Ireland.</i></span><span lang="EN-US" style="font-family: "Trebuchet MS","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;"> I will talk
about the “History of Public History”: </span><i><span lang="EN-GB" style="font-family: "Trebuchet MS","sans-serif"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">From Local to Global and back again: The History
and Internationalization of Public History</span></i><span lang="EN-US" style="font-family: "Trebuchet MS","sans-serif"; font-size: 12.0pt; mso-bidi-font-family: "Times New Roman"; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: IT;">. Greek participants will analyze several key issues concerning Public
Historians confronted with the use and abuse of history in today's Greek divided
society. <o:p></o:p></span></div>
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<i><span style="font-family: Trebuchet MS, sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho2idFYvcHjUgDkX-qCoRLB6HLggeJdjxsykEI6J-nMXqXCdk8JMV6-XrqBXjNhrdr28wH5o39jn-KE84swSeWERVB5Rvf23MQ4Vp0hlO4s88Lm4c-ytLv1bupk6ZqWkpFxRPPKA/s1600/IFPH.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho2idFYvcHjUgDkX-qCoRLB6HLggeJdjxsykEI6J-nMXqXCdk8JMV6-XrqBXjNhrdr28wH5o39jn-KE84swSeWERVB5Rvf23MQ4Vp0hlO4s88Lm4c-ytLv1bupk6ZqWkpFxRPPKA/s200/IFPH.png" width="200" /></a></span></i></div>
<i><span style="font-family: Trebuchet MS, sans-serif;"> </span></i><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; font-size: 12pt;"><b>Public History: Cohesive or Disruptive ? Remembering Civil Wars and Violent Sub-National Conflicts</b></span></div>
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<i><span style="font-family: Trebuchet MS, sans-serif;">"When Public Historians address,
through different media and languages, the history of Civil Wars with their
opposed and contested memories, do they actually provide a better public understanding
of the past? Telling the history of civil wars and violent turmoil is a
slippery terrain for Public Historians, one that entails a serious risk. The
irreducibly factious memories of civil wars serve to justify and sustain
today’s confrontation of political ideologies. </span></i><i style="text-indent: 36pt;"><span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-GB">Some national societies were -during
their recent nation building processes- so heavily divided that their different
communities engaged in destructive civil wars and violent confrontations. The
opposed memories that emerge after such wars and confrontations, shape a
reality characterized by a complex historical heritage and a complex mixtures
of ideological deadlocks and political confrontations. The work of Public
Historians becomes in such cases particularly difficult. If a Public Historian
engages in the celebrations of Civil Wars i</span><span lang="EN-GB">n contemporary cultural
and political debates or through historical museums and exhibitions, websites and digital media, s/he
has to be aware of the influence that opposed memories play in shaping the way
through which past events are presented to the public. This raises a key
question, having to do with the minimum requirements of a “commonly accepted
history”. Is being aware of the difficulties that dealing with opposed memories
entails enough for a historian to write a </span>commonly accepted
history of Civil Wars? Or, on the opposite, is a commonly accepted history
possible only many generations after the war has taken place, when opposed
memories are likely to be forgotten, and the past can no longer be used to as a
divisive tool? <span lang="EN-GB" style="text-indent: 36pt;">Civil Wars
Public History deals with collective identities at different levels: from
local memories to the construction of nations’ common past. This is true also
of the cases in which it is disputed whether a “Civil war” actually occurred
(e.g. the resistance to the Vichy
government in France or the Northern Ireland conflict)."</span></span></i></div>
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<b><span style="font-family: Trebuchet MS, sans-serif; text-align: justify;">This is the English version of the </span><span style="font-family: 'Trebuchet MS', sans-serif; text-align: justify;">conference </span><span style="font-family: 'Trebuchet MS', sans-serif; text-align: justify;">program. </span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXfhUMZUC4IPhjJwxMr3_EMrzBPNshoN0XwE4VKm4MkQRwQOa4jWE69mYsjbVn9rs4Z9cO8tiHthO2plCR5SKBQasi-mcb8MF4e7nGR2CfUulROfMeEXZtH-7JU_iXKebUYrPF6A/s1600/2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXfhUMZUC4IPhjJwxMr3_EMrzBPNshoN0XwE4VKm4MkQRwQOa4jWE69mYsjbVn9rs4Z9cO8tiHthO2plCR5SKBQasi-mcb8MF4e7nGR2CfUulROfMeEXZtH-7JU_iXKebUYrPF6A/s200/2.jpg" width="200" /></a><br />
<b><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif; font-size: large;">USES AND ABUSES OF HISTORY:</span></span></b><br />
<b><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: large;">PUBLIC HISTORY IN GREECE</span></span></span></b><br />
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<b><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Municipality of Volos, </span></span></b><b><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Conference Hall</span></span></b><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span lang="EN-US">August 30<sup>th</sup> – September 1<sup>st</sup> 2013</span></b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy9INfjDA23c6Gkz5i0DsGSkhT8fnhHF4QIt2kj3UZgJSY9hSiDW2ct5wu_gXSQyArwj1BmKBcOq_BjFpjFkgPGEjKYes5wFzxVp38VKizxWKGvu49Sm4Nv4u7YIaOhClUk4ehHA/s1600/3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="92" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy9INfjDA23c6Gkz5i0DsGSkhT8fnhHF4QIt2kj3UZgJSY9hSiDW2ct5wu_gXSQyArwj1BmKBcOq_BjFpjFkgPGEjKYes5wFzxVp38VKizxWKGvu49Sm4Nv4u7YIaOhClUk4ehHA/s200/3.jpg" width="200" /></a><span style="font-family: Trebuchet MS, sans-serif;"><b><u><span lang="EN-US">Friday</span></u></b><b><u><span lang="EN-GB"> August 30<sup>th</sup></span></u></b><span lang="EN-GB"> <o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil4cLRSiBNeA7F5wgpwnonmO2WA3fCSz9ha9oCAetlp_7he5PKNa5bAch1-EPjoZdmKmSpo3Q3000kvwsCdyBC5A-Sfg4qlCnZ1gBitlgFRAYArFQw3atbB1wm-DRQ7rT2jaGmvw/s1600/4.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"></a><span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">11</span><span lang="EN-GB">:</span><span lang="EN-US">3</span><span lang="EN-GB">0 </span><span lang="EN-US">Opening</span><span lang="EN-GB"> – </span><span lang="EN-US">Welcome <o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span lang="EN-US">Opening Lecture</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">12:00 </span><span lang="EN-GB">-</span><span lang="EN-US"> 12:</span><span lang="EN-GB">30</span><span lang="EN-US"><o:p></o:p></span></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Serge
Noiret (</span><span lang="EN-GB">European University Institute,</span><span lang="EN-US"> IFPH),</span><span lang="EN-US"> </span><i><span lang="EN-GB">From Local to Global and back again: The History and
Internationalisation of Public History</span></i><span lang="EN-GB"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDTRFwb5DWv_czzVxmC5172t5KQ2UnxIGNtRoYYjB48Xe5ldrtOz0mDO74hf83P_kPs03H6WeYJIILbVKiuAq31wmBA-AGzT50o7QvJxlRJ7R98F2AdwT0SSZVELTgLWs9qTLhJA/s1600/conference_PH_volos.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDTRFwb5DWv_czzVxmC5172t5KQ2UnxIGNtRoYYjB48Xe5ldrtOz0mDO74hf83P_kPs03H6WeYJIILbVKiuAq31wmBA-AGzT50o7QvJxlRJ7R98F2AdwT0SSZVELTgLWs9qTLhJA/s400/conference_PH_volos.jpg" width="191" /></a></div>
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">12.30-14.00<o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Session </span><span lang="EL">Ι</span><span lang="EN-US">: <b>Internet and Public History</b><span class="apple-converted-space"><o:p></o:p></span></span></span></div>
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<span class="apple-converted-space"><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Chairman: Andreas Andreou
(University of Western Macedonia)<o:p></o:p></span></span></span><br />
<span class="apple-converted-space"><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></span></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Maria Bontila (PhD in History), <i>Internet adventures of Public History: A
case study.</i></span></span><br />
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i></span></span>
<span style="font-family: 'Trebuchet MS', sans-serif;">Dimitris Bilalis (University of
Thessaly), </span><i style="font-family: 'Trebuchet MS', sans-serif;">The nation, the parasite and
the virus. Aspects of historical culture in the Greek web</i></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Xenia Eleftheriou (</span><span lang="EN-US">PhD
candidate, Aristotle University of Thessaloniki), <i>Public History as a conflictual issue: The Holocaust of Greek Jews in
the Internet</i></span><i><span lang="EN-US"><o:p></o:p></span></i></span></div>
<div class="ecxmsonormal" style="background: white; margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<b><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Lunch Break</span></span></b></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<br /></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span class="apple-converted-space"><b><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Lecture<o:p></o:p></span></span></b></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span class="apple-converted-space"><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">16:30 - 17.00<o:p></o:p></span></span></span><br />
<span class="apple-converted-space"><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></span></div>
<div class="ecxmsonormal" style="background: white; margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-GB">Simon Prince </span><span lang="EN-US">(</span><span lang="EN-GB">Canterbury University</span><span lang="EN-US">)</span><span lang="EN-GB">,</span><span lang="EN-GB"> </span><i><span lang="EN-US">«</span></i><i><span lang="EN-GB">No Lack of Ghosts</span></i><i><span lang="EN-US">»</span></i><i><span lang="EN-GB">: The Failure to
Address the Past in Northern Ireland</span></i><span lang="EN-GB"> <o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<br /></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span class="apple-converted-space"><span lang="EN-US">17.00 - 18:30</span></span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Session I</span><span lang="EL">Ι</span><span lang="EN-US">:<b>
Historiography and Public History</b><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Chairman: Polymeris Voglis
(University of Thessaly)<o:p></o:p></span></span><br />
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
<div class="WW-Default" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Stratos
Dordanas (<span class="apple-converted-space">University of Macedonia</span>),<i> Goldhagen, the “New Wave” and the
“Dialogues about History”: Aspects and terms of Public History in Germany and
in Greece</i><o:p></o:p></span></span></div>
<div class="WW-Default" style="margin-top: 6.0pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Elli
Lemonidou (University of Patras), <i>Public
History: The international experience and the Greek paradigm<o:p></o:p></i></span></span></div>
<div class="WW-Default" style="margin-top: 6.0pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Tasoula
Vervenioti (PhD in History), <i>Groups of oral
history. Between public and academic history</i><o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">19.00-20.00<o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<b><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Key-note Lecture<o:p></o:p></span></span></b><br />
<b><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></b></div>
<div class="ecxmsonormal" style="background: white; margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Dirk Moses (</span><span lang="EN-GB">European University Institute</span><span lang="EN-US">)</span><span lang="EN-GB">, </span><i><span lang="EN-US">How and Why the Use and Abuse of History is Inescapable, Inevitable and
Invaluable for Public Life</span></i><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<br /></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">20.00-21.30<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Session </span><span lang="EN-GB">ΙΙΙ</span><span lang="EN-US">:<b> Oral Testimonies
and Public History</b></span><span lang="EN-US" style="line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-size: 11.5pt;"><o:p></o:p></span></span><br />
<span style="font-family: 'Trebuchet MS', sans-serif; line-height: 150%;">Chairwoman: Afroditi Athanasopoulou (University of Cyprus)</span><br />
<span style="font-family: 'Trebuchet MS', sans-serif; line-height: 150%;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Ifigeneia Vamvakidou (<span class="apple-converted-space">University of Western Macedonia</span>) –
Andromachi Solaki (historian) – Athanasios Tsiglopoulos (pre-school teacher), <i>Oral history and memories in the Lofoi of Florina<o:p></o:p></i></span></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Vassilis Dalkavoukis (Democritus
University of Thrace) – Katerina Tsekou (PhD in History), </span><span class="DefaultChar"><i><span lang="EN-US">Building Public
History in the space. The case of the monuments of Komotini</span></i></span><span class="apple-converted-space"><span lang="EN-US"><o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span class="apple-converted-space"><span lang="EN-US">Andreas
Andreou </span></span><span lang="EN-US">(</span><span class="apple-converted-space"><span lang="EN-US">University of Western Macedonia</span></span><span lang="EN-US">) – Kostas
Kasvikis (</span><span class="apple-converted-space"><span lang="EN-US">University of Western Macedonia</span></span><span lang="EN-US">)</span><span lang="EN-US">, <i>Thessaloniki - Bitola: Public versions of Macedonian history in two
