cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.1285/i22390359v45p73
title: Vertical and Distant Reading of Shakespeare with Digital Natives. The Case of 'The Merchant of Venice'

description: Over the past decades, the myth of the digital natives being 'naturally' fluent in the use of ICT has been repeatedly rehearsed, revised, and eventually challenged (Prensky 2001a, 2009; Thomas 2011), but probably not yet comprehensively explored on the basis of empirical evidence. Especially in a teaching context, such competence has been more assumed than tested, and the gap between imagined and real skills runs the risk of leaving a grey area where neither the potential is fully exploited nor the limitations are fully addressed. With this in mind, the present article reports on the results of a teaching experience carried out with university students – namely, a corpus linguistics/stylistics exploration of Shakespeare's play The Merchant of Venice in digital format. While the pervasiveness of digital technology in everyday life has been seen as having a significant impact on the interaction with text from a very young age, it seems in fact that new digitally enhanced reading skills still need to be self-consciously developed in learners. The use of corpus linguistics resources and tools in the literature class can therefore be seen as a useful contribution to the development of such skills and a way to raise awareness of shifts occurring in digital reading compared to print-based reading. In particular, by experimenting with vertical (Tognini Bonelli 2001) and distant (Moretti 2013) reading, and by engaging with quantitative and qualitative analysis of language data, students can both attain a deeper and more comprehensive understanding of Shakespeare's innovative use of language and develop useful digital reading skills that can be profitably exploited in different contexts.
DOI: 10.5281/zenodo.5763672
title: Dataset for Spatial Heterogeneity of Uplift Pattern in the Western European Alps Revealed by InSAR Time Series Analysis

description: ZIP file with InSAR raw and smoothed final velocity solution values
DOI: 10.5281/zenodo.5763671
title: Dataset for Spatial Heterogeneity of Uplift Pattern in the Western European Alps Revealed by InSAR Time Series Analysis

description: ZIP file with InSAR raw and smoothed final velocity solution values
DOI: 10.1285/i22390359v45p95
title: Interdisciplinary Uses of Digital Editions for Italian High School Students. Shakespeare's 'Cymbeline' and the Silvano Toti Globe Theatre

description: Just as digital technologies have become an essential part of research in the Humanities field, digital editing of early modern texts has undergone considerable changes. The breadth of online materials and scholarly reflections on the rediscovery of Renaissance textuality as intrinsically fluid and unstable have paved the way for new theories and practices of editing that can also be used to help digital natives approach Shakespeare's multi-layered textual world. In this paper, I will outline the main features and learning objectives of an experimental template that will be made available on the website of the Silvano Toti Globe Theatre Archive. It will consist of new digital editions of selected scenes from Shakespeare's Cymbeline and from some of its presumed Italian narrative sources. The interface will show parallel texts of both modernised-spelling editions and facsimile reproductions; all texts will be TEI-based and interconnected through XML-encoded hyperlinks. These digital editions will be supported by critical apparatuses, learning activities for target groups of students and worksheets for their teachers. Students' resources will include linguistic exercises and activities aimed to foster their reflection on Shakespeare and cultural exchanges in the European Renaissance (as well as today), and to promote a more inclusive, intercultural and interdisciplinary view of Shakespearean texts and literature in general. Teachers will instead be provided with tips for class debate and interdisciplinary learning units also to be employed within CLIL thematic modules. The template is, therefore, dual in scope, as it is meant to develop both enduring understanding and specific linguistic, cultural, and digital skills. Especially now that the digital classroom has become the daily reality of millions of students all over world, an increasingly virtual and blended learning environment requires students not only to acquire new digital competences, but also to learn how to use digital technologies with greater awareness and critical thinking.
DOI: 10.1285/i22390359v45p111
title: Part II - Intermediality and performance
DOI: 10.1285/i22390359v45p113
title: A King of Infinite (cyber)space? The Digital Remapping of Shakespeare in light of The Globe's Emma Rice Controversy

