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-
-[Poster in PDF here](/assets/pdf/Isasi_BilForum16.pdf)
-
-**References:**
-Hornberger, N. H., & Wang, S. C. (2008). “Who are our heritage language learners? Identity and biliteracy in heritage language education in the United States”. Heritage language education: A new field emerging Ed. D. M. Brinton, O. Kagan, & S. Bauckus. New York: Routledge, 3-38.
-Montrul, Silvia. (2012) “Is the Heritage Language like a Second Language?” Eurosla Yearbook. Urbana: University of Illinois at Urbana-Champaing.
-Polinsky, M., & Kagan, O. (2007). “Heritage Languages: In the ‘Wild’ and in the Classroom”. Languages and Lingustics Compass, 1(5), 368-295.
-Potowski, K. (2005). El español del hablante de herencia. Fundamentos de la enseñanza del español a los hispanohablantes en los EEUU. Madrid: Arco Libros.
-Valdés, G., López-García, D. & Márquez, P. (2003). “Language Ideology: The Case of Spanish in Departments of Foreign Languages.” A nthropology & Education Quarterly. 34, 3-26
-Valdés, Guadalupe. (1997). The Teaching of Spanish to Bilingual Spanish-Speaking Students: Outstanding Issues and Unanswered Questions. In M. C. Colombi, & F. X. Alarcón (Eds.), La enseñanza del español a hispanohablantes. Práxis y teoría. (pp. 8-44). Boston: Houghton Mifflin.
---. (2001). “Heritage language students: Profiles and possibilities.” Heritage languages in America: Preserving a national resource. Ed. J. K. Peyton, D. Ranard, & S. McGinnis. Washington, DC: Center for Applied Linguistics and Delta Systems, 37–77.
-Velázquez, I. (2015). “Reported literacy, media consumption and social media use as measures of relevance of Spanish as a heritage language.” International Journal of Bilingualism, 1-13.
diff --git a/_posts/2016-11-05-talk-machl.md b/_posts/2016-11-05-talk-machl.md
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--- a/_posts/2016-11-05-talk-machl.md
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----
-layout: post
-title: "Modelo de análisis de la sociedad en el diseño de los personajes de los Episodios nacionales."
-description: "MACHL 2016"
-date: 2016-11-05
-location: "Lawrence, KS, USA"
----
-
-Según la “fórmula galdosiana,” la novela realista debía servirse de la sociedad como materia para novelar, de tal forma que la mímesis del conjunto social fuera a la vez reflejo, reflexión y enseñanza de la situación surgida a partir de la Revolución de 1868. En concreto, en los ensayos “Observaciones sobre la novela contemporánea en España” de 1870 y “La sociedad como materia novelable” de 1897, Pérez Galdós muestra la relevancia de tal estudio por su utilidad para entender tanto el pasado y el presente, como el futuro. Así, como un producto de consumo al que le venían impuestos una forma y temas nuevos (Bonet), la novela se convertiría en el caso de Pérez Galdós en una ficción de realidades humanas (Ortega y Gasset) es decir, en un testimonio transparente de claro didactismo ante la realidad, convertida ésta en materia prima para el escritor. Consideramos, entonces, a los personajes presentes en las obras de Pérez Galdós como una especie de sinécdoque de tipos sociales y, por tanto, un reflejo de la influencia cultural y sociológica de la época.
-Desde dicho planteamiento, y con el objetivo de realizar un estudio del diseño de los personajes en los Episodios nacionales mediantes técnicas digitales de extracción de datos, se plantea para la presente ponencia la justificación para investigar la sociedad del XIX desde los Episodios, así como la presentación de diferentes variables a analizar a fin de poder aprender sobre los hechos colectivos a través del análisis de la sociedad ficticia.
-
diff --git a/_posts/2017-07-5-seminar-alces.md b/_posts/2017-07-5-seminar-alces.md
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--- a/_posts/2017-07-5-seminar-alces.md
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----
-layout: post
-title: "Humanidades digitales. Seminario sobre las implicaciones del uso de herramientas digitales en el ámbito de la investigación humanística."
-description: "ALCESXXI 2017"
-date: 2017-07-5
-location: "Zaragoza, Aragón, Spain"
----
-
-Resulta prácticamente imposible dar una definición y delimitar la labor de las humanidades digitales debido al alcance que sus variadas metodologías están teniendo en numerosos campos de investigación y objetos de estudio, por su carácter interdisciplinar y de colaboración y, sobre todo, por su continua evolución para la (re)adaptación de métodos y prácticas. Mostraré aquí algunas ideas con el propósito de añadirlas a la discusión que estos días nos ocupa, esto es, realizar un análisis integral cultural. Aprovechando que los resultados están disponibles en la web, añado una serie (reducida) de diferentes proyectos digitales “finalizados” o en desarrollo así como de publicaciones interesantes. Por último, incluyo una serie de retos que plantean las humanidades digitales.
-
-Prepared with Dr. Joseba Moreno, University of Nebraska-Lincoln
diff --git a/_posts/2017-09-28-talk-mdll.md b/_posts/2017-09-28-talk-mdll.md
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+++ /dev/null
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----
-layout: post
-title: "Towards a Methodology for the Analysis of Character Systems/Networks in the Spanish Novel: The case of Pérez Galdós’ Zumalacárregui and Mendizábal."
-description: "Works in Progress & DH Dialogues"
-date: 2017-09-28
-location: "Lincoln, NE, USA"
----
-
-In this talk I present a methodology that combines approaches from literary analysis, sociology, and computer science in order to show how the results of distant reading replicate well established readings of Benito Pérez Galdós’ Zumalacárregui and Mendizábal (1898). I will briefly explain the concept of character system, the stages of data-mining the characters, and social network analysis measurements. Data shows that the main difference between the two novels’ character networks is an opposite protagonicity of historical and fictional personae. In addition, the visualizations of these “synchronic system[s] of social relations” (Jameson) also explain the spontaneous perception of Zumalacárregui as having a bigger degree of historicity. Indeed, whereas Zumalacárregui’s graph recognizes the historical division between carlistas and isabelinos, Mendizábal’s, interestingly enough, produces a clear distinction between historical and fictional characters.
diff --git a/_posts/2018-06-29-talk-dh.md b/_posts/2018-06-29-talk-dh.md
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--- a/_posts/2018-06-29-talk-dh.md
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----
-layout: post
-title: "Lo que se Vale y no se Vale Preguntar: El Potencial Pedagógico de las Humanidades Digitales para la Enseñanza Sobre la Experiencia Mexicano-americana en el Midwest de Estados Unidos"
-description: "DH2018"
-date: 2018-06-29
-location: "Ciudad de México, México"
----
-
-La meta de esta presentación es describir el potencial y las limitaciones de las
-humanidades digitales para la enseñanza sobre la experiencia social de colectivos multilingües poco estudiados. Basamos nuestro argumento en el caso de la construcción de un archivo digital que reúne la correspondencia y otros documentos personales de una familia que emigró de Zacatecas, México, a Colorado y a Nebraska, Estados Unidos, en la primera mitad del siglo XX. Durante los últimos cuatro años, el repositorio que aquí se describe ha servido como espacio de aprendizaje activo para estudiantes de licenciatura y posgrado de una universidad pública del Midwest. Mediante su participación en el proyecto, los estudiantes aprenden sobre la experiencia sociolingüística de las comunidades hispanohablantes en EU transcribiendo, traduciendo, digitalizando, marcando y analizando estos objetos.
-
-Talk with Dr. Isabel Velázquez and Marcus Vinícius Barbosa.
\ No newline at end of file
diff --git a/_posts/2018-11-10-poster-dhcs.md b/_posts/2018-11-10-poster-dhcs.md
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--- a/_posts/2018-11-10-poster-dhcs.md
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----
-layout: post
-title: "Distinction of Literary Genres through the Visualization of Character Networks: The Case of ten National Episodes by Pérez Galdós"
-description: "The Chicago Colloquium on Digital Humanities and Computer Science 2018"
-date: 2018-11-10
-location: "Chicago, IL, USA"
----
-
-I present the results of mid-distance reading that combines graph and data mining methods to identify genre in narrative works written in Spanish. In this case, I analyze ten historical novels from the "National Episodes" of Benito Pérez Galdós (1843-1920). In 2003, Alex Woloch stated that narrative structures are formed by a character-system or "the arrangement of multiple and differentiated character-spaces [, that is,] differentiated configurations and manipulations of the human figure" (14). For its potential as a quantifiable study, several digital humanists such as Elson et al. (2010), Sack (2011), Agarval et al. (2012), or Moretti (2011-2016) have compared Woloch’s concept of character-system to the notion of network, where the nodes are the characters and the edges represent interactions between them.
-
-In the present methodology I follow said notion, and I proceed in three steps to curate and analyze data: 1) One algorithm (written in R) detects names in the texts and substitutes them by a resolved name from a file of metadata of 4,644 characters; 2) Another R algorithm extracts the number of co-occurrences of characters by chapter; and 3) I calculate the centrality and modularity of the sum of co-occurrences by novel in Gephi and I visualize each character system as a network. The results of this mid-distance reading show that there is a reciprocity between the positioning of the historical and fictional characters in the character-systems and the typology of the novels that had been previously identified by the close-reading of galdosistas such as Urey (1989) or García Castañeda (2012). In fact, there is a greater emphasis on what Galdós called "integral history" in those novels that tell the life trajectory of the main character like a serial bildungsroman. Overall, this methodology seeks a better understanding of the possibilities that digital tools offer for the study of textual cultural operators in Spanish.
-
-
-
-
-
-
-
-[Poster in PDF here](/assets/pdf/Isasi_DHCS18.pdf)
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diff --git a/_posts/2018-12-09-talk-eadh.md b/_posts/2018-12-09-talk-eadh.md
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--- a/_posts/2018-12-09-talk-eadh.md
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----
-layout: post
-title: "Data science and the language question in digital humanities pedagogy: the example of Programming Historian"
-description: "EADH2018"
-date: 2018-12-09
-location: "Galway, Ireland"
----
-
-The main aim of this paper is to reflect on the Programming Historian’s multilingualism and internationalization strategy as well as the transition from a monolingual website to a multilingual open-access publication. The Programming Historian is currently developing as one of the first open-access multilingual digital pedagogy initiatives in Digital Humanities. Based on our experience, a critical discussion on the challenges of translating language specific and data-driven lessons, and the development of a creative strategy supporting multiculturalism and diversity seems more than appropriate.
-
-Talk with Drs. Antonio Rojas-Castro and Anna-Maria Sichani.
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diff --git a/_posts/2019-04-24-talk-qcl.md b/_posts/2019-04-24-talk-qcl.md
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--- a/_posts/2019-04-24-talk-qcl.md
+++ /dev/null
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----
-layout: post
-title: "A Name Entity Recognition and Extraction Method for Mid-Distance Reading in Spanish"
-description: "Digital Humanities Beyond Modern English: Computational Approaches to Premodern and Non-Western Literature - Part I"
-date: 2019-04-24
-location: "Hanover, NH, USA"
----
-
-Computational literary studies usually rely on systems such as Stanford NER to identify characters, locations and other entities present in texts. This method is highly accurate in the English language and it is also probably the best approach when working with large corpora where a certain amount of overlooked tagging can be allowed. This accuracy is partly due to the extensive availability of English-language texts in digital format to train the tagger and, as a result, it allows computational analysis to be conducted in larger scales (K. Bode; T. Underwood; M. Jockers; etc.). Despite this, automatic entity recognition taggers are inadequate for languages scarcely represented in the digital cultural record (Risam) even when the majority of users of the Internet are non-English speakers (Whose Knowledge?). How can we, then, make up for the absence of reliable computational analysis implementations in languages not extensively supported by automatic data tagging?
-
-Drawing from the results of a literary character network analysis of 19th century Spanish novels, I present the practicalities of creating a database of entities with several variables that allow, on the one hand, to normalize the process of entity recognition for full, compound or informal names of characters, and, on the other hand, to easily extract and weight the presence and connections in texts. I show how I applied this method, combined with literary analysis, to study the interaction between fictional and historical characters.
-
-Finally, a work-in-progress mapping that involves bilingual data helps me further argue in favor of a system that we can situate between manual TEI-XML tagging and automatic NER.
-
-[Presentation slides in PDF here](/assets/pdf/Isasi_DHBME1.pdf)
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diff --git a/_posts/2019-05-27-talk-lasa.md b/_posts/2019-05-27-talk-lasa.md
deleted file mode 100644
index 9f7131e747ff..000000000000
--- a/_posts/2019-05-27-talk-lasa.md
+++ /dev/null
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----
-layout: post
-title: "Spanish Colonialism in the Indigenous Borderlands: Collaborative Digital Scholarship in the Undergraduate Classroom"
-description: "LASA2019"
-date: 2019-05-27
-location: "Boston, Massachusetts, USA"
----
-
-As analysis, writing, and access to primary sources become digital, our assumptions and approaches to teaching come up short; Context and content need to be negotiated in a collaborative environment. An undergraduate Spanish capstone course at the UT-Austin provided an advantageous opportunity to address this issue in turning a selection of colonial manuscripts pertaining to Indigenous peoples in what is today considered the Mexico-U.S. borderlands into open access digital scholarship.
-
-These manuscripts, held at the Benson Latin American Collection, are generally unavailable to the people whose history they contain, very few are aware of these unique sources of indigenous history, and even fewer possess the proper training to make sense of them. Students were trained to interrogate and contextualize the Indigenous-Spanish borderlands as represented in these special collections using digital methodologies to make these materials more accessible. The team (Spanish faculty member, CLIR/DLF Postdoctoral Fellow, Digital Scholarship Coordinator, Information Literacy Librarians, and two graduate assistants) designed the class with several goals in mind: to foster experiential learning, student agency, original research, theoretical and technical capacity, multimodal literacies, and collaboration in the classroom. The presenters will discuss the structure of the course, pedagogical approaches, challenges, and lessons learned.
-
-Talk with Albert P. Palacios, University of Texas at Austin
-
-[Presentation slides in PDF here](/assets/pdf/IsasiPalacios_LASA19.pdf)
-
-
-
-You can find this poster in English in "[Distinction of Literary Genres through the Visualization of Character Networks: The Case of ten *National Episodes* by Pérez Galdós](https://jenniferisasi.github.io/blog/2018/poster-dhcs/)"
-
diff --git a/_posts/2021-12-01-ScholarsLab.md b/_posts/2021-12-01-ScholarsLab.md
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--- a/_posts/2021-12-01-ScholarsLab.md
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----
-layout: post
-title: Your Text Analysis is Fantastic!, but I Can’t Replicate it en español
-date: 2021-12-01
-description: Invited talk at the Scholars' Lab at the University of Virginia, Charlottesville, USA
-tags: abstract, dh, hd
-author: Jennifer Isasi
-categories: talk
----
-
-While we understand that the digital humanities are now practiced globally, we also know that the playground is not level due to several factors. One of them, the language barrier, has been a lesser spoken about issue in our context in the US/North while practitioners outside the anglophone world have been screaming about it for years, as their research has continued to be seen as simplistic and disregarded from scholarly venues.
-
-It is now apparent that efforts to undo said barrier are gaining traction with more multilingual DH initiatives and journals calling for non-English participation. But decentering English as the language of learning and knowledge production in DH poses many challenges and questions. Using several specific cases of teaching materials from Programming Historian en español, Isasi will focus on pedagogy and make the case for carefully created multilingual DH ecosystems, with learning scenarios that have the specifics of a community, language, culture and resources in mind.
-
-The slideshow for the talk can be found here:
-
-
diff --git a/_posts/2022-05-18-dhunbound22.md b/_posts/2022-05-18-dhunbound22.md
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----
-layout: post
-title: In Which Languages Are We Citing When We Write About humanidades digitales? A study of References in Academic Articles
-date: 2022-05-18
-description: Individual paper at Assessing Digital Humanities II in DH Unbound 2022
-tags: abstract, dh, hd
-author: Jennifer Isasi and Gimena del Rio Riande
-categories: abstract
----
-
-With Gimena del Rio Riande (Instituto de Investigaciones Bibliográficas y Crítica Textual (IIBICRIT-CONICET, Argentina))
-
-Increasingly, we read or hear academics, at all levels and multiple disciplines, discussing about the prevalence of the English-language as a lingua franca in academic publishing, together with claims of linguistic discrimination in journals, conferences, job opportunities, etc. In the Digital Humanities, this reality has been no different for all of us who navigate the other DHs within the global-tent we like saying we all are. We know that Anglophone DHers generally don’t cite work conducted in other regions, much less if published in other languages. But how does one of the major sub communities of DH, humanidades digitales, fare in that respect? Are we publishing in our own languages when given the opportunity? And are we citing our language colleagues?
-
-Building on previous meta-analysis of the geopolitical and multi-linguistic nature of DH, this paper analyzes one way in which humanistas digitales (can) engage in language justice. We examine the language of publication and of cited references in 15 publications with an explicit interest in the digital humanities and, in particular, those published with attention to the Spanish-speaking world, with a total of 480 articles and 8650 references, from 2014 to 2021.
-
-With this research, we want to draw attention to the practices of communication and the dissemination of knowledge in a community with great sociocultural, linguistic, and geopolitical diversity, to ultimately visibilize the lack of readership amongst literature in languages other than English when it comes to writing about or using a method inscribed in the humanidades digitales.
-
-
diff --git a/_projects/1_dissertation.md b/_projects/1_dissertation.md
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--- a/_projects/1_dissertation.md
+++ /dev/null
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----
-layout: page
-title: Literary Character Networks
-description: A summary of my dissertation on the 'National Episodes' by Galdós
-img: /assets/img/dissertation/figure_6.png
-importance: 1
-category: research
----
-
-
-This is the summary I prepared to defend my dissertation: "Possibilities for the Digital Data Mining for the Analysis of the Literary Characters in the Spanish Novel: The Case of Galdós' *National Episodes*", written in Spanish, which I passed succesfully in November of 2017.
-
-
-
-[Poster in PNG here.](/assets/img/dissertation/isasi_networks.png) [Do not print withtout permission]
-
-### Main goal
-
-To create a pipeline for extracting and analyzing character networks in novels written in Spanish.
-
-### Research question(s)
-
-- What type of questions can I ask with a data mining methodology?
-- Is there a correlation between Galdós’ novelistic and historiographical notions (part of his worldview) and the networks of his characters in this set of historical novels?
-
-### Corpus
-
-- 46 novels corpus to build the methodology
-- Dictionary of over 4,400 characters with metadata: resolved name, token names, social class, historical or fictional condition, and gender.
-- For the analysis: Ten novels belonging to the third series of the collection.
-
-From a traditional point of view, the ten novels that I have analyzed on a distant reading approach are classified as follows:
-
-| Division | Novel(s) | Type |
-| ------------------------ | ------------------------------------------------------------ | ------------------------------------------------------------ |
-| Presentation (framework) | *Zumalacárregui* (1898) | Symbolic representation:
-
-### **Findings in character system:**
-
-By degree centrality, modularity and historic/real or fictional attributes of characters in individual novels:
-
-
-
-1. There is no regular distribution among the series in terms of historical or fictional characters. And,
-2. There is no apparent distribution of more or less characters with said attributes in the Top 20 nor 6 (protagonist + major characters) depending on the type of novel (framework of bildungsroman). However,
-3. The placement of historical characters and fictional characters as well as their modularity in the system or network shows a clear correlation with the typologies of the texts:
- 1. *Bildungsroman* novels: Both groups are divided into different communities that are, at the same time, opposing each other.
- 2. Framework novels: Characters in both groups don’t show such a clear division in terms of their attributes however, surprisingly enough, the modularity divisions show an opposition in terms of political ideas.
-
-These results point in the direction of noting a higher historicism (in terms of political events and characters [big names]) in framework novels, and a higher degree of daily life history (as Galdós called it, ‘integral history’) in the *bildungsroman*.
-
-
- 
- 
-
-1. The military and the upper class are the two groups that are most prevalent along the series.
-2. The upper class and, to some extend, the middle class are present in those episodes that pay attention to the main character (*bildungsroman*)*.*
-
-3. When we study the distribution of classes in the character system of each series, we conclude (for now) that there is no correlation between the type of the novel and the distribution and connectivity of the nodes. Rather, the connectivity of all the members of the social group or class is given by the number of characters in the group: the higher the number, the more connected they are; the lower, the links disappear.
-
-
-
-By degree centrality, modularity and historic/real or fictional attributes of characters in the series as a whole, a few ideas:
-
-1. The novels belonging to the *bildungsroman* are located in the center of the network (as they share more characters). The novels that form a framework are located in the outskirts of the network (as they don’t share characters with each others and very only a few with the bildungsroman*).
-
-2. The framework novels, again, show a higher degree of historical characters connected to fictional characters within the system.
-3. Noting the same results for the distribution of social classes as we did in individual novels, it is possible to state that Galdós’ seems to have fictionalized the church, low and middle classes in a higher degree than the military and the aristocracy, where almost all characters are historical figures. The upper class shows a balanced distribution between historical and fictional characters; however, these lasts ones show a higher degree of connectivity (due to family ties).
-
-
-
-## Conclusions
-
-The development of a methodology for extracting and analyzing data from the
-characters' system in novels written in Spanish has been the objective and main result of this
-study. Taking Pérez Galdós’ *National episodes* as a study model due, on the one hand, to their
-historiographic and social importance and, on the other hand, for their textual characteristics, a
-series of decisions have been taken - based on previous studies and experiments on this corpus -
-with the aim of quantifying the qualitative analysis proposed by Alex Woloch. Thus, we have
-decided to postulate the space of the character in terms of the number of times their name is mentioned in the novel and we have parameterized the character system by the coaparition of two characters in each chapter. The results obtained from the parameterization and the analysis of the data demonstrate the usefulness of this type of reading for the study of patterns in literary works as well as their different application possibilities both individually and collectively.
-
-First, it is necessary to point out that this system of data extraction has captured the presence of the characters in each episode according to their mention in the text. The results of the distribution of these mentions coincide with the traditional classification of protagonists, secondary and tertiary characters in each episode. Now, I have also found that novels with characteristics of bildungsroman have a distribution of narrative space different from those that form the frame and division of the third series, according to the classification pointed out by previous galdosistas. This, in turn, indicates a correlation between the novels with a greater or lesser historical presence and the number of main characters, usually having between four and eight main characters in the first and a couple of main characters in the second ones.
-
-Secondly, the results of the analysis of the networks of the characters in the third series also point to the distinction of network distribution according to the typology of each episode in terms of their historicism or their daily life and, at the same time, an imbalance in terms of the presentation of social classes in the episodes. In particular, there is a greater emphasis on what Galdós called integral history in those episodes occupied in the trajectory of life and social relationships of a protagonist character as a bildungsroman in medias res. These include more fictional characters of middle and upper class - without historical main characters in *Luchana* and in *La Estafeta Romantica* - than the episodes of the frame and of greater symbolic representation of the sociopolitical situation of the time. In particular, the latter show more historical characters in the protagonists and secondary characters categories, and a larger space for characters of the military class and the aristocracy. Anyway, the results of the analysis by social classes point to a pattern of connectivity between members of the same class in correlation to the number of characters that belong to that group and not necessarily to the type
-of novel.
-
-
-
-### Limitations
-
-The achievement of the objective set for the realization of this thesis has found, mainly, two limitations. In the first place, we have the development of a methodology for extracting data from the characters from a dictionary of metadata obtained from a previous census. Although this system has allowed me to study variables that, without having the metadata, I could not have carried out, the need to create a dictionary manually shows that, for now, we can not carry out studies of this type automatically that the tools programmed for the case do not have a high level of success in our language. Although this methodology is replicable to any novel, the researcher must previously have metadata of names, surnames, nicknames, etc. of each character.
-
-As a consequence of the previous one, the second limitation has to do with time in general. On the one hand, before arriving at the decision to create a manual metadata format, we had to process and apply the automatic tools in each text according to their level of accuracy in English. Through a series of experiments in the corpus of the thesis, we checked the level of error of the labeling and, then, it was necessary to search for the indicated solution. As an individual work, the creation of the dictionary lasted approximately three months while other research tasks were carried out. On the other hand, once processed the texts for the identification of the characters according to the data of the dictionary, some data had to be corrected in order to avoid later errors - mainly the appearance of characters in novels where they are not mentioned. This meant another three months of painstaking work in which, on the other hand, I only managed to correct thirty-three of the forty-six episodes.
-
-## Future directions
-
-The potential of this type of studies for the search and analysis of patterns points in several research directions for the future. The most obvious one is the formalistic study of the forty-six episodes. I refer to a comparative study between the system of the characters of each work and its narrative typology in terms of novelistic subgenre. Since the analysis here points to a differentiation between the subgenre of bildungsroman, melodrama and more historical novels, it would be interesting to see this pattern in a greater number of Galdosian works. In addition, the metadata together with the characteristics also annotated of each novel allows us analysis variables by the type of narrator, the genre of the characters, the location of each plot, etc. Then, we should consider extending this study to other authors, times and locations of literature in Spanish.