statues of King Philip II</i><o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<br /></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<br /></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><b><u><span lang="EN-US">Saturday
August 31<sup>st</sup></span></u></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">9:00 - 11:00<o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Session IV:<b> Literature and Public History I</b></span><span lang="EN-US" style="line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-size: 11.5pt;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-size: 11.5pt;">Chairman: </span><span lang="EN-US">Nikos Marantzidis (<span class="apple-converted-space">University of Macedonia</span>)<o:p></o:p></span></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Giorgos Kokkinos (University of the Aegean) –
Panagiotis Kimourtzis (University of the Aegean) – Maria Matousi (</span><span lang="EN-US">PhD
candidate, </span><span lang="EN-US">University
of the Aegean), <i>History and literature:
Caresses, slaps and the </i>Slap-tree<i> by
Aris Maragkopoulos </i><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Nikos Kokkomelis (</span><span lang="EN-US">PhD
candidate</span><span lang="EN-US">, </span><span lang="EN-US">Université
Paris Sorbonne - Paris IV), <i>From
witnesses to “heirs”: A new kind of narrative? The</i></span><i><span lang="EN-US"> </span></i><i><span lang="EN-US">current</span></i><i><span lang="EN-US"> </span></i><i><span lang="EN-US">Holocaust</span></i><i><span lang="EN-US"> </span></i><i><span lang="EN-US">literature</span></i><i><span lang="EN-US"> </span></i><i><span lang="EN-US">between</span></i><i><span lang="EN-US"> </span></i><i><span lang="EN-US">history</span></i><i><span lang="EN-US"> </span></i><i><span lang="EN-US">and</span></i><i><span lang="EN-US"> </span></i><i><span lang="EN-US">fiction</span></i><i><span lang="EN-US"> </span></i><i><span lang="EN-GB"><o:p></o:p></span></i></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Anastasia
Mitsopoulou (</span><span lang="EN-US">PhD in
History</span><span lang="EN-US">), <i>First World War: The memory in
Greek literature</i> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Lena Divani (National
and Kapodistrian University of Athens), <i>When
literature opens space for the history of the minorities: </i>The Silver-grass
is Blossoming<i> by V. Gkourogiannis and the
</i>Calumny of Blood<i> by V. Boutos</i><o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US" style="line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-size: 11.5pt;"><span style="font-family: Trebuchet MS, sans-serif;">11:30 - 14:00<o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Session V: <b>Literature and Public History </b></span><b><span lang="EL">ΙΙ</span></b><b><span lang="EL"> </span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US" style="line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-size: 11.5pt;">Chairwoman</span><span lang="EN-US">: Lena Divani (National and Kapodistrian
University of Athens)</span><span lang="EN-US" style="line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-size: 11.5pt;"><o:p></o:p></span></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Afroditi
Athanasopoulou (University of Cyprus), <i>Cyprus
between “mother Greece” and “stepmother England”: Writers’ attestations<o:p></o:p></i></span></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Alexandros Bazoukis</span><span lang="EN-US"> (Cyprus
Pedagogical Institute), <i>The contribution
of Greek writers and intellectuals in the dialogue about the history and
“fates” of Hellenism in the post-war period</i></span><span lang="EN-GB"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Iakovos
Anyfantakis (</span><span lang="EN-US">PhD candidate</span><span lang="EN-US">, Panteion University),
<i>From the “politics of violence” to the
“political violence”: Representations of
fratricidal violence in the post-war literary production</i> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Elena Davlamanou (teacher, NGO
Citizens in Knowledge), <i>Approaching the
historical novel for children</i><o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<b><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Lunch Break<o:p></o:p></span></span></b></div>
<div class="MsoNormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">16.30 - 18:30 </span><span lang="EN-US" style="line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-size: 11.5pt;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Session </span><span lang="EN-US" style="line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-size: 11.5pt;">V</span><span lang="EN-GB" style="line-height: 150%; mso-bidi-font-size: 11.5pt;">Ι</span><span lang="EN-US" style="line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-size: 11.5pt;">: <b>Memory and Public History </b></span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Chairman: Panagiotis Kimourtzis (University of the Aegean)<o:p></o:p></span></span><br />
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Anna-Maria Droumpouki (PhD Candidate, National
and Kapodistrian University of Athens)<i>,</i>
<i>Greeks as the “new Jews”: The update
version of Occupation in crisis-struck Greece </i><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Elena Striftompola (historian), <i>Lessons of Public History by the Greek
Parliament: The case of the law 1285/1982, “On the recognition of the National
Resistance of the Greek population against the occupation troops, 1941-1944”</i>
<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtl29pYTxmP5PT4olFDuwT2vfMDRVMQM6NCyAIUJ64JimyN-Fw7idWz6j8X54J0ckl1tH6Upn3AeIL-cpqj-iOcjS7nMhw0xRAL-JYSZOyME7hzOpShLitPxLRus3Nc_vHSwBsmA/s1600/1.gif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtl29pYTxmP5PT4olFDuwT2vfMDRVMQM6NCyAIUJ64JimyN-Fw7idWz6j8X54J0ckl1tH6Upn3AeIL-cpqj-iOcjS7nMhw0xRAL-JYSZOyME7hzOpShLitPxLRus3Nc_vHSwBsmA/s1600/1.gif" /></a><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Giorgos Antoniou (International
Hellenic University) – Eleni Paschaloudi (PhD in Balkan, Slavic and Oriental
Studies), <i>Damnatio memoriae: The 1940s during the 1980s</i><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Gavrilis
Lampatos</span><span lang="EN-US"> (PhD
Candidate, University of the Aegean), <i>Early
forms of public history in the 1960s<o:p></o:p></i></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">PARALLEL SESSION<o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">16.30 -
18.30<o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Session VI</span><span lang="EL">Ι</span><span lang="EN-US">:<b> </b></span><b><span lang="EN-US" style="line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-size: 11.5pt;">Press and Public History</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Chairman:
Spyros Kakouriotis (journalist)<o:p></o:p></span></span><br />
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
<div class="ecxmsonormal" style="background: white; margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Ilias G.
Skoulidas (Technological Institute of Epirus), <i>Continuities and discontinuities of the narratives about a “neighbor”:
The Greek press and the Albanians in the post-Cold War period</i> <o:p></o:p></span></span><br />
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i></span></span></div>
<div class="ecxmsonormal" style="background: white; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Georgia Sarikoudi (</span><span lang="EN-US">PhD
candidate</span><span lang="EN-US">,</span><span lang="EN-US"> Aristotle University of Thessaloniki), <i>The personal narrations of Greek fugitives in Czechoslovakia in the
pages of </i>Agonistis <o:p></o:p></span></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US"><br /></span></span></div>
<div class="ecxmsonormal" style="background: white; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Konstantinos
Katsanos (PhD in History),</span><span lang="EN-US"> <i>The public negotiation of the
Macedonian issue in the years between the end of the Civil War and the Military
Junta</i></span><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background: white; margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<br /></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">19:00 -
21:30<o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Session VII</span><span lang="EL">Ι</span><span lang="EN-US">: <b>Cinema,
Theatre and Public History</b><o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Chairman:
Nikos Demertzis (National and Kapodistrian University of Athens)<o:p></o:p></span></span><br />
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Giorgos Andritsos (PhD in History), <i>Persecutions of Greek Jews in the Greek
fiction films from 1945 to 1981<o:p></o:p></i></span></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Thanassis Vasileiou (PhD in Studies
on Cinematography), Days of ’36 [1972]<i> by
Theo Angelopoulos: History as a cinematographic form<o:p></o:p></i></span></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Stavroula Mavrogeni (<span class="apple-converted-space">University of Western Macedonia), <i>Filmic production about the Greek Civil War
in Yugoslavia/FYROM<o:p></o:p></i></span></span></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span class="apple-converted-space"><span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Giorgos
Mouratidis (anthropologist), The Right, the Left and Mr. Pantelis:<i> The events of December 1944 on the scene of
popular theatre</i> </span><span lang="EN-GB"><o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="margin-top: 6.0pt; text-align: justify;">
<span class="apple-converted-space"><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Christos
Dermentzopoulos (University of Ioannina), <i>Popular
culture, public dialogue and national identity, on the occasion of the
projection of the film </i>Parthenon<i> by
Costa Gavras in the New Acropolis Museum <o:p></o:p></i></span></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
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<br /></div>
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<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">PARALLEL
SESSION<o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">19:00 -
21:00<o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Session I</span><span lang="EL">Χ</span><span lang="EN-US">: <b>Education and Public History </b></span><b><span lang="EL">Ι</span></b><span lang="EN-US"><o:p></o:p></span></span></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Chairman:
Dimitris Bilalis (University of Thessaly)</span><span lang="EN-US" style="line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-size: 16.0pt;"><o:p></o:p></span></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US"><br /></span></span></div>
<div class="ecxmsonormal" style="background: white; margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Despina
Karakatsani (University of Peloponnese), Pavlina Nikolopoulou (PhD Candidate,
University of Peloponnese), </span><i><span lang="EN-US">Photo
images, memory and history. Depictions and readings in the history of education</span></i><span lang="EN-US"><o:p></o:p></span></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><i><span lang="EN-US"><br /></span></i></span></div>
<div class="ecxmsonormal" style="background: white; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Vassiliki Sakka (PhD in Education of
Adults), <i>“Approaching the past
critically”: in search for visual, media and historical literacy. Production of
a historical documentary from students. Public History and school<o:p></o:p></i></span></span><br />
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><i><br /></i></span></span></div>
<div class="ecxmsonormal" style="background: white; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 0cm; margin-right: 0cm; margin-top: 6.0pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Kostas Kasvikis (<span class="apple-converted-space">University of Western Macedonia), </span></span><i><span lang="EN-US">The “other” past: Public uses of archaeology in
official and unofficial education</span></i><span class="apple-converted-space"><span lang="EN-US"><o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="background: white; margin-top: 6.0pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Georgia
Kipouropoulou (</span><span lang="EN-US">PhD
Candidate</span><span lang="EN-US">, </span><span class="apple-converted-space"><span lang="EN-US">University of Western Macedonia</span></span><span lang="EN-US">), <i>A comparative examination of
two history textbooks</i></span><i><span lang="EN-US"><o:p></o:p></span></i></span></div>
<div class="ecxmsonormal" style="background: white; margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<br /></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<b style="line-height: 150%; text-align: left;"><u><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Sunday
September 1<sup>st</sup></span></span></u></b></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<br /></div>
<div class="ecxmsonormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; margin: 0cm 0cm 0.0001pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span class="apple-converted-space"><span lang="EN-US">9:30-11:00</span></span><span lang="EN-US" style="line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;"><o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Session </span><span lang="EL" style="line-height: 150%; mso-bidi-font-size: 11.0pt;">Χ</span><span lang="EN-US" style="line-height: 150%; mso-ansi-language: EN-US; mso-bidi-font-size: 11.0pt;">: </span><b><span lang="EN-US">Education and Public History </span><span class="apple-converted-space"><span lang="EL">ΙΙ</span></span></b><span class="apple-converted-space"><span lang="EN-US"><o:p></o:p></span></span></span></div>