description: Marjorie Garber has succinctly claimed that: "Every age creates its own Shakespeare" (2004, p.3). Garber counters the popular contention that Shakespeare's plays are "timeless" and moves toward an understanding of the works' enduring timeliness, in that they can be adapted in ways that already seem modern. More recently, Courtney Lehmann and Geoffrey Way have mapped how theatrical institutions have sought – and struggled – to negotiate the new digital environment. Their proposition is especially prescient in light of the recent controversy at the London Globe, when Emma Rice was formally asked to step down as artistic director because her practice of Shakespeare was deemed incongruous with Sam Wanamaker's founding vision in 1949. The Globe concluded that Rice's use of contemporary sound and lighting technology was not conducive to the unique theatre space they had created, and by implication positioned themselves as custodians of the essential Shakespeare. This paper situates the Rice controversy in the context of the Globe's negotiation of digital environments, and in particular the institution's construction of its online profile. Through a brief analysis of the Globe's online footprint, and reactions in the Shakespeare online community to Rice's departure, this paper identifies an apparent contradiction between, on the one hand, the Globe's online commitment to broadening access, generating and sustaining audiences for Shakespeare and, on the other, the Globe's reactive treatment of Rice. Contemporary adaptations and popularised Shakespeares are ghosted by a more traditional interpretation of the Bard. This paper argues that this controversy is indicative of both a creeping conservatism within the Shakespeare multiverse and also an implicit gender bias within some productions. Furthermore, it considers to what extent the Globe's reaction to Rice signaled, despite Garber's argument, an untimely Shakespeare, one that risks being out of touch with its age.
DOI: 10.1285/i22390359v45p133
title: The 'Networking' of the Shrew. Katherina Minola on Facebook

description: This paper examines the 'staging' of Shakespeare's 'shrew,' Katherina, on Facebook. The different individual responses to the character present in the social network are analysed and categorised to determine specific reception modes and highlight the role of the new medium in the popular reception of Shakespeare's plays. This paper aims not to describe the consequences of the use of Shakespeare for the Net (the 'ennobling' of Web 2.0, thanks to the authority of the 'Bard') but to interpret this new kind of literary afterlife online by explaining the features of these unorthodox reworkings of Shakespeare's 'shrew' and by studying them in view of critical literature and in relation to other forms of popular adaptation. The conclusions show that the contemporary networking of Katherina Minola by ordinary people on Facebook mostly follows the same predominantly conservative line as the reception by the cultural élite of meaning makers.
DOI: 10.1285/i22390359v45p151
title: "My Kingdom for an Iphone". Shakespeare and Mobile Phones

description: The essay examines how Shakespeare and his works have been appropriated and exploited for promotional purposes in the field of mobile phone communication in the 21st century. On the one hand, I will investigate the strategies used to advertise merchandising related to mobile phones. Capitalising on Shakespeare's iconic status, crafters have created covers and phone cases featuring pictures of the Bard, which range from the traditional well-known Chandos Portrait to more creative depictions of the dramatist, as he wears earphones or sunglasses. His visage, as Susan Bennett argues, has become "the signifier beyond all others in an international marketing economy" (1996, p. 36). On the other hand, I will discuss the reasons why advertising creative teams have turned most often to Romeo and Juliet, a tragedy which dramatises lack of communication on different levels, than to any other Shakespearean play to promote mobile communication providers. I will explore three American ads (Nextel Communications 2003, T-Mobile 2008, and Apple 2016), a French one (Orange 2009) and an Italian one (Vodafone Italy 2013), all reinterpreting the balcony scene from a diverse angle.
DOI: 10.1285/i22390359v45p169
title: Shakespeare and Digital Pathways. Shortening distances with 'Romeo and Juliet'

description: Two recent productions of Romeo and Juliet have turned to video or Skype technology to fragment and infract the dramatic text as well as to create "virtual spaces", which, I think, contribute to better understand Shakespeare's ethical relevance as well as the two directors' political agendas: Nawar Bulbul's 2015 Romeo and Juliet in Amman, Jordan; and Giuseppe Scutellà's 2018 Romeo Montecchi: innocente o colpevole? (Romeo Montecchi: innocent or guilty?) in Milan, Italy. In both cases the actors could not be onstage together because they were either entrapped in a bombed-out city in Syria or locked in a juvenile detention centre in Italy and were therefore replaced by their virtual avatars. I argue that while the diffuse connectivity of digital communication has been used as a tool to accomplish very practical purposes, it has also deeply conditioned the experience of the performances as well as of their reception in ways that this paper seeks to explore.
DOI: 10.1285/i22390359v45p189
title: Part III - Adaptations and appropriations in digital contexts
DOI: 10.1285/i22390359v45p191
title: Image, Music, Text. Notes on The Digital Video Disc edition of William Shakespeare's 'Romeo+Juliet' by Baz Luhrmann