-
-The most interesting and complicated future study has to do with the Galdosian world view through the representation of society in networks. Researchers from different disciplines have pointed out the great influence that Benito Pérez Galdós had on his contemporary readers both when perceiving themselves as well as perceiving the society in which they were integrated. Therefore, it will be de rigueur to develop a method with more detail of how to analyze the society presented in line with the work of historians and sociologists who have used the work of Galdós as a documentary source to try to understand the Spanish society of the XIX.
-
-Other studies that could be carried out based on the methodology developed here have to do with a study of space in relation to society present in the Galdosian work, a comparison with the rest of the author's work, a major study of the Spanish narrative of the XIX and, at some point, integrate a study of the system of the characters of Galdós with that of other authors influenced by him (Unamuno, Azorín, Cela, Chirbes, Correa, etc.). In the same vein, it would be of great interest for the historian of literature to obtain the patterns of the characters' system throughout the history of the novel in Spanish to notice an evolution of both the character and the synecdoche of the human being as well as the genres narratives.
-
-To see the rest of the visualizations not here, please [download this PDF](jenniferisasi.github.io/assets/files/Isasi_Dissertation-summary).
diff --git a/_projects/2_red_almodovar.md b/_projects/2_red_almodovar.md
deleted file mode 100644
index 66d3495fe8c1..000000000000
--- a/_projects/2_red_almodovar.md
+++ /dev/null
@@ -1,144 +0,0 @@
----
-layout: page
-title: "El elenco de Pedro Almodóvar"
-description: Acercamiento a la red de actores y actrices de las películas de Pedro Almodovar
-img: /assets/img/post_almodovar/almodovar_logo.png
-tags:
-- network analysis
-- análisis de redes
-- humanidades digitales
-- digital humanities
-- cultura española
-importance: 2
-category: fun
----
-
-Pedro Almodóvar ha vuelto a la gran pantalla este año con *Dolor y gloria* y todo parece indicar que está siendo un éxito. Yo no la he visto todavía pero, he de confesar, al ver el trailer pensé ¡otra vez los mismos! Banderas, Pé, Cecilia Roth, Asier Etxeandia… algo que se ve muy bien en el propio cartel de la película:
-
-
-
-Me picó la curiosidad por saber si Penélope Cruz estaría en el centro de la red de actrices y actores que Almodóvar suele contratar para sus películas.
-
-¡Manos a la obra!
-
-## Extracción de datos de reparto
-
-Para este experimento primero tomé los datos del "full cast" (reparto completo) de cada una de [las películas de las que Almodóvar ha sido director](https://www.imdb.com/name/nm0000264/?ref_=nv_sr_1?ref_=nv_sr_1#director) de la Base de Datos de Películas de Internet (IMDb). Para ello utilicé el "copia y pega" de toda la vida, pues no se trata de muchas películas. Extraje los datos de 25 películas (con algún corto incluido) pues faltan los datos de las primeras creaciones del director. Para algo más amplio conviene extraer los datos mediante un algoritmo de *webscrapping*. Puesto que IMDb tiene un *record* para cada persona en su base, no fue necesario realizar una limpieza de datos normalizando los nombres del reparto ni de las películas (cuyos títulos sí traduje) pues el sistema no da base a variaciones ortográficas o problemas similares que ocurren en otros sistemas.
-
-Primero, creé [una tabla (luego CSV) con las columnas año, película, reparto y personaje](https://dr.jenniferisasi.com/assets/datasets/almodovar_pelis_cast.csv) (esta variable no la he utilizado), lo que me permitió, a su vez, crear un listado de características de [cada persona con su género](https://dr.jenniferisasi.com/assets/datasets/almodovar_reparto.csv).
-
-A partir del listado del elenco de cada película, generé un archivo de co-aparición en cada película con un *loop* en R (reciclado de mi tesis). Lo que este código hace es crear un *data frame* estableciendo parejas de un listado. Por ejemplo, de este listado de cuatro personas en la última película
-
-| Dolor y gloria |
-| ------------------ |
-| Antonio Banderas |
-| Asier Etxeandia |
-| Leonardo Sbaraglia |
-| Nora Navas |
-
-se genera un archivo de dos columnas que, para los propósitos de la red ,se llaman "source" (emisor) y "target" (receptor):
-
-| Source | Target |
-| ------------------ | ------------------ |
-| Antonio Banderas | Asier Etxeandia |
-| Antonio Banderas | Leonardo Sbaraglia |
-| Antonio Banderas | Nora Navas |
-| Asier Etxeandia | Leonardo Sbaraglia |
-| Asier Etxeandia | Nora Navas |
-| Leonardo Sbaraglia | Nora Navas |
-
-Este [listado](../assets/datasets/almodovar_aristas.csv) indica la co-aparición de dos actores o actrices en una misma película, sin tener en cuenta si son protagonistas, secundarios, terciarios, la cantidad de palabras que dicen en la película, el tiempo que pasan en pantalla, etc.
-
-
-
-## Análisis de red en Gephi
-
-El siguiente paso para realizar un análisis de la red de reparto de Almodóvar es cargar los datos de nodos y aristas en Gephi. La red completa del elenco de Almodóvar tiene, así, en total, 529 personas o nodos con 13214 conexiones o aristas, es decir, que aparecen en la misma película entre todos ellos 13214 veces.
-
-En término del género del reparto (datos no contrastados, por lo que puede haber algún error), la red está dividida de forma equilibrada con un 51.42% de hombres y 48.58% de mujeres. Sin embargo, si tenemos en cuenta el grado de conectividad en orden descendiente, hay más actrices que actores, es decir, que Almodóvar repite más con su reparto femenino que masculino. La intuición y la memoria me dicen que esto ya lo sabíamos.
-
-Por supuesto, Antonio Banderas está en el top 10 de más conectados con un total de 215 conexiones (o *degree* en el análisis de redes), con Penélope Cruz algo más alejada en la lista con 160 conexiones, lo cual la coloca todavía en un puesto prominente. Cecilia Roth es la número 2 en el listado ordenado por grado, con 275 conexiones.
-
-El análisis también nos indica que se generan 11 comunidades. Esto quiere decir, explicado de forma sencilla, que de la forma en que se repite el reparto en el total de 25 películas hay 11 grupos que podemos distinguir puesto que aparecen juntos en mayor medida o más veces. Es un número más alto de lo que me esperaba, la verdad, teniendo en cuenta que Almodóvar suele repitir a sus favoritas (por decirlo de alguna manera). Ahora bien, el número de personas por comunidad sí varía significativamente entre comunidades.
-
-
-
-
-
-Gephi genera estos datos de forma rápida y nos permite extraerlos en formato de valores separados por comas para poder realizar futuros análisis o simplemente estudiar los datos de otra forma. Por ejemplo, podemos generar un gráfico con la distribución del grado de centralidad en otro programa a partir de dichos datos.
-
-
-
-Ahora bien, ¿quién o quiénes quedan en el centro de esta red de reparto? ¿Cómo quedan distribuidos el resto de actores y actrices? Hay alguna incidencia en la distribución de la red según el género? Veamos.
-
-
-
-## Visualización de red en Gephi
-
-Para generar la visualización de la red almodovariana, he utilizado el algoritmo ForceAtlas2 con una escala de 250 puntos, con la gravedad "activada" con un grado de 0.8 (esto hace que todos los nodos de la red queden más cercanas al centro, lo cual es muy útil si tienes nodos no conectados a la red mayor). Además, he estudiado diferentes variables según el grado de conectividad y el posicionamiento del reparto en la red, su género, la formación de comunidades, y la situación del reparto por películas.
-
-
-
-### Grado de distribución y género
-
-Pues bien, estudiando los parámetros de grado de centralidad en los nodos y un mayor peso en las aristas, vemos que el actor céntrico, más conectado, es el hermano menor y productor habitual en las películas de Pedro: Agustín Almodóvar. Este cuenta con un grado de conexión de 496 puntos, y es que resulta que aparece en las 22 de las 25 películas de este conjunto de datos.
-
-Cercanas al centro por su aparición continuada en las películas de Almodóvar también están Cecilia Roth (275 conexiones, 8 películas), Chus Lampreave (254 conexiones, 10 películas), Carlos García Cambero (246 conexiones, 7 películas), Esther García, Marisa Paredes, Antonio Banderas y Fernando Iglesias.
-
-
-
-Penélope Cruz queda bastante alejada del centro, digamos en un segundo nivel aunque aparece en 8 filmes pero con un menor número de actores y actrices. Su grado de conectividad está cercano al del propio Pedro Almodóvar, la famosa Carmen Machi, Julieta Serrano y Lola Dueñas.
-
-Ya hemos dicho que el reparto de Almodóvar presenta una división bastante equilibrada en cuanto al número de mujeres y hombres con los que cuenta en sus películas, y que las mujeres ocupan un mayor grado de conectividad en la red. Podemos visualizar los datos para comprobar que, efectivamente, hay una distribución igual de ambos géneros, pues no pesa uno más que otro en el centro ni la periferia de la red.
-
-
-
-### Las comunidades del reparto
-
-El algoritmo de modularidad de Gephi ha determinado que del total de 25 películas, el reparto queda distribuido en 11 comunidades bastante bien definidas. Ahora bien, casi el 60% del total del reparto, esto es, de 529 actores y actrices del elenco de Almodóvar, quedan agrupados en 3 comunidades. Curiosamente, la comunidad con el mayor número de personas más conectadas entre ellas queda en la periferia de la red (arriba a la derecha, en color ocre), aunque su elenco tiene un alto grado de conectividad y quedan, por tanto, al centro. Es en esta comunidad en la que Cecilia Roth y Antonio Banderas quedan unidos.
-
-
-
-En la segunda comunidad con un mayor porcentaje del reparto es donde aparecen otras de las actrices favoritas del director: Carmen Maura y Rossy de Palma, junto con Agustín Almodóvar y Chus Lampreave. Esta comunidad queda bastante centrada en la red (centro y abajo derecha, en rosa). Penélope Cruz tiene su propio grupo de co-apariciones según este algoritmo, con Esther García, Fernando Iglesias, Carmen Machi y Susi Sánchez, entre otros.
-
-Como veremos a continuación, la distribución del reparto por comunidades queda en mayor medida relacionado con el reparto de cada película.
-
-
-
-### Visualización de la red por película
-
-Al haber añadido en mi base de datos la información de cada película en las aristas o conexiones, también he podido visualizar la misma red pero por película. Esto añade otro tipo de información con la que no contábamos en las visualizaciones previas. Primero, por ejemplo, podemos saber que la película *Hable con ella* (2002) cuenta con el 26.77% del elenco puesto que es la que cuenta con un mayor número de actores y actrices (85) en el primer listado extraido de IMDb. La particularidad del reparto de esta película es que no se repite demasiado en otras películas, de ahí que en el análisis de modularidad éste forme su propia comunidad (izquierda, en azul oscuro).
-
-Vemos en las aristas o líneas que salen del nodo de Agustín Almodóvar que, por supuesto, aparece en muchas de las películas de la red, al igual que Antonio Banderas, Cecilia Roth, Chus Lampreave y Penélope Cruz, de nuevo. Como era de esperar, la localización en el centro de la red de los actores y actrices indica su participación en más películas y, al contrario, en la periferia y al borde tenemos a los que repiten menos.
-
-
-
-### La red de Almodóvar a través del tiempo
-
-Finalmente, otra cosa que podemos estudiar gracias a los datos obtenidos de la base de datos de internet y añadidos en mi tabla, es la evolución de la red de Almodóvar por año de estreno de cada película. Aprovecho los mismos colores o distribución de la red con cada película (imagen anterior).
-
-Para no generar una imagen estática e individual con cada año, he creado un pequeño video que muestra únicamente las conexiones o las aristas de la película en tiempo cronológico. Sin ser ninguna sorpresa, se ve claramente que Almodóvar no contó con el elenco que será posteriormente central en su carrera (y la red) para su primer filme, de 1976. Lógico.
-
-En la segunda película (1980) , no obstante, el número del reparto se amplía y, además, incluye ya a la que serán dos de sus favoritas hasta sus películas más recientes, Cecilia Roth y Carmen Maura.
-
-
-
-
-
-
-
-## Conclusión
-
-Penélope Cruz no es el centro de *este* universo de Almodóvar. Y, sin embargo, yo no puedo separar a Penélope Cruz y Almodóvar en mi mente (acordaos de ese famoso momento en que Pe grita: Pedrooo!). He aprendido, además, que el hermano pequeño de Pedro aparece en casi todas sus películas y, la verdad, no lo sabía.
-
-Sea como fuere, y como se puede comprobar, en un pequeño momento de inspiración y curiosidad he podido generar una red y un estudio bastante completo (dentro de mis posibilidades) del reparto de Pedro Almodóvar gracias a la extración y visualización de datos.
-
-Ahora me toca ver *Dolor y gloria* para cerrar, como espectadora, el ciclo de la trilogía de deseo y ficción que ésta forma con *La ley del deseo* (1987) y *La mala educación* (2004).
diff --git a/_projects/3_euskal_literatura.md b/_projects/3_euskal_literatura.md
deleted file mode 100644
index 1c3a6edd995a..000000000000
--- a/_projects/3_euskal_literatura.md
+++ /dev/null
@@ -1,56 +0,0 @@
----
-layout: page
-title: "Euskal Literatura beste hizkuntzetan"
-description: A map of translations of Basque literary works
-img: /assets/img/euskal_literatura/euskal-lit_0.png
-tags:
-- euskal literatura
-- humanidades digitales
-- digital humanities
-- humanitate digitalak
-importance: 3
-category: fun
----
-
-La Universidad del País Vasco ofrece, en abierto, un [catálogo de las traducciones de la literatura en euskera](https://www.ehu.eus/ehg/eli/?z=bila&m=osorik) a otros idiomas recopilado por [Elizabete Manterola](http://istres.letras.ulisboa.pt/manterola/) hacia 2012 para su tesis. La base de datos recoge 1.595 entradas en total, con datos como el título y autor/a original de la obra, su fecha de publicación, editoriales, traductores, idioma de la traducción, etc. Se trata, por tanto, de un corpus muy rico que permite explorar al interesado en la literatura en euskera bastantes variables.
-
-Yo, por curiosidad, decidí realizar unas visualizaciones para ver la extensión de la literatura vasca por el mundo, así como la red de autores y traductores que se ha formado a lo largo de los años. Para ello, he ampliado la base de datos con cuatro columnas de coordenadas (la latitud y longitud del lugar de publicación original y las mismas para el lugar de publicación de la traducción).
-
-Estos son los resultados visualizados en la plataforma [kepler.gl](https://kepler.gl/demo):
-
-A vista de pájaro podemos observar que la literatura vasca ha llegado a muchos puntos del planeta y en varios idiomas. En la siguiente captura de pantalla vemos que el lugar de mayor producción de originales (en tonos tierra) es el País Vasco, pero también destaca Reno, en Nevada, Estados Unidos, en su publicación y exportación de obras en euskera hacia España, Italia y Rusia.
-
-
-
-Al acercarnos más al panorama europeo, observamos la gran cantidad de idiomas a las que se ha traducido la literatura vasca por su distribución a muchos países en Europa y varias comunidades autónomas dentro de la península.
-
-
-
-Y ¿quiénes son los autores más traducidos? No es sorpresa que destaquen Bernardo Atxaga, Mariasun Landa Etxebeste, Kirmen Uribe o Piedad Ateka.
-
-
-
-Kepler también nos permite ver la evolución de nuestra red de traducciones a lo largo del tiempo. En este caso, y como es normal por la trayectoria de la literatura en euskera y la historia del País Vasco en general, el número de traducciones ha ido aumentando hacia finales de la década de los 90 y, sobre todo, a partir del año 2000.
-
-
-Una visualización geográfica nos permite observar la expansión de la literatura por el planeta. No obstante, ello invisibiliza la labor de autores y traductores en tanto que sus nombres no aparecen - se pueden mostrar pero no aportan nada más que una gran cantidad de letras que impiden su lectura. Para observar quién traduce a quién, y cuánto, una visualización de red es mucho más adecuada. Así, vemos que Bernardo Atxaga es el más traducido según nuestros datos y, curiosamente, se traduce al castellano a sí mismo (línea rosa junto a su nodo).
-
-
-
-
-
-A 10 de noviembre de 2019 (fecha en que he realizado este mapa) la función de exportación del mapa en formato HTML funciona pero no se visualiza en la web. No obstante, te invito a [descargarte el archivo JSON](/assets/datasets/euskal_literatura.json) de mi repositorio y cargarlo en [kepler.gl](https://kepler.gl) tú mismo/a para poder interactuar con el mapa.
-
-Para saber más sobre la euskal literatura en traducción, puedes consultar las siguientes referencias:
-
-- Auzmendi, Lurdes. "El reconocimiento de la traducción literaria en lengua vasca en España". XXXIII *Encuentros de Escritores y Críticos en Verines Creadores en la sombra. La traducción literaria en la actualidad*, 2017
-
-- López Gaseni, José Manuel. "Literatura traducida." *Portal de Literatura Vasca*. http://www.basqueliterature.com/es/basque/historia/itzulia
-
-- López Gaseni, Jose Manuel (2000) *Euskarara itzulitako haur eta gazte literatura: funtzioak, eraginak eta itzulpen-estrategiak*. Bilbao: Universidad del País Vasco.
-
-- Manterola Agirrezabalaga, Elizabete. 2014. «Una mirada hacia la traducción literaria del euskera al castellano». *Hermeneus: Revista de la Facultad de Traducción e Interpretación de Soria*, n. 16: 177–208.
-
-- —. 2014. *La literatura vasca traducida*. Bern/New York: Peter Lang.
-
-- Pérez Isasi, Santiago. La literatura vasca en el contexto de los Estudios Ibéricos: Historiografía y traducción. *1616: Anuario de Literatura Comparada*, 4, 2014, pp. 107-126.
diff --git a/_projects/4_programminghistorian.md b/_projects/4_programminghistorian.md
deleted file mode 100644
index 3da3790ec4fb..000000000000
--- a/_projects/4_programminghistorian.md
+++ /dev/null
@@ -1,9 +0,0 @@
----
-layout: page
-title: Programming Historian en español
-description: Una revista académica para aprender métodos de investigación digitales
-img: /assets/img/ph-es.png
-importance: 2
-redirect: https://programminghistorian.org/es/
-category: research
----
diff --git a/_projects/5_cartasfamilia.md b/_projects/5_cartasfamilia.md
deleted file mode 100644
index b10f76b4ba04..000000000000
--- a/_projects/5_cartasfamilia.md
+++ /dev/null
@@ -1,9 +0,0 @@
----
-layout: page
-title: Cartas a la familia, de la migración de Jesusita a Jane
-description: Un archivo digital
-img: /assets/img/cartas-familia.png
-importance: 3
-redirect: https://familyletters.unl.edu
-category: research
----
diff --git a/_projects/6_lenguasDH.md b/_projects/6_lenguasDH.md
deleted file mode 100644
index cbc6d3b9586d..000000000000
--- a/_projects/6_lenguasDH.md
+++ /dev/null
@@ -1,10 +0,0 @@
----
-layout: page
-title: "Las lenguas en que citamos los humanistas digitales"
-description: Curaduría de datos para investigar el multilingüismo en la comunidad de humanidades digitales
-redirect: https://doi.org/10.5944/rhd.vol.7.2022.36280
-img: /assets/img/post_lenguasHD/coautoria-paises-hd.png
-importance: 4
-category: research
----
-
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-.navbar {
- box-shadow: none;
- border-bottom: 1px solid var(--global-divider-color);
- background-color: var(--global-bg-color);
- opacity: 0.95;
-}
-.navbar .dropdown-menu {
- background-color: var(--global-bg-color);
- border: 1px solid var(--global-divider-color);
- a:not(.active) {
- color: var(--global-text-color);
- }
- a:hover {
- color: var(--global-hover-color);
- }
- .dropdown-divider {
- border-top: 1px solid var(--global-divider-color) !important;
- }
-}
-.dropdown-item {
- color: var(--global-text-color);
- &:hover {
- color: var(--global-hover-color);
- background-color: var(--global-bg-color);
- }
-}
-.navbar.navbar-light {
- a {
- &:hover {
- text-decoration: none;
- }
- }
- .navbar-brand {
- color: var(--global-text-color);
- }
- .navbar-nav .nav-item .nav-link {
- color: var(--global-text-color);
- &:hover {
- color: var(--global-hover-color);
- }
- }
- .navbar-nav .nav-item.active>.nav-link {
- background-color: inherit;
- font-weight: bolder;
- color: var(--global-theme-color);
- &:hover {
- color: var(--global-hover-color);
- }
- }
- .navbar-brand.social {
- padding-bottom: 0;
- padding-top: 0;
- font-size: 1.7rem;
- a {
- i::before {
- color: var(--global-text-color);
- transition-property: all 0.2s ease-in-out;
- }
- &:hover {
- i::before {
- color: var(--global-theme-color);
- }
- }
- }
- }
-}
-
-.navbar-toggler {
- .icon-bar {
- display: block;
- width: 22px;
- height: 2px;
- background-color: var(--global-text-color);
- border-radius: 1px;
- margin-bottom: 4px;
- transition: all 0.2s;
- }
- .top-bar {
- transform: rotate(45deg);
- transform-origin: 10% 10%;
- }
- .middle-bar {
- opacity: 0;
- }
- .bottom-bar {
- transform: rotate(-45deg);
- transform-origin: 10% 90%;
- }
-}
-
-.navbar-toggler.collapsed {
- .top-bar {
- transform: rotate(0);
- }
- .middle-bar {
- opacity: 1;
- }
- .bottom-bar {
- transform: rotate(0);
- }
-}
-
-// Social (bottom)
-
-.social {
- text-align: center;
- .contact-icons {
- font-size: 3rem;
- a {
- i::before {
- color: var(--global-theme-color);
- transition-property: all 0.2s ease-in-out;
- }
- &:hover {
- i::before {
- color: var(--global-text-color);
- }
- }
- }
- }
- .contact-note {
- font-size: 0.8rem;
- }
-}
-
-
-// Footer
-footer.fixed-bottom {
- background-color: var(--global-footer-bg-color);
- font-size: 0.75rem;
- .container {
- color: var(--global-footer-text-color);
- padding-top: 9px;
- padding-bottom: 8px;
- }
- a {
- color: var(--global-footer-link-color);
- &:hover {
- color: var(--global-theme-color);
- text-decoration: none;
- }
- }
-}
-
-footer.sticky-bottom {
- border-top: 1px solid var(--global-divider-color);
- padding-top: 40px;
- padding-bottom: 40px;
- font-size: 0.9rem;
-}
-
-
-// Blog
-
-.header-bar {
- border-bottom: 1px solid var(--global-divider-color);
- text-align: center;
- padding-top: 2rem;
- padding-bottom: 5rem;
- h1 {
- color: var(--global-theme-color);
- font-size: 5rem;
- }
-}
-
-.post-list {
- margin: 0;
- margin-bottom: 40px;
- padding: 0;
- li {
- border-bottom: 1px solid var(--global-divider-color);
- list-style: none;
- padding-top: 2rem;
- padding-bottom: 2rem;
- .post-meta {
- color: var(--global-text-color-light);
- font-size: 0.875rem;
- margin-bottom: 0;
- }
- .post-tags {
- color: var(--global-text-color-light);
- font-size: 0.875rem;
- padding-top: 0.25rem;
- padding-bottom: 0;
- }
- a {
- color: var(--global-text-color);
- text-decoration: none;
- &:hover {
- color: var(--global-theme-color);
- }
- }
- }
-}
-
-.pagination {
- .page-item {
- .page-link {
- color: var(--global-text-color);
- &:hover {
- color: $black-color;
- }
- }
- &.active .page-link {
- color: $white-color;
- background-color: var(--global-theme-color);
- &:hover {
- background-color: var(--global-theme-color);
- }
- }
- }
-}
-
-
-// Distill
-
-.distill {
- a:hover {
- border-bottom-color: var(--global-theme-color);
- text-decoration: none;
- }
-}
-
-
-// Projects
-
-.projects {
- a {
- text-decoration: none;
-
- &:hover {
- .card-title {
- color: var(--global-theme-color);
- }
- }
- }
-
- .card {
- img {
- width: 100%;
- }
- }
-
- .card-item {
- width: auto;
- margin-bottom: 10px;
-
- .row {
- display: flex;
- align-items: center;
- }
- }
-
- .grid-sizer, .grid-item {
- width: 250px;
- margin-bottom: 10px;
- }
-
- h2.category {
- color: var(--global-divider-color);
- border-bottom: 1px solid var(--global-divider-color);
- padding-top: 0.5rem;
- margin-top: 2rem;
- margin-bottom: 1rem;
- text-align: right;
- }
-}
-
-
-// Publications
-
-.publications {
- margin-top: 2rem;
- h1 {
- color: var(--global-theme-color);
- font-size: 2rem;
- text-align: center;
- margin-top: 1em;
- margin-bottom: 1em;
- }
- h2 {
- margin-bottom: 1rem;
- span {
- font-size: 1.5rem;
- }
- }
- h2.year {
- color: var(--global-divider-color);
- border-top: 1px solid var(--global-divider-color);
- padding-top: 1rem;
- margin-top: 2rem;
- margin-bottom: -2rem;
- text-align: right;
- }
- ol.bibliography {
- list-style: none;
- padding: 0;
- margin-top: 0;
-
- li {
- margin-bottom: 1rem;
- .abbr {
- height: 2rem;
- margin-bottom: 0.5rem;
- abbr {
- display: inline-block;
- background-color: var(--global-theme-color);
- padding-left: 1rem;
- padding-right: 1rem;
- a {
- color: white;
- &:hover {
- text-decoration: none;
- }
- }
- }
- .award {
- color: var(--global-theme-color) !important;
- border: 1px solid var(--global-theme-color);
- }
- }
- .title {
- font-weight: bolder;
- }
- .author {
- a {
- border-bottom: 1px dashed var(--global-theme-color);
- &:hover {
- border-bottom-style: solid;
- text-decoration: none;
- }
- }
- > em {
- border-bottom: 1px solid;
- font-style: normal;
- }
- }
- .links {
- a.btn {
- color: var(--global-text-color);
- border: 1px solid var(--global-text-color);
- padding-left: 1rem;
- padding-right: 1rem;
- padding-top: 0.25rem;
- padding-bottom: 0.25rem;
- &:hover {
- color: var(--global-theme-color);
- border-color: var(--global-theme-color);
- }
- }
- }
- .hidden {
- font-size: 0.875rem;
- max-height: 0px;
- overflow: hidden;
- text-align: justify;
- transition-property: 0.15s ease;
- -moz-transition: 0.15s ease;
- -ms-transition: 0.15s ease;
- -o-transition: 0.15s ease;
- transition: all 0.15s ease;
-
- p {
- line-height: 1.4em;
- margin: 10px;
- }
- pre {
- font-size: 1em;
- line-height: 1.4em;
- padding: 10px;
- }
- }
- .hidden.open {
- max-height: 100em;
- transition-property: 0.15s ease;
- -moz-transition: 0.15s ease;
- -ms-transition: 0.15s ease;
- -o-transition: 0.15s ease;
- transition: all 0.15s ease;
- }
- div.abstract.hidden {
- border: dashed 1px var(--global-bg-color);
- }
- div.abstract.hidden.open {
- border-color: var(--global-text-color);
- }
- }
- }
-}
-
-// Rouge Color Customization
-figure.highlight {
- margin: 0 0 1rem;
-}
-
-pre {
- color: var(--global-theme-color);
- background-color: var(--global-code-bg-color);
- border-radius: 6px;
- padding: 6px 12px;
- pre, code {
- background-color: transparent;
- border-radius: 0;
- padding: 0;
- }
-}
-
-code {
- color: var(--global-theme-color);
- background-color: var(--global-code-bg-color);
- border-radius: 3px;
- padding: 3px 3px;
-}
-
-
-// Transitioning Themes
-html.transition,
-html.transition *,
-html.transition *:before,
-html.transition *:after {
- transition: all 750ms !important;
- transition-delay: 0 !important;
-}
-
-// Extra Markdown style (post Customization)
-.post{
- .post-meta{
- color: var(--global-text-color-light);
- font-size: 0.875rem;
- margin-bottom: 0;
- }
- .post-tags{
- color: var(--global-text-color-light);
- font-size: 0.875rem;
- padding-top: 0.25rem;
- padding-bottom: 1rem;
- a {
- color: var(--global-text-color-light);
- text-decoration: none;
- &:hover {
- color: var(--global-theme-color);
- }
- }
- }
- .post-content{
- blockquote {
- border-left: 5px solid var(--global-theme-color);
- padding: 8px;
- }
- }
-}
diff --git a/_sass/_distill.scss b/_sass/_distill.scss
deleted file mode 100644
index d83fafd4263a..000000000000
--- a/_sass/_distill.scss
+++ /dev/null
@@ -1,126 +0,0 @@
-/*******************************************************************************
- * Style overrides for distill blog posts.