<div class="ecxmsonormal" style="background: white; line-height: 150%; margin-bottom: .0001pt; margin: 0cm; text-align: justify;">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyEg6y82GjitliQK5wV4dI283CLRmSZqBseZlRDI36R4Wxaj2LuZAb1QDsGrBLWEDYVzB0uRyAZ9Kslho0ugj4Iz1NpvH5BYix4N5e8vs6bhAO3CEee1ZXhpIZfY8R18urivwxnw/s1600/59.170.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyEg6y82GjitliQK5wV4dI283CLRmSZqBseZlRDI36R4Wxaj2LuZAb1QDsGrBLWEDYVzB0uRyAZ9Kslho0ugj4Iz1NpvH5BYix4N5e8vs6bhAO3CEee1ZXhpIZfY8R18urivwxnw/s1600/59.170.jpg" /></a></div>
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Chairman: <span class="apple-converted-space">Giorgos Antoniou (</span>International
Hellenic University)<o:p></o:p></span></span><br />
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="background: white; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Haris Athanasiadis (University of
Ioannina), <i>“National-populists” against
“national-nihilists”: The public debate about the history textbook for the
sixth class of elementary school </i>In modern and recent times<i> (2006-07)<o:p></o:p></i></span></span></div>
<div class="MsoNormal" style="background: white; margin-top: 6.0pt; text-align: justify;">
<span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Vaggelis Tsianakas (PhD in
Pedagogics), <i>Turkish Rule and Hellenism
in Greek and Turkish history textbooks: The two sides of the same coin</i> <o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; margin-top: 6.0pt; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Zeta Papandreou (PhD in </span><span lang="EN-GB">History Didactics</span><span lang="EN-US">), <i>The massacre of Distomo: </i></span><i><span lang="EN-GB">Η</span></i><i><span lang="EN-GB"> </span><span lang="EN-GB">σφαγή</span></i><i><span lang="EN-GB"> </span><span lang="EN-GB">του</span></i><i><span lang="EN-GB"> </span><span lang="EN-GB">Διστόμου</span></i><i><span lang="EN-US">: Research approach of a traumatic and disputed historical event</span></i><span lang="EN-US"> <o:p></o:p></span></span></div>
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<div class="MsoList" style="line-height: 150%; margin-bottom: 0.0001pt; text-align: justify;">
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<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span lang="FR"><span style="font-family: Trebuchet MS, sans-serif;">11:30- 13:00<b><o:p></o:p></b></span></span></div>
<div class="MsoNormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><b><span lang="FR">Roundtable Discussion</span></b><span lang="FR"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="background: white; text-align: justify;">
<span lang="FR"><span style="font-family: Trebuchet MS, sans-serif;">Giorgos Kokkinos, Nikos Marantzidis, Andreas
Andreou, Nikos Demertzis, Lena Divani, Dimitris Bilalis, Elli Lemonidou<b>.</b></span></span><br />
<span lang="FR"><span style="font-family: Trebuchet MS, sans-serif;"><b><br /></b></span></span>
<br />
<div class="MsoNormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; text-align: justify;">
<span style="font-family: Trebuchet MS, sans-serif;"><b><span lang="EN-US">Scientific</span><span lang="EN-US"> </span></b><b><span lang="EN-US">and</span><span lang="EN-US"> </span></b><b><span lang="EN-US">organizing</span><span lang="EN-US"> </span></b><b><span lang="EN-US">committee</span><span lang="EN-GB"><o:p></o:p></span></b></span><br />
<span style="font-family: Trebuchet MS, sans-serif;"><b><span lang="EN-US"><br /></span></b></span></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Andreas Andreou (University of Western Macedonia), Giorgos Antoniou (International Hellenic University), Nikos Demertzis (National and Kapodistrian University of Athens), Spyros Kakouriotis (journalist), Giorgos Kokkinos (University of the Aegean), Elli Lemonidou (University of Patras), Nikos Marantzidis (University of Macedonia), Zeta Papandreou (PhD in </span><span lang="EN-GB">History Didactics</span><span lang="EN-US">), Eleni Paschaloudi (PhD in Balkan, Slavic and Oriental Studies)<o:p></o:p></span></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US"><b>Organization:</b> </span></span></div>
<div class="MsoNormal">
<br />
<ul>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">Network for the Study of Civil Wars</span></li>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">University of Macedonia</span></li>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">NGO Citizens for Knowledge</span></li>
<li><span style="font-family: 'Trebuchet MS', sans-serif;"><a href="http://publichistoryint.org/" target="_blank">International Federation for Public History</a></span></li>
</ul>
</div>
<span lang="FR"></span><br />
<div class="MsoNormal" style="background-color: white; background-position: initial initial; background-repeat: initial initial; line-height: 150%; text-align: justify;">
<span style="font-family: 'Trebuchet MS', sans-serif;">Printing is sponsored by Epikentro Publishers.</span></div>
</div>
</div>
Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-30577536970194463572013-07-27T14:33:00.001+02:002013-07-28T12:59:08.389+02:00DHLU 2009: L'histoire contemporaine à l'ère numérique - Contemporary History in the Digital Age<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_oNdUb_2MeZ079riPA3YZ5Io1_vDS9upmMP7871yFG2uOHRPga9xhdtAMh_gIaub3_8unMdgGCI_4coj_vYUmvcxZUGUy3BrJ5gB-kgiyepUPk6VfwSZn12nYm43QD5ERWuyF5g/s1600/51f3b1409d29c9c5d90000b2.jpeg" imageanchor="1" style="clear: left; display: inline !important; float: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_oNdUb_2MeZ079riPA3YZ5Io1_vDS9upmMP7871yFG2uOHRPga9xhdtAMh_gIaub3_8unMdgGCI_4coj_vYUmvcxZUGUy3BrJ5gB-kgiyepUPk6VfwSZn12nYm43QD5ERWuyF5g/s1600/51f3b1409d29c9c5d90000b2.jpeg" /></a><span style="font-family: Trebuchet MS, sans-serif;"></span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="background-color: white; color: #37404e; line-height: 18px;">The book edited by </span><span style="background-color: white; color: #58585a; line-height: 16px;">Frédéric Clavert and Serge Noiret is publishing a selection of the papers presented during the </span><span style="background-color: white; color: #333333; text-align: justify;">inaugural DHLU Symposium in Luxembourg. </span><span style="background-color: white; color: #37404e; line-height: 18px; text-align: justify;">Peter Lang's book is the result of the CVCE (</span><a href="http://www.cvce.eu/" style="line-height: 18px; text-align: justify;" target="_blank">Centre Virtuel pour la Connaissance de l'Europe</a><span style="background-color: white; color: #37404e; line-height: 18px; text-align: justify;">) and University of Luxembourg first Digital Humanities conference held in 2009. </span></span></div>
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<span style="background-color: white; color: #37404e; font-family: 'Trebuchet MS', sans-serif; line-height: 18px; text-align: justify;">The 2nd DIHU LUxembourg conference </span><span style="background-color: white; color: #333333; font-family: 'Trebuchet MS', sans-serif; text-align: justify;">which tackled the methodological and theoretical implications of considering <i>websites as primary sources</i> (March 2012)</span><span style="background-color: white; color: #37404e; font-family: 'Trebuchet MS', sans-serif; line-height: 18px; text-align: justify;"> was organised together with </span><a href="http://luxembourg2012.thatcamp.org/" style="background-color: white; font-family: 'Trebuchet MS', sans-serif; line-height: 18px; text-align: justify;" target="_blank">THATcamp Luxembourg/Trier</a><span style="background-color: white; color: #37404e; font-family: 'Trebuchet MS', sans-serif; line-height: 18px; text-align: justify;">. At the moment no publication has been planned but </span><a href="http://www.digitalhumanities.lu/?page_id=335" style="background-color: white; font-family: 'Trebuchet MS', sans-serif; line-height: 18px; text-align: justify;" target="_blank">complete information about each panel, pictures and slides</a><span style="background-color: white; color: #37404e; font-family: 'Trebuchet MS', sans-serif; line-height: 18px; text-align: justify;"> derived from the conference are available online.</span><br />
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<span class="text_exposed_show" style="color: #37404e; display: inline; line-height: 18px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYTHXIQxeVrlOXwRbfgEWtSgbPobwSh16lRjfqTZx3VtsQ4g90De7wJL6froZb0vjc7GKbXraLWTbhP0ueah7XVQcSQzqzmvH-8U1aTd-RvIlQA73ItSldSIF2d0_uR4BOMNXmGg/s1600/51f3b49c9d29c990d6000003.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYTHXIQxeVrlOXwRbfgEWtSgbPobwSh16lRjfqTZx3VtsQ4g90De7wJL6froZb0vjc7GKbXraLWTbhP0ueah7XVQcSQzqzmvH-8U1aTd-RvIlQA73ItSldSIF2d0_uR4BOMNXmGg/s1600/51f3b49c9d29c990d6000003.jpeg" /></a></span></div>
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<span class="text_exposed_show" style="color: #37404e; display: inline; line-height: 18px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyJO0v3pyVn7z3gyUcBbRS9QboL5Er0gCJfsQ3fwrhLd2c4pA-3F4HF1EadfBfFTuBMRbR_ZwvnWETpf7819Bc3xr4KmlFoQ50QG8FN9-dR4vEX-SwwmBeU1ysF7YMkQGsmjOjQQ/s1600/51f3b4ad9d29c9c677000010.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyJO0v3pyVn7z3gyUcBbRS9QboL5Er0gCJfsQ3fwrhLd2c4pA-3F4HF1EadfBfFTuBMRbR_ZwvnWETpf7819Bc3xr4KmlFoQ50QG8FN9-dR4vEX-SwwmBeU1ysF7YMkQGsmjOjQQ/s1600/51f3b4ad9d29c9c677000010.jpeg" /></a><span style="font-family: Trebuchet MS, sans-serif;"><span style="background-color: white;">This year the </span><span style="background-color: white; color: #333333;">DHLU Symposium </span><span style="background-color: white;">is the 3rd <b><a href="http://www.digitalhumanities.lu/" target="_blank">DIgital HUmanities Luxembourg conference</a></b> which will take place on the 5th and 6th of December 2013. The <a href="http://www.digitalhumanities.lu/?p=372" target="_blank">CFP is still open</a> until the 20th of August. <a href="http://www.digitalhumanities.lu/" target="_blank">DHLU 2013 is organized by t</a></span><span style="background-color: white; color: #333333;"><a href="http://www.digitalhumanities.lu/" target="_blank">he CVCE</a>, together with the Jean Monnet Chair in History of European Integration (University of Luxembourg, FLSHASE) and its research programme ‘Digital Humanities Luxembourg’ — DIHULUX (research unit <i>Identités-Politiques-Sociétés-Espaces</i> (IPSE)) — and the University of Luxembourg’s Master’s in Contemporary European History."</span></span></span></div>
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<img border="0" height="128" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsYJN5ZFNbOmiLzO_JVgaJE45VRMGbs_9MdVoRTX6anKt6suryhcuDITag3f5pGogHJf_SbaADk3CyA-kX_1n1pHUVmOa_li2KYfpge7Tud5xFCzYg2gs7LdNxUwtk-a1s1I0tyg/s640/51f3b4c89d29c9c5d90000b5.jpeg" width="640" /></div>
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<span style="background-color: white; color: #333333;"><span style="font-family: Trebuchet MS, sans-serif;">T</span></span><span style="font-family: Trebuchet MS, sans-serif;"><span style="background-color: white; color: #333333;">his third edition "will focus on the use of online thematic research corpora. </span><span style="background-color: white; color: #333333;">Given that more and more sources for contemporary history are being made available online as digital research corpora — <a href="http://www.cvce.eu/" target="_blank">as on the CVCE’s site</a> — and following on from the first two editions which examined the methods used to develop these sources, this third edition of Digital Humanities Luxembourg will focus on the various ways in which this material is used by humanities researchers, particularly contemporary historians and more specifically specialists in European integration."</span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="background-color: white; color: #333333;"><br /></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="background-color: white; color: #333333;">But let's get back to the book recently published with papers in French and in English about the 2009 first Symposium in Digital Humanities.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnJALAcJUsZ7WD6rIKNuvFXgK1_CIgW4WFMyuiBmmIrh02rgkswIQI8yCOg8TT-RwS4JXeHT_8pLXYIG7VKYwXda4FvTZfHX0OEvBat_Jx4rZWLO6mWfJdUP6EVscEvOSOZtNKgA/s1600/51f3b1799d29c9cbc90000fa.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnJALAcJUsZ7WD6rIKNuvFXgK1_CIgW4WFMyuiBmmIrh02rgkswIQI8yCOg8TT-RwS4JXeHT_8pLXYIG7VKYwXda4FvTZfHX0OEvBat_Jx4rZWLO6mWfJdUP6EVscEvOSOZtNKgA/s400/51f3b1799d29c9cbc90000fa.jpeg" width="255" /></a><span style="font-family: Trebuchet MS, sans-serif;"><span style="background-color: white; color: #333333;"><br /></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: large;">L'histoire contemporaine à l'ère numérique - Contemporary History in the Digital Age</span></h1>
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<span style="font-family: Trebuchet MS, sans-serif;">Year of Publication: 2013</span></div>
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<span style="font-family: Trebuchet MS, sans-serif;">Bruxelles, Bern, Berlin, Frankfurt am Main, New York, Oxford, Wien, 2013. 381 p., 31 fig., 6 tabl. ISBN 978-2-87574-048-9 br. (Softcover)</span></div>
<span style="font-family: Trebuchet MS, sans-serif;"><span style="background-color: white; color: #37404e; line-height: 18px;">has now been published. </span><span class="text_exposed_show" style="background-color: white; color: #37404e; display: inline; line-height: 18px;"> </span></span></div>
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<span style="font-family: 'Trebuchet MS', sans-serif; font-size: small;">Book synopsis</span></h2>