description: The DVD (or Digital Video Disc) has fundamentally changed "the way we interact with movies" (Barlow 2005, p. XI); the DVD is indeed a digital resource offering possibilities which analog equipments such as VCR and VHS – which had always remained a linear medium – could not offer in the 1970s and 1980s. The DVD can be considered not only a media resource but also, and most importantly, a space to investigate the fascinating dialogic relationship involving image, music and (verbal) text. In this sense, if, according to Brummett, "a text is a set of signs related to each other insofar as their meanings all contribute to the same set of effects or functions" (2006, p. 34), then the DVD stands as a "multimodal text" (Kress, van Leeuwen 2001), one where the visual, the musical and the literary are engaged in a fascinating dialogue which allows them to constantly redefine themselves. Interestingly, the DVD format was born in the very same year – namely 1996 – of one of the most fascinating and successful Shakespearean filmic adaptations, that is William Shakespeare's Romeo+Juliet by the Australian director Baz Luhrmann. In the film the poetic and canonic aura of the Shakespearean verses – which are pronounced in their integrity – is somehow transgressed by their contrapuntal juxtaposition to images and sounds belonging contemporary pop culture. In our view, the DVD edition of the film – which includes many extras (on which we will focus in the present essay) such as photo galleries, music videos, interviews, TV trailers, audio commentaries and an introductory essay by the director himself in which he makes reference to the strong relationship between Shakespeare and popular culture (Lanier 2002) – represents the format which seems to be more in tune with the film's hypertextual quality staging its very capacity to exceed the world of cinema to interrogate our own age through the double lens of Shakespeare and contemporary popular culture.
DOI: 10.5281/zenodo.5763709
title: Quality Evaluation Models or Frameworks for Open Source Software: A Systematic Literature Review (Matching articles with categories)

description: This document includes which primary study falls into which category with respect to the RQs in the following study: “Quality Evaluation Models or Frameworks for Open Source Software: A Systematic Literature Review”
DOI: 10.1285/i22390359v45p207
title: "To meme or not to meme", and to do so during a Pandemic. Shakespeare and the Memetic Transmission of a Classic

description: Shakespeare's protean quality is an intrinsic feature: his works and even his persona have always been adapted and have been capable of transmitting through time and space. Rather than merely being the latest form of remediations, this paper suggests that memes can be related to the very nature of a classic, which resides in its transmissibility. In this paper, informed by the idea that a classic is comparable to a viral content, I analyse a few Shakespeare-related internet memes created in the first half of 2020, during the initial phase of the Coronavirus pandemic emergency, that assimilate Shakespeare in a pandemic context. An English icon, Shakespeare seems to be able to speak to different audiences in their own language, even in the lyophilized form of the internet meme.
DOI: 10.1285/i22390359v45p225
title: Back to the Future. 'Hamlet Encounters' and the Use of VR to Address a Time "out of joint"

description: The aim of my contribution is to investigate how Shakespeare has entered the cyberspace and in particular the reasons for and modalities in which the arts company CREW chose Hamlet to portray a time "out of joint" (Shakespeare 2003, p. 126). Since every generation seems to find in Hamlet and his troubled time a metaphor for current conflicts, CREW used the play to draw a parallel between the quest for truth in the conflicted world of the seventeenth century and our own times. The use of VR inevitably leads to the loss of reference points, therefore the experiencer of the virtual space must negotiate his/her senses that cannot be trusted anymore. Thus, Hamlet Encounters offers the tool needed to highlight how technology is changing our own perception of the world and how it brings us to question ourselves like Hamlet does.
DOI: 10.1285/i22390359v45p239
title: Shakespeare in Jail. Hamlet in Rebibbia: from Stage to Live Streaming Performances