- ******************************************************************************/
-
-d-byline {
- border-top-color: var(--global-divider-color) !important;
-}
-
-d-byline h3 {
- color: var(--global-text-color) !important;
-}
-
-d-byline a, d-article d-byline a {
- color: var(--global-text-color) !important;
- &:hover {
- color: var(--global-hover-color) !important;
- }
-}
-
-d-article {
- border-top-color: var(--global-divider-color) !important;
- a, p, h1, h2, h3, h4, h5, h6, li, table {
- color: var(--global-text-color) !important;
- }
- a, h1, h2, hr, table, table th, table td {
- border-bottom-color: var(--global-divider-color) !important;
- }
- a:hover {
- border-bottom-color: var(--global-hover-color) !important;
- }
- b i {
- display: inline;
- }
-
- d-contents {
- align-self: start;
- grid-column: 1 / 4;
- grid-row: auto / span 4;
- justify-self: end;
- margin-top: 0em;
- padding-left: 2em;
- padding-right: 3em;
- border-right: 1px solid var(--global-divider-color);
- width: calc(max(70%, 300px));
- margin-right: 0px;
- margin-top: 0em;
- display: grid;
- grid-template-columns:
- minmax(8px, 1fr) [toc] auto
- minmax(8px, 1fr) [toc-line] 1px
- minmax(32px, 2fr);
-
- nav {
- grid-column: toc;
- a {
- border-bottom: none !important;
- &:hover {
- border-bottom: 1px solid var(--global-text-color) !important;
- }
- }
- h3 {
- margin-top: 0;
- margin-bottom: 1em;
- }
- div {
- display: block;
- outline: none;
- margin-bottom: 0.8em;
- color: rgba(0, 0, 0, 0.8);
- font-weight: bold;
- }
- ul {
- padding-left: 1em;
- margin-top: 0;
- margin-bottom: 6px;
- list-style-type: none;
- li {
- margin-bottom: 0.25em;
- }
- }
- }
- .figcaption {
- line-height: 1.4em;
- }
- toc-line {
- border-right: 1px solid var(--global-divider-color);
- grid-column: toc-line;
- }
- }
-
- d-footnote {
- scroll-margin-top: 66px;
- }
-}
-
-d-appendix {
- border-top-color: var(--global-divider-color) !important;
- color: var(--global-distill-app-color) !important;
- h3, li, span {
- color: var(--global-distill-app-color) !important;
- }
- a, a.footnote-backlink {
- color: var(--global-distill-app-color) !important;
- &:hover {
- color: var(--global-hover-color) !important;
- }
- }
-}
-
-@media (max-width: 1024px) {
- d-article {
- d-contents {
- display: block;
- grid-column-start: 2;
- grid-column-end: -2;
- padding-bottom: 0.5em;
- margin-bottom: 1em;
- padding-top: 0.5em;
- width: 100%;
- border: 1px solid var(--global-divider-color);
- nav {
- grid-column: none;
- }
- }
- }
-}
diff --git a/_sass/_layout.scss b/_sass/_layout.scss
deleted file mode 100644
index 9c10cac70df1..000000000000
--- a/_sass/_layout.scss
+++ /dev/null
@@ -1,50 +0,0 @@
-/******************************************************************************
- * Content
- ******************************************************************************/
-
-body {
- padding-bottom: 70px;
- color: var(--global-text-color);
- background-color: var(--global-bg-color);
-
- h1, h2, h3, h4, h5, h6 {
- scroll-margin-top: 66px;
- }
-}
-
-body.fixed-top-nav {
- // Add some padding for the nav-bar.
- padding-top: 56px;
-}
-
-body.sticky-bottom-footer {
- // Remove padding below footer.
- padding-bottom: 0;
-}
-
-.container {
- max-width: $max-content-width;
-}
-
-// Profile
-.profile {
- img {
- width: 100%;
- }
-}
-
-// TODO: redefine content layout.
-
-
-/******************************************************************************
- * Publications
- ******************************************************************************/
-
-// TODO: redefine publications layout.
-
-
-/*****************************************************************************
-* Projects
-*****************************************************************************/
-
-// TODO: redefine projects layout.
diff --git a/_sass/_themes.scss b/_sass/_themes.scss
deleted file mode 100644
index c6fd921761c6..000000000000
--- a/_sass/_themes.scss
+++ /dev/null
@@ -1,51 +0,0 @@
-/*******************************************************************************
- * Themes
- ******************************************************************************/
-
-:root {
- --global-bg-color: #{$white-color};
- --global-code-bg-color: #{$code-bg-color-light};
- --global-text-color: #{$black-color};
- --global-text-color-light: #{$grey-color};
- --global-theme-color: #{$blue-color};
- --global-hover-color: #{$blue-color};
- --global-footer-bg-color: #{$grey-color-light};
- --global-footer-text-color: #{$grey-color-dark};
- --global-footer-link-color: #{$blue-color};
- --global-distill-app-color: #{$grey-color};
- --global-divider-color: rgba(0,0,0,.1);
- --global-card-bg-color: #{$white-color};
-
- .fa-sun {
- display : none;
- }
- .fa-moon {
- padding-left: 10px;
- padding-top: 12px;
- display : block;
- }
-}
-
-html[data-theme='dark'] {
- --global-bg-color: #{$grey-color-dark};
- --global-code-bg-color: #{$code-bg-color-dark};
- --global-text-color: #{$grey-color-light};
- --global-text-color-light: #{$grey-color-light};
- --global-theme-color: #{$cyan-color};
- --global-hover-color: #{$cyan-color};
- --global-footer-bg-color: #{$grey-color-light};
- --global-footer-text-color: #{$grey-color-dark};
- --global-footer-link-color: #{$blue-color};
- --global-distill-app-color: #{$grey-color-light};
- --global-divider-color: #424246;
- --global-card-bg-color: #{$grey-900};
-
- .fa-sun {
- padding-left: 10px;
- padding-top: 12px;
- display : block;
- }
- .fa-moon {
- display : none;
- }
-}
diff --git a/_sass/_variables.scss b/_sass/_variables.scss
deleted file mode 100644
index b050aa6e7f67..000000000000
--- a/_sass/_variables.scss
+++ /dev/null
@@ -1,38 +0,0 @@
-/*******************************************************************************
- * Variables used throughout the theme.
- * To adjust anything, simply edit the variables below and rebuild the theme.
- ******************************************************************************/
-
-
-// Colors
-$red-color: #FF3636 !default;
-$red-color-dark: #B71C1C !default;
-$orange-color: #F29105 !default;
-$blue-color: #0076df !default;
-$blue-color-dark: #00369f !default;
-$cyan-color: #2698BA !default;
-$light-cyan-color: lighten($cyan-color, 25%);
-$green-color: #00ab37 !default;
-$green-color-lime: #B7D12A !default;
-$green-color-dark: #009f06 !default;
-$green-color-light: #ddffdd !default;
-$green-color-bright: #11D68B !default;
-$purple-color: #B509AC !default;
-$light-purple-color: lighten($purple-color, 25%);
-$pink-color: #f92080 !default;
-$pink-color-light: #ffdddd !default;
-$yellow-color: #efcc00 !default;
-
-$grey-color: #828282 !default;
-$grey-color-light: lighten($grey-color, 40%);
-$grey-color-dark: #1C1C1D;
-$grey-900: #212529;
-
-$white-color: #ffffff !default;
-$black-color: #000000 !default;
-
-
-// Theme colors
-
-$code-bg-color-light: rgba($purple-color, 0.05);
-$code-bg-color-dark: #2c3237 !default;
diff --git a/assets/css/main.css b/assets/css/main.css
new file mode 100644
index 000000000000..587c43622963
--- /dev/null
+++ b/assets/css/main.css
@@ -0,0 +1 @@
+:root{--global-bg-color: #ffffff;--global-code-bg-color: rgba(181, 9, 172, 0.05);--global-text-color: #000000;--global-text-color-light: #828282;--global-theme-color: #0076df;--global-hover-color: #0076df;--global-footer-bg-color: #e8e8e8;--global-footer-text-color: #1C1C1D;--global-footer-link-color: #0076df;--global-distill-app-color: #828282;--global-divider-color: rgba(0,0,0,.1);--global-card-bg-color: #ffffff}:root .fa-sun{display:none}:root .fa-moon{padding-left:10px;padding-top:12px;display:block}html[data-theme=dark]{--global-bg-color: #1C1C1D;--global-code-bg-color: #2c3237;--global-text-color: #e8e8e8;--global-text-color-light: #e8e8e8;--global-theme-color: #2698BA;--global-hover-color: #2698BA;--global-footer-bg-color: #e8e8e8;--global-footer-text-color: #1C1C1D;--global-footer-link-color: #0076df;--global-distill-app-color: #e8e8e8;--global-divider-color: #424246;--global-card-bg-color: #212529}html[data-theme=dark] .fa-sun{padding-left:10px;padding-top:12px;display:block}html[data-theme=dark] .fa-moon{display:none}body{padding-bottom:70px;color:var(--global-text-color);background-color:var(--global-bg-color)}body h1,body h2,body h3,body h4,body h5,body h6{scroll-margin-top:66px}body.fixed-top-nav{padding-top:56px}body.sticky-bottom-footer{padding-bottom:0}.container{max-width:800px}.profile img{width:100%}p,h1,h2,h3,h4,h5,h6,em,div,li,span,strong{color:var(--global-text-color)}hr{border-top:1px solid var(--global-divider-color)}table td,table th{color:var(--global-text-color)}table td{font-size:1rem}a,table.table a{color:var(--global-theme-color)}a:hover,table.table a:hover{color:var(--global-theme-color);text-decoration:underline}a:hover:after :not(.nav-item.dropdown),table.table a:hover:after :not(.nav-item.dropdown){width:100%}figure,img{max-width:90vw}blockquote{background:var(--global-bg-color);border-left:2px solid var(--global-theme-color);margin:1.5em 10px;padding:.5em 10px;font-size:1.2rem}.equation{margin-bottom:1rem;text-align:center}.caption{font-size:.875rem;margin-top:.75rem;margin-bottom:1.5rem;text-align:center}.card{background-color:var(--global-card-bg-color)}.card img{width:100%}.card .card-title{color:var(--global-text-color)}.card .card-item{width:auto;margin-bottom:10px}.card .card-item .row{display:flex;align-items:center}.citation,.citation-number{color:var(--global-theme-color)}.profile{margin-left:1rem;width:100%}.profile .address{margin-bottom:5px;margin-top:5px;font-family:monospace}.profile .address p{display:inline-block;margin:0}@media(min-width: 576px){.profile{width:30%}.profile .address p{display:block}}.post-description{margin-bottom:2rem;font-size:.875rem}.post-description a{color:inherit}.post-description a:hover{color:var(--global-theme-color);text-decoration:none}.navbar{box-shadow:none;border-bottom:1px solid var(--global-divider-color);background-color:var(--global-bg-color);opacity:.95}.navbar .dropdown-menu{background-color:var(--global-bg-color);border:1px solid var(--global-divider-color)}.navbar .dropdown-menu a:not(.active){color:var(--global-text-color)}.navbar .dropdown-menu a:hover{color:var(--global-hover-color)}.navbar .dropdown-menu .dropdown-divider{border-top:1px solid var(--global-divider-color) !important}.dropdown-item{color:var(--global-text-color)}.dropdown-item:hover{color:var(--global-hover-color);background-color:var(--global-bg-color)}.navbar.navbar-light a:hover{text-decoration:none}.navbar.navbar-light .navbar-brand{color:var(--global-text-color)}.navbar.navbar-light .navbar-nav .nav-item .nav-link{color:var(--global-text-color)}.navbar.navbar-light .navbar-nav .nav-item .nav-link:hover{color:var(--global-hover-color)}.navbar.navbar-light .navbar-nav .nav-item.active>.nav-link{background-color:inherit;font-weight:bolder;color:var(--global-theme-color)}.navbar.navbar-light .navbar-nav 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background-color: var(--global-card-bg-color);\n\n img {\n width: 100%;\n }\n\n .card-title {\n color: var(--global-text-color);\n }\n\n .card-item {\n width: auto;\n margin-bottom: 10px;\n\n .row {\n display: flex;\n align-items: center;\n }\n }\n}\n\n// Citation\n\n.citation, .citation-number {\n color: var(--global-theme-color);\n}\n\n// Profile\n\n.profile {\n margin-left: 1rem;\n width: 100%;\n\n .address {\n margin-bottom: 5px;\n margin-top: 5px;\n font-family: monospace;\n p {\n display: inline-block;\n margin: 0;\n }\n }\n}\n\n@media (min-width: 576px) {\n .profile {\n width: 30%;\n .address {\n p { display: block; }\n }\n }\n}\n\n.post-description {\n margin-bottom: 2rem;\n font-size: 0.875rem;\n a {\n color: inherit;\n &:hover {\n color: var(--global-theme-color);\n text-decoration: none;\n }\n }\n}\n\n\n// Navbar customization\n\n.navbar {\n box-shadow: none;\n border-bottom: 1px solid var(--global-divider-color);\n background-color: var(--global-bg-color);\n opacity: 0.95;\n}\n.navbar .dropdown-menu {\n background-color: var(--global-bg-color);\n border: 1px solid var(--global-divider-color);\n a:not(.active) {\n color: var(--global-text-color);\n }\n a:hover {\n color: var(--global-hover-color);\n }\n .dropdown-divider {\n border-top: 1px solid var(--global-divider-color) !important;\n }\n}\n.dropdown-item {\n color: var(--global-text-color);\n &:hover {\n color: var(--global-hover-color);\n background-color: var(--global-bg-color);\n }\n}\n.navbar.navbar-light {\n a {\n &:hover {\n text-decoration: none;\n }\n }\n .navbar-brand {\n color: var(--global-text-color);\n }\n .navbar-nav .nav-item .nav-link {\n color: var(--global-text-color);\n &:hover {\n color: var(--global-hover-color);\n }\n }\n .navbar-nav .nav-item.active>.nav-link {\n background-color: inherit;\n font-weight: bolder;\n color: var(--global-theme-color);\n &:hover {\n color: var(--global-hover-color);\n }\n }\n .navbar-brand.social {\n padding-bottom: 0;\n padding-top: 0;\n font-size: 1.7rem;\n a {\n i::before {\n color: var(--global-text-color);\n transition-property: all 0.2s ease-in-out;\n }\n &:hover {\n i::before {\n color: var(--global-theme-color);\n }\n }\n }\n }\n}\n\n.navbar-toggler {\n .icon-bar {\n display: block;\n width: 22px;\n height: 2px;\n background-color: var(--global-text-color);\n border-radius: 1px;\n margin-bottom: 4px;\n transition: all 0.2s;\n }\n .top-bar {\n transform: rotate(45deg);\n transform-origin: 10% 10%;\n }\n .middle-bar {\n opacity: 0;\n }\n .bottom-bar {\n transform: rotate(-45deg);\n transform-origin: 10% 90%;\n }\n}\n\n.navbar-toggler.collapsed {\n .top-bar {\n transform: rotate(0);\n }\n .middle-bar {\n opacity: 1;\n }\n .bottom-bar {\n transform: rotate(0);\n }\n}\n\n// Social (bottom)\n\n.social {\n text-align: center;\n .contact-icons {\n font-size: 3rem;\n a {\n i::before {\n color: var(--global-theme-color);\n transition-property: all 0.2s ease-in-out;\n }\n &:hover {\n i::before {\n color: var(--global-text-color);\n }\n }\n }\n }\n .contact-note {\n font-size: 0.8rem;\n }\n}\n\n\n// Footer\nfooter.fixed-bottom {\n background-color: var(--global-footer-bg-color);\n font-size: 0.75rem;\n .container {\n color: var(--global-footer-text-color);\n padding-top: 9px;\n padding-bottom: 8px;\n }\n a {\n color: var(--global-footer-link-color);\n &:hover {\n color: var(--global-theme-color);\n text-decoration: none;\n }\n }\n}\n\nfooter.sticky-bottom {\n border-top: 1px solid var(--global-divider-color);\n padding-top: 40px;\n padding-bottom: 40px;\n font-size: 0.9rem;\n}\n\n\n// Blog\n\n.header-bar {\n border-bottom: 1px solid var(--global-divider-color);\n text-align: center;\n padding-top: 2rem;\n padding-bottom: 5rem;\n h1 {\n color: var(--global-theme-color);\n font-size: 5rem;\n }\n}\n\n.post-list {\n margin: 0;\n margin-bottom: 40px;\n padding: 0;\n li {\n border-bottom: 1px solid var(--global-divider-color);\n list-style: none;\n padding-top: 2rem;\n padding-bottom: 2rem;\n .post-meta {\n color: var(--global-text-color-light);\n font-size: 0.875rem;\n margin-bottom: 0;\n }\n .post-tags {\n color: var(--global-text-color-light);\n font-size: 0.875rem;\n padding-top: 0.25rem;\n padding-bottom: 0;\n }\n a {\n color: var(--global-text-color);\n text-decoration: none;\n &:hover {\n color: var(--global-theme-color);\n }\n }\n }\n}\n\n.pagination {\n .page-item {\n .page-link {\n color: var(--global-text-color);\n &:hover {\n color: $black-color;\n }\n }\n &.active .page-link {\n color: $white-color;\n background-color: var(--global-theme-color);\n &:hover {\n background-color: var(--global-theme-color);\n }\n }\n }\n}\n\n\n// Distill\n\n.distill {\n a:hover {\n border-bottom-color: var(--global-theme-color);\n text-decoration: none;\n }\n}\n\n\n// Projects\n\n.projects {\n a {\n text-decoration: none;\n\n &:hover {\n .card-title {\n color: var(--global-theme-color);\n }\n }\n }\n\n .card {\n img {\n width: 100%;\n }\n }\n\n .card-item {\n width: auto;\n margin-bottom: 10px;\n\n .row {\n display: flex;\n align-items: center;\n }\n }\n\n .grid-sizer, .grid-item {\n width: 250px;\n margin-bottom: 10px;\n }\n\n h2.category {\n color: var(--global-divider-color);\n border-bottom: 1px solid var(--global-divider-color);\n padding-top: 0.5rem;\n margin-top: 2rem;\n margin-bottom: 1rem;\n text-align: right;\n }\n}\n\n\n// Publications\n\n.publications {\n margin-top: 2rem;\n h1 {\n color: var(--global-theme-color);\n font-size: 2rem;\n text-align: center;\n margin-top: 1em;\n margin-bottom: 1em;\n }\n h2 {\n margin-bottom: 1rem;\n span {\n font-size: 1.5rem;\n }\n }\n h2.year {\n color: var(--global-divider-color);\n border-top: 1px solid var(--global-divider-color);\n padding-top: 1rem;\n margin-top: 2rem;\n margin-bottom: -2rem;\n text-align: right;\n }\n ol.bibliography {\n list-style: none;\n padding: 0;\n margin-top: 0;\n\n li {\n margin-bottom: 1rem;\n .abbr {\n height: 2rem;\n margin-bottom: 0.5rem;\n abbr {\n display: inline-block;\n background-color: var(--global-theme-color);\n padding-left: 1rem;\n padding-right: 1rem;\n a {\n color: white;\n &:hover {\n text-decoration: none;\n }\n }\n }\n .award {\n color: var(--global-theme-color) !important;\n border: 1px solid var(--global-theme-color);\n }\n }\n .title {\n font-weight: bolder;\n }\n .author {\n a {\n border-bottom: 1px dashed var(--global-theme-color);\n &:hover {\n border-bottom-style: solid;\n text-decoration: none;\n }\n }\n > em {\n border-bottom: 1px solid;\n font-style: normal;\n }\n }\n .links {\n a.btn {\n color: var(--global-text-color);\n border: 1px solid var(--global-text-color);\n padding-left: 1rem;\n padding-right: 1rem;\n padding-top: 0.25rem;\n padding-bottom: 0.25rem;\n &:hover {\n color: var(--global-theme-color);\n border-color: var(--global-theme-color);\n }\n }\n }\n .hidden {\n font-size: 0.875rem;\n max-height: 0px;\n overflow: hidden;\n text-align: justify;\n transition-property: 0.15s ease;\n -moz-transition: 0.15s ease;\n -ms-transition: 0.15s ease;\n -o-transition: 0.15s ease;\n transition: all 0.15s ease;\n\n p {\n line-height: 1.4em;\n margin: 10px;\n }\n pre {\n font-size: 1em;\n line-height: 1.4em;\n padding: 10px;\n }\n }\n .hidden.open {\n max-height: 100em;\n transition-property: 0.15s ease;\n -moz-transition: 0.15s ease;\n -ms-transition: 0.15s ease;\n -o-transition: 0.15s ease;\n transition: all 0.15s ease;\n }\n div.abstract.hidden {\n border: dashed 1px var(--global-bg-color);\n }\n div.abstract.hidden.open {\n border-color: var(--global-text-color);\n }\n }\n }\n}\n\n// Rouge Color Customization\nfigure.highlight {\n margin: 0 0 1rem;\n}\n\npre {\n color: var(--global-theme-color);\n background-color: var(--global-code-bg-color);\n border-radius: 6px;\n padding: 6px 12px;\n pre, code {\n background-color: transparent;\n border-radius: 0;\n padding: 0;\n }\n}\n\ncode {\n color: var(--global-theme-color);\n background-color: var(--global-code-bg-color);\n border-radius: 3px;\n padding: 3px 3px;\n}\n\n\n// Transitioning Themes\nhtml.transition,\nhtml.transition *,\nhtml.transition *:before,\nhtml.transition *:after {\n transition: all 750ms !important;\n transition-delay: 0 !important;\n}\n\n// Extra Markdown style (post Customization)\n.post{\n .post-meta{\n color: var(--global-text-color-light);\n font-size: 0.875rem;\n margin-bottom: 0;\n }\n .post-tags{\n color: var(--global-text-color-light);\n font-size: 0.875rem;\n padding-top: 0.25rem;\n padding-bottom: 1rem;\n a {\n color: var(--global-text-color-light);\n text-decoration: none;\n &:hover {\n color: var(--global-theme-color);\n }\n }\n }\n .post-content{\n blockquote {\n border-left: 5px solid var(--global-theme-color);\n padding: 8px;\n }\n }\n}\n","/*******************************************************************************\n * Variables used throughout the theme.\n * To adjust anything, simply edit the variables below and rebuild the theme.\n ******************************************************************************/\n\n\n// Colors\n$red-color: #FF3636 !default;\n$red-color-dark: #B71C1C !default;\n$orange-color: #F29105 !default;\n$blue-color: #0076df !default;\n$blue-color-dark: #00369f !default;\n$cyan-color: #2698BA !default;\n$light-cyan-color: lighten($cyan-color, 25%);\n$green-color: #00ab37 !default;\n$green-color-lime: #B7D12A !default;\n$green-color-dark: #009f06 !default;\n$green-color-light: #ddffdd !default;\n$green-color-bright: #11D68B !default;\n$purple-color: #B509AC !default;\n$light-purple-color: lighten($purple-color, 25%);\n$pink-color: #f92080 !default;\n$pink-color-light: #ffdddd !default;\n$yellow-color: #efcc00 !default;\n\n$grey-color: #828282 !default;\n$grey-color-light: lighten($grey-color, 40%);\n$grey-color-dark: #1C1C1D;\n$grey-900: #212529;\n\n$white-color: #ffffff !default;\n$black-color: #000000 !default;\n\n\n// Theme colors\n\n$code-bg-color-light: rgba($purple-color, 0.05);\n$code-bg-color-dark: #2c3237 !default;\n","/*******************************************************************************\n * Style overrides for distill blog posts.\n ******************************************************************************/\n\nd-byline {\n border-top-color: var(--global-divider-color) !important;\n}\n\nd-byline h3 {\n color: var(--global-text-color) !important;\n}\n\nd-byline a, d-article d-byline a {\n color: var(--global-text-color) !important;\n &:hover {\n color: var(--global-hover-color) !important;\n }\n}\n\nd-article {\n border-top-color: var(--global-divider-color) !important;\n a, p, h1, h2, h3, h4, h5, h6, li, table {\n color: var(--global-text-color) !important;\n }\n a, h1, h2, hr, table, table th, table td {\n border-bottom-color: var(--global-divider-color) !important;\n }\n a:hover {\n border-bottom-color: var(--global-hover-color) !important;\n }\n b i {\n display: inline;\n }\n\n d-contents {\n align-self: start;\n grid-column: 1 / 4;\n grid-row: auto / span 4;\n justify-self: end;\n margin-top: 0em;\n padding-left: 2em;\n padding-right: 3em;\n border-right: 1px solid var(--global-divider-color);\n width: calc(max(70%, 300px));\n margin-right: 0px;\n margin-top: 0em;\n display: grid;\n grid-template-columns:\n minmax(8px, 1fr) [toc] auto\n minmax(8px, 1fr) [toc-line] 1px\n minmax(32px, 2fr);\n\n nav {\n grid-column: toc;\n a {\n border-bottom: none !important;\n &:hover {\n border-bottom: 1px solid var(--global-text-color) !important;\n }\n }\n h3 {\n margin-top: 0;\n margin-bottom: 1em;\n }\n div {\n display: block;\n outline: none;\n margin-bottom: 0.8em;\n color: rgba(0, 0, 0, 0.8);\n font-weight: bold;\n }\n ul {\n padding-left: 1em;\n margin-top: 0;\n margin-bottom: 6px;\n list-style-type: none;\n li {\n margin-bottom: 0.25em;\n }\n }\n }\n .figcaption {\n line-height: 1.4em;\n }\n toc-line {\n border-right: 1px solid var(--global-divider-color);\n grid-column: toc-line;\n }\n }\n\n d-footnote {\n scroll-margin-top: 66px;\n }\n}\n\nd-appendix {\n border-top-color: var(--global-divider-color) !important;\n color: var(--global-distill-app-color) !important;\n h3, li, span {\n color: var(--global-distill-app-color) !important;\n }\n a, a.footnote-backlink {\n color: var(--global-distill-app-color) !important;\n &:hover {\n color: var(--global-hover-color) !important;\n }\n }\n}\n\n@media (max-width: 1024px) {\n d-article {\n d-contents {\n display: block;\n grid-column-start: 2;\n grid-column-end: -2;\n padding-bottom: 0.5em;\n margin-bottom: 1em;\n padding-top: 0.5em;\n width: 100%;\n border: 1px solid var(--global-divider-color);\n nav {\n grid-column: none;\n }\n }\n }\n}\n"],"file":"main.css"}
\ No newline at end of file
diff --git a/assets/css/main.scss b/assets/css/main.scss
deleted file mode 100644
index fd8c311c32cb..000000000000
--- a/assets/css/main.scss
+++ /dev/null
@@ -1,15 +0,0 @@
----
-# Only the main Sass file needs front matter (the dashes are enough)
----
-@charset "utf-8";
-
-// Dimensions
-$max-content-width: {{ site.max_width }};
-
-@import
- "variables",
- "themes",
- "layout",
- "base",
- "distill"
-;
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-USAGE_MSG="usage: deploy [-h|--help] [-u|--user] [-s|--src SRC_BRANCH] [-d|--deploy DEPLOY_BRANCH] [--verbose] [--no-push]"
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-while [[ $# > 0 ]]; do
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- ;;
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- ;;
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- shift
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- ;;
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-echo "Deploy branch: $DEPLOY_BRANCH"
-
-read -r -p "Do you want to proceed? [y/N] " response
-if [[ ! $response =~ ^([yY][eE][sS]|[yY])+$ ]]
-then
- echo "Aborting."