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<span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;">FRENCH: </span><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><i>Depuis plusieurs décennies, les usages du numérique en histoire se multiplient. Mais l’histoire contemporaine est parfois restée à la marge de ce mouvement. Ce livre, qui recouvre divers usages du numérique, ses outils, ses méthodes, sera à la fois une bonne introduction pour les historiens désirant se renseigner sur les usages informatiques en histoire contemporaine, et un outil utile aux chercheurs et aux enseignants plus rompus à cette utilisation. Cet ouvrage leur permettra de comparer leurs pratiques et de les approfondir dans le cadre des humanités numériques.</i></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="background-color: transparent;">ENGLISH: <i>Digital practices in the field of history have become more and more widespread in recent decades, but contemporary historians have often tended to remain on the sidelines of this trend. This book, which covers a wide range of digital practices, tools and methods, will serve both as a solid grounding for historians keen to learn how information technology can be applied to contemporary history, and as a useful tool for researchers and lecturers who already have a degree of experience in this area. It will enable scholars to compare and further their practices in the area of digital humanities, providing a comprehensive vision of the emerging field of digital history.</i></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: small;">Contents</span></h2>
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<ul>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Marin Dacos</b> : <i>Cyberclio. Vers une Cyberinfrastructure au coeur de la discipline historique </i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Gino Roncaglia</b>: <i>Web 2.0 and the Future of Research. New Tools for Research Networks</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Andreas Bagias</b> : <i>Organisation et exploitation des archives du Parlement européen dans un environnement électronique</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Annick Batard</b> : <i>La presse écrite généraliste française sous l’emprise du Web. Une ressource de l’histoire culturelle contemporaine ?</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Éva Deák</b>: Study, <i>Store and Share Unpublished Primary Sources. The Example of the Parallel Archive</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Aurore François</b> : <i>Capitaliser les ressources sur l’histoire socio-politique de la justice belge (1795-2005). Le portail just-his.be</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Stefan Halikowski-Smith</b>: <i>How Are European National Libraries Responding to «Big Digitization»?</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Genaro Vilanova Miranda de Oliveira</b>: <i>Heterographies in Historiography. The Web and Perspectives on Historical Writing</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Patrick Peccatte</b> : <i>Une plate-forme collaborative pour la redocumentarisation d’un fonds photographique historique</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Serge Noiret</b>: <i>Digital History 2.0</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Tsuriel Rashi/Isaac Hershkovitz</b>: <i>The Media Memory Agenda and the Struggle against Holocaust Deniers</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Gerben Zaagsma</b>: <i>Using Digital Sources in Historical Research. Jewish History on the Internet</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Olivier Le Deuff</b> : <i>Nouveaux outils et science. L’archéologie pour faire « sens »</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Tito Menzani</b>: <i>When the Web is Useful for Scientific Output. The Case of Italian Historiography on the Cooperative Movement</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Alain Michel/Shadia Kilouchi</b>: <i>Renault-Billancourt’ C5 Workshop in the Digital Age. A New Story of the 1922 Assembly Line</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Philippe Rygiel</b> : <i>La diffusion des produits de la recherche historique à l’ère du Web 2.0. Une étude de cas</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>David Bodenhamer</b>: <i>The Spatialization of History. A New Web Paradigm</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Marie-Pierre Besnard </b>: <i>Renouveler l’expérience muséale à l’heure du Web. Le e-musée</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Milagros Garcia Perez/Cristina Blanco Sio-Lopez</b>: <i>Interacting Localities. The Case of the «Biblioteca Municipal de Estudios Locales de La Coruñ» (BMEL) and its Prospects on collaborative Online Library Systems for the Study of Contemporary History</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Richard Hacken</b>: <i>Online Primary Documentation of Contemporary History. Trends, Changes and Consequences in the New Millennium</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Élodie Nowinski</b>: <i>«Last Nite Deezer saved my class». Écrire et enseigner l’histoire du rock</i></span></li>
<li><span style="background-color: transparent; font-family: 'Trebuchet MS', sans-serif;"><b>Enrica Salvatori</b>: <i>Listening to, Watching, Living and, Ultimately, Learning History. On and off the Web</i></span></li>
</ul>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-77543814342031771362013-07-23T08:13:00.000+02:002013-08-02T11:18:58.702+02:00Digital Public History conference in Amsterdam, 2014<div dir="ltr" style="text-align: left;" trbidi="on">
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<span lang="EN-GB"><span style="font-family: Trebuchet MS, sans-serif;"><a href="http://www.publichistoryint.org/" target="_blank">International Federation for PublicHistory </a></span></span></h2>
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<span lang="EN-GB"><span style="font-family: Trebuchet MS, sans-serif;"><a href="http://www.publichistoryint.org/" target="_blank">Fédération Internationale pour l'Histoire Publique</a></span></span></h2>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLzCbbiuFYyok8TDSXYd7oFbVlcNs-UcRj6smPGfHI4V5Z9paSXow66VAKoonY84ByqHvQ2Wy08NXtkWiXIUDJ-ZaGfbIYAaRdgQ2Ju6zRcSbCuUjrTquThCSPmIbfJ4iwQJacFA/s1600/IFPH.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLzCbbiuFYyok8TDSXYd7oFbVlcNs-UcRj6smPGfHI4V5Z9paSXow66VAKoonY84ByqHvQ2Wy08NXtkWiXIUDJ-ZaGfbIYAaRdgQ2Ju6zRcSbCuUjrTquThCSPmIbfJ4iwQJacFA/s1600/IFPH.png" /></a></div>
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<span lang="EN-GB"><span style="font-weight: normal;"><span style="font-family: Trebuchet MS, sans-serif;">Amsterdam 2014 International Conference: </span></span></span></h3>
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<b><span lang="EN-GB"><span style="font-family: Trebuchet MS, sans-serif;">Public History in a Digital World: The
Revolution Reconsidered</span></span></b></h3>
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<span lang="EN-GB"><span style="font-family: Trebuchet MS, sans-serif;">University of Amsterdam, </span></span><span style="font-family: 'Trebuchet MS', sans-serif;">Thursday 23 October 2014 - Saturday 25
October 2014</span></h3>
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<b><span lang="EN-GB"><span style="font-family: Trebuchet MS, sans-serif;">FIRST CALL for PROPOSALS<o:p></o:p></span></span></b></div>
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<span lang="EN-GB"><span style="font-family: Trebuchet MS, sans-serif;">Historical
sources and narratives about the past infiltrate every corner of the web, from home-made
digital media to online exhibitions, across social networks and in virtual
museums. Digital tools have become essential for publics who preserve, present,
discuss, and dispute history, and they will play a major role in the
commemoration of the anniversary of WWI beginning in 2014. The possibilities of
the digital world seem almost unlimited: never before have massive collections
of a wide variety of historical materials been so accessible for large audiences across national and cultural
borders. What’s more, new genres such as blogs and virtual discussion boards have expanded the
public possibilities of history online – for co-creating historical narratives
as well as for communicating about the past with various audiences. <o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: Trebuchet MS, sans-serif;">Given all
this, the digital turn should be especially significant for public historians,
but have expectations been matched by activities? After two decades of digital
revolution it is time to critically consider what digital media brings to Public
History, and where Public History is headed in a digital world. This international
conference, organized by the <i><a href="http://www.publichistoryint.org/" target="_blank">International Federation for Public History</a></i>, will bring
together experts, novices, and experimenters from all over the world to share
insights, questions, and practices concerning the impact of the digital world
on the theory and practice of Public History. Issues to consider include:<o:p></o:p></span></span></div>
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<span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">·<span style="font-size: 7pt;">
</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">How
revolutionary is the digital turn for the research and practice of Public
History?</span><br />
<span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">·<span style="font-size: 7pt;">
</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">How
are digital innovations changing Public History practices?</span><br />
<span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">·<span style="font-size: 7pt;">
</span></span><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">Are
public historians critical enough towards the shortcomings of digital practices?</span><br />
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</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">What
“cool stuff” from the digital toolbox adds value to PH projects, teaching
activities, etc?</span><br />
<span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">·<span style="font-size: 7pt;">
</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">Which
digital strategies do not live up to the hype, and why?</span><br />
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</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">Which
audiences are public historians reaching and excluding with digital practices?</span><br />
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</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">How
are audiences involved and engaged through digital practices?</span><br />
<span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">·<span style="font-size: 7pt;">
</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">How
are historical narratives changing under the influence of digital media and the
internet?</span><br />
<span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">·<span style="font-size: 7pt;">
</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">How
can digital Public History generate or inspire new ways of interacting with the
public?</span><br />
<span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">·<span style="font-size: 7pt;">
</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">How
does digital Public History relate to older forms and traditions of Public
History?</span><br />
<span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">·<span style="font-size: 7pt;">
</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">What
can we learn from a critical analysis of Digital Public History?</span><br />
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<span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">·<span style="font-size: 7pt;">
</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">Audiences
and involvement: Who are public historians reaching, and excluding, with
digital public history?</span><br />
<span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">·<span style="font-size: 7pt;">
</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">Authorship
and authority: Who is representing history on the web?</span><br />
<span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">·<span style="font-size: 7pt;">
</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">Narratives
and storytelling: Which pasts are(n’t) public historians telling on the web?</span><br />
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</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">Integration:
How do digital and analogue Public History relate?</span><br />
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</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">Practices:
How is the past presented in the digital realm?</span><br />
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</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">Didactics:
How do we teach digital Public History?</span><br />
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</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">Analogue
Public History: What is done best without the digital?</span><br />
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</span></span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif; text-indent: -18pt;">Communication:
How can digital history 2.0 and Social Media foster the diffusion of Public
history ?</span><br />
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<span lang="EN-GB"><span style="font-family: Trebuchet MS, sans-serif;">We welcome
submissions from all areas, including public historians working in museums, archives,
education, heritage management, consulting and public service, as well as
newcomers to the field of Public History. Apart from individual papers and
proposals for panel sessions, we encourage workshop proposals as well as poster