description: "Since I have known art, this cell has turned into a prison" was the last line of Caesar Must Die, the film directed by Paolo and Vittorio Taviani and winner of the Golden Bear for best film at the 62nd Berlin International Film Festival. Now, after six years, the doors of Rebibbia open again to the world to let art in. The company of prodigious inmates/actors, directed by Fabio Cavalli, come back to Shakespeare in order to stage Hamlet in Rebibbia: the tragedy of revenge. If Caesar Must Die was a perfect blending of theatre and cinema, where everyday life in jail was mixed with theatre rehearsals, in an alternating montage of color and black and white scenes that culminated in a film disguised as filmed theatre, Hamlet in Rebibbia is a completely different kind of experiment. Hamlet is the universal symbol of the dialectic between Revenge and Justice and has a direct connection to the problems that dominate the prison context and the origins of many inmates. For this reason the tragedy perfectly suits the actors in the prison's company and the place where it is staged. However, the aim of the director Fabio Cavalli was to bring the resulting play outside the jail. In order to reach as many people as possible, the play was shown all around the country through full-HD live streaming performances. Following the example of the National Theatre Live, Fabio Cavalli experimented with a new kind of theatre that, with the help of digital technologies, could go beyond the physical borders of the stage and meet cinema halfway. The aim of this paper is to take Hamlet in Rebibbia as a case study to investigate the relationship between theatre and cinema when one medium verges on the other in order to create a new, vibrant and meaningful work of art.
DOI: 10.21335/nmdc-1627434985
title: Monthly data on marine CO2 system (total alkalinity, total inorganic carbon) and inorganic nutrients in the water column at coastal station Arendal in Skagerrak in 2020

description: Marine CO2 system data (total alkalinity, and total dissolved inorganic carbon) were collected once a month from full water column at the coastal station Arendal (VT5) located in Skagerrak between January and November 2020 onboard the IMR research vessel GM Dannevig. The seawater samples were collected in 250 ml borosilicate bottles with glass stoppers from a CTD-Rosette (12-Niskin bottle) following standard procedures. The samples were preserved with 50 µL of saturated mercuric chloride (HgCl2) solution immediately after sampling and stored cool and dark until analysis within 6 months at Institute of Marine Research, Tromsø, Norway. DIC was determined using gas extraction of acidified samples followed by coulometric titration and photometric detection using a Versatile Instrument for the Determination of Titration carbonate (VINDTA 3D, Marianda, Germany). Total alkalinity (ALK) determined by potentiometric titration with 0.1 N hydrochloric acid using a Versatile Instrument for the Determination of Titration Alkalinity (VINDTA 3S, Marianda, Germany). Routine analyses of Certified Reference Materials (CRM, provided by A. G. Dickson, Scripps Institution of Oceanography, United States) ensured the accuracy of the measurements, which was better than ±2 and ±2 µmol kg-1 for both DIC and AT. Sea water samples for the macronutrients nitrate+nitrite [NO3–+NO2-], phosphate [PO43–], and silicic acid [Si(OH)4] were drawn from the Niskin bottles into 20 mL vials, preserved with chloroform and stored at 4 °C. Analysis were carried out using a Flow Solution IV analyzer from O.I. Analytical, United States, following Grasshof et al. (2009) at the Institute of Marine Research, Bergen, Norway. The analyser was calibrated using reference seawater from Ocean Scientific International Ltd., United Kingdom. The uncertainty based on QUASIMEME ring-test were 0.4 µmol kg-1 for [NO3-+NO2–], 0.06 µmol kg-1 for [PO43–] and 0.7 µmol kg-1 for Si(OH)4, respectively. Description of the analytical methods and the data series can be found in the annual report by Skjelvan et al., 2020. This study is a contribution to the project “Monitoring ocean acidification in Norwegian waters/Havforsuringsovervåking i norske farvann” project #17078007 funded by the Norwegian Environment Agency (Miljødirektoratet). Data is also published in Vannmiljø as well as contributes to SDG 14.3.1 Indicator: Average marine acidity (pH)
DOI: 10.1285/i22390359v45p257
title: Hacking Hamlet. Sam Esmail's 'Mr. Robot' as Update, Port and Fork of the Shakespearean Source Code