- [[ "$0" = "$BASH_SOURCE" ]] && exit 1 || return 1
-fi
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-# Check if there are any uncommitted changes
-if ! git diff-index --quiet HEAD --; then
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- echo "Please commit the changes before proceeding."
- echo "Aborting."
- [[ "$0" = "$BASH_SOURCE" ]] && exit 1 || return 1
-fi
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-if ! test -z "$(git ls-files --exclude-standard --others)"; then
- echo "There are untracked files:"
- git ls-files --exclude-standard --others
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- [[ "$0" = "$BASH_SOURCE" ]] && exit 1 || return 1
-fi
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-if [ `git branch | grep $SRC_BRANCH | tr ' ' '\n' | tail -1` ]
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- git checkout $SRC_BRANCH
-else
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-fi
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-if [ `git branch | grep $DEPLOY_BRANCH` ]
-then
- git branch -D $DEPLOY_BRANCH
-fi
-git checkout -b $DEPLOY_BRANCH
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-# Build site
-bundle exec jekyll build
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-# Delete and move files
-find . -maxdepth 1 ! -name '_site' ! -name '.git' ! -name 'CNAME' ! -name '.gitignore' -exec rm -rf {} \;
-mv _site/* .
-rm -R _site/
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-git add -fA
-git commit --allow-empty -m "$(git log -1 --pretty=%B) [ci skip]"
-[[ ${NO_PUSH} ]] || git push -f -q origin $DEPLOY_BRANCH
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-
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+ an archive of posts from this year
+| Sep 13, 2014 | ++ A Methodology for Character Networks at a Macroanalytical Level. + | +
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| Apr 23, 2014 | ++ A Quantitative Approach to Character Space. + | +
We present a methodology that combines different techniques borrowed from computer science and the humanities in order to analyze character networks in a corpus of 1,800 British and American novels dating from 1849-1899 from a statistical standpoint. This methodology consists of three stages: preprocessing, locating characters, and associating characters. Using this technique, interactive visualizations of character networks are also produced.
+ +Franco Moretti, Alexander G. Sack, G. M. Park, and other humanists have presented different approaches to network analysis. While these studies increase our understanding of character networks, we noticed these analyses tend to focus on smaller corpora or individual novels. Using their studies as our starting point, we try to understand characters at a macroanalytical level.
+ +After testing our data and drawing some conclusions regarding authors’ gender and authors’ nationalities at a broad level, we have created a reliable methodology that can produce character data and be applied to future in-depth studies of character networks.
+ +Presented with M. Condello, R. Harrison, J. Isasi, A. Kinnaman, A. Kumari.
+ +La que hoy es conocida como La Celestina se publicó en su edición príncipe con el título de Comedia de Calisto y Melibea (1499 o 1500), con 16 actos, para ser retitulada Tragicomedia de Calisto y Melibea en 1502, añadiéndosele cinco actos más. Parece que sin prestar demasiada atención a la decisión tomada respecto a la trama trágica en lugar de cómica, ya en ese mismo siglo Juan de Valdés o Juan Luis Vives comenzaron a referirse a la obra tal y como la conocemos hoy, haciendo de Celestina la protagonista de la obra ¿Por qué se dio dicho cambio, incluso llegando a ser la creadora de un género nuevo denominado celestinesco?
+ +A la luz de nuevos modelos de análisis estructurales de obras teatrales, esta obra se presta al estudio cuantitativo mediante métodos computacionales gracias a su carácter de novela dialogada. Mediante este método sería posible determinar la razón por la que el “sistema de personajes” de Fernando de Rojas dio lugar a hacer de la vieja alcahueta la protagonista de su obra, en vez de los amantes sobre los que se supone ocurre la tragedia. Utilizando la herramienta web Voyant Tools para contabilizar el número de parlamentos de cada personaje en toda la obra puedo afirmar ya que, en efecto, Celestina es quien ocuparía el 21,85% atención requerida por el lector de la obra, seguida muy de cerca por Calisto y Sempronio. Si tenemos en cuenta que Melibea es una de las protagonistas, ¿cómo es posible que sea una de las que menos habla? ¿Juegan algún papel relevante quienes no llegan a ocupar ni un 2%? ¿Entonces, quién es más relevante al desarrollo de la obra? ¿Podría prescindirse de algún personaje? Además, atendiendo al hecho que la medianera tenga casi siempre una mayor presencia hasta la séptima parte de la obra (divida para el estudio en 10 partes iguales), podemos pensar que no hay duda de su centralidad y protagonismo. No obstante, fijándome en uno de los actos más importantes de la obra, el 12, se analizarán las conexiones entre los personajes para determinar la red social de Celestina y su no tan centralidad en esta obra. Aunque se ha escrito ya mucho sobre este primer modelo de novela, el mío sólo pretende ser un análisis de la cuestión desde una perspectiva diferente, la de las Humanidades Digitales.
+ +Presentación disponible en: http://digitalcommons.unl.edu/modlangdiss/34/
+ +an archive of posts from this year
+| Nov 14, 2015 | ++ La distopía a la vuelta de la esquina: medios de comunicación y autodestrucción en Círculos de Ríos San Martín. + | +
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| Sep 26, 2015 | ++ Visualizing History: The Malone Community Center: A Platform for the Community to Rediscover their History. + | +
La mayoría de nuestras relaciones sociales están mediadas por prótesis digitales. Los medios de comunicación nos dominan. El ciberespacio ha causado la infoxicación, tanto que se considera ya casi imposible hacer un ejercicio de interpretación libre y creativo. Pero, sobre todo, preocupa el aumento en paralelo entre ese desarrollo y consumo de los gadgets o medios digitales y el descenso de la implicación de los individuos en las problemáticas sociales de su entorno más cercano. Este nuevo ideario es lo que nos presenta Manuel Ríos San Martín en su novela multimedia: Círculos (2015).
+ +Sin necesidad de inventar un mundo ficticio y lejano en el que el avance de la tecnología destruya al ser humano, Ríos San Martín desarrolla una obra que muestra un futuro fácil de imaginar: ciudadanos que únicamente consumen programas de televisión en los que impera el beneficio económico sin importar los medios para lograrlo, y ciudadanos que odian todo lo relacionado con la tecnología, desconfiando de todo y todos. Para el presente trabajo nos fijaremos en quienes viven en una lucha autodestructiva -compartida en las redes sociales- entre ambos grupos, en quien no puede escapar del primer grupo ni quiere ser parte del segundo. Se argumentará cómo Patrizia, la protagonista, es un claro reflejo de lo que críticos como Daniel Innerarity o César Rendueles consideran consecuencias absolutas del exceso de información sin espacio para la interpretación, apuntando tanto a la reflexión sobre ese consumo como a un retorno a una sociedad sin mediación excesiva.
+ +Steven Lubar points out as rule number 4 in his “Seven Rules for Public Humanities” that, “community is complicated, and best defined by the community, not by academics looking in” (n. pag.). Following his idea, this paper reflects on the process and importance of building “Visualizing History” as a digital project in the intersection between the Digital Humanities and the Public Humanities to facilitate a small community in Lincoln, Nebraska with the tools to engage with and define their history and sociocultural heritage in a new and accessible manner.
+ +The project was part of the DH Practicum at University of Nebraska-Lincoln, and involved the creation of a digital source that could portray the almost invisible history of The Malone Community Center, which has served the African American community in Lincoln for more than 60 years. On the first iteration of the platform the team envisioned a finished digital product that would tell their political and social history in a scholarly manner. However, upon revising the great amount of long unchecked social and cultural artifacts this center holds in its private archive, we soon realized that producing a traditional digital archive was not adequate for this organization. Being immersed in our academic environment, we at first failed to see the benefits of allowing the community to take active part on the re-contextualization of their voices, in order to also reflect the Center’s position in the city today: work to honor and strengthen their community by creating a space where every participant can develop to their full potential. Thus, we focused on creating an accessible DH project that could facilitate people in this community with limited access to technology the tools to easily participate in the curation of history, and the ability to pursue the interest of a broad audience of community members, scholars, and the general public.
+ +As a context-provider that prompts community members to write/speak and be read/heard, we hope that this tool will start a collaborative dialogue on the production of this history for, as Lubar points out, public humanities “opens the opportunity for many voices, many ways of telling a story” (n. pag.). In order to start the conversation, we have integrated a small-scale crowdsourcing movement to it. Defined as “the act of taking work once performed within an organization and outsourcing to the general public through open call for participants” (Ridge 1) the project will benefit from it as it draws attention to the idea of collaborative and cooperative work to achieve a particular goal; in this case, the goal is making an otherwise forgotten history visible for the community, the city and cultural heritage in general.
+ +In sum, “Visualizing History: The Malone Community Center” is a primary example of a DH practice that showcases an alternative to the academic field because it articulates a new manner to give visibility to a community by providing its own members with new tools to rediscover their past, to learn about their present, and ponder the future.
+ +Written with Alex Kinnaman.
+ + +an archive of posts from this year
+A heritage speaker is an individual (either born in the host country to an immigrant family or an immigrant child his/herself) that belongs to a community enclosed by the dominant one. Their exposure to a language other than the one spoken by the majority and used in mass media takes place at home and the community in early childhood. Lastly, this individual is educated in the dominant language, thus, not developing his/her first language on the same literacy levels as, in this case, English (Valdés, 2001; Hornberge and Wang, 2008; Montrul, 2012). Although college students in the Midwest and those self-identified as heritage speakers have claimed not to consume Internet content in Spanish, they have shown to text in Spanish as a way to keep in touch with friends and family both in the US and abroad (Velázquez, 2015). Given how Spanish heritage speakers use their non-dominant language both when texting and in the classroom setting, one might suggest that Spanish lessons focused solely drill activities involving grammar, vocabulary and some cultural facts render insufficient in their acquisition process. On that account, language lessons targeted to heritage speakers must built on what they already know and on the language they already using (Polinsky and Kagan, 2007), thusly, in this poster I present an activity that serves as a bridge between the use of a daily communicative tool among young adults and their pedagogical needs as heritage speakers of Spanish.
+ +First, I take into account the characteristics of the heritage speakers, as presented in my definition above, and I pay attention to their pedagogical needs for, despite the variation on language level among Spanish heritage speakers, it is possible to identify some basic objectives that heritage language learners have to achieve. According to Valdés (1997), their main goal is to maintain the heritage language while also acquiring a formal, standard or prestigious variety of that language. Also, the need to expand their abilities as bilingual speakers extends to the need of acquiring academic skills in their heritage language by transferring their literacy skills from the instruction language at school. Finally, besides focusing on the development of linguistic skills, courses for heritage speakers also need to encourage a positive attitude towards their heritage language as well as help acquiring or developing cultural awareness of the use of the languages they know. +The present poster develops the activity “Texting en español” by taking text messages produced by the students as real examples to work with in order to improve orthography and become aware of lexical varieties with special emphasis on the connection to the community of each student. The activity approaches second-generation bilingual learners in a course to improve transferring oral utterances (their main use of Spanish) into written productions at the Intermediate level as it encourages students to read and write simple texts in the first weeks of the semester. Gradually, students would be producing longer and more complex works, incorporating to each unit the aforementioned pedagogical needs. +Through a series of activities in “Texting en español”, students have to discuss the use of texting in English and in Spanish by paying special attention to the reasons and purposes of using their heritage language. Additionally, these activities gather a rich corpus of text messages students have sent and received in Spanish to/from friends and close or distant family. These two exercises lead the students to consider their own production in Spanish as they also learn about orthography and the differences between constructions such as “haber” vs. “a ver,” or “ahí” vs. “hay” vs. “¡ay,” etc. By connecting sharing both similar, and distinct expressions in different Hispanic communities in the US, students also reflect on the use of colloquial words and abbreviations in their texts in connection to the recipient of the message. +Finally, whereas the linguistic progress of second language students is usually assessed on a summative assessment by comparing their learning against a standard by means of quizzes, midterm exams, final papers, etc., it is crucial that heritage language learners’ progress be assessed on a formative basis. This type of assessment allows for the supervision of the student learning process by providing ongoing feedback that not only helps students identify those areas where they need to work on, but it also helps the instructor in identifying those areas that need further clarification. For that reason, the poster also presents an evaluation for this type of activity targeted to heritage language learners. In contributing to a better practice of teaching Spanish to heritage language learners in college, this poster presents an example of how to develop activities that establish connections between the use of the heritage language in real life, different linguistic levels and the academic abilities of students (Potowski, 2005) by university instructors of Spanish.
+ +
References: +Hornberger, N. H., & Wang, S. C. (2008). “Who are our heritage language learners? Identity and biliteracy in heritage language education in the United States”. Heritage language education: A new field emerging Ed. D. M. Brinton, O. Kagan, & S. Bauckus. New York: Routledge, 3-38. +Montrul, Silvia. (2012) “Is the Heritage Language like a Second Language?” Eurosla Yearbook. Urbana: University of Illinois at Urbana-Champaing. +Polinsky, M., & Kagan, O. (2007). “Heritage Languages: In the ‘Wild’ and in the Classroom”. Languages and Lingustics Compass, 1(5), 368-295. +Potowski, K. (2005). El español del hablante de herencia. Fundamentos de la enseñanza del español a los hispanohablantes en los EEUU. Madrid: Arco Libros. +Valdés, G., López-García, D. & Márquez, P. (2003). “Language Ideology: The Case of Spanish in Departments of Foreign Languages.” A nthropology & Education Quarterly. 34, 3-26 +Valdés, Guadalupe. (1997). The Teaching of Spanish to Bilingual Spanish-Speaking Students: Outstanding Issues and Unanswered Questions. In M. C. Colombi, & F. X. Alarcón (Eds.), La enseñanza del español a hispanohablantes. Práxis y teoría. (pp. 8-44). Boston: Houghton Mifflin. +–. (2001). “Heritage language students: Profiles and possibilities.” Heritage languages in America: Preserving a national resource. Ed. J. K. Peyton, D. Ranard, & S. McGinnis. Washington, DC: Center for Applied Linguistics and Delta Systems, 37–77. +Velázquez, I. (2015). “Reported literacy, media consumption and social media use as measures of relevance of Spanish as a heritage language.” International Journal of Bilingualism, 1-13.
+ +Según la “fórmula galdosiana,” la novela realista debía servirse de la sociedad como materia para novelar, de tal forma que la mímesis del conjunto social fuera a la vez reflejo, reflexión y enseñanza de la situación surgida a partir de la Revolución de 1868. En concreto, en los ensayos “Observaciones sobre la novela contemporánea en España” de 1870 y “La sociedad como materia novelable” de 1897, Pérez Galdós muestra la relevancia de tal estudio por su utilidad para entender tanto el pasado y el presente, como el futuro. Así, como un producto de consumo al que le venían impuestos una forma y temas nuevos (Bonet), la novela se convertiría en el caso de Pérez Galdós en una ficción de realidades humanas (Ortega y Gasset) es decir, en un testimonio transparente de claro didactismo ante la realidad, convertida ésta en materia prima para el escritor. Consideramos, entonces, a los personajes presentes en las obras de Pérez Galdós como una especie de sinécdoque de tipos sociales y, por tanto, un reflejo de la influencia cultural y sociológica de la época. +Desde dicho planteamiento, y con el objetivo de realizar un estudio del diseño de los personajes en los Episodios nacionales mediantes técnicas digitales de extracción de datos, se plantea para la presente ponencia la justificación para investigar la sociedad del XIX desde los Episodios, así como la presentación de diferentes variables a analizar a fin de poder aprender sobre los hechos colectivos a través del análisis de la sociedad ficticia.
+ + +Cecilio Alonso, in his latest work on the 19th-century Spanish literature, discusses how the historicist realism of Galdós’ National Episodes is “not only a symbiosis of historical and fictional events, but an effort to show the most useful image for the «national» reader of 1875” (496). Also, already in 1877, Mesonero Romanos said that Galdós’ works offered “more life lessons than many books of history” (499). In this manner, both critics point to these 46 novels —written between 1872 and 1912 and covering most of 19th-century Spain (1808-1880)— as a communicative model with a clear didactic purpose, that the reader learns about the history in terms of an appropriate national model.
+ +However, Alonso himself places “national” between inverted commas, probably with the intention to note that this is a very abstract term and an active zone of contention during 19th-century cultural and political discussions. In this sense it would be very helpful to study Galdos’ oeuvre to shed light on such a controversial notion. However, given its extension —and, in particular the number of novels in the Episodios Nacionales— it seems suitable to apply a distant reading survey to determine what data can be extracted by using digital tools, framing the study in the Digital Humanities. Thus, I develop a methodology to study the evolution of the term “nation” as an example to, ultimately, show the possibilities DH offer for the study of works in Spanish, taking into consideration the method can be repurposed for future research on other terms.
+ + +an archive of posts from this year
+Resulta prácticamente imposible dar una definición y delimitar la labor de las humanidades digitales debido al alcance que sus variadas metodologías están teniendo en numerosos campos de investigación y objetos de estudio, por su carácter interdisciplinar y de colaboración y, sobre todo, por su continua evolución para la (re)adaptación de métodos y prácticas. Mostraré aquí algunas ideas con el propósito de añadirlas a la discusión que estos días nos ocupa, esto es, realizar un análisis integral cultural. Aprovechando que los resultados están disponibles en la web, añado una serie (reducida) de diferentes proyectos digitales “finalizados” o en desarrollo así como de publicaciones interesantes. Por último, incluyo una serie de retos que plantean las humanidades digitales.
+ +Prepared with Dr. Joseba Moreno, University of Nebraska-Lincoln
+ +In this talk I present a methodology that combines approaches from literary analysis, sociology, and computer science in order to show how the results of distant reading replicate well established readings of Benito Pérez Galdós’ Zumalacárregui and Mendizábal (1898). I will briefly explain the concept of character system, the stages of data-mining the characters, and social network analysis measurements. Data shows that the main difference between the two novels’ character networks is an opposite protagonicity of historical and fictional personae. In addition, the visualizations of these “synchronic system[s] of social relations” (Jameson) also explain the spontaneous perception of Zumalacárregui as having a bigger degree of historicity. Indeed, whereas Zumalacárregui’s graph recognizes the historical division between carlistas and isabelinos, Mendizábal’s, interestingly enough, produces a clear distinction between historical and fictional characters.