or media presentations. The emphasis should be on critical analysis, not show
and tell – submissions that investigate both the limits of public history in a
digital world, as well as its opportunities, are especially welcomed.<o:p></o:p></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif;"><b><span lang="EN-GB">250 word proposals are due by: January 31 2014</span></b><span lang="EN-GB"> to </span><span lang="NL"><span lang="EN-GB"><a href="mailto:ifphamsterdam2014@gmail.com">ifphamsterdam2014@gmail.com</a></span></span><span lang="EN-GB"><o:p></o:p></span></span></div>
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<u><span lang="EN-GB"><span style="font-family: Trebuchet MS, sans-serif;">Local Committee :<o:p></o:p></span></span></u></div>
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<ul style="text-align: left;">
<li><span style="font-family: 'Trebuchet MS', sans-serif;">Dr. Paul Knevel, Assistant
Professor of History & Coordinator, MA in Public History, University of
Amsterdam</span></li>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">Dr. Manon Parry,
Assistant Professor of Public History, University of Amsterdam</span></li>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">Prof. dr. Kees
Ribbens, Senior Researcher, </span><a href="http://www.blogger.com/blogger.g?blogID=36395061" name="company" style="font-family: 'Trebuchet MS', sans-serif;">NIOD Institute for War, Holocaust
and Genocide Studies</a></li>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">Dr. Serge Noiret, Chair, International
Federation for Public History</span></li>
</ul>
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<span lang="EN-GB"><span style="font-family: Trebuchet MS, sans-serif;"> </span></span><u><span lang="EN-GB"><span style="font-family: Trebuchet MS, sans-serif;">Program Committee:</span></span></u></div>
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<ul style="text-align: left;">
<li><span style="font-family: 'Trebuchet MS', sans-serif;">Fien Danniau/Prof. Dr. Bruno de Wever, Instituut voor Publieksgeschiedenis,
University of Ghent, Belgium</span></li>
<li><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif;">Dr. Jean-Pierre
Morin, </span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif;">International Federation for Public History</span><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif;">, </span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif;">Canada</span></li>
<li><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif;">Dr. Manon
Parry, </span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif;">University of Amsterdam</span><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif;">, The Netherlands</span></li>
<li><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif;">Dr. Hinke
Piersma, </span><span lang="EN-GB" style="font-family: 'Trebuchet MS', sans-serif;">NIOD Institute for War, Holocaust and Genocide
Studies</span><span lang="EN-US" style="font-family: 'Trebuchet MS', sans-serif;">, The
Netherlands</span></li>
<li><span style="font-family: 'Trebuchet MS', sans-serif;">Prof. Constance B. Schulz, University of South Carolina, USA</span></li>
<li><span style="font-family: Trebuchet MS, sans-serif;"><span lang="EN-US">Dr. Christine
Gundermann/ Dr</span><span lang="EN-US">. </span><span lang="EN-GB">Irmgard Zündor</span><span lang="EN-GB">f, </span><span lang="EN-GB">Freie Universität Berlin,</span><span lang="EN-GB"> </span></span><span lang="EN-US"><span style="font-family: Trebuchet MS, sans-serif;">Germany</span></span></li>
</ul>
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</div>
Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-24312006933288998762013-06-13T19:10:00.004+02:002013-06-14T08:19:38.452+02:00La "Digital Public History": histoire et mémoire à la portée de tous ? Paper for #DigHist13 in Toulouse<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Today I should have presented a </span></span><a href="http://www.blogger.com/-%20See%20more%20at:%20http://instruhist.hypotheses.org/517#sthash.2EZw67Pp.dpuf"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">paper</span></span></a><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> on "</span></span><i><a href="http://instruhist.hypotheses.org/517"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Digital History: History and Memory for and by everybody ?</span></span></a></i><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">" or, in French, "</span></span><i><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">La Digital History: Histoire et Mémoire à la portée de tous</span></span></i><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">" -not easy to translate- during a whole day conference on </span></span><b><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Digital History</span></span></b><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> organised by </span></span><a href="http://twitter.com/HistorieNumeriQ"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Sébastien Poublanc</span></span></a><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> </span></span><a href="http://framespa.univ-tlse2.fr/actualites/pratique/annuaire/poublanc-sebastien-68642.kjsp?STNAV=&RUBNAV=&RH=annuaire_framespa"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">doctoral researcher at Toulouse II Le Mirail</span></span></a><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">, and webmaster of </span></span><a href="http://framespa.univ-tlse2.fr/"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">FRAMESPA</span></span></a><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> laboratory (French do like</span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> abbreviations that nobody else can understand.... </span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">In this case it's about the Early Modern History of Southern France and Northern Spain if I understood correctly ! ). This paper draws on my essay "<a href="http://press.openedition.org/258">La digital history: histoire et mémoire à la portée de tous</a> » in Pierre Mounier (ed.), <i><a href="http://books.openedition.org/oep/226" target="_blank">Read/Write Book 2. Une introduction aux humanités numériques</a></i>, Marseille, OpenEdition Press, 2012, p. 151-177.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOVH5eXdcr5HGUjZ2mGGe9Fod-8yY79-sFkdauTB1gpKgVD30F3umUIuQqqrWCnX9TGZzg9J_gOFhHpw7lxduOl3t445sJDsChG_cYGqCEyMYbgZBzQEgXhSIje33-MSZplGSCHg/s1600/toulouse.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOVH5eXdcr5HGUjZ2mGGe9Fod-8yY79-sFkdauTB1gpKgVD30F3umUIuQqqrWCnX9TGZzg9J_gOFhHpw7lxduOl3t445sJDsChG_cYGqCEyMYbgZBzQEgXhSIje33-MSZplGSCHg/s400/toulouse.png" width="400" /></a></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">The -in French- abstract of my paper was the following</span></span></div>
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<b><span lang="FR" style="color: windowtext; font-family: "Cambria","serif"; mso-ansi-language: FR;">« </span></b><i><span lang="FR" style="color: windowtext; font-family: "Cambria","serif"; mso-ansi-language: FR;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">L’histoire
publique numérique (Digital Public History) dans sa version 2.0, a certainement
permis de désenclaver la «culture haute» mais avec l’apparition du web 2.0,
l’histoire et la mémoire sont à présent la prérogative de tout le monde dans la
toile grâce au «crowdsourcing». Le danger aujourd’hui est que les spécialistes
ne dominent pas les mutations du numérique en histoire ou que l’on se limite
aux usages publics du passé. Sans une prise de conscience qui ne peut passer
que par la connaissance des nouveaux instruments, la révolution du numérique
éliminera la capacité professionnelle de reconstruire le passé qui deviendra
l’apanage des mémoires individuelles et de l’horizon aveugle de chacun. Cette
intervention lors </span></span></span><span lang="FR" style="font-family: "Cambria","serif"; mso-ansi-language: FR;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">du séminaire "Histoire et historiens face aux usages
et à l'instrumentalisation du passé", à Toulouse le 13 juin 2013, </span></span></span><span lang="FR" style="color: windowtext; font-family: "Cambria","serif"; mso-ansi-language: FR;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">tentera de comprendre quelles sont les mutations plus significatives de
l’histoire 2.0 pour le métier d’historien et quels sont précisément les enjeux
épistémologiques posés par le numérique participatif. Elle s’attardera sur les
pratiques nouvelles de la Digital Public History, l</span></span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">’histoire désenclavée à la portée de tout le monde qui répond aux profonds besoins identitaires de nos sociétés globalisées.</span></span></i><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> (Mots-Clés: Histoire Numérique, Web 2.0, Sources Historiques, Public History, Digital Public History, Humanités Numériques, Mémoires, Toile d’Histoire.)»</span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">
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<span lang="FR" style="color: windowtext; font-family: "Cambria","serif"; mso-ansi-language: FR;"><o:p><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> </span></span></o:p></span><span lang="FR" style="color: windowtext; font-family: "Cambria","serif"; mso-ansi-language: FR;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Unfortunately Air France -I am a frequent flyer- was on strike between 11-13 of June 2013 and after rescheduling my flight twice and taking a taxi to Florence Airport to leave my city for Paris hoping to reach Toulouse in the evening on the 12th, I was unfortunately unable to leave Tuscany and I had to take a taxi back home, frustrated.</span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">So I tried -as much as I could- to follow the<a href="http://twitcam.livestream.com/es5bt" target="_blank"> live streaming of the conference</a> discovering that my friend Sean Takats -which was also blocked in </span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">London</span></span><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> Heatrow Airport- succeeded in taking its own flight to Toulouse....</span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">I tweeted the following: </span></span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">"Vu seulement l'aéroport de Florence pas celui de Toulouse pour #DigHist13 merci #AirFrance ! Désolé pas être à </span></span><a href="http://instruhist.hypotheses.org/"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">http://instruhist.hypotheses.org</span></span></a><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">"
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<a href="https://twitter.com/ToulouseAirport"><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;">Toulouse Airport Twitter account</span></span></a><span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"> retweeted my tweet with a real sense of humor I may say ...</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJd0d9y5nHUcUfPpBaNm8_5mji_HIFBY0ORJ0GPMSluiy0uz6fdayfxo2dY0OQemlIftiqIQm_ZhqDIgZlT5ZiyveozA1JojKf-95ckjQB_i_WJEC4qKjmy112b1HkIBf6tHKCig/s1600/aeroport_toulouse_blaignac.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="91" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJd0d9y5nHUcUfPpBaNm8_5mji_HIFBY0ORJ0GPMSluiy0uz6fdayfxo2dY0OQemlIftiqIQm_ZhqDIgZlT5ZiyveozA1JojKf-95ckjQB_i_WJEC4qKjmy112b1HkIBf6tHKCig/s640/aeroport_toulouse_blaignac.png" width="640" /></a></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Anyway I tried my best to interact with all the participants using twitter and the conference live stream channel and this is again an example of <a href="http://sergenoiret.blogspot.it/2012/05/using-twitter-for-scholarly-purposes.html" target="_blank">how much useful for scholarly purposes </a>is now twitter. </span></span><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGISCVdPed2jUqGnEjlDBS4cR5QssEv4RWUGwu8aH5NU2NbVMi9tRaa6D7kxjPrGEsnDE7IY07b-dQIAhOGHPg7eY9UvKXqv3OAHFDxmnKisLTFfGubWYvd-wkATzu3yj9cgzVLg/s1600/tumblr_m2nqyqdsMk1qg1femo2_250.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGISCVdPed2jUqGnEjlDBS4cR5QssEv4RWUGwu8aH5NU2NbVMi9tRaa6D7kxjPrGEsnDE7IY07b-dQIAhOGHPg7eY9UvKXqv3OAHFDxmnKisLTFfGubWYvd-wkATzu3yj9cgzVLg/s320/tumblr_m2nqyqdsMk1qg1femo2_250.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo near Waterloo, 2011</td></tr>
</tbody></table>
<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">For instance, when Sean Takats (CHNM, George Mason, USA) and, in direct streaming,<complete id="goog_2047725283"> mentioned the importance of <em>popular history</em> and <em>reenactment</em> in the USA he remembered that also in Europe we had reenactors like for the <a href="http://waterloo1815.be/en/home" target="_blank">18th of June 1815 Waterloo</a> battle. He remebered that I said him about <a href="http://sergenoiret.tumblr.com/page/3#11472052002" target="_blank">some "grognards de Napoléon" walking on the street nearby the battlefield </a>still in 2011 ! </complete></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">I also loaded two power point presentation in <i>SlideShare</i> to add some information/queries to the lively ongoing debate.
But I felt anyway heavily frustrated not to being able to interact live with all the other participants</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">The first power point presentation was about a possible list of books -and monographs issues of Journals- on <b>Digital History</b> in all languages that I knew .. (Please help to complete the list).</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">A second presentation was about defining the field/champ or sub-discipline (if we connect DigHist to Digital Humanities) that <i>Digital (Public) History</i> is about today.