description: This article reads the television series Mr. Robot (created by Sam Esmail, 2015-2019, USA Network) as a hack of William Shakespeare's Hamlet. Deriving the interpretative framework to analyze Mr. Robot from the series itself, the essay first explains the use of the notions of computer hacking and source code in the context of artistic adaptation, outlining how hacking can function as an extended conceptual metaphor which enables a fresh, unified understanding of both processes and products of adaptation and appropriation. The framework of hacking is then applied to an extensive comparative reading of Shakespearean source code and televisual hack which focuses on a tightly integrated complex of issues involving the heroes' madness, audience manipulation, and narrative consistency. The central argument of this reading is that the updating, porting and forking of the source code of Hamlet performed by Mr Robot amounts to an interpretation as much as to a modification of Shakespeare's play. Hamlet's manipulation of the audience throws light on the technologically upgraded means of direct audience communication used in Mr. Robot. Mr. Robot's reinterpretation of the Ghost as both a part of the protagonist's mind and a manifestation of his madness in turn suggests an intriguing new reading of Hamlet's madness, and its mode of storytelling enables a reassessment of the various inconsistencies of Shakespeare's tragedy. Reassessing Mr. Robot and Hamlet in the context of artistic hacking affords new insight into both contemporary complex television series and early modern plays.
DOI: 10.1285/i22390359v45p277
title: Colophon
DOI: 10.21335/nmdc-855396151
title: Monthly data on marine CO2 system (total alkalinity, total inorganic carbon) and inorganic nutrients in the water column at coastal station Skrova (Vestfjorden, Norwegian Sea) in 2020

description: Marine CO2 system data (total alkalinity, and total dissolved inorganic carbon) were collected once a month from full water column at the coastal station Skrova (VT29) located in Vestfjorden, adjacent to the Norwegian Sea between December 2019 and December 2020. The seawater samples were collected in 250 ml borosilicate bottles with glass stoppers from a Niskin bottle operated by winch with parallell CTD profiling following standard procedures. The samples were preserved with 50 µL of saturated mercuric chloride (HgCl2) solution immediately after sampling and stored cool and dark until analysis within 6 months at Institute of Marine Research, Tromsø, Norway. DIC was determined using gas extraction of acidified samples followed by coulometric titration and photometric detection using a Versatile Instrument for the Determination of Titration carbonate (VINDTA 3D, Marianda, Germany). Total alkalinity (ALK) determined by potentiometric titration with 0.1 N hydrochloric acid using a Versatile Instrument for the Determination of Titration Alkalinity (VINDTA 3S, Marianda, Germany). Routine analyses of Certified Reference Materials (CRM, provided by A. G. Dickson, Scripps Institution of Oceanography, United States) ensured the accuracy of the measurements, which was better than ±2 and ±2 µmol kg-1 for both DIC and AT. Sea water samples for the macronutrients nitrate+nitrite [NO3–+NO2-], phosphate [PO43–], and silicic acid [Si(OH)4] were drawn from the Niskin bottles into 20 mL vials, preserved with chloroform and stored at 4 °C. Analysis were carried out using a Flow Solution IV analyzer from O.I. Analytical, United States, following Grasshof et al. (2009) at the Institute of Marine Research, Bergen, Norway. The analyser was calibrated using reference seawater from Ocean Scientific International Ltd., United Kingdom. The uncertainty based on QUASIMEME ring-test were 0.4 µmol kg-1 for [NO3-+NO2–], 0.06 µmol kg-1 for [PO43–] and 0.7 µmol kg-1 for Si(OH)4, respectively. Description of the analytical methods and the data series can be found in the annual report by Skjelvan et al., 2020. This study is a contribution to the project “Monitoring ocean acidification in Norwegian waters/Havforsuringsovervåking i norske farvann” project #17078007 funded by the Norwegian Environment Agency (Miljødirektoratet). Data is also published in database “Vannmiljø” and contributes to data to assess the SDG 14.3.1 Indicator: Average marine acidity (pH)