The modern university has the potential to turn into a nexus of digital embracement and innovation, thus responding to both strategic planning for higher education and societal demands. Priorities in digitalisation strategies (White Paper ‘Bologna Digital 2020’, Rampelt et al. 2019) for higher education institutions (HEIs) are actively promoted, and their implementation is in progress throughout Europe. However, the embedding of the digitalisation reform at the institutional level is considerably uneven from one country to another, with Eastern European HEIs lagging behind (Conrads et al. 2017). The aim of this position paper is to present and discuss the case of digital humanities (DH) as an incentive for digitalisation strategies at Eastern European universities. We briefly contextualize the configuration of DH initiatives in the region by using the results of the Digital Humanities Survey and propose the case study of Romania, where we investigate the implementation status of such initiatives. We further exemplify the process of developing a DH centre and evaluate the institutional impact of the recently created research centre CODHUS, from the West University of Timişoara, Romania, the second DH centre in the country. The strength of the new centre relies on its capacity to converge cross-disciplinary expertise with digital technologies. The centre intends to develop computational solutions and digital tools for research, course development and assessment. CODHUS is also a digital-competence training centre for teachers and students, with the purpose of bridging the gap between teaching strategies and goals, on one hand, and students’ digital experiences and expectations from HEI, on the other. The study offers a multiple-lens perspective on the integration of digital-intensive research initiatives, such as DH, into the Bologna process. We argue that DH centres can support further HE developments which contribute to building “new learning ecologies” (Galvis 2018) and creating an “education area with digital solutions” (Rampelt 2019).
The present study aims to highlight the main occurrences of different material elements in Lucian Blaga’s lyrical work, by focusing on quantitative and micro-stylistic approaches. The quantitative research was made with the help of a digital instrument, Sketch Engine, a relevant tool for research in corpus linguistics and computational stylistics. This study encapsulates the explicit occurences of 22 materials from Lucian Blaga’s poems, categorized into three main groups: metallic materials (ferrous and non-ferrous), non-metallic materials (ceramic/telluric) and rocks and building materials. The analysed material elements are integrated in 317 micro-structures and contexts, the main aspect observed being the ratio between metaphorical and denotative regimes in which materials are included. Starting from distant reading, the article questions a possible cognitive dimension of Lucian Blaga’s poems, which is based on the author’s cultural and philosophical experience.
The aim of this paper is to highlight the vanguardist poetical universe of Ilarie Voronca, focusing on the construction of corporeal representations. The poetics of corporeality is associated with the concept of “crisis”, the latter being reverberated in the vanguard lyrical works as an effect of the historical and social context of the 20th century, which is the First World War. As a result, the consequences of this context bring to the vanguard writers poetical substance, which encapsulates the body and the disease, these two being transposed into several eerie, radical and shocking images in Ilarie Voronca’s poetics. This paper is going to demonstrate the existence of several corporeal representations in Ilarie Voronca’s poems, which are mainly represented by the vulnerable body, viewed as a limit and as the diseased/the suffering, proving that the crisis of corporeality is the effect of the historical conflagration at the beginning of the 20th century.
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