</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Here they are</span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">.</span></span>
<iframe allowfullscreen="" frameborder="0" height="356" marginheight="0" marginwidth="0" mozallowfullscreen="" scrolling="no" src="http://www.slideshare.net/slideshow/embed_code/22910045" style="border-width: 1px 1px 0; border: 1px solid #CCC; margin-bottom: 5px;" webkitallowfullscreen="" width="427"> </iframe> </div>
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<b><a href="http://www.slideshare.net/sergenoiret/pour-une-bibliographie-internationale-de-digital-history-sn-1362013toulouse-22910045" target="_blank" title="Short Biblio on Digital History">Short Biblio on Digital History</a> </b> from <b><a href="http://www.slideshare.net/sergenoiret" target="_blank">Serge Noiret</a></b> </div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">and also this one</span></span>
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<iframe allowfullscreen="" frameborder="0" height="356" marginheight="0" marginwidth="0" mozallowfullscreen="" scrolling="no" src="http://www.slideshare.net/slideshow/embed_code/22913038" style="border-width: 1px 1px 0; border: 1px solid #CCC; margin-bottom: 5px;" webkitallowfullscreen="" width="427"> </iframe> </div>
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<b> <a href="http://www.slideshare.net/sergenoiret/digital-history-some-definitions-13-6-2013" target="_blank" title="Digital history, evolution or revolution ? Some definitions - 13 -6 -2013">Digital history, evolution or revolution ? Some definitions - 13 -6 -2013</a> </b> from <b><a href="http://www.slideshare.net/sergenoiret" target="_blank">Serge Noiret</a></b> </div>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-4470578178300372402013-05-29T12:10:00.005+02:002013-05-29T12:23:01.841+02:00A Financial History Online Database with Cambridge Journals<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTXpagb5n_rgPXR780gdA9DKd8lpsZOs_LDqMZUJgppMXCZsa6h9XXHyAxfHzTcVMNfI3_QiIIR073b6FA0-T2eSh_dVAVImu5_dKfx-ZuKTRYNX7OUl-4I3FVLQdZSoi2gnGodw/s1600/FHRB-EABH.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="46" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTXpagb5n_rgPXR780gdA9DKd8lpsZOs_LDqMZUJgppMXCZsa6h9XXHyAxfHzTcVMNfI3_QiIIR073b6FA0-T2eSh_dVAVImu5_dKfx-ZuKTRYNX7OUl-4I3FVLQdZSoi2gnGodw/s400/FHRB-EABH.png" width="400" /></a></div>
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<span style="font-family: "Trebuchet MS", sans-serif;"><span style="font-size: small;"><span style="color: black;">Between June and July each year from 1994 until 2007, I was the bibliographer for the <i>Financial History Review</i>, a Cambridge History Journal. </span><span style="color: black;">Starting January 2013, ten years of financial publications (2000-2010) we</span><span style="color: black;">re added to an Cambridge online database. Who -individually or through a library- subscribed to the journal itself will have direct access to it.</span> <span style="color: black;">This work was made possible </span>thanks to Alexander Krüger<alexander .kruger="" eui.eu="">, </alexander>an EUI History Researcher,
which integrated the existing printed bibliography with <span style="color: black;">the years of publication 2008-2009-2010 never published in the printed FHR journal. The creation and testing of the database took a whole year in 2012! The interface of the Cambridge Database is similar to the excellent <i><a href="http://journals.cambridge.org/action/displayJournal?jid=afb" target="_blank">African Bibliography</a></i> online database (1984-) also published by Cambridge Journals.</span></span></span></div>
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<span style="color: black;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">The </span></span></span><u><span style="color: black;"><b><span style="color: black;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Financial History Review Bib</span></span></span><a href="http://fhrbibliography.cambridge.org/" target="_blank"><span style="color: black;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">ibliography</span></span></span></a></b></span></u><span style="color: black;"><b><i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> </span></span></i></b><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">is
an authoritative guide to works published in the field of Financial
History since 1990. The Online database accessible through the </span></span><a href="http://journals.cambridge.org/" target="_blank" title="CUP Journals"><span style="color: black;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Cambridge Journals Platform</span></span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">, is a consolidated version of the former printed bibliography that was published in the </span></span><i><a href="http://journals.cambridge.org/action/displayJournal?jid=FHR" target="_blank" title="Financial History Review"><span style="color: black;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Financial History Review</span></span></span></a></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> between 1994 (for the years 1991-1993) and 2009.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE5dILh9_17zYEQykoWEo02LvqTg7-EkqZYAHiu-4o2sirot0nM20jKepJe-ike-H0NhH0rUpfNUjbeGgd7ltscVcnb8vOZlz29DyR0oUePGsRiAQkcogReMPH5DgXy-bDUoou1Q/s1600/FHR-CUP.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE5dILh9_17zYEQykoWEo02LvqTg7-EkqZYAHiu-4o2sirot0nM20jKepJe-ike-H0NhH0rUpfNUjbeGgd7ltscVcnb8vOZlz29DyR0oUePGsRiAQkcogReMPH5DgXy-bDUoou1Q/s1600/FHR-CUP.png" /></a></span></span></div>
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<span style="color: black;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">“Established in 1994, the CUP journal </span></span><i><a href="http://journals.cambridge.org/action/displayJournal?jid=fhr" title="Click here to proceed to FHR Bibliography"><span style="color: black;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Financial History Review</span></span></span></a></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> has earned a solid international reputation as an academic journal
committed to research of high scholarly standards. The Review
deliberately seeks to embrace a broad </span></span><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">approach
to financial, banking and monetary history, which appeals to a wide
audience of historians, economists and practitioners.” The journal
“welcomes different perspectives including analytical narratives,
theoretically-inspired research, advanced empirical analysis, and the
interrelations between history, finance, policy, culture and society.
FHR provides a global perspective on national and international
financial history and publishes research articles dealing with any
historical period and country or regional area.” [...] (“</span></span><span style="color: black;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">The <i>Financial History Review</i> is indexed by the following services: EBSCO Historical Abstracts, EBSCO America: History and Life, Scopus, IBSS: International Bibliography of the Social Science, RePEc: Research Papers in Economics, IDEAS, RHS Bibliography, JISCRI Journals Tables of Contents, EconLit, American Economic Association, IB.”)</span></span></span></span></div>
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<span style="color: black;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">At the moment, the financial
bibliography of books, books chapters and journals articles published
between 1991 and 1999 is not yet included in the online database.</span></span></span></div>
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<span style="color: black;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">The </span></span><b><a href="http://www.bankinghistory.de/" target="_blank" title="EABH"><span style="color: black;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">European Association for Banking and Financial Hi</span></span></span></a><a href="http://www.bankinghistory.de/" target="_blank" title="EABH"><span style="color: black;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">story</span></span></span></a><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> </span></span></b><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">
in Frankfurt-am-Main (EABH) and Cambridge University Press are
collaborating to digitise additional records dating back to the first
appearance of the bibliography in the </span></span><i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">Financial History Review</span></span></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">
in 1994. At the moment (May 2013), the Bibliography brings together, in a
searchable database, every record collected since 2000 and up to 2010. </span></span></span></div>
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<span style="color: black;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">The search form allows quick and advanced searching and limiting capacities using Boolean operators. </span></span></span><span style="font-family: "Trebuchet MS", sans-serif;">T</span><span style="font-family: "Trebuchet MS", sans-serif;">he
FHR bibliography database will be regularly updated.</span></div>
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Anonymoushttp://www.blogger.com/profile/09632752390392009633noreply@blogger.com0tag:blogger.com,1999:blog-36395061.post-4712326085272527952013-05-14T00:50:00.001+02:002013-05-14T10:57:56.165+02:00Un decalogo sul digital turn e la fotografia come fonte per la storia<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: "Trebuchet MS", sans-serif;">Le breve considerazioni che seguono sono state presentate durante il </span><a href="http://sergenoiret.blogspot.it/2012/10/se-la-fotografia-e-fonte-per-la-storia.html" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;">convegno dell'Ottobre 2012 all'Istituto Veneto a Venezia </span></a><span style="font-family: "Trebuchet MS", sans-serif;">già commentato in questo blog e rimesse a fuoco per una lezione all'Università di Pisa (</span><i><span style="font-family: "Trebuchet MS", sans-serif;">Seminario di Cultura Digitale </span></i><span style="font-family: "Trebuchet MS", sans-serif;">- </span><a href="http://maccone.di.unipi.it/users/cduser/weblog/d7099/Serge_Noiret.html" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;">Mercoledì 8 maggio 2013</span></a><span style="font-family: "Trebuchet MS", sans-serif;"> - ore 14:15 - Aula Seminari Est - Dipartimento di Informatica - Pisa)</span><b style="font-family: 'Segoe UI', Helvetica, Arial, sans-serif;"><span style="font-family: "Trebuchet MS", sans-serif;"> </span></b><span style="font-family: "Trebuchet MS", sans-serif;">intitolata: </span><i><span style="font-family: "Trebuchet MS", sans-serif;">Nulla sarà più come prima. Considerazioni sul digital turn e le fonti fotografiche dal
punto di vista della storiografia.</span></i><span style="font-family: "Trebuchet MS", sans-serif;"> </span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;">(I seminari di Cultura Digitale di </span><a href="http://infouma.di.unipi.it/laurea/index.asp" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;">Informatica Umanistica a Pisa</span></a><span style="font-family: "Trebuchet MS", sans-serif;"> sono</span><i><span style="font-family: "Trebuchet MS", sans-serif;"> </span></i><span style="font-family: "Trebuchet MS", sans-serif;">anche disponibili come </span><a href="https://itunes.apple.com/it/itunes-u/seminari-di-informatica-umanistica/id426146844" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;">podcast in </span><i><span style="font-family: "Trebuchet MS", sans-serif;">Itunes University</span></i></a><span style="font-family: "Trebuchet MS", sans-serif;">.)</span></div>
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<b><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></b></div>
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<b><span style="font-family: "Trebuchet MS", sans-serif;">Le fotografie digitali necessitano di uno strumento per essere illuminate</span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB56H-8anEtJ9ESipOEB-0UVH9_h2NhuxpTM-smWUQRQ-ur3VPbpByqOyV2vHYXAulhk-UjT_QKCcDsHZvuQadOt4Q0XkdjTJLFHLT2_asrvm_bvKe3cp_u4sbpfMcKAr5EFhEeA/s1600/kircher.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB56H-8anEtJ9ESipOEB-0UVH9_h2NhuxpTM-smWUQRQ-ur3VPbpByqOyV2vHYXAulhk-UjT_QKCcDsHZvuQadOt4Q0XkdjTJLFHLT2_asrvm_bvKe3cp_u4sbpfMcKAr5EFhEeA/s400/kircher.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background: #F1F7FB; font-family: "Bookman Old Style","serif"; font-size: 10.0pt; line-height: 105%; mso-ansi-language: IT; mso-bidi-font-family: Arial; mso-bidi-font-style: italic; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span style="font-family: "Trebuchet MS", sans-serif;">A.</span><span style="font-variant: small-caps;"><span style="font-family: "Trebuchet MS", sans-serif;">Kircher</span></span><span style="font-family: "Trebuchet MS", sans-serif;">: </span><i><span style="font-family: "Trebuchet MS", sans-serif;">Ars Magna Lucis et Umbrae:
Liber Decimus</span></i><span style="font-family: "Trebuchet MS", sans-serif;">., </span><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></span><br />
<span style="background: #F1F7FB; font-family: "Bookman Old Style","serif"; font-size: 10.0pt; line-height: 105%; mso-ansi-language: IT; mso-bidi-font-family: Arial; mso-bidi-font-style: italic; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span style="font-family: "Trebuchet MS", sans-serif;">Università di Santiago de Compostela, 1671. </span><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></span><br />