+ +an archive of posts from this year
+I present the results of mid-distance reading that combines graph and data mining methods to identify genre in narrative works written in Spanish. In this case, I analyze ten historical novels from the “National Episodes” of Benito Pérez Galdós (1843-1920). In 2003, Alex Woloch stated that narrative structures are formed by a character-system or “the arrangement of multiple and differentiated character-spaces [, that is,] differentiated configurations and manipulations of the human figure” (14). For its potential as a quantifiable study, several digital humanists such as Elson et al. (2010), Sack (2011), Agarval et al. (2012), or Moretti (2011-2016) have compared Woloch’s concept of character-system to the notion of network, where the nodes are the characters and the edges represent interactions between them.
+ +In the present methodology I follow said notion, and I proceed in three steps to curate and analyze data: 1) One algorithm (written in R) detects names in the texts and substitutes them by a resolved name from a file of metadata of 4,644 characters; 2) Another R algorithm extracts the number of co-occurrences of characters by chapter; and 3) I calculate the centrality and modularity of the sum of co-occurrences by novel in Gephi and I visualize each character system as a network. The results of this mid-distance reading show that there is a reciprocity between the positioning of the historical and fictional characters in the character-systems and the typology of the novels that had been previously identified by the close-reading of galdosistas such as Urey (1989) or García Castañeda (2012). In fact, there is a greater emphasis on what Galdós called “integral history” in those novels that tell the life trajectory of the main character like a serial bildungsroman. Overall, this methodology seeks a better understanding of the possibilities that digital tools offer for the study of textual cultural operators in Spanish.
+ +
La meta de esta presentación es describir el potencial y las limitaciones de las +humanidades digitales para la enseñanza sobre la experiencia social de colectivos multilingües poco estudiados. Basamos nuestro argumento en el caso de la construcción de un archivo digital que reúne la correspondencia y otros documentos personales de una familia que emigró de Zacatecas, México, a Colorado y a Nebraska, Estados Unidos, en la primera mitad del siglo XX. Durante los últimos cuatro años, el repositorio que aquí se describe ha servido como espacio de aprendizaje activo para estudiantes de licenciatura y posgrado de una universidad pública del Midwest. Mediante su participación en el proyecto, los estudiantes aprenden sobre la experiencia sociolingüística de las comunidades hispanohablantes en EU transcribiendo, traduciendo, digitalizando, marcando y analizando estos objetos.
+ +Talk with Dr. Isabel Velázquez and Marcus Vinícius Barbosa.
+ +The main aim of this paper is to reflect on the Programming Historian’s multilingualism and internationalization strategy as well as the transition from a monolingual website to a multilingual open-access publication. The Programming Historian is currently developing as one of the first open-access multilingual digital pedagogy initiatives in Digital Humanities. Based on our experience, a critical discussion on the challenges of translating language specific and data-driven lessons, and the development of a creative strategy supporting multiculturalism and diversity seems more than appropriate.
+ +Talk with Drs. Antonio Rojas-Castro and Anna-Maria Sichani.
+ +an archive of posts from this year
+| Oct 24, 2019 | ++ The Programming Historian en español: de la traducción a la creación de recursos educativos abiertos + | +
|---|---|
| Sep 26, 2019 | ++ Sentiment Analysis Methods in Translation + | +
| Jul 25, 2019 | ++ Retos en la producción de tutoriales de HD en contextos hispanohablantes + | +
| Jul 24, 2019 | ++ Overcoming Challenges and Breaking Down Barriers: Digital Scholarship Support Within and Beyond the University + | +
| May 27, 2019 | ++ Spanish Colonialism in the Indigenous Borderlands: Collaborative Digital Scholarship in the Undergraduate Classroom + | +
| Apr 24, 2019 | ++ A Name Entity Recognition and Extraction Method for Mid-Distance Reading in Spanish + | +
The Programming Historian inició en 2011 la publicación de tutoriales en abierto y revisados por pares dirigidos a humanistas que desean aprender técnicas computacionales para su investigación y enseñanza en inglés. Cinco años más tarde, en 2016, un nuevo equipo de editores comenzó la traducción de dichos tutoriales para hacerlos accesibles al mundo hispanohablante, proponiendo además cambios editoriales como la contextualización de materiales para una audiencia global. Más recientemente, este equipo propuso incentivar la producción de tutoriales originales en español con un llamado y un taller de escritura de tutoriales.
+ +Si bien las estrategias de divulgación de los tutoriales traducidos han sido un éxito - como demuestra, por ejemplo, un total de 13,167 visitas en el último mes (octubre de 2018)-, la recepción de propuestas para la publicación de tutoriales originales en español no lo está siendo tanto. Esta ponencia explora algunos de los factores económicos, tecnológicos, culturales e institucionales que ayudan a explicar los incentivos y barreras para que los investigadores de habla española se involucren en la producción de tutoriales en español. Las preguntas que guían este análisis son: ¿Qué barreras impiden a los investigadores de lengua española, que desarrollan su trabajo en Latinoamérica, Estados Unidos o España, escribir y publicar tutoriales? Más ampliamente, ¿Cómo afectan las brechas digitales en acceso, uso, competencias y beneficios asociados a las TIC, y la existencia incipiente de infraestructuras digitales para investigación, el desarrollo de las humanidades digitales en español? ¿Qué papel cumplen las barreras culturales y de índole político como la falta de reconocimiento académico o la ausencia de una tradición interdisciplinar en el campo de las Humanidades Digitales? +Esta presentación plantea una reflexión sobre los retos de producir contenidos sobre herramientas y métodos digitales en las humanidades en español y, claro, en un proyecto cuyo enfoque principal ha sido la audiencia anglosajona. Por un lado, presentaremos las estrategias que el equipo editorial ha promovido para promover el acceso, la diversidad y la escritura para audiencias globales. Analizamos algunos ejemplos de traducción de tutoriales de metodologías para la extracción y el análisis de datos (Topic Modeling o R) así como de la publicación de material digitalizado (Omeka), y la importancia de su adaptación del inglés al español con las audiencias y contextos hispanohablantes en mente. Por otro lado, y principalmente, reflexionaremos sobre cómo la desigualdad de recursos, diversidad de intereses y la consolidación de programas HD plantea, desde nuestra experiencia, una relación diferente con las herramientas y metodologías digitales en contextos de investigación en habla hispana. Para ello analizamos los resultados del taller de escritura de tutoriales para The Programming Historian, llevado a cabo en Bogotá en agosto de 2018 y en el cual participaron 22 investigadores de toda América con propuestas para la escritura de tutoriales originales en español.
+ +Presentación con Drs. María José Afanador-Llach y Antonio Rojas Castro.
+ +Las diapositivas de la presentación están disponibles en PDF aquí
+ +This session takes the following questions as its focus: What are the major challenges to building and sustaining digital scholarship (DS) support infrastructures across and beyond universities? How do factors such as institutional hierarchies, multiple campuses, and library/departmental resources impact the needs and effectiveness of DS networks? Are there barriers to supporting digital research and pedagogy that transcend institutional context, and how are we engaging audiences beyond the walls of the university?
+ +The session follows a roundtable format, beginning with brief introductions by six panelists who will share some challenges and opportunities they have witnessed for different types of institutional infrastructures supporting DS in North America, before opening the conversation to the audience. Presenters include early career digital scholars whose perspectives as recent PhDs inform their experiences across a wide range of institutions, from academic libraries to humanities institutes and non-profits. The majority of presenters are currently based at research universities where scaling support for DS poses a major challenge, and all bring a concern for labor equity and social justice to this discussion, as public humanities and contingent labor have become critical issues in this field. +The conversation will draw on the diverse experiences of participants in supporting digital work in different institutional contexts and will be enhanced by the contribution of audience members’ perspectives. The session’s primary goal is to highlight strategies for overcoming the challenges inherent to the work of building networks, communicating with diverse audiences, and fostering interdisciplinary collaboration. We anticipate that issues such as researcher silos, diversity and accessibility, and working across multiple physical and disciplinary spaces arise regardless of institutional context, and we hope this conversation will raise awareness of potential resources for supporting DS across higher education.
+ +Round table with Drs. Rachel L. Starry, Heidi Dodson, Chris J. Young, Alex Wermer-Colan and Emma Slayton.
+ +A method traditionally applied to product review and marketing, namely, sentiment analysis or opinion mining, has recently been adopted to conduct computational analysis of literary texts (Jockers). In principle, this methodology consist of assigning a positive or negative valence derived from a “bag of words” to sentences or words in order to study the progress of sentiments throughout the text. This represents the passage of time and, in novels, the narrative plot.
+ +As with most digital analysis methodologies and experiments run in recent years, these sentiment analysis dictionaries, workflows, and corpora to test results have been developed and conducted in English. In a few occasions, the research even includes works translated into English (Underwood 2019). In most cases, the use of these tools in other languages requires adaptation (Fradejas Rueda).
+ +In this talk, I will show the results of a three-dimention mid-distance reading of literary texts in Spanish using the Syuzhet Package in R. First, I present the analysis of the original text with the available version of the NRC sentiment dictionary. Later, I will run the original, English dictionary in the same work in its published translated version as well as on a (non-reviewed) machine translated version. As a point of contrast, I will run the same test with a text in English with its human and machine translations into Spanish. Preliminary results conducted on La gaviota (1849) by Böhl de Faber, Pepita Jiménez (1874) by J. Valera, The Swam of Villamorta (1885) by E. Pardo Bazán, Frankenstein (1832) by M. Shelley and David Copperfield (1850) by Dickens shows that results on a micro-level change but do not affect the overall or macro-level narrative plot result. Marianela (1878) by B. Pérez Galdós, The Froth (1890) by A. Palacio Valdés, One Hundred Years of Solitud (1967) by G. García Márquez or The Handmaid’s Tale (1985) by M. Atwood, however, show distinct results on a micro and distant level in both two languages, bringing up questions such as: Is it sufficient to generate raw translations of datasets in English in order to conduct the same tests in Spanish or should we generate our own datasets and methods? What effect has norms on punctuation have on this type of text analysis? How do informal expressions that call for clearly different vocabulary to express the same emotion affect the results of this method? As a consequence, one can ask, how good is the idea of using translations when testing methods in English?
+ +The ultimate goal of this presentation is, thus, twofold. On the one hand, I show the possibilities of sentiment analysis for literary works in Spanish. Most importantly, however, I show the need to break the tools before trusting them: I investigate the implications of relying on translation for text analysis, by studying the difference in results in using a translated version of the sentiment dictionary to original works, as well as using the original dictionary to works translated from other languages.
+ + + + +A pesar del incremento de la digitalización del patrimonio cultural por parte de bibliotecas, museos y archivos, la actividad curatorial y la investigación histórico-cultural no resultan sencillas porque el acceso y la preservación del patrimonio en formato digital no se ha llevado a cabo de la misma manera en los diferentes contextos socioeconómicos, culturales y lingüísticos. De ahí, la necesidad de reflexionar sobre las epistemologías resultantes de procesos de digitalización y reconocer cómo este desequilibrio condiciona el aprendizaje de competencias digitales. Estas son algunas de las cuestiones a las que The Programming Historian trata de dar solución publicando recursos educativos abiertos (D’Antoni, 2009) en inglés, en español y, en un futuro cercano, en francés.
+ +The Programming Historian es un proyecto pedagógico y una infraestructura editorial iniciado en 2012 con el propósito de publicar tutoriales revisados por pares de acceso abierto (Programming Historian, 2019). A pesar de su compromiso con la apertura al público general, su consejo editorial identificó barreras de género y, en general, del entorno académico que impedían la colaboración en el proyecto (Crymble, 2016). Con tal fin, se tomaron medidas para generar una comunidad más inclusiva en términos de género y representación LGTBQ. Sin embargo, la cuestión de la diversidad regional y las barreras del lenguaje continuaron siendo problemáticas puesto que todo el contenido (lecciones, conjuntos de datos, contexto, infraestructura, etc.) estaba escrito en inglés y se dirigía a una audiencia anglosajona. Para cambiar esta situación, en 2016 un equipo editorial en español se unió al proyecto y un año más tarde, en 2017, comenzó con la publicación de lecciones traducidas bajo el título The Programming Historian en español. Así, hoy en día, esta edición del proyecto, dirigido a una audiencia hispanohablante, está formada por un equipo editorial de siete personas y cuenta con un total de 41 lecciones traducidas gracias a una amplia red de colaboradores. Además, este año el proyecto ha sido ampliado de nuevo para incorporar un equipo francófono encargado de la edición de The Programming Historian en français.
+ +El propósito principal de esta presentación es reflexionar sobre el multilingüismo y la estrategia de internacionalización de The Programming Historian y sobre la transición de un proyecto monolingüe y geográficamente limitado a una publicación multilingüe y global. Basándonos en nuestra experiencia, creemos apropiado generar un discurso crítico sobre los desafíos de traducir lecciones del inglés al español y el paso de la traducción a la creación de tutoriales originales en español. Con ello, queremos desarrollar una estrategia creativa que respalde el multiculturalismo y la diversidad en el campo de las Humanidades Digitales, siguiendo el camino crítico abierto por otros investigadores como Galina (2014), Fiormonte (2014), Gil y Castro (2016), Mahony (2017) o Risam (2018).
+ +Con el fin de evaluar la cuestión del lenguaje en el flujo de traducciones, llevamos a cabo un análisis previo de los contenidos de la edición inglesa. De manera resumida, concluimos, la mayoría de las lecciones originales en inglés se enfocan en la manipulación de datos provenientes de recursos británicos, estadounidenses y canadiense. Además, las lecciones presuponen un alto dominio del inglés, pese a que el objetivo es aprender lenguajes de programación o herramientas informáticas. Es por este motivo que tuvimos que desarrollar soluciones para aquellos contenidos difíciles de traducir y/o adaptar y tomar la decisión de no traducir ciertas lecciones por usar herramientas no adaptadas al español.
+ +Traducir tutoriales del inglés al español es una tarea difícil porque el idioma, el código y los datos dependen en gran medida del contexto de su producción y de las preguntas de investigación. En consecuencia, los editores y traductores generalmente tienen que anotar el texto para aclarar presuposiciones contextuales (fechas, localización de eventos históricos), adaptar las imágenes (cuando la interfaz está disponible en español) y modificar el código para satisfacer necesidades específicas del idioma (por ejemplo, tildes en español). Los cambios realizados durante el proceso de traducción implican una teoría de la traducción cercana a la localización web. Por un lado, nuestro enfoque no se basa en el concepto tradicional de equivalencia lingüística entre la fuente y el texto producido, sino que se basa en el propósito práctico del tutorial y las necesidades del público hispanohablante; en este sentido, ponemos en práctica la teoría de Skopos surgida en el campo de los estudios de traducción en los años setenta (Nord, 2018). Por otro lado, consideramos la traducción como una mediación intercultural en la que quien traduce debe ser acreditado como colaborador intelectual o incluso como un segundo autor en algunos casos extremos.
+ +Por descontado, la internacionalización y las estrategias de diversidad no se limitan a la traducción; las métricas de la audiencia que visita The Programming Historian sugieren que los usuarios proceden de todo el mundo. Debido al fuerte sesgo cultural anglocéntrico de las primeras publicaciones del proyecto, el consejo editorial aprobó y publicó la guía “Escribir para una audiencia global” (Programming Historian, 2018) para nuevas lecciones; en otras palabras, la internacionalización, actualmente, forma parte del núcleo constitutivo del proyecto. Esta guía recomienda a los autores, en primer lugar, que eviten bromas y malentendidos que puedan ofender al público; en segundo lugar, que utilicen métodos o herramientas que apoyen diferentes conjuntos de caracteres; y, por último, que proporcionen explicaciones y referencias adicionales sobre personas, lugares y eventos históricos.
+ +Con nuestra experiencia de traducción en mente y con el objetivo principal de dar espacio la audiencia hispanohablante no sólo como receptora de la publicación sino también como generadora de contenidos, en 2018 el equipo puso en marcha la recepción de lecciones originales en español. Primero, en abril, abrimos una convocatoria para lecciones en español. Con el fin de apoyar dicha labor y con la ayuda financiera de la British Academy, en agosto de ese mismo año organizamos un taller de escritura que tuvo lugar en Bogotá, Colombia, y que contó con un total de veintidós humanistas digitales (Crymble y Afanador-Llach, 2018). De este encuentro surgieron, hasta el momento, un tutorial ya publicado y dos tutoriales que se encuentran en la fase final de revisión. Pero, pesar del éxito en la divulgación y consulta de los tutoriales traducidos, la recepción de originales se ha hecho esperar más de lo esperado. Por este motivo, abordaremos cuestiones lingüísticas, culturales, institucionales, etc. que pueden explicar las barreras que los investigadores del mundo hispano encuentran a la hora de involucrarse activamente en este proyecto.
+ +En conclusión, con esta comunicación queremos reflexionar sobre el desequilibrio entre el gran número de hablantes de español y la escasez de contenido didáctico disponible en internet en el campo de las Humanidades Digitales. Aunque la traducción de tutoriales del inglés al español puede cumplir una función importante (por ejemplo, suplir una carencia o un vacío epistemológico), creemos indispensable que los humanistas digitales que trabajan con patrimonio latinoamericano e ibérico generen sus propios recursos educativos y compartan su conocimiento en español.
+ +Presentación escrita con Antonio Rojas Castro.
+ +As analysis, writing, and access to primary sources become digital, our assumptions and approaches to teaching come up short; Context and content need to be negotiated in a collaborative environment. An undergraduate Spanish capstone course at the UT-Austin provided an advantageous opportunity to address this issue in turning a selection of colonial manuscripts pertaining to Indigenous peoples in what is today considered the Mexico-U.S. borderlands into open access digital scholarship.
+ +These manuscripts, held at the Benson Latin American Collection, are generally unavailable to the people whose history they contain, very few are aware of these unique sources of indigenous history, and even fewer possess the proper training to make sense of them. Students were trained to interrogate and contextualize the Indigenous-Spanish borderlands as represented in these special collections using digital methodologies to make these materials more accessible. The team (Spanish faculty member, CLIR/DLF Postdoctoral Fellow, Digital Scholarship Coordinator, Information Literacy Librarians, and two graduate assistants) designed the class with several goals in mind: to foster experiential learning, student agency, original research, theoretical and technical capacity, multimodal literacies, and collaboration in the classroom. The presenters will discuss the structure of the course, pedagogical approaches, challenges, and lessons learned.
+ +Talk with Albert P. Palacios, University of Texas at Austin
+ +Presentation slides in PDF here
+ +Computational literary studies usually rely on systems such as Stanford NER to identify characters, locations and other entities present in texts. This method is highly accurate in the English language and it is also probably the best approach when working with large corpora where a certain amount of overlooked tagging can be allowed. This accuracy is partly due to the extensive availability of English-language texts in digital format to train the tagger and, as a result, it allows computational analysis to be conducted in larger scales (K. Bode; T. Underwood; M. Jockers; etc.). Despite this, automatic entity recognition taggers are inadequate for languages scarcely represented in the digital cultural record (Risam) even when the majority of users of the Internet are non-English speakers (Whose Knowledge?). How can we, then, make up for the absence of reliable computational analysis implementations in languages not extensively supported by automatic data tagging?
+ +Drawing from the results of a literary character network analysis of 19th century Spanish novels, I present the practicalities of creating a database of entities with several variables that allow, on the one hand, to normalize the process of entity recognition for full, compound or informal names of characters, and, on the other hand, to easily extract and weight the presence and connections in texts. I show how I applied this method, combined with literary analysis, to study the interaction between fictional and historical characters.
+ +Finally, a work-in-progress mapping that involves bilingual data helps me further argue in favor of a system that we can situate between manual TEI-XML tagging and automatic NER.
+ + + +an archive of posts from this year
+| Nov 5, 2020 | ++ Distinción de géneros literarios a través de la visualización de redes de personajes: El caso de diez Episodios nacionales de Pérez Galdós + | +
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| Oct 22, 2020 | ++ A pilot experiment for multilingual DH contexts: Sentiment Analysis in Translation + | +
En este póster presento los resultados de una lectura a media distancia que combina métodos de minería de datos y de redes para identificar el género en obras narrativas escritas en español. En este caso, se analizaron las diez novelas históricas de la tercera serie de los Episodios Nacionales de Benito Pérez Galdós (1843-1920).
+ +En 2003, Alex Woloch afirmó que las estructuras narrativas están formadas por un sistema de personajes o “la disposición de espacios de personajes múltiples y diferenciados [, es decir,] configuraciones y manipulaciones diferenciadas de la figura humana” (Trad. propia, 14). Por su potencial como estudio cuantificable, varios humanistas digitales como Elson et al. (2010), Sack (2011), Agarval et al. (2012) o Moretti (2011-2016) han comparado el concepto de sistema de personajes de Woloch con la noción de red social, donde los nodos son los personajes y las conexiones representan interacciones entre ellos. En la presente metodología sigo dicha noción, y procedo en tres pasos para curar y analizar los datos: 1) Un algoritmo (escrito en R) detecta nombres en los textos y los sustituye por un nombre resuelto de un archivo de metadatos de 4.644 personajes; 2) Otro algoritmo en R extrae el número de co-ocurrencias de personajes por capítulo; y 3) Calculo la centralidad y modularidad de la suma de co-ocurrencias por novela en Gephi y visualizo cada sistema de personajes como una red.
+ +Los resultados de esta lectura a media distancia muestran que existe una reciprocidad entre el posicionamiento de los personajes históricos y de ficción en los sistemas-personajes y la tipología de las novelas que había sido previamente identificada por la lectura atenta de galdosistas como Urey (1989) o García Castañeda (2012). De hecho, hay un mayor énfasis en lo que Galdós llamó “historia integral” en aquellas novelas que relatan la trayectoria vital del personaje principal como un bildungsroman en varios tomos. En general, esta metodología busca una mejor comprensión de las posibilidades que ofrecen las herramientas digitales para el estudio de los operadores culturales textuales en español.
+ +
You can find this poster in English in “Distinction of Literary Genres through the Visualization of Character Networks: The Case of ten National Episodes by Pérez Galdós”
+ + +This talk starts with observations about general and academic multilingual contexts that show a need to increase the space for digital humanists whose language, culture and scholarly expectations are different to the norm, and proposes pilot experiments with available tools as prototypes for entry points to text analysis in different languages. Using English and Spanish texts in translation as a study case for sentiment analysis, I will not claim the method I show here is the best linguistic or cultural approach for Hispanic cultural products. Rather, I will make the case for the potential in exploring techniques at hand to create more inclusive spaces in rapid learning scenarios that can later lead to more specific forms of text analysis and, at the same time, a critique of digital methodologies of research.
+ +You can watch “A pilot experiment for multilingual DH contexts: Sentiment Analysis in Translation” on the repository of videos of the Arts and Humanities Forum at OU.
+ + +While we understand that the digital humanities are now practiced globally, we also know that the playground is not level due to several factors. One of them, the language barrier, has been a lesser spoken about issue in our context in the US/North while practitioners outside the anglophone world have been screaming about it for years, as their research has continued to be seen as simplistic and disregarded from scholarly venues.
+ +It is now apparent that efforts to undo said barrier are gaining traction with more multilingual DH initiatives and journals calling for non-English participation. But decentering English as the language of learning and knowledge production in DH poses many challenges and questions. Using several specific cases of teaching materials from Programming Historian en español, Isasi will focus on pedagogy and make the case for carefully created multilingual DH ecosystems, with learning scenarios that have the specifics of a community, language, culture and resources in mind.
+ +The slideshow for the talk can be found here:
+ + + +an archive of posts from this year
+| Dec 1, 2021 | ++ Your Text Analysis is Fantastic!, but I Can’t Replicate it en español + | +
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With Gimena del Rio Riande (Instituto de Investigaciones Bibliográficas y Crítica Textual (IIBICRIT-CONICET, Argentina))
+ +Increasingly, we read or hear academics, at all levels and multiple disciplines, discussing about the prevalence of the English-language as a lingua franca in academic publishing, together with claims of linguistic discrimination in journals, conferences, job opportunities, etc. In the Digital Humanities, this reality has been no different for all of us who navigate the other DHs within the global-tent we like saying we all are. We know that Anglophone DHers generally don’t cite work conducted in other regions, much less if published in other languages. But how does one of the major sub communities of DH, humanidades digitales, fare in that respect? Are we publishing in our own languages when given the opportunity? And are we citing our language colleagues?