<span style="background: #F1F7FB; font-family: "Bookman Old Style","serif"; font-size: 10.0pt; line-height: 105%; mso-ansi-language: IT; mso-bidi-font-family: Arial; mso-bidi-font-style: italic; mso-bidi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;"><span style="font-family: "Trebuchet MS", sans-serif;">(Disponibile in </span><a href="http://books.google.it/books?id=Gki6ZIbrgQ8C" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;">GoogleBooks</span></a><span style="font-family: "Trebuchet MS", sans-serif;">.)</span></span></td></tr>
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<span style="font-family: "Trebuchet MS", sans-serif;">Il passaggio dalle pellicole ai pixel, una vera rivoluzione, ha profondamente trasformato la storia stessa della fotografia. </span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;">Così come per la lanterna magica, descritta da Athanasius Kircher nel Settecento, che proiettava la luce attraverso vetri dipinti, le fotografie digitali di oggi necessitano di uno strumento per essere illuminate. </span></div>
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<span style="font-family: "Trebuchet MS", sans-serif;">Quello che teniamo in mano non sono le fotografie, ma soltanto gli emulatori di fotografie, questi strumenti che mediano tra i nostri occhi e le fotografie che abbiamo scattato o stiamo visionando, quasi come le proiezioni dell’antica lanterna magica.</span></div>
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<span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">Da sola, la fotografia digitale non esiste come invece
esistevano nelle nostre mani i dagherrotipi o le pellicole con il bromuro
d’argento. In questo senso il significato dell’immagine deriva sempre dalla
semiotica: una </span><i><span style="font-family: "Trebuchet MS", sans-serif;">relazione</span></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> che lega qualcosa di materialmente presente
–l’oggetto fotografico analogico o digitale che sia- a qualcos'altro di
assente, di passato attraverso una traccia presente nella fotografia, un segno,
forse il </span></span><i><span style="font-family: "Trebuchet MS", sans-serif;">punctum</span></i><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;"> di Barthes. Con il
digitale, sia l’aspetto indiziario dell’oggetto fotografico che l’aspetto
mediatico e comunicativo dell’immagine sono ancora presenti. Soltanto dobbiamo
capire che quelle combinazioni di pixel e di procedimenti che permettano di
leggerli nel virtuale, si collocano in una nuova fase della storia della
fotografia e dello sviluppo di una riflessione euristica sui suoi connotati di
fonte primaria per assecondare la ricerca storica.</span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1c5XTVEnBfUHIcPw-iBg5g8M9-z-cUivy-ivBJyCT2mrQAOk90X-qxJx38u7GNIjeMd3T7MKeIwV3a9wcpdPRlfktYwnCdA1iVz1ghLp_5xh67jKzTHI6T0Ez9w7r1H_NNK1fJg/s1600/milwaukee.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1c5XTVEnBfUHIcPw-iBg5g8M9-z-cUivy-ivBJyCT2mrQAOk90X-qxJx38u7GNIjeMd3T7MKeIwV3a9wcpdPRlfktYwnCdA1iVz1ghLp_5xh67jKzTHI6T0Ez9w7r1H_NNK1fJg/s640/milwaukee.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span lang="EN-US" style="line-height: 105%;"><span style="font-size: x-small;"><span style="font-family: "Trebuchet MS", sans-serif;">"It does not matter how big the paintings are,
visitors discover them only using their smartphones, always!”, fotografia
scattata dall’autore e disponibile in rete nel blog </span><i><a href="http://sergenoiret.tumblr.com/#23345584549" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;">Photographs by Serge Noiret</span></a><span style="font-family: "Trebuchet MS", sans-serif;">.</span></i></span></span></td></tr>
</tbody></table>
<div style="text-align: justify;">
<span style="line-height: 150%;"><span style="font-size: small;"><span style="font-family: "Trebuchet MS", sans-serif;">
</span></span></span></div>
<div style="text-align: justify;">
<span style="line-height: 150%;"><b><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></b></span></div>
<div style="text-align: justify;">
<span style="line-height: 150%;"><b><span style="font-family: "Trebuchet MS", sans-serif;">Cosa caratterizza il </span><i><span style="font-family: "Trebuchet MS", sans-serif;">digital turn</span></i><span style="font-family: "Trebuchet MS", sans-serif;">
applicato alla fotografia?</span></b></span></div>
<div style="text-align: justify;">
<span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></span></div>
<div style="text-align: justify;">
<span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">La </span><b><span style="font-family: "Trebuchet MS", sans-serif;">prima costatazione </span></b></span><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">è che le fotografie digitali non esistono senza lettori che ci
restituiscano la composizione dei loro pixel impressi dalla luce. Il loro uso in
rete è semplice, senza drastici problemi tecnici che ne renderebbero difficile
l’accesso anche se abbiamo bisogno di rivelarle usando di uno strumento. </span></span></div>
<div style="text-align: justify;">
<span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">La </span><b><span style="font-family: "Trebuchet MS", sans-serif;">seconda costatazione</span></b><span style="font-family: "Trebuchet MS", sans-serif;">, è che tutte le fotografie di rete sono
potenzialmente fonti per la storia indipendentemente dalla loro origine e dalle
loro collocazioni nei siti web. </span></span></div>
<div style="text-align: justify;">
<span style="line-height: 150%;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">La </span><b><span style="font-family: "Trebuchet MS", sans-serif;">terza costatazione</span></b></span></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> verte sul
fatto che è molto difficile -soprattutto </span></span><span style="line-height: 24px;"><span style="font-family: "Trebuchet MS", sans-serif;">nell'era</span></span><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> dei network sociali e del web
2.0-, dividere le fotografie tra una produzione pubblica e istituzionale e invece,
una produzione d’immagini private: “pubblico e privato” sono concetti poco
definiti </span></span></span><span style="line-height: 24px;"><span style="font-family: "Trebuchet MS", sans-serif;">nell'era</span></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> digitale. Questa costatazione caratterizza la presenza delle
memorie mediate dal digitale e vale soprattutto per le immagini fotografiche che
circolano nella rete.</span></span></span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">Una </span></span></span><span style="line-height: 150%;"><b><span style="font-family: "Trebuchet MS", sans-serif;">quarta costatazione </span></b></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">è che sono pure fonti utili per la storia le
copie e le derivazioni di originali analogici che si trovano in rete, come
accadeva già con le fotografie analogiche approdate in altri media, mentre nel
mondo digitale è talvolta difficile parlare di fotografie originali, nel senso
di “matrice” dalla quale deriverebbero possibile copie. </span></span></span><span style="line-height: 24px;"><span style="font-family: "Trebuchet MS", sans-serif;">Tutt'al</span></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> più, se non
appartengono ad archivi e biblioteche digitali, potremmo segnalare la prima
apparizione cronologica di un’immagine in rete o più prosaicamente indicare
quando l’abbiamo incontrata e dove?</span></span></span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">Una </span></span></span><span style="line-height: 150%;"><b><span style="font-family: "Trebuchet MS", sans-serif;">quinta costatazione </span></b></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">è che mai come </span></span></span><span style="line-height: 24px;"><span style="font-family: "Trebuchet MS", sans-serif;">nell'era</span></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> digitale, la
fotografia come fonte –aggiungendo anche le fotografie storiche digitalizzate-
è stata così accessibile e disponibile per la ricerca storica e anche così
imbavagliata dalle leggi sul copyright perfino per riproduzioni in ambito
scientifico e senza scopo di lucro.</span></span></span><a href="file://localhost/C:/Documents%20and%20Settings/Serge/Desktop/serge/photo-digitale/Foto_digitale_Venezia_10_2012/fotografie_storiche_digitali_venezia_sn_30_3_2013%20rivisto.docx#_ftn1" name="_ftnref1" style="line-height: 150%;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-US" style="line-height: 105%;"><span style="font-family: "Trebuchet MS", sans-serif;">[1]</span></span></span></span></span></a></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">Una </span></span></span><span style="line-height: 150%;"><b><span style="font-family: "Trebuchet MS", sans-serif;">sesta costatazione</span></b></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> è che il digitale ha moltiplicato in modo
esponenziale la presenza di fotografie in rete che riguardano i fatti più
intimi e personali degli individui di tutte le età, insieme </span></span></span><span style="line-height: 24px;"><span style="font-family: "Trebuchet MS", sans-serif;">all'analisi</span></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> documentata
e nei minimi particolari, di quello che ci circonda: dai fatti familiari al
giornalismo partecipativo e al protagonismo nei movimenti politici e
rivoluzionari. Leggiamo riflessioni antropologiche, sociologiche e politologiche
sul senso dell’appartenenza sociale e memoriale della fotografia nel mondo
contemporaneo in relazione alla sua presenza nei </span></span></span><i style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">social networks.</span></i><a href="file://localhost/C:/Documents%20and%20Settings/Serge/Desktop/serge/photo-digitale/Foto_digitale_Venezia_10_2012/fotografie_storiche_digitali_venezia_sn_30_3_2013%20rivisto.docx#_ftn2" name="_ftnref2" style="line-height: 150%;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 105%;"><span style="font-family: "Trebuchet MS", sans-serif;">[2]</span></span></span></span></a></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">Da quest’aumento imponente degli scatti e dalla loro indiscriminata
presenza in rete, deriva una </span></span></span><span style="line-height: 150%;"><b><span style="font-family: "Trebuchet MS", sans-serif;">settima constatazione </span></b></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">che vede attenuarsi la differenza tra professionisti e
amatori. Tale attenuazione è ancor più evidente se comparato ai periodi in cui
si diffusero le macchine fotografiche nelle famiglie, come, ad esempio, attorno
alla prima guerra mondiale e soprattutto durante la guerra fredda e anche le
pellicole negative a colori </span></span></span><i style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">Agfacolor</span></i><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">
(1932) e </span></span></span><i style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">Kodachrome </span></i><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">(1935). </span></span></span><span style="line-height: 24px;"><span style="font-family: "Trebuchet MS", sans-serif;">D'altronde,</span></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">
dal punto di vista dello storico alla ricerca di testimonianze, scatti di
artisti e maestri riconosciuti, di foto-reporter o del ragazzo della porta
accanto, perché dovrebbero importare se le informazioni sono intelligibili e
contestualizzabili? </span></span></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">André Gunthert, professore al LHIVIC </span></span></span><span style="font-family: "Trebuchet MS", sans-serif;">(</span><i><a href="http://www.lhivic.org/info/" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;">Laboratoire d’histoire visuelle contemporaine</span></a></i><span style="font-family: "Trebuchet MS", sans-serif;">) a Parigi e autore dell'eccellente "carnet de recherche" o blog, intitolato, "</span><a href="http://culturevisuelle.org/icones/"><span style="font-family: "Trebuchet MS", sans-serif;">l'Atelier des Icones</span></a><span style="font-family: "Trebuchet MS", sans-serif;">", scr</span><span style="font-size: small; text-indent: 18pt;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">isse un Tweet, per sottolineare il
combattimento perso da parte dei fotografi professionisti contro le conseguenze
del </span></span></span><i style="line-height: 150%; text-indent: 18pt;"><span style="font-family: "Trebuchet MS", sans-serif;">digital turn</span></i><span style="font-size: small; text-indent: 18pt;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> e contro la rete
aperta a tutti. Non esiste più una gerarchia tra fotografie digitali scattate
dai professionisti e quelle dei foto-amatori: «</span></span></span><i style="font-family: 'Trebuchet MS', sans-serif; line-height: 150%; text-indent: 18pt;"><span style="font-family: "Trebuchet MS", sans-serif;">il suffirait en effet d'interdire Wikipedia, internet et les photos de vacances
pour sauver la profession</span></i><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">» scrisse Gunthert con ironia.</span></span><span lang="EN-US" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-US" style="line-height: 105%;"><a href="file://localhost/C:/Documents%20and%20Settings/Serge/Desktop/serge/photo-digitale/Foto_digitale_Venezia_10_2012/fotografie_storiche_digitali_venezia_sn_30_3_2013%20rivisto.docx#_ftn3" name="_ftnref3" style="font-family: 'Trebuchet MS', sans-serif; line-height: 150%; text-indent: 18pt;" title=""><span style="line-height: 150%; text-indent: 18pt;"><span style="font-family: "Trebuchet MS", sans-serif;">[3]</span></span></a></span></span></span></div>
<div style="text-align: justify;">
<span style="line-height: 24px;"><u><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></u></span></div>
<div style="text-align: justify;">
<span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; font-family: "Trebuchet MS", sans-serif; line-height: 150%; text-align: justify; text-indent: 18pt;">
<span lang="EN-US" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-US" style="line-height: 105%;"><a href="file://localhost/C:/Documents%20and%20Settings/Serge/Desktop/serge/photo-digitale/Foto_digitale_Venezia_10_2012/fotografie_storiche_digitali_venezia_sn_30_3_2013%20rivisto.docx#_ftn3" name="_ftnref3" style="font-family: 'Trebuchet MS', sans-serif; line-height: 150%; text-indent: 18pt;" title=""><img border="0" height="136" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWGDr9bX-3ztvLGPGKnhhbsXT3__P_1PIN7dQpUfGiSiXM0Cc5zkiBqimlSx8SgjUf0z1cYX9KRXICXwsS8cNQOg5VOvF0ZhJUcHTQFR5sKAG37H98YdevpekOx8YQ7fnU7ewBVg/s640/atelier_icones.png" width="640" /></a></span></span></span></div>
<div style="text-align: justify;">
<span lang="EN-US" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-US" style="line-height: 105%;"><a href="file://localhost/C:/Documents%20and%20Settings/Serge/Desktop/serge/photo-digitale/Foto_digitale_Venezia_10_2012/fotografie_storiche_digitali_venezia_sn_30_3_2013%20rivisto.docx#_ftn3" name="_ftnref3" style="font-family: 'Trebuchet MS', sans-serif; line-height: 150%; text-indent: 18pt;" title=""><span style="font-family: "Trebuchet MS", sans-serif;">
</span></a></span></span></span></div>
<div style="text-align: justify;">
<span style="line-height: 16px;"><u><span style="font-family: "Trebuchet MS", sans-serif;">http://culturevisuelle.org/icones/</span></u></span></div>
<div style="text-align: justify;">
<span style="line-height: 16px;"><u><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></u></span></div>
<div style="text-align: justify;">
<span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">Oggi attraverso il digitale, il media “fotografia” è più che mai alla base
della cultura contemporanea globalizzata: le stesse fotografie sono viste da
gruppi culturali, etnici, religiosi diversi in tutti i continenti, e questa è
un’</span><b><span style="font-family: "Trebuchet MS", sans-serif;">ottava costatazione</span></b><span style="font-family: "Trebuchet MS", sans-serif;">. Siamo intimamente permeati dalle icone globalizzate
e produciamo noi le fotografie, lo fanno gli altri e soprattutto i più giovani,
lo fanno tutti e tutti le vedono. L’immagine fissa e quella in movimento ha
invaso ogni aspetto della nostra vita a tal punto che possiamo affermare che
l’uomo del 21° secolo accede a gran parte della sua conoscenza soltanto
attraverso quello che vede e non quello che legge. </span></span></div>
<div style="text-align: justify;">
<span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">Il vero patrimonio digitale del 21° secolo è conservato nei maggiori </span><i><span style="font-family: "Trebuchet MS", sans-serif;">social networks</span></i><span style="font-family: "Trebuchet MS", sans-serif;"> che appartengono alle
compagnie private come </span><i><span style="font-family: "Trebuchet MS", sans-serif;">Facebook</span></i><span style="font-family: "Trebuchet MS", sans-serif;">, </span><i><span style="font-family: "Trebuchet MS", sans-serif;">Flickr</span></i><span style="font-family: "Trebuchet MS", sans-serif;">, </span><i><span style="font-family: "Trebuchet MS", sans-serif;">Youtube</span></i><span style="font-family: "Trebuchet MS", sans-serif;">, </span><i><span style="font-family: "Trebuchet MS", sans-serif;">Twitter</span></i><span style="font-family: "Trebuchet MS", sans-serif;">, </span><i><span style="font-family: "Trebuchet MS", sans-serif;">Instagram</span></i><span style="font-family: "Trebuchet MS", sans-serif;">, </span><i><span style="font-family: "Trebuchet MS", sans-serif;">Tumblr</span></i><span style="font-family: "Trebuchet MS", sans-serif;">, </span><i><span style="font-family: "Trebuchet MS", sans-serif;">Google+</span></i><span style="font-family: "Trebuchet MS", sans-serif;">, </span><i><span style="font-family: "Trebuchet MS", sans-serif;">Picasa</span></i><span style="font-family: "Trebuchet MS", sans-serif;">, per citare soltanto alcuni dei
più noti archivi di fotografie digitali.</span></span><a href="file://localhost/C:/Documents%20and%20Settings/Serge/Desktop/serge/photo-digitale/Foto_digitale_Venezia_10_2012/fotografie_storiche_digitali_venezia_sn_30_3_2013%20rivisto.docx#_ftn4" name="_ftnref4" style="line-height: 150%;" title=""><span class="MsoFootnoteReference"><span lang="EN-US" style="line-height: 150%;"><span class="MsoFootnoteReference"><span lang="EN-US" style="line-height: 105%;"><span style="font-family: "Trebuchet MS", sans-serif;">[4]</span></span></span></span></span></a><span lang="EN-US" style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> </span></span><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">Anche enormi
archivi nativi digitali con le fotografie dei professionisti (</span></span><i><a href="http://www.getty.edu/" style="line-height: 150%;" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;">Getty Images</span></a><span style="line-height: 16px;"><span style="font-family: "Trebuchet MS", sans-serif;">)</span></span></i><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> o gli archivi digitali delle agenzie di fotografie, non possono competere
con quelle quantità di fotografie alle quali si accede spesso liberamente in
rete e che vengono scattato da fotografi amatoriali. Grazie alla partecipazione
di massa nei </span></span><i style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">social network</span></i><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">, la
fotografia è stata messa sugli scudi proponendola come illustrazione di ogni
piccolo dettaglio e di ogni ambito della nostra vita quotidiana oltre che
sociale e pubblica. E l’ubiquità della fotografia digitale amatoriale si
configura come la nostra </span></span><span style="line-height: 150%;"><b><span style="font-family: "Trebuchet MS", sans-serif;">nona costatazione</span></b></span><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">. </span></span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">Questa rivoluzione epocale ci obbliga infine a riflettere in modo
interdisciplinare </span></span></span><span style="line-height: 24px;"><span style="font-family: "Trebuchet MS", sans-serif;">sull'ubiquità</span></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> dell’immagine e sul suo ruolo antropologico
prima che ancora di fonte storica. Di fatti una società come la </span><a href="http://www.sisf.eu/" target="_blank"><span style="font-family: "Trebuchet MS", sans-serif;">Società Italiana per lo Studio della Fotografia, (SISF)</span></a><span style="font-family: "Trebuchet MS", sans-serif;"> in Italia</span></span><span style="line-height: 16px;"><span style="font-family: "Trebuchet MS", sans-serif;"> </span></span></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">che vede la fotografia come bene culturale da diversi
punti di vista scientifici dimostra che non vi sono soltanto storici che
lavorano con le fonti fotografiche o storici della fotografia, ma persone che
provengono da tutte le discipline umanistiche e dalle scienze sociali che ormai
guardano alle immagini come strumenti che ci offrono le chiavi per capire il
nostro tempo. Di fatti, -e sarà questa la nostra </span></span></span><span style="line-height: 150%;"><b><span style="font-family: "Trebuchet MS", sans-serif;">decima costatazione</span></b></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">- la
rivoluzione digitale ha portato con sé –e lo studio dell’immagine fotografica
digitale ne è un esempio maestro- una rivoluzione </span></span></span><span style="line-height: 24px;"><span style="font-family: "Trebuchet MS", sans-serif;">trans-disciplinare</span></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> e una
sovrapposizione di linguaggi che concorrono tutti, da diversi punti di vista,
allo studio e </span></span><span style="line-height: 24px;"><span style="font-family: "Trebuchet MS", sans-serif;">all'interpretazione</span></span><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> nonché al trattamento, alla fruizione e alla
comunicazione delle fotografie digitali.</span></span></span><a href="file://localhost/C:/Documents%20and%20Settings/Serge/Desktop/serge/photo-digitale/Foto_digitale_Venezia_10_2012/fotografie_storiche_digitali_venezia_sn_30_3_2013%20rivisto.docx#_ftn7" name="_ftnref7" style="line-height: 150%;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="line-height: 105%;"><span style="font-family: "Trebuchet MS", sans-serif;">[7]</span></span></span></span></a></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"><br /></span></span></span></div>
<div style="text-align: justify;">
<span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">S</span></span></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">i può presumere che la rivoluzione digitale non abbia intaccata le problematiche già esistenti con l’uso della fotografia analogica come
fonte. Se possiamo concordare
sui termini di una continuità nel lavoro euristico </span></span></span><span style="line-height: 24px;"><span style="font-family: "Trebuchet MS", sans-serif;">dall'analogico</span></span><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> al digitale con le fotografie come fonti,
vorrei tuttavia menzionare ora che, oltre questo decalogo sul </span></span></span><i style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;">digital turn</span></i><span style="font-size: small;"><span style="line-height: 150%;"><span style="font-family: "Trebuchet MS", sans-serif;"> per la fotografia,
esistono delle pratiche nuove applicate alla fotografia che la rivoluzione digitale
ha generato. Se non mutano fondamentalmente i termini delle discussioni sul valore
doc</span><span style="font-family: "Trebuchet MS", sans-serif;">umentario delle fotografie, dovremo invece fornire nuove
riflessioni legate soprattutto a queste pratiche pubbliche che la rete suscita
e favorisce grazie alle nuove tecnologie del web 2.0 anche per l’uso delle
immagini digitali. Ma questa riflessione richiede certamente un supplemento
d’indagine oltre che un futuro post in questo stesso blog.</span></span></span></div>
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<span style="font-family: Trebuchet MS, sans-serif; font-size: x-small;"><a href="file://localhost/C:/Documents%20and%20Settings/Serge/Desktop/serge/photo-digitale/Foto_digitale_Venezia_10_2012/fotografie_storiche_digitali_venezia_sn_30_3_2013%20rivisto.docx#_ftnref1">[1]</a> Il CVCE di Lussemburgo (Centre Virtuel de la Connaissance de l’Europe) che lavora molto con fonti fotografiche ed iconografiche digitalizzate possiede una squadra di specialisti del copyright digitale diretta da un “legal officer” che <a href="http://www.cvce.eu/le-cvce/equipe">affianca il lavoro degli storici edei tecnici del computer</a> per realizzare gli ipertesti storici sulla storia dell’integrazione europea. In Gran Bretagna, il JISC ha elaborato una lezione aggiornata regolarmente che permette di cercare le fotografie che servono per una ricerca scientifica ed evitare di incappare in violazioni delle regole del copyright, D.Kilbey: <a href="http://www.vtstutorials.ac.uk/tutorial/imagesearching/"><i>Internet for Image Searching</i></a>.<br /><a href="file://localhost/C:/Documents%20and%20Settings/Serge/Desktop/serge/photo-digitale/Foto_digitale_Venezia_10_2012/fotografie_storiche_digitali_venezia_sn_30_3_2013%20rivisto.docx#_ftnref2">[2]</a>J.Garde-Hansen: “Digital memory practices. My Memories? Personal digital archive fever and Facebook.”, in <i>Save as.. digital memories</i>., a cura di J. Garde-Hansen, A .Hoskins e A .Reading, Basingstoke, 2009, pp.135-150. Aussi P.Hamilton, «A Long War. Public Memory and the Popular Media» in <i>Memory, Histories, theories, debates</i>., a cura di S. Radstone e B. Schwarz, New York, 2010, pp.299-311.<br /><a href="file://localhost/C:/Documents%20and%20Settings/Serge/Desktop/serge/photo-digitale/Foto_digitale_Venezia_10_2012/fotografie_storiche_digitali_venezia_sn_30_3_2013%20rivisto.docx#_ftnref3">[3]</a>A.Gunthert: Tweet del 3/10/2012, in <a href="https://twitter.com/gunthert">@gunthert</a>.<br /><a href="file://localhost/C:/Documents%20and%20Settings/Serge/Desktop/serge/photo-digitale/Foto_digitale_Venezia_10_2012/fotografie_storiche_digitali_venezia_sn_30_3_2013%20rivisto.docx#_ftnref4">[4]</a> Questi archivi aspettano ancora di essere pensati in funzione di una loro conservazione a lungo termine con le caratteristiche descrittive dell’erudizione filologica. Solo Twitter possiede un piano di donazione con la Library of Congress di Washington. Al momento di scrivere, non è ancora stato allestito un accesso ai tweets per gli studiosi. G.Osterberg: “<a href="http://blogs.loc.gov/loc/2013/01/update-on-the-twitter-archive-at-the-library-of-congress/">Update on the TwitterArchive at the Library of Congress</a>”, 4 gennaio 2013, in Library of Congress Blog.<br /><a href="file://localhost/C:/Documents%20and%20Settings/Serge/Desktop/serge/photo-digitale/Foto_digitale_Venezia_10_2012/fotografie_storiche_digitali_venezia_sn_30_3_2013%20rivisto.docx#_ftnref7">[7]</a> F.Faeta: <i>Le ragioni dello sguardo. Pratiche dell’osservazione, della rappresentazione e della memoria</i>., Torino, 2011 s’interessa della visione antropologica in rapporto alle fonti fotografiche.<br /><a href="file://localhost/C:/Documents%20and%20Settings/Serge/Desktop/serge/photo-digitale/Foto_digitale_Venezia_10_2012/fotografie_storiche_digitali_venezia_sn_30_3_2013%20rivisto.docx#_ftnref8">[8]</a> L.Tomassini: "Vita nuova di vecchi media: le fotografie storiche in rete fra divulgazione e ricerca”, in <i>Media e Storia</i>, a cura di F.Mineccia e L.Tomassini, numero speciale di <i>Ricerche Storiche</i>, a.33, n.2-3, maggio-dicembre 2009, pp. 363-437. Ringrazio qui Luigi Tomassini per la sua rilettura dell'intero lavoro del quale questo intervento è tratto.</span></div>
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