+ +Building on previous meta-analysis of the geopolitical and multi-linguistic nature of DH, this paper analyzes one way in which humanistas digitales (can) engage in language justice. We examine the language of publication and of cited references in 15 publications with an explicit interest in the digital humanities and, in particular, those published with attention to the Spanish-speaking world, with a total of 480 articles and 8650 references, from 2014 to 2021.
+ +With this research, we want to draw attention to the practices of communication and the dissemination of knowledge in a community with great sociocultural, linguistic, and geopolitical diversity, to ultimately visibilize the lack of readership amongst literature in languages other than English when it comes to writing about or using a method inscribed in the humanidades digitales.
+ + + +an archive of posts from this year
+| May 18, 2022 | ++ In Which Languages Are We Citing When We Write About humanidades digitales? A study of References in Academic Articles + | +
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an archive of posts in this category
+| May 18, 2022 | ++ In Which Languages Are We Citing When We Write About humanidades digitales? A study of References in Academic Articles + | +
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an archive of posts in this category
+| Dec 1, 2021 | ++ Your Text Analysis is Fantastic!, but I Can’t Replicate it en español + | +
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{{ post.description }}
+Individual paper at Assessing Digital Humanities II in DH Unbound 2022
Invited talk at the Scholars' Lab at the University of Virginia, Charlottesville, USA
+ + +NoviembreHD por la Asociación Argentina de Humanidades Digitales
+ + +New Voices in DH at the OU Humanities Forum
+ + +Congreso Internacional de la Asociación de Humanidades Digitales Hispánicas
+ + +Digital Frontiers 2019
+ + +ACH2019
+ + +ACH2019
+ + +LASA2019
+ + +Digital Humanities Beyond Modern English: Computational Approaches to Premodern and Non-Western Literature - Part I
+ + +EADH2018
+ + +The Chicago Colloquium on Digital Humanities and Computer Science 2018
+ + +DH2018
+ + +Works in Progress & DH Dialogues
+ + +ALCESXXI 2017
+ + +MACHL 2016
+ + +UIC BilForum 2016
+ + +NCSAC 2016
+ + +The Chicago Graduate Conference 2015
+ + +Digital Humanities Forum 2015
+ + +Digital Humanities Forum 2014
+ + +Digital Humanities Modern Languages & Literatures Colloquium Series
+ + +an archive of posts with this tag
+| May 18, 2022 | ++ In Which Languages Are We Citing When We Write About humanidades digitales? A study of References in Academic Articles + | +
|---|---|
| Dec 1, 2021 | ++ Your Text Analysis is Fantastic!, but I Can’t Replicate it en español + | +
an archive of posts with this tag
+| May 18, 2022 | ++ In Which Languages Are We Citing When We Write About humanidades digitales? A study of References in Academic Articles + | +
|---|---|
| Dec 1, 2021 | ++ Your Text Analysis is Fantastic!, but I Can’t Replicate it en español + | +
an archive of posts with this tag
+| May 18, 2022 | ++ In Which Languages Are We Citing When We Write About humanidades digitales? A study of References in Academic Articles + | +
|---|---|
| Dec 1, 2021 | ++ Your Text Analysis is Fantastic!, but I Can’t Replicate it en español + | +
My Curriculum vitae
+2017 Ph.D., Hispanic Studies, Dept. of Modern Languages & Literatures, University of Nebraska-Lincoln, USA
+Dissertation title: “Posibilidades de la minería de datos digital para el análisis del personaje literario en la novela española: El caso de Galdós y los Episodios nacionales.” Supervisor: Dr. Óscar Pereira Zazo
2015 Graduate Certificate on Digital Humanities, Center for the Digital Research in the Humanities, University of Nebraska-Lincoln, USA
2015 Certificate on Professional Qualification on Digital Humanities, Laboratorio de Investigación de Humanidades Digitales, National University of Distance Education, Spain
2013 M.A., Hispanic Studies, Dept. of Modern Languages & Literatures, University of Nebraska-Lincoln, USA
2011 B.A., English Philology; Certificate on Modern Languages and Technologies, School of Social and Human Sciences, University of Deusto-Bilbao, Spain
2020-Present Assistant Research Professor of Digital Scholarship and Director of the Digital Liberal Arts Research Initiative and Assistant Director of the Office of Digital Pedagogy and Scholarship, College of Liberal Arts, The Pennsylvania State University
2018-Present Editor, Junior Technical Team Member, The Programming Historian Journal (Past Communications Manager)
2018-2020 CLIR/DLF Postdoctoral Fellow in Data Curation for Latin American and Latina/o Studies, LLILAS Benson Latin American Studies and Collections, The University of Texas at Austin
2018 Summer Visiting Instructor of Spanish, Centro Internacional de Español, University of Deusto-Bilbao, Spain (Summer)
2018 Lecturer of Spanish, Department of Modern Languages, University of Nebraska at Kearney, USA (Spring Semester)
2016-2017 Graduate Research Assistant, Center for the Digital Research in the Humanities, University of Nebraska-Lincoln, USA
2017 Graduate Research Assistant, Dept. Modern Languages & Literatures, University of Nebraska-Lincoln, USA (Summer)
2015-2016 Visiting Instructor of Spanish, Centro Internacional de Español, University of Deusto-Bilbao, Spain (Summers)
2011-2016 Instructor of Record, Graduate Teaching Assistant of Spanish, Dept. Modern Languages & Literatures, University of Nebraska-Lincoln
2022 Isasi, J. y G. del Rio Riande. “¿En qué lengua citamos cuando escribimos sobre humanidades digitales?.” Revista de Humanidades Digitales, Vol. 7, 2022, pp. 127-143. https://doi.org/10.5944/rhd.vol.7.2022.36280
2022 Isasi, J. “Exhibición digital mínima e interactiva con CollectionBuilder” The Programming Historian en español 6. https://doi.org/10.46430/phes0060
2022 Lincoln, M., J. Isasi, F.D. Laramée, S. Melton, A. Rojas Castro, “Relocating Complexity: The Programming Historian and Multilingual Static Site Generation” Digital Humanities Quarterly 16, 2.http://www.digitalhumanities.org/dhq/vol/16/2/000585/000585.html
2021 Isasi, J. y A. Rojas Castro. “¿Sin equivalencia?: Una reflexión sobre la traducción al español de recursos educativos abiertos.” Hispania 104(4), 2021, pp. 613-24. https://doi.org/10.1353/hpn.2021.0130
2021 Isasi, J. “Análisis de sentimientos en R con ‘syuzhet’”, The Programming Historian en español 5 (2021), https://doi.org/10.46430/phes0051
2021 Hadassah St. Hubert, Jennifer Isasi, Nicté Fuller Medina y Margie Montañez. “Capacity Assessment of Latin American and Caribbean Partners: A Symposium about Open Access, Technological Needs, and Institutional Sustainability.” Published by Council on Library and Information Resources (CLIR)
2019 Isasi, J. and M. Iruskieta “Humanitate Digitalak eta haien ikerketaren nondik norakoak.” Book chapter in IKTak eta konpetentzia digitalak hezkuntzan, UPV/EHU, pp. 307-322.
2018 Isasi, J., J. Avelar and I. Velázquez. “From Jesusita to Jane: Personal names, self-presentation and digital preservation of Mexican American experience in the US Midwest.” Revista de Humanidades Digitales, Vol. 2, 2018, pp. 49-76.https://doi.org/10.5944/rhd.vol.2.2018.20413
2017 Isasi, J. “Acercamiento al análisis del sistema de los personajes en la narrativa escrita en español: el caso de Zumalacárregui y Mendizábal de Pérez Galdós.” Caracteres: Estudios culturales y críticos de la esfera digital, Vol. 6 (2), 2017, pp. 107-137.
2016 Isasi, J, L. Lorenzo, N. Puente. Exploring Spain: Un recorrido por la historia y la cultura de España. Kendall Hunt, 2016.
Isasi, J., R. Quiroga, N. Siddiqui, J. Vieira Paulino, A. Wermer-Colan. “A model for multilingual and multicultural digital scholarship methods publishing: the case of Programming Historian.” (Accepted for volume on Multilingual DH eds. Lorella Viola and Paul Spence).
+ +Isasi, J. “Análisis de sentimientos en traducción: Un experimento piloto en contextos HD multilingües.”
+ +Yann Ryan, “Creación de aplicaciones web interactivas con R y Shiny,” traducido por Jennifer Isasi, (submitted to The Programming Historian en español)
+ +2020 St. Hubert, H, J. Isasi, N. Fuller Medina and M. Montañez. “Reporte de simposio y recomendaciones: Un texto preparado como respuesta al simposio Evaluación de la capacidad de los socios de América Latina y el Caribe: Un simposio sobre acceso abierto, necesidades tecnológicas y sostenibilidad institucional.” Published by Council on Library and Information Resources (CLIR)
2019 Alex Brey. “Análisis de redes temporal en R”, traducido por Jennifer Isasi, The Programming Historian en español 3 (2019), https://doi.org/10.46430/phes0042
2018 Nabeel Siddiqui. “Administración de datos en R”, traducido por Jennifer Isasi, The Programming Historian en español 2 (2018), https://doi.org/10.46430/phes0031
2018 Taylor Arnold y Lauren Tilton. “Procesamiento básico de textos en R”, traducido por Jennifer Isasi, The Programming Historian en español 2 (2018), https://doi.org/10.46430/phes0039
2018 Taryn Dewar. “Datos tabulares en R”, traducido por Jennifer Isasi, The Programming Historian en español 2 (2018), https://doi.org/10.46430/phes0034
2021 Project collaborator. “Open Content” category award in the Open Publishing Award 2021 by the Coko Foundation for Programming Historian.
2021 The Crymble Awards. Acknowledgment.
2019-2020 Project Leader. “Capacity Assessment of Latin American and Caribbean Partners: A Symposium about Open- Access, Technological Needs, and Institutional Sustainability,” Mellon funded Council on Library and Information Resources Microgrant. Award: $25,000
2019 Project collaborator. “Mejor iniciativa formativa desarrollada durante el año 2018,” I Edición de los Premios HDH 2018, Asociación de Humanidades Digitales Hispánicas.
2018 Project collaborator. “Best DH Blog Post or Series of Posts ,” a Digital Humanities Awards.
Present The Programming Historian en español. Member of the Editorial Team in Spanish, the Technical Team and the Editorial Board. Editor and translator of peer-reviewed tutorials on digital tools, techniques, and workflows that facilitate research and teaching. programminghistorian.org/es/
2016-2017 Family Letters/Cartas a la familia and the Hispanic/Latino Heritage Collection. Metadata Curator and Research Assistant. Directed by Dr. I. Velázquez and the Center for the Digital Research in the Humanities, University of Nebraska-Lincoln, Lincoln, NE. mediacommons.unl.edu/luna/servlet/UNL~111~111
2017 Modernist Text Digitization Project. Archivist and Metadata Curator. Directed by Dr. J.E. González, University of Nebraska-Lincoln, Lincoln, NE.
2015 Visualizing History: The Malone Community Center. Coordinator and Research Assistant. DH Practicum taught by Dr. A. Jewells and Dr. E. Lorang, University of Nebraska-Lincoln, Lincoln, NE (Spring) www.malonecenterhistory.com
2013 The Vocabulary of Politics in Spanish during the Age of Absolutism. Archivist and Research Assistant. Directed by Dr. O. Pereira-Zazo (UNL), Dr. J. Valero (UWEC) and the Center for Digital Research in the Humanities, University of Nebraska-Lincoln, Lincoln, NE.
2022 “De leer novelas a modelar datos sobre productos culturales: Trayectorias varias por las Humanidades Digitales.” Keynote speaker at the Fifth Conference of the Argentinian DH Association, Füskü Menuko, Argentina, November 17.
2022 “Programming Historian: A Collaborative Project to Put Programming within the Reach of Humanists.” Talk for the Language Technologies and Ontologies course at the University of Mondragón, Spain, November 14.
2021 “Your Text Analysis is Fantastic, but I Can’t Replicate it in Spanish: Let Me Take a Few Steps Back to Learn/Teach Methods for a Less Prominent Language.” DH@UVA Speaker Series, VA, Dec 1
2021 “Programming Historian: Un proyecto colaborativo para poner la programación al alcance de los humanistas” with Dr. Riva Quiroga. Webinarios de la red INTELE-Infraestructura de Tecnologías del Lenguaje, Spain, March 25.
2020 “A pilot experiment for multilingual DH contexts: Sentiment Analysis in Translation.” New Voices in DH at the OU Humanities Forum, Oklahoma City, OK, Oct. 22-23
2019 “A Name Entity Recognition and Extraction Method for Mid-Distance Reading in Spanish.” Digital Humanities Beyond Modern English: Computational Approaches to Premodern and Non-Western Literature, Part I, Hanover, NH, April 24-25.
2017 “Towards a Methodology for the Analysis of Character Systems/Networks in the Spanish Novel: The case of Pérez Galdós’ Zumalacárregui and Mendizábal.” Works in Progress & DH Dialogues, University of Nebraska-Lincoln, Lincoln, NE, September 18
2014 “A Quantitative Approach to Character Space.” Digital Humanities Modern Languages & Literatures Colloquium Series, University of Nebraska-Lincoln, Lincoln, NE, April 23
2022 “In Which Languages Are We Citing When We Write About humanidades digitales? A study of References in Academic Articles” with Gimena del Rio Riande. DHUnbound 2022, May 17-19
2022 “Literary Analysis of Spanish-language Novels with NLP and Character-level Metadata” at Digital Humanities Beyond Modern English: Computational Analysis of Premodern and Non-Western Literature, Austin, TX, April 8.
2021 “Leveraging Computational Methods for Comparing Low-Prestige Translations” with L.S. Bessette, K. Bowers, Q. Dombrowski, M. Gorshkova, I. Gribomont, C. Hodrick, M. Massucco, C. Wagner, E. Elbaz, O.O. Bantjes-Rafols. Poster at EADH2021, Krasnoyarsk, Russia, September 23
2020 “Distinción de géneros literarios a través de la visualización de redes de personajes: El caso de diez Episodios nacionales de Pérez Galdós.” Poster at NoviembreHD by the Asociación Argentina de Humanidades Digitales, virtual, November 5
2019 “The Programming Historian en español: de la traducción a la creación de recursos educativos abiertos” with A. Rojas Castro. IV Congreso Internacional de la Asociación de Humanidades Digitales Hispánicas, Universidad de Toledo, Spain, October 24
2019 “Sentiment Analysis Methods in Translation.” Digital Frontiers 2019: Tear Down the Walls, The University of Texas at Austin, TX, September 26-28
2019 “Retos en la producción de tutoriales de HD en contextos hispanohablantes” with M.J. Afanador-Lllach and A. Rojas-Castro. ACH 2019 Conference, Pittsburg, PA, July 23-26
2019 “Overcoming Challenges and Breaking Down Barriers: Digital Scholarship Support Within and Beyond the University” round table with Starry, Rachel L.; Dodson, Heidi; Young, Chris J.; Wermer-Colan, Alex; Slayton, Emma. ACH 2019 Conference, Pittsburg, PA, July 23-26
2019 “Spanish Colonialism in the Indigenous Borderlands: Collaborative Digital Scholarship in the Undergraduate Classroom” with A. Palacios. LASA 2019, Boston, MA, May 27
2019 “A Name Entity Recognition and Extraction Method for Mid-Distance Reading in Spanish.” Digital Humanities Beyond Modern English: Computational Approaches to Premodern and Non-Western Literature, Hanover, NH, April 24-25. (Invited talk)
2018 “Data science and the language question in digital humanities pedagogy: the example of Programming Historian” with A. Rojas-Castro and A. Sichani. EADH 2018: Data in Digital Humanities. National University of Ireland, Galway, December 9
2018 “Distinction of Literary Genres through the Visualization of Character Networks: The Case of ten National Episodes by Pérez Galdós.” Poster. The Chicago Colloquium on Digital Humanities and Computer Science 2018, Chicago, IL, November 10
2018 “Lo que se vale y no se vale preguntar: El potencial pedagógico de las Humanidades Digitales para la enseñanza sobre la experiencia mexicano-americana en el Midwest de Estados Unidos” with I. Velázquez and M. Vinícius Barbosa. DH2018, México City, México, June 29
2017 “Towards a Methodology for the Analysis of Character Systems/Networks in the Spanish Novel: The case of Pérez Galdós’ Zumalacárregui and Mendizábal.” Invited talk in Works in Progress & DH Dialogues, University of Nebraska-Lincoln, Lincoln, NE, September 18
2017 “Humanidades digitales: Sobre las implicaciones del uso de herramientas digitales en el ámbito de la investigación humanística” en “Estudios culturals integrales”org. Dr. Pereira-Zazo. IV Jornadas de ALCESXXI. Zaragoza, Spain, July 3-7
2016 “Modelo de análisis de la sociedad en el diseño de los personajes de los Episodios nacionales.” 2016 Mid-America Conference on Hispanic Literature. The University of Kansas, Lawrence, KS, November 5
2016 “Texting en español: An Activity that Connects Communicative Tools and Literacy Skills for Heritage Language Learners of Spanish.” Poster. 2016 UIC BilForum. University of Illinois at Chicago, IL, October 20
2016 “Historical and Fictional Nation: A Methodology for a Distant Reading Survey of the Episodios Nacionales by Benito Pérez Galdós.” 2016 Nineteenth-Century Studies Association Conference. University of Nebraska-Lincoln, Lincoln, NE, April 13
2015 “La distopía a la vuelta de la esquina: medios de comunicación y autodestrucción en Círculos de Ríos San Martín.” The Chicago Graduate Conference. University of Illinois at Chicago, Chicago, IL, November 14
2015 “Visualizing History: The Malone Community Center: A Platform for the Community to Rediscover their History” by J. Isasi and A. Kinnaman. Digital Humanities Forum 2015: peripheries, barriers, hierarchies: rethinking access, inclusivity, and infrastructure in global DH practice. University of Kansas, Lawrence, KS, September 26
2015 “Geosocial Identity in Ena Lucía Portela’s Cien botellas en una pared.” NoLimits! 2015: Talking Leadership. University of Omaha, Omaha, NE, March 2
2014 “A Methodology for Character Networks at a Macroanalytical Level.” Poster. M. Condello, R. Harrison, J. Isasi, A. Kinnaman, A. Kumari. Digital Humanities Forum 2014: Nodes & Networks in the Humanities. University of Kansas, Lawrence, KS, September 13
2014 “A Quantitative Approach to Character Space.” Invited talk, Digital Humanities Modern Languages & Literatures Colloquium Series, University of Nebraska-Lincoln, Lincoln, NE, April 23
2014 “Las tragedias de Calderón: ‘los dos cuerpos del rey’ como sistema de control social.” The XVII Annual Hispanic and Lusophone Studies Symposium. Ohio State University, Columbus, OH, April 12
2012 “Resultado de la ruptura de la realidad en el personaje de Abelarda en Miau de Benito Pérez Galdós.” 2012 Mid-America Conference on Hispanic Literature. University of Nebraska-Lincoln, Lincoln, NE, October 14
Primary instructor of the course unless indicated otherwise.
+ +2022 “Collection Builder” in the inaugural Compartir Pantalla by the Hispanic Digital Humanities Association, online, November 8th.
2022 “When Global is Local: Multilingualism, Diversity, and Representation in Digital Humanities and Humanidades Digitales” with Dr. Gimena del Rio Riande at FORCE11 Scholarly Communications Institute (FSCI) 2022, virtual format, July 26-28
2021 “Exhibición digital mínima e interactiva con CollectionBuilder.” For A. Mellon Summer Workshop Series for the Latin American Digital Initiatives, UT Austin, TX, August 20
2020 “On-the-Fly Text Analysis with Voyant Tools.” Reading from a Distance series at Penn State University, October 7
2019 “Multilingual Sentiment Analysis with R.” University of Texas Libraries’ “Digital Humanities Workshops @ PCL” Series. The University of Texas at Austin, Austin, TX, February 13
2018 “Topic Modeling Violence in Guatemala,” co-taught with J. Ortiz-Baco. Mellon-NEH funded project “Post-Custodial Archival Development and Digital Scholarship: Learning from Latin America.” The University of Texas at Austin, Austin, TX, September 26
2018 “Digital Pedagogies.” DH Bootcamp 2018. University of Nebraska-Lincoln, Lincoln, NE, April 13
2017 “Minimal Archiving” with S. Camerone. DH Bootcamp 2017. University of Nebraska Lincoln, Lincoln, NE, April 6
2016 “Visualization Basics. A Workshop.” DH Bootcamp 2016. University of Nebraska Lincoln, Lincoln, NE, April 7
2015 “Literary Text Analysis with R: A Beginners Workshop.” Creighton University, Omaha, NE, April 7
2014 “An Introduction to Digital Humanities and the Graduate Certificate at UNL.” Digital Humanities Modern Languages & Literatures Colloquium Series, University of Nebraska-Lincoln, Lincoln, NE, March 19
2022 “El flujo editorial en Programming Historian en español.” Invited talk to Edición Digital de Textos course taught by Dr. Rojas Castro at Máster Universitario en Humanidades Digitales, Universidad Internacional de La Rioja.
2021 “Recuperating and circulating history through (digital) humanities project.” For The Post World War II Civil Rights Movement course (AFAM 465) at PSU, in preparation for a project.
2020 “(Culture in) English is Not a Synonym for DH: Una humanista digital en EE.UU.” Invited talk on Minimal Digital Editions, course co-taught by Drs. Gimena del Rio Riande at CONICET- Argentina and Raff Viglianti at MITH-University of Maryland.
2019 “Archivos post-custodiales y humanidades digitales.” Interview for course on digital editions by Dr. Antonio Rojas Castro at University of La Rioja, Spain.
2021-2022 Antropologia eta historiografia digitala (1ECTS) in Humanitate Digitalak: Aukeraberriak ikertzen.
Teaching Appointment, Graduate Course
+ +2020 Digital Critical Analysis of Latin American Culture
Co-Instructor for Digital Scholarship, Undergraduate Courses
+ +2018 Spanish Colonialism in the Indigenous Borderlands, by Kelly McDonough, Ph.D.
2018 Rethinking the Conquest of Mexico, by Susan Deans-Smith
2018 Foundations of Literacy
2018 Commercial Spanish
2018 Intermediate Spanish I
2018 Beginning Spanish I
2014 - 2016 Lead Instructor at the Spanish Tutoring and Writing Center
2017 Don Quijote, Teaching Assistant (Fall)
2016 Exploring Hispanic Culture: Spain, Co-taught (Fall)
2015 - 2016 Analysis of Communication in Spanish (Spring 2015, Fall 2015, Spring 2016)
2015 Introduction to the Digital Analysis of Hispanic Culture, Co-taught (Spring)
2014 Advanced Writing (Fall)
2014 Spanish Coordinator for the Basic Language Program (Summer 2014)
2014 Intensive Writing, Second Year (Spring)
2014 Intensive Conversation, Second Year (Spring)
2013 Accelerated Second Year of Spanish (Fall)
2013-2014 Second Year of Spanish II (Spring and Summer)
2012 Second Year of Spanish I (Fall)
2012 First Year of Spanish II (Spring)
2011 First Year of Spanish I (Fall)
2018 Teaching Resources for the Classroom, Emphasis on New Technologies, Spanish Language and Culture for Teachers (Summer)
2018, 2016, 2015 Spanish II or A2 (Summer)
2020 Journal of Cultural Analytics
2020 Revista de Humanidades Digitales
2020 Interdisciplinary Science Reviews
2020 Unbound: A Journal of Digital Scholarship
2019 Digital Scholarship in the Humanities
2018 Revista de Humanidades Digitales
2020 Research and Development Grant, Division of Preservation & Access, National Endowment for the Humanities
2020 CLIR Postdoctoral Fellowship
2020 Digital Humanities 2020
2019 Digital Frontiers 2019 Conference
2019 Association for Computers and the Humanities 2019 Conference
2018-2020 Digital Scholarship Consultation for LLILAS Benson Latin American Studies and Collections
2019 Leader, Digitization and digital scholarship training at Museo de la Palabra y la Imagen, San Salvador, El Salvador, June 10-13
2019 Organizer, Chicana Activists & Indigenous Languages Wikipedia Edit-a-thon, UT Libraries
2017 Graduate Student Representative at the Curriculum Committee, Dept. of Modern Languages & Literatures
2017 Co-organizer and participant, Women’s Writes Edit-a-thon 2017
2015-2017 Active Member and Web developer, Digital Humanities Student Association
2016-2018 Co-organizer and presenter, DH Bootcamp, Digital Humanities Student Association
2013-2016 Faculty Leader, Summer in Bilbao, Study Abroad Programs, Dept. of Modern Languages & Literatures
2014-2016 Active Member, Nebraska Literary Lab
2014-2016 Online journal developer and editor, Tu revista, Spanish Tutoring and Writing Center, Dept. of Modern Languages & Literatures
2013-2016 Organizer, Mesa de español, weekly conversational meetings for students of Spanish, Dept. of Modern Languages & Literatures
2012-2016 Assistant, Annual Modern Language Fair, Dept. of Modern Languages & Literatures
2013-2015 Organizer and presenter, Spanish Cineclub, Dept. of Modern Languages & Literatures
2013-2014 Secretary and Treasurer, Modern Languages & Literatures Graduate Student Association (MLLGSA)
2013–2017 Coordinator and Liaison, Semester in Bilbao and Summer in Bilbao, Centro Internacional de Español
2018–2020 Council on Library and Information Resources Postdoctoral Fellowship Program
2016-2017 Graduate Research Assistantship for Ph.D. Studies, University of Nebraska-Lincoln
2012-2017 George Rogers Memorial Merit Fellowship, University of Nebraska-Lincoln
2013-2016 Graduate Teaching Assistantship for Ph.D. Studies, University of Nebraska-Lincoln
2011-2013 Graduate Teaching Assistantship for M.A. Studies, University of Nebraska-Lincoln
Present Executive Council member on The Association for Computers and the Humanities
Present Publicaciones de la Asociación Argentina de Humanidades Digitales
Scholarly Editing; Asociación Argentina de Humanidades Digitales ; Journal of Cultural Analytics; Revista de Humanidades Digitales; Interdisciplinary Science Reviews; Unbound: A Journal of Digital Scholarship; Digital Scholarship in the Humanities
+ +2021 American Rescue Plan: Organizations Program, Division of Preservation & Access, National Endowment for the Humanities
2021 SONATA 16, The National Science Centre, Poland
2020 Research and Development Grant, Division of Preservation & Access, National Endowment for the Humanities
2020 CLIR Postdoctoral Fellowship
DH Unbound 2022; Global Digital Humanities Symposium 2021 and 2022; European Association for Digital Humanities 2021; Digital Humanities 2020; Digital Frontiers 2019; Association for Computers and the Humanities 2019
+ +Spanish: Native; English: Advanced proficiency; Basque: Near native; Portuguese: Reading proficiency
+ +Present The Association for Computers and the Humanities
Present Digital Scholarship in the Humanities (DSH)
Present Modern Languages Association (MLA)
2019-2021 Asociación de Humanidades Digitales Hispánicas (HDH)
2018-2019 Latin American Studies Association (LASA)
2016-2018 Asociación Internacional de Literatura y Cine Españoles Siglo XXI (ALCESXXI)
2012-2018 Asociación Internacional de Galdosistas (AIG)
Intermediate R for Text Analysis, Data Cleaning and Data Visualization (dplyr, rtweet, ggpraph, rbokeh, plotly, syuzhet, etc.). Github (Jekyll, Wax), Omeka, WordPress, Gephi, OCR/Abbyy, TEI, Dublin Core, XML/XSTL, CSS, HTML, Wikipedia Editing, Markdown, LaTeX, Zotero. Familiarity with GIS standards and NLP processing. WCAG standards. Knightlab’s and Esri’s StoryMapping Tools. Windows and Macintosh.
+ +Increasingly, we read or hear academics, at all levels and multiple disciplines, discussing about the prevalence of the English-language as a lingua franca in academic publishing, together with claims of linguistic discrimination in journals, conferences, job opportunities, etc. In the Digital Humanities, this reality has been no different for all of us who navigate the other DHs within the global-tent we like saying we all are. We know that Anglophone DHers generally don’t cite work conducted in other regions, much less if published in other languages. But how does one of the major sub communities of DH, humanidades digitales, fare in that respect? Are we publishing in our own languages when given the opportunity? And are we citing our language colleagues?
+ +Building on previous meta-analysis of the geopolitical and multi-linguistic nature of DH, this paper analyzes one way in which humanistas digitales (can) engage in language justice. We examine the language of publication and of cited references in 15 publications with an explicit interest in the digital humanities and, in particular, those published with attention to the Spanish-speaking world, with a total of 480 articles and 8650 references, from 2014 to 2021.
+ +With this research, we want to draw attention to the practices of communication and the dissemination of knowledge in a community with great sociocultural, linguistic, and geopolitical diversity, to ultimately visibilize the lack of readership amongst literature in languages other than English when it comes to writing about or using a method inscribed in the humanidades digitales.
+ +]]>It is now apparent that efforts to undo said barrier are gaining traction with more multilingual DH initiatives and journals calling for non-English participation. But decentering English as the language of learning and knowledge production in DH poses many challenges and questions. Using several specific cases of teaching materials from Programming Historian en español, Isasi will focus on pedagogy and make the case for carefully created multilingual DH ecosystems, with learning scenarios that have the specifics of a community, language, culture and resources in mind.
+ +The slideshow for the talk can be found here:
+ +]]>En 2003, Alex Woloch afirmó que las estructuras narrativas están formadas por un sistema de personajes o “la disposición de espacios de personajes múltiples y diferenciados [, es decir,] configuraciones y manipulaciones diferenciadas de la figura humana” (Trad. propia, 14). Por su potencial como estudio cuantificable, varios humanistas digitales como Elson et al. (2010), Sack (2011), Agarval et al. (2012) o Moretti (2011-2016) han comparado el concepto de sistema de personajes de Woloch con la noción de red social, donde los nodos son los personajes y las conexiones representan interacciones entre ellos. En la presente metodología sigo dicha noción, y procedo en tres pasos para curar y analizar los datos: 1) Un algoritmo (escrito en R) detecta nombres en los textos y los sustituye por un nombre resuelto de un archivo de metadatos de 4.644 personajes; 2) Otro algoritmo en R extrae el número de co-ocurrencias de personajes por capítulo; y 3) Calculo la centralidad y modularidad de la suma de co-ocurrencias por novela en Gephi y visualizo cada sistema de personajes como una red.
+ +Los resultados de esta lectura a media distancia muestran que existe una reciprocidad entre el posicionamiento de los personajes históricos y de ficción en los sistemas-personajes y la tipología de las novelas que había sido previamente identificada por la lectura atenta de galdosistas como Urey (1989) o García Castañeda (2012). De hecho, hay un mayor énfasis en lo que Galdós llamó “historia integral” en aquellas novelas que relatan la trayectoria vital del personaje principal como un bildungsroman en varios tomos. En general, esta metodología busca una mejor comprensión de las posibilidades que ofrecen las herramientas digitales para el estudio de los operadores culturales textuales en español.
+ +
You can find this poster in English in “Distinction of Literary Genres through the Visualization of Character Networks: The Case of ten National Episodes by Pérez Galdós”
]]>You can watch “A pilot experiment for multilingual DH contexts: Sentiment Analysis in Translation” on the repository of videos of the Arts and Humanities Forum at OU.
]]>The Programming Historian es un proyecto pedagógico y una infraestructura editorial iniciado en 2012 con el propósito de publicar tutoriales revisados por pares de acceso abierto (Programming Historian, 2019). A pesar de su compromiso con la apertura al público general, su consejo editorial identificó barreras de género y, en general, del entorno académico que impedían la colaboración en el proyecto (Crymble, 2016). Con tal fin, se tomaron medidas para generar una comunidad más inclusiva en términos de género y representación LGTBQ. Sin embargo, la cuestión de la diversidad regional y las barreras del lenguaje continuaron siendo problemáticas puesto que todo el contenido (lecciones, conjuntos de datos, contexto, infraestructura, etc.) estaba escrito en inglés y se dirigía a una audiencia anglosajona. Para cambiar esta situación, en 2016 un equipo editorial en español se unió al proyecto y un año más tarde, en 2017, comenzó con la publicación de lecciones traducidas bajo el título The Programming Historian en español. Así, hoy en día, esta edición del proyecto, dirigido a una audiencia hispanohablante, está formada por un equipo editorial de siete personas y cuenta con un total de 41 lecciones traducidas gracias a una amplia red de colaboradores. Además, este año el proyecto ha sido ampliado de nuevo para incorporar un equipo francófono encargado de la edición de The Programming Historian en français.
+ +El propósito principal de esta presentación es reflexionar sobre el multilingüismo y la estrategia de internacionalización de The Programming Historian y sobre la transición de un proyecto monolingüe y geográficamente limitado a una publicación multilingüe y global. Basándonos en nuestra experiencia, creemos apropiado generar un discurso crítico sobre los desafíos de traducir lecciones del inglés al español y el paso de la traducción a la creación de tutoriales originales en español. Con ello, queremos desarrollar una estrategia creativa que respalde el multiculturalismo y la diversidad en el campo de las Humanidades Digitales, siguiendo el camino crítico abierto por otros investigadores como Galina (2014), Fiormonte (2014), Gil y Castro (2016), Mahony (2017) o Risam (2018).
+ +Con el fin de evaluar la cuestión del lenguaje en el flujo de traducciones, llevamos a cabo un análisis previo de los contenidos de la edición inglesa. De manera resumida, concluimos, la mayoría de las lecciones originales en inglés se enfocan en la manipulación de datos provenientes de recursos británicos, estadounidenses y canadiense. Además, las lecciones presuponen un alto dominio del inglés, pese a que el objetivo es aprender lenguajes de programación o herramientas informáticas. Es por este motivo que tuvimos que desarrollar soluciones para aquellos contenidos difíciles de traducir y/o adaptar y tomar la decisión de no traducir ciertas lecciones por usar herramientas no adaptadas al español.
+ +Traducir tutoriales del inglés al español es una tarea difícil porque el idioma, el código y los datos dependen en gran medida del contexto de su producción y de las preguntas de investigación. En consecuencia, los editores y traductores generalmente tienen que anotar el texto para aclarar presuposiciones contextuales (fechas, localización de eventos históricos), adaptar las imágenes (cuando la interfaz está disponible en español) y modificar el código para satisfacer necesidades específicas del idioma (por ejemplo, tildes en español). Los cambios realizados durante el proceso de traducción implican una teoría de la traducción cercana a la localización web. Por un lado, nuestro enfoque no se basa en el concepto tradicional de equivalencia lingüística entre la fuente y el texto producido, sino que se basa en el propósito práctico del tutorial y las necesidades del público hispanohablante; en este sentido, ponemos en práctica la teoría de Skopos surgida en el campo de los estudios de traducción en los años setenta (Nord, 2018). Por otro lado, consideramos la traducción como una mediación intercultural en la que quien traduce debe ser acreditado como colaborador intelectual o incluso como un segundo autor en algunos casos extremos.
+ +Por descontado, la internacionalización y las estrategias de diversidad no se limitan a la traducción; las métricas de la audiencia que visita The Programming Historian sugieren que los usuarios proceden de todo el mundo. Debido al fuerte sesgo cultural anglocéntrico de las primeras publicaciones del proyecto, el consejo editorial aprobó y publicó la guía “Escribir para una audiencia global” (Programming Historian, 2018) para nuevas lecciones; en otras palabras, la internacionalización, actualmente, forma parte del núcleo constitutivo del proyecto. Esta guía recomienda a los autores, en primer lugar, que eviten bromas y malentendidos que puedan ofender al público; en segundo lugar, que utilicen métodos o herramientas que apoyen diferentes conjuntos de caracteres; y, por último, que proporcionen explicaciones y referencias adicionales sobre personas, lugares y eventos históricos.
+ +Con nuestra experiencia de traducción en mente y con el objetivo principal de dar espacio la audiencia hispanohablante no sólo como receptora de la publicación sino también como generadora de contenidos, en 2018 el equipo puso en marcha la recepción de lecciones originales en español. Primero, en abril, abrimos una convocatoria para lecciones en español. Con el fin de apoyar dicha labor y con la ayuda financiera de la British Academy, en agosto de ese mismo año organizamos un taller de escritura que tuvo lugar en Bogotá, Colombia, y que contó con un total de veintidós humanistas digitales (Crymble y Afanador-Llach, 2018). De este encuentro surgieron, hasta el momento, un tutorial ya publicado y dos tutoriales que se encuentran en la fase final de revisión. Pero, pesar del éxito en la divulgación y consulta de los tutoriales traducidos, la recepción de originales se ha hecho esperar más de lo esperado. Por este motivo, abordaremos cuestiones lingüísticas, culturales, institucionales, etc. que pueden explicar las barreras que los investigadores del mundo hispano encuentran a la hora de involucrarse activamente en este proyecto.
+ +En conclusión, con esta comunicación queremos reflexionar sobre el desequilibrio entre el gran número de hablantes de español y la escasez de contenido didáctico disponible en internet en el campo de las Humanidades Digitales. Aunque la traducción de tutoriales del inglés al español puede cumplir una función importante (por ejemplo, suplir una carencia o un vacío epistemológico), creemos indispensable que los humanistas digitales que trabajan con patrimonio latinoamericano e ibérico generen sus propios recursos educativos y compartan su conocimiento en español.
+ +Presentación escrita con Antonio Rojas Castro.
]]>As with most digital analysis methodologies and experiments run in recent years, these sentiment analysis dictionaries, workflows, and corpora to test results have been developed and conducted in English. In a few occasions, the research even includes works translated into English (Underwood 2019). In most cases, the use of these tools in other languages requires adaptation (Fradejas Rueda).
+ +In this talk, I will show the results of a three-dimention mid-distance reading of literary texts in Spanish using the Syuzhet Package in R. First, I present the analysis of the original text with the available version of the NRC sentiment dictionary. Later, I will run the original, English dictionary in the same work in its published translated version as well as on a (non-reviewed) machine translated version. As a point of contrast, I will run the same test with a text in English with its human and machine translations into Spanish. Preliminary results conducted on La gaviota (1849) by Böhl de Faber, Pepita Jiménez (1874) by J. Valera, The Swam of Villamorta (1885) by E. Pardo Bazán, Frankenstein (1832) by M. Shelley and David Copperfield (1850) by Dickens shows that results on a micro-level change but do not affect the overall or macro-level narrative plot result. Marianela (1878) by B. Pérez Galdós, The Froth (1890) by A. Palacio Valdés, One Hundred Years of Solitud (1967) by G. García Márquez or The Handmaid’s Tale (1985) by M. Atwood, however, show distinct results on a micro and distant level in both two languages, bringing up questions such as: Is it sufficient to generate raw translations of datasets in English in order to conduct the same tests in Spanish or should we generate our own datasets and methods? What effect has norms on punctuation have on this type of text analysis? How do informal expressions that call for clearly different vocabulary to express the same emotion affect the results of this method? As a consequence, one can ask, how good is the idea of using translations when testing methods in English?
+ +The ultimate goal of this presentation is, thus, twofold. On the one hand, I show the possibilities of sentiment analysis for literary works in Spanish. Most importantly, however, I show the need to break the tools before trusting them: I investigate the implications of relying on translation for text analysis, by studying the difference in results in using a translated version of the sentiment dictionary to original works, as well as using the original dictionary to works translated from other languages.
+ +]]>Si bien las estrategias de divulgación de los tutoriales traducidos han sido un éxito - como demuestra, por ejemplo, un total de 13,167 visitas en el último mes (octubre de 2018)-, la recepción de propuestas para la publicación de tutoriales originales en español no lo está siendo tanto. Esta ponencia explora algunos de los factores económicos, tecnológicos, culturales e institucionales que ayudan a explicar los incentivos y barreras para que los investigadores de habla española se involucren en la producción de tutoriales en español. Las preguntas que guían este análisis son: ¿Qué barreras impiden a los investigadores de lengua española, que desarrollan su trabajo en Latinoamérica, Estados Unidos o España, escribir y publicar tutoriales? Más ampliamente, ¿Cómo afectan las brechas digitales en acceso, uso, competencias y beneficios asociados a las TIC, y la existencia incipiente de infraestructuras digitales para investigación, el desarrollo de las humanidades digitales en español? ¿Qué papel cumplen las barreras culturales y de índole político como la falta de reconocimiento académico o la ausencia de una tradición interdisciplinar en el campo de las Humanidades Digitales? +Esta presentación plantea una reflexión sobre los retos de producir contenidos sobre herramientas y métodos digitales en las humanidades en español y, claro, en un proyecto cuyo enfoque principal ha sido la audiencia anglosajona. Por un lado, presentaremos las estrategias que el equipo editorial ha promovido para promover el acceso, la diversidad y la escritura para audiencias globales. Analizamos algunos ejemplos de traducción de tutoriales de metodologías para la extracción y el análisis de datos (Topic Modeling o R) así como de la publicación de material digitalizado (Omeka), y la importancia de su adaptación del inglés al español con las audiencias y contextos hispanohablantes en mente. Por otro lado, y principalmente, reflexionaremos sobre cómo la desigualdad de recursos, diversidad de intereses y la consolidación de programas HD plantea, desde nuestra experiencia, una relación diferente con las herramientas y metodologías digitales en contextos de investigación en habla hispana. Para ello analizamos los resultados del taller de escritura de tutoriales para The Programming Historian, llevado a cabo en Bogotá en agosto de 2018 y en el cual participaron 22 investigadores de toda América con propuestas para la escritura de tutoriales originales en español.
+ +Presentación con Drs. María José Afanador-Llach y Antonio Rojas Castro.
+ +Las diapositivas de la presentación están disponibles en PDF aquí
+ +The session follows a roundtable format, beginning with brief introductions by six panelists who will share some challenges and opportunities they have witnessed for different types of institutional infrastructures supporting DS in North America, before opening the conversation to the audience. Presenters include early career digital scholars whose perspectives as recent PhDs inform their experiences across a wide range of institutions, from academic libraries to humanities institutes and non-profits. The majority of presenters are currently based at research universities where scaling support for DS poses a major challenge, and all bring a concern for labor equity and social justice to this discussion, as public humanities and contingent labor have become critical issues in this field. +The conversation will draw on the diverse experiences of participants in supporting digital work in different institutional contexts and will be enhanced by the contribution of audience members’ perspectives. The session’s primary goal is to highlight strategies for overcoming the challenges inherent to the work of building networks, communicating with diverse audiences, and fostering interdisciplinary collaboration. We anticipate that issues such as researcher silos, diversity and accessibility, and working across multiple physical and disciplinary spaces arise regardless of institutional context, and we hope this conversation will raise awareness of potential resources for supporting DS across higher education.
+ +Round table with Drs. Rachel L. Starry, Heidi Dodson, Chris J. Young, Alex Wermer-Colan and Emma Slayton.
]]>These manuscripts, held at the Benson Latin American Collection, are generally unavailable to the people whose history they contain, very few are aware of these unique sources of indigenous history, and even fewer possess the proper training to make sense of them. Students were trained to interrogate and contextualize the Indigenous-Spanish borderlands as represented in these special collections using digital methodologies to make these materials more accessible. The team (Spanish faculty member, CLIR/DLF Postdoctoral Fellow, Digital Scholarship Coordinator, Information Literacy Librarians, and two graduate assistants) designed the class with several goals in mind: to foster experiential learning, student agency, original research, theoretical and technical capacity, multimodal literacies, and collaboration in the classroom. The presenters will discuss the structure of the course, pedagogical approaches, challenges, and lessons learned.
+ +Talk with Albert P. Palacios, University of Texas at Austin
+ +Presentation slides in PDF here
+ +Drawing from the results of a literary character network analysis of 19th century Spanish novels, I present the practicalities of creating a database of entities with several variables that allow, on the one hand, to normalize the process of entity recognition for full, compound or informal names of characters, and, on the other hand, to easily extract and weight the presence and connections in texts. I show how I applied this method, combined with literary analysis, to study the interaction between fictional and historical characters.
+ +Finally, a work-in-progress mapping that involves bilingual data helps me further argue in favor of a system that we can situate between manual TEI-XML tagging and automatic NER.
+ +]]>Assistant Research Professor of Digital Scholarship
+
+
+ Dr. Jennifer Isasi is an Assistant Research Professor of Digital Scholarship at The Pennsylvania State University. She is the Assistant Director of the Office of Digital Pedagogies and Initiatives and Director of the Digital Liberal Arts Research Initiative. This position establishes a research methodologies community at PSU to articulate and integrate digital research in projects in the humanities and social sciences. She also collaborates with the Center for Black Digital Research at PSU Libraries to organize hybrid events, training, assist with Douglass Day and research in general.
+ +Jennifer is also a member of the editorial board of the open access journal Programming Historian. She contributes to the Spanish-speaking team with translations and editing. Driven by her willingness to learn more skills on website creation and managing, Jennifer is also a member of the Technical Team.
+ +Prior to her position at PSU, she was a CLIR Postdoctoral Fellow in Data Curation in Latin American and Latino/a Studies at the University of Texas Libraries, where she contributed to collections as data efforts, educational resources, and digital scholarship initiatives at LLILAS Benson Latin American Studies and Collections. She also worked with academic engagement staff, affiliated faculty, the post-custodial archival team, and partners in the United States and Latin America to develop curated data sets, open-access resources that support scholarly and public engagement with digital materials, and to inform the development of forthcoming digital collections.
+ +Isasi holds a Ph.D. in Hispanic Studies with a specialization in Digital Humanities from the University of Nebraska-Lincoln, USA. Her dissertation “Data Mining Possibilities for the Analysis of the Literary Character in the Spanish Novel: The Case of Galdós and the Episodios nacionales” (written in Spanish) establishes a computational reading methodology to extract, analyze and visualize literary character-systems or social networks, noting how they reflect novel genres and degrees of historicity that replicate close readings of the novels.
+ +In Nebraska she collaborated as a metadata archivist and researcher in the digital project Family Letters and she co-organized the monthly DH Dialogues with her peers in the Digital Humanities Student Association. Prior to her current position, she taught Spanish, Analysis of Communication, and Culture as a teaching assistant for the Dept. of Modern Languages and Literatures at UNL and a lecturer at UNK.
+ +She has a BA in English Philology (2011) from the University of Deusto-Bilbao (Spain), a MA in Hispanic Studies (2013) and a Certificate in Digital Humanities (2015) from the University of Nebraska-Lincoln (USA), and a Certificate on Professional Qualification on Digital Humanities (2015) from the National University of Distance Education (Spain).
+ +| Aug 3, 2022 | ++ Interviewed for the ADHO podcast Episode 2 + | +
|---|---|
| Feb 17, 2021 | ++ New report presents recommendations on equitable practices + | +
| Feb 27, 2020 | ++ Grant to organize symposium on postcustodial practices. + | +
| Jun 12, 2019 | ++ Digitization training week at Museo de la Palabra y la Imagen in El Salvador + | +
| May 7, 2018 | ++ Jennifer Isasi to join LLILAS Benson as CLIR Fellow + | +
LLILAS Benson Latin American Studies and Collections is pleased to announce that Jennifer Isasi, PhD, will join the staff as CLIR Fellow for Data Curation in Latin American and Latina/o Studies. Isasi will work with Digital Scholarship Coordinator Albert A. Palacios to contribute to “collections as data” efforts, educational resources, and digital scholarship initiatives at LLILAS Benson. She will hold her position from July 29 through June 2020.
+ +To read more visit a special TexLibris Post.
+ +Para leer más, visita el anuncion en el blog de Programming Historian.
+ +In June 2019 I had the great honor to work closely with one of the Latin American Digital Initiatives’ partner in El Salvador, el Museo de la Palabra y la Imagen. I was part of the group to initiate the digitization of an embroideries collection created by refugee women during the Salvadorial Civil War and that the museum is getting to collect now through collective repatriation efforst.
+ +Although I was there to train the museum’s team on textile digitization practices and digital scholarship in the community, they taught me very valuable lessons on historical memory, community building and group effort.
+ +You can read more about this visit in our blog post in Tex Libris or by watching a video-report MUPI created for the ocassion.
+ +The Council for Library and Information Resources awarded the 2018-2020 cohort of postdoctoral fellows in data curation for Latin American and Caribbean Studies a microgrant that will allow them to organize and host a symposium that will center the voices of several archives in Latin America and the Caribbean in a forum to share strategies and areas of need.
+ +The project “Capacity Assessment of Latin American and Caribbean Partners: A Symposium about Open-Access, Technological Needs, and Institutional Sustainability” will take place on April 16 and 17 in Miami. To learn more, visit the website of the event.
+ +The Mellon funded project “Capacity Assessment of Latin American and Caribbean Partners: A Symposium about Open-Access, Technological Needs, and Institutional Sustainability” is now completed!
+ +Following the symposium that took place in April 2020, on a virtual format due to Covid-19, CLIR fellows in the second cohort of Data Curation for Latin American and Caribbean Studies present a set of questions for funders, libraries, archives, and others based in the United States, Canada, and European nations to consider when evaluating grant proposals for digital projects, or when considering post-custodial archival work with institutions in Latin America and the Caribbean. These recommendations propose equitable practices to enhance cultural engagement through collection development that fully acknowledges Latin American and Caribbean organizations as equal partners with a voice in decision making for projects and grant funding.
+ +The report has been published by CLIR and is available in five languages; you can read it in English, Kreyòl ayisyen, Français, Português and Spanish.
+ +Hemos terminado el proyecto “Evaluación de la capacidad de los socios en América Latina y el Caribe: Un simposio sobre acceso abierto, necesidades tecnológicas y sostenibilidad institucional”, financiado por la fundación Mellon.
+ +Tras el simposio que tuvo lugar en abril de 2020, que tuvo lugar en formato virtual debido a la Covid-19, el segundo grupo de becarias en Curaduría de Datos para América Latina y el Caribe presenta una serie de cuestiones para entidades financiadoras, bibliotecas, archivos y otras entidades en Estados Unidos, Canadá y Europa. Se trata de cuestiones a considerar a la hora de evaluar propuestas de beca para el desarrollo de proyectos digitales o para proyectos de archivos post-custodiales en colaboración con instituciones de Latinoamérica y el Caribe. Estas recomendaciones proponen prácticas equitativas para mejorar el acercamiento cultural a través del desarrollo de colecciones en que las organizaciones latinoamericanas y caribeñas son presentadas como colegas en igualdad de condiciones, con voz propia en la toma de decisiones del proyecto y su financiación.
+ +El reporte ha sido publicado por CLIR y está disponible en cinco idiomas; puedes leerlo en español, inglés, português, Kreyòl ayisye y francé +, +s.
+ +I appeared in the second episode of the new: Who is ADHO? CoreDH, together with Dr. Lorena Gauthereau. This initiative by the Alliance of Digital Humanities Organizations to showcase and disseminate the work of DHers; from their site:
+ +++ +You can listen to and read interviews with representatives from ADHO’s Constituent Organizations: learn about our organizations, their major projects and challenges, as well as individual members’ research. This series was prepared by Erdal Ayan and Anna Sofia Lippolis (Communications Fellows) with Hannah L. Jacobs (Communications Officer).
+
It was a real pleasure to spend some time with Lorena, Anna Sofia and Erdal to chat more about the Association for Computers and the Humanities, digital archives, data curation and digital tools for research in DH. You can listen to our session or read the transcript.
+ +If you do, thanks for listening!
+ +A summary of my dissertation on the 'National Episodes' by Galdós
+This is the summary I prepared to defend my dissertation: “Possibilities for the Digital Data Mining for the Analysis of the Literary Characters in the Spanish Novel: The Case of Galdós’ National Episodes”, written in Spanish, which I passed succesfully in November of 2017.
+ +
Poster in PNG here. [Do not print withtout permission]
+ +To create a pipeline for extracting and analyzing character networks in novels written in Spanish.
+ +From a traditional point of view, the ten novels that I have analyzed on a distant reading approach are classified as follows:
+ +| Division | +Novel(s) | +Type | +
|---|---|---|
| Presentation (framework) | ++Zumalacárregui (1898) | +Symbolic representation: Political division, 2 Spains Fiction-History parallelism |
+
| Plot (bildungsroman) | +
+Mendizábal (1898) De Oñate a la Granja (1898) Luchana (1899) |
+ Socio-politic trajectory: Calpena’s development from modest middle class youngster to upper class responsible adult |
+
| Division (framework) | +
+La Campaña del Maestrazgo (1899) |
+ Symbolic representation: Political division, 2 Spains Representation of the failure of the traditional aristocracy trying to be a political class |
+
| Plot (bildungsroman) | +
+La estafeta romántica (1899) Vergara (1899) |
+ Socio-politic trajectory: Calpena’s development from modest middle class youngster to upper class responsible adult |
+
| Digression | ++Montes de Oca (1900) | +Santiago Ibero’s introduction | +
| Plot (bildungsroman) | ++Los Ayacuchos (1900) | +Socio-politic trajectory: Two weddings: Fernando and Demetria, Gracia and Santiago |
+
| Summary (framework) | ++Bodas reales (1900) | +Symbolic representation: Political division, 2 Spains Fiction-History parallelism Royal marriage = destruction of middle class marriage families |
+
This is, though the main character of the series is Fernando Calpena and his life trajectory, there are three novels that do not participate on that plot. These are novels that have different characters altogether and that can be understood as frameworks to the meaning of the bildungsroman. Also, Montes de Oca is not about the story of the main character, however it shares the love storyline.
+ +The novels that form the bildungsroman present a different distribution of their character space than those in the framework. On the one hand, Zumalacárregui and La campaña del Maestrazgo have a reduced number of characters in total and, also, in the 50% part of the space per novel. Bodas reales, with a higher number of characters has more characters in the 50% of the space, however, if we sum the individual spaces of family members and political groups, we again see the 50% of the space distributed among a few distinctive spaces. As for the bildungsroman, on the other hand, it presents a higher number of characters that occupy the 50% of the space (between 5 and 10).
+ +These results show that there is a different distribution or allocation of individual space in the totality of the novels, following Woloch’s notion of space, however here we note a distinction between types (almost genres) of novels.
+ +
By degree centrality, modularity and historic/real or fictional attributes of characters in individual novels:
+ +
These results point in the direction of noting a higher historicism (in terms of political events and characters [big names]) in framework novels, and a higher degree of daily life history (as Galdós called it, ‘integral history’) in the bildungsroman.
+ +
+ 
+ By social class (preliminary study) in individual novels:
+ +
The upper class and, to some extend, the middle class are present in those episodes that pay attention to the main character (bildungsroman).
+By degree centrality, modularity and historic/real or fictional attributes of characters in the series as a whole, a few ideas:
+ +The novels belonging to the bildungsroman are located in the center of the network (as they share more characters). The novels that form a framework are located in the outskirts of the network (as they don’t share characters with each others and very only a few with the bildungsroman*).
+The development of a methodology for extracting and analyzing data from the +characters’ system in novels written in Spanish has been the objective and main result of this +study. Taking Pérez Galdós’ National episodes as a study model due, on the one hand, to their +historiographic and social importance and, on the other hand, for their textual characteristics, a +series of decisions have been taken - based on previous studies and experiments on this corpus - +with the aim of quantifying the qualitative analysis proposed by Alex Woloch. Thus, we have +decided to postulate the space of the character in terms of the number of times their name is mentioned in the novel and we have parameterized the character system by the coaparition of two characters in each chapter. The results obtained from the parameterization and the analysis of the data demonstrate the usefulness of this type of reading for the study of patterns in literary works as well as their different application possibilities both individually and collectively.
+ +First, it is necessary to point out that this system of data extraction has captured the presence of the characters in each episode according to their mention in the text. The results of the distribution of these mentions coincide with the traditional classification of protagonists, secondary and tertiary characters in each episode. Now, I have also found that novels with characteristics of bildungsroman have a distribution of narrative space different from those that form the frame and division of the third series, according to the classification pointed out by previous galdosistas. This, in turn, indicates a correlation between the novels with a greater or lesser historical presence and the number of main characters, usually having between four and eight main characters in the first and a couple of main characters in the second ones.
+ +Secondly, the results of the analysis of the networks of the characters in the third series also point to the distinction of network distribution according to the typology of each episode in terms of their historicism or their daily life and, at the same time, an imbalance in terms of the presentation of social classes in the episodes. In particular, there is a greater emphasis on what Galdós called integral history in those episodes occupied in the trajectory of life and social relationships of a protagonist character as a bildungsroman in medias res. These include more fictional characters of middle and upper class - without historical main characters in Luchana and in La Estafeta Romantica - than the episodes of the frame and of greater symbolic representation of the sociopolitical situation of the time. In particular, the latter show more historical characters in the protagonists and secondary characters categories, and a larger space for characters of the military class and the aristocracy. Anyway, the results of the analysis by social classes point to a pattern of connectivity between members of the same class in correlation to the number of characters that belong to that group and not necessarily to the type +of novel.
+ +The achievement of the objective set for the realization of this thesis has found, mainly, two limitations. In the first place, we have the development of a methodology for extracting data from the characters from a dictionary of metadata obtained from a previous census. Although this system has allowed me to study variables that, without having the metadata, I could not have carried out, the need to create a dictionary manually shows that, for now, we can not carry out studies of this type automatically that the tools programmed for the case do not have a high level of success in our language. Although this methodology is replicable to any novel, the researcher must previously have metadata of names, surnames, nicknames, etc. of each character.
+ +As a consequence of the previous one, the second limitation has to do with time in general. On the one hand, before arriving at the decision to create a manual metadata format, we had to process and apply the automatic tools in each text according to their level of accuracy in English. Through a series of experiments in the corpus of the thesis, we checked the level of error of the labeling and, then, it was necessary to search for the indicated solution. As an individual work, the creation of the dictionary lasted approximately three months while other research tasks were carried out. On the other hand, once processed the texts for the identification of the characters according to the data of the dictionary, some data had to be corrected in order to avoid later errors - mainly the appearance of characters in novels where they are not mentioned. This meant another three months of painstaking work in which, on the other hand, I only managed to correct thirty-three of the forty-six episodes.
+ +The potential of this type of studies for the search and analysis of patterns points in several research directions for the future. The most obvious one is the formalistic study of the forty-six episodes. I refer to a comparative study between the system of the characters of each work and its narrative typology in terms of novelistic subgenre. Since the analysis here points to a differentiation between the subgenre of bildungsroman, melodrama and more historical novels, it would be interesting to see this pattern in a greater number of Galdosian works. In addition, the metadata together with the characteristics also annotated of each novel allows us analysis variables by the type of narrator, the genre of the characters, the location of each plot, etc. Then, we should consider extending this study to other authors, times and locations of literature in Spanish.
+ +The most interesting and complicated future study has to do with the Galdosian world view through the representation of society in networks. Researchers from different disciplines have pointed out the great influence that Benito Pérez Galdós had on his contemporary readers both when perceiving themselves as well as perceiving the society in which they were integrated. Therefore, it will be de rigueur to develop a method with more detail of how to analyze the society presented in line with the work of historians and sociologists who have used the work of Galdós as a documentary source to try to understand the Spanish society of the XIX.
+ +Other studies that could be carried out based on the methodology developed here have to do with a study of space in relation to society present in the Galdosian work, a comparison with the rest of the author’s work, a major study of the Spanish narrative of the XIX and, at some point, integrate a study of the system of the characters of Galdós with that of other authors influenced by him (Unamuno, Azorín, Cela, Chirbes, Correa, etc.). In the same vein, it would be of great interest for the historian of literature to obtain the patterns of the characters’ system throughout the history of the novel in Spanish to notice an evolution of both the character and the synecdoche of the human being as well as the genres narratives.
+ +To see the rest of the visualizations not here, please download this PDF.
+ +Acercamiento a la red de actores y actrices de las películas de Pedro Almodovar
+Pedro Almodóvar ha vuelto a la gran pantalla este año con Dolor y gloria y todo parece indicar que está siendo un éxito. Yo no la he visto todavía pero, he de confesar, al ver el trailer pensé ¡otra vez los mismos! Banderas, Pé, Cecilia Roth, Asier Etxeandia… algo que se ve muy bien en el propio cartel de la película:
+ +
Me picó la curiosidad por saber si Penélope Cruz estaría en el centro de la red de actrices y actores que Almodóvar suele contratar para sus películas.
+ +¡Manos a la obra!
+ +Para este experimento primero tomé los datos del “full cast” (reparto completo) de cada una de las películas de las que Almodóvar ha sido director de la Base de Datos de Películas de Internet (IMDb). Para ello utilicé el “copia y pega” de toda la vida, pues no se trata de muchas películas. Extraje los datos de 25 películas (con algún corto incluido) pues faltan los datos de las primeras creaciones del director. Para algo más amplio conviene extraer los datos mediante un algoritmo de webscrapping. Puesto que IMDb tiene un record para cada persona en su base, no fue necesario realizar una limpieza de datos normalizando los nombres del reparto ni de las películas (cuyos títulos sí traduje) pues el sistema no da base a variaciones ortográficas o problemas similares que ocurren en otros sistemas.
+ +Primero, creé una tabla (luego CSV) con las columnas año, película, reparto y personaje (esta variable no la he utilizado), lo que me permitió, a su vez, crear un listado de características de cada persona con su género.
+ +A partir del listado del elenco de cada película, generé un archivo de co-aparición en cada película con un loop en R (reciclado de mi tesis). Lo que este código hace es crear un data frame estableciendo parejas de un listado. Por ejemplo, de este listado de cuatro personas en la última película
+ +| Dolor y gloria | +
|---|
| Antonio Banderas | +
| Asier Etxeandia | +
| Leonardo Sbaraglia | +
| Nora Navas | +
se genera un archivo de dos columnas que, para los propósitos de la red ,se llaman “source” (emisor) y “target” (receptor):
+ +| Source | +Target | +
|---|---|
| Antonio Banderas | +Asier Etxeandia | +
| Antonio Banderas | +Leonardo Sbaraglia | +
| Antonio Banderas | +Nora Navas | +
| Asier Etxeandia | +Leonardo Sbaraglia | +
| Asier Etxeandia | +Nora Navas | +
| Leonardo Sbaraglia | +Nora Navas | +
Este listado indica la co-aparición de dos actores o actrices en una misma película, sin tener en cuenta si son protagonistas, secundarios, terciarios, la cantidad de palabras que dicen en la película, el tiempo que pasan en pantalla, etc.
+ +El siguiente paso para realizar un análisis de la red de reparto de Almodóvar es cargar los datos de nodos y aristas en Gephi. La red completa del elenco de Almodóvar tiene, así, en total, 529 personas o nodos con 13214 conexiones o aristas, es decir, que aparecen en la misma película entre todos ellos 13214 veces.
+ +En término del género del reparto (datos no contrastados, por lo que puede haber algún error), la red está dividida de forma equilibrada con un 51.42% de hombres y 48.58% de mujeres. Sin embargo, si tenemos en cuenta el grado de conectividad en orden descendiente, hay más actrices que actores, es decir, que Almodóvar repite más con su reparto femenino que masculino. La intuición y la memoria me dicen que esto ya lo sabíamos.
+ +Por supuesto, Antonio Banderas está en el top 10 de más conectados con un total de 215 conexiones (o degree en el análisis de redes), con Penélope Cruz algo más alejada en la lista con 160 conexiones, lo cual la coloca todavía en un puesto prominente. Cecilia Roth es la número 2 en el listado ordenado por grado, con 275 conexiones.
+ +El análisis también nos indica que se generan 11 comunidades. Esto quiere decir, explicado de forma sencilla, que de la forma en que se repite el reparto en el total de 25 películas hay 11 grupos que podemos distinguir puesto que aparecen juntos en mayor medida o más veces. Es un número más alto de lo que me esperaba, la verdad, teniendo en cuenta que Almodóvar suele repitir a sus favoritas (por decirlo de alguna manera). Ahora bien, el número de personas por comunidad sí varía significativamente entre comunidades.
+ +
Gephi genera estos datos de forma rápida y nos permite extraerlos en formato de valores separados por comas para poder realizar futuros análisis o simplemente estudiar los datos de otra forma. Por ejemplo, podemos generar un gráfico con la distribución del grado de centralidad en otro programa a partir de dichos datos.
+ +
Ahora bien, ¿quién o quiénes quedan en el centro de esta red de reparto? ¿Cómo quedan distribuidos el resto de actores y actrices? Hay alguna incidencia en la distribución de la red según el género? Veamos.
+ +Para generar la visualización de la red almodovariana, he utilizado el algoritmo ForceAtlas2 con una escala de 250 puntos, con la gravedad “activada” con un grado de 0.8 (esto hace que todos los nodos de la red queden más cercanas al centro, lo cual es muy útil si tienes nodos no conectados a la red mayor). Además, he estudiado diferentes variables según el grado de conectividad y el posicionamiento del reparto en la red, su género, la formación de comunidades, y la situación del reparto por películas.
+ +Pues bien, estudiando los parámetros de grado de centralidad en los nodos y un mayor peso en las aristas, vemos que el actor céntrico, más conectado, es el hermano menor y productor habitual en las películas de Pedro: Agustín Almodóvar. Este cuenta con un grado de conexión de 496 puntos, y es que resulta que aparece en las 22 de las 25 películas de este conjunto de datos.
+ +Cercanas al centro por su aparición continuada en las películas de Almodóvar también están Cecilia Roth (275 conexiones, 8 películas), Chus Lampreave (254 conexiones, 10 películas), Carlos García Cambero (246 conexiones, 7 películas), Esther García, Marisa Paredes, Antonio Banderas y Fernando Iglesias.
+ +
Penélope Cruz queda bastante alejada del centro, digamos en un segundo nivel aunque aparece en 8 filmes pero con un menor número de actores y actrices. Su grado de conectividad está cercano al del propio Pedro Almodóvar, la famosa Carmen Machi, Julieta Serrano y Lola Dueñas.
+ +Ya hemos dicho que el reparto de Almodóvar presenta una división bastante equilibrada en cuanto al número de mujeres y hombres con los que cuenta en sus películas, y que las mujeres ocupan un mayor grado de conectividad en la red. Podemos visualizar los datos para comprobar que, efectivamente, hay una distribución igual de ambos géneros, pues no pesa uno más que otro en el centro ni la periferia de la red.
+ +
El algoritmo de modularidad de Gephi ha determinado que del total de 25 películas, el reparto queda distribuido en 11 comunidades bastante bien definidas. Ahora bien, casi el 60% del total del reparto, esto es, de 529 actores y actrices del elenco de Almodóvar, quedan agrupados en 3 comunidades. Curiosamente, la comunidad con el mayor número de personas más conectadas entre ellas queda en la periferia de la red (arriba a la derecha, en color ocre), aunque su elenco tiene un alto grado de conectividad y quedan, por tanto, al centro. Es en esta comunidad en la que Cecilia Roth y Antonio Banderas quedan unidos.
+ +
En la segunda comunidad con un mayor porcentaje del reparto es donde aparecen otras de las actrices favoritas del director: Carmen Maura y Rossy de Palma, junto con Agustín Almodóvar y Chus Lampreave. Esta comunidad queda bastante centrada en la red (centro y abajo derecha, en rosa). Penélope Cruz tiene su propio grupo de co-apariciones según este algoritmo, con Esther García, Fernando Iglesias, Carmen Machi y Susi Sánchez, entre otros.
+ +Como veremos a continuación, la distribución del reparto por comunidades queda en mayor medida relacionado con el reparto de cada película.
+ +Al haber añadido en mi base de datos la información de cada película en las aristas o conexiones, también he podido visualizar la misma red pero por película. Esto añade otro tipo de información con la que no contábamos en las visualizaciones previas. Primero, por ejemplo, podemos saber que la película Hable con ella (2002) cuenta con el 26.77% del elenco puesto que es la que cuenta con un mayor número de actores y actrices (85) en el primer listado extraido de IMDb. La particularidad del reparto de esta película es que no se repite demasiado en otras películas, de ahí que en el análisis de modularidad éste forme su propia comunidad (izquierda, en azul oscuro).
+ +Vemos en las aristas o líneas que salen del nodo de Agustín Almodóvar que, por supuesto, aparece en muchas de las películas de la red, al igual que Antonio Banderas, Cecilia Roth, Chus Lampreave y Penélope Cruz, de nuevo. Como era de esperar, la localización en el centro de la red de los actores y actrices indica su participación en más películas y, al contrario, en la periferia y al borde tenemos a los que repiten menos.
+ +
Finalmente, otra cosa que podemos estudiar gracias a los datos obtenidos de la base de datos de internet y añadidos en mi tabla, es la evolución de la red de Almodóvar por año de estreno de cada película. Aprovecho los mismos colores o distribución de la red con cada película (imagen anterior).
+ +Para no generar una imagen estática e individual con cada año, he creado un pequeño video que muestra únicamente las conexiones o las aristas de la película en tiempo cronológico. Sin ser ninguna sorpresa, se ve claramente que Almodóvar no contó con el elenco que será posteriormente central en su carrera (y la red) para su primer filme, de 1976. Lógico.
+ +En la segunda película (1980) , no obstante, el número del reparto se amplía y, además, incluye ya a la que serán dos de sus favoritas hasta sus películas más recientes, Cecilia Roth y Carmen Maura.
+ +
Penélope Cruz no es el centro de este universo de Almodóvar. Y, sin embargo, yo no puedo separar a Penélope Cruz y Almodóvar en mi mente (acordaos de ese famoso momento en que Pe grita: Pedrooo!). He aprendido, además, que el hermano pequeño de Pedro aparece en casi todas sus películas y, la verdad, no lo sabía.
+ +Sea como fuere, y como se puede comprobar, en un pequeño momento de inspiración y curiosidad he podido generar una red y un estudio bastante completo (dentro de mis posibilidades) del reparto de Pedro Almodóvar gracias a la extración y visualización de datos.
+ +Ahora me toca ver Dolor y gloria para cerrar, como espectadora, el ciclo de la trilogía de deseo y ficción que ésta forma con La ley del deseo (1987) y La mala educación (2004).
+ +A map of translations of Basque literary works
+La Universidad del País Vasco ofrece, en abierto, un catálogo de las traducciones de la literatura en euskera a otros idiomas recopilado por Elizabete Manterola hacia 2012 para su tesis. La base de datos recoge 1.595 entradas en total, con datos como el título y autor/a original de la obra, su fecha de publicación, editoriales, traductores, idioma de la traducción, etc. Se trata, por tanto, de un corpus muy rico que permite explorar al interesado en la literatura en euskera bastantes variables.
+ +Yo, por curiosidad, decidí realizar unas visualizaciones para ver la extensión de la literatura vasca por el mundo, así como la red de autores y traductores que se ha formado a lo largo de los años. Para ello, he ampliado la base de datos con cuatro columnas de coordenadas (la latitud y longitud del lugar de publicación original y las mismas para el lugar de publicación de la traducción).
+ +Estos son los resultados visualizados en la plataforma kepler.gl:
+ +A vista de pájaro podemos observar que la literatura vasca ha llegado a muchos puntos del planeta y en varios idiomas. En la siguiente captura de pantalla vemos que el lugar de mayor producción de originales (en tonos tierra) es el País Vasco, pero también destaca Reno, en Nevada, Estados Unidos, en su publicación y exportación de obras en euskera hacia España, Italia y Rusia.
+ +
Al acercarnos más al panorama europeo, observamos la gran cantidad de idiomas a las que se ha traducido la literatura vasca por su distribución a muchos países en Europa y varias comunidades autónomas dentro de la península.
+ +
Y ¿quiénes son los autores más traducidos? No es sorpresa que destaquen Bernardo Atxaga, Mariasun Landa Etxebeste, Kirmen Uribe o Piedad Ateka.
+ +
Kepler también nos permite ver la evolución de nuestra red de traducciones a lo largo del tiempo. En este caso, y como es normal por la trayectoria de la literatura en euskera y la historia del País Vasco en general, el número de traducciones ha ido aumentando hacia finales de la década de los 90 y, sobre todo, a partir del año 2000.
+ + +Una visualización geográfica nos permite observar la expansión de la literatura por el planeta. No obstante, ello invisibiliza la labor de autores y traductores en tanto que sus nombres no aparecen - se pueden mostrar pero no aportan nada más que una gran cantidad de letras que impiden su lectura. Para observar quién traduce a quién, y cuánto, una visualización de red es mucho más adecuada. Así, vemos que Bernardo Atxaga es el más traducido según nuestros datos y, curiosamente, se traduce al castellano a sí mismo (línea rosa junto a su nodo).
+ +
A 10 de noviembre de 2019 (fecha en que he realizado este mapa) la función de exportación del mapa en formato HTML funciona pero no se visualiza en la web. No obstante, te invito a descargarte el archivo JSON de mi repositorio y cargarlo en kepler.gl tú mismo/a para poder interactuar con el mapa.
+ +Para saber más sobre la euskal literatura en traducción, puedes consultar las siguientes referencias:
+ +Auzmendi, Lurdes. “El reconocimiento de la traducción literaria en lengua vasca en España”. XXXIII Encuentros de Escritores y Críticos en Verines Creadores en la sombra. La traducción literaria en la actualidad, 2017
+López Gaseni, José Manuel. “Literatura traducida.” Portal de Literatura Vasca. http://www.basqueliterature.com/es/basque/historia/itzulia
+López Gaseni, Jose Manuel (2000) Euskarara itzulitako haur eta gazte literatura: funtzioak, eraginak eta itzulpen-estrategiak. Bilbao: Universidad del País Vasco.
+Manterola Agirrezabalaga, Elizabete. 2014. «Una mirada hacia la traducción literaria del euskera al castellano». Hermeneus: Revista de la Facultad de Traducción e Interpretación de Soria, n. 16: 177–208.
+—. 2014. La literatura vasca traducida. Bern/New York: Peter Lang.
+Pérez Isasi, Santiago. La literatura vasca en el contexto de los Estudios Ibéricos: Historiografía y traducción. 1616: Anuario de Literatura Comparada, 4, 2014, pp. 107-126.
+Una revista académica para aprender métodos de investigación digitales
+Un archivo digital
+Curaduría de datos para investigar el multilingüismo en la comunidad de humanidades digitales
+A growing collection of my cool projects.
+publications by categories in reversed chronological order.
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