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This contribution was delivered on 6 May 2022 on the occasion of the hybrid 2022 edition of EUI State of the Union on ‘A Europe fit for the next generation?' What can history teach us about the importance of democracy and rule of law as characteristics of European political life? What is at stake? History has often been our guide, offering a benchmark for worst and best practice. In this session, world-leading scholars of Europe, law and democracy, canvas the different contexts in which the rule of law has come under pressure in Europe, whether in the context of security and fighting terror, pitting nationalism against integration, or dealing with Europe’s often violent past. They will also ask: can we learn from the past when we are thinking of the present and future of Europe? What lens should we use to help better understand the authority of the rule of law, the significance of democracy and its alternatives today?

On May 6, 2021, The Ume Group Playback Ensemble, a branch of the New York City-based physical theatre company, The Ume Group (theumegroup.org), gave a commissioned performance for alumni of Virginia Tech’s College of Liberal Arts & Human Sciences as part of the lead-up to the university’s 150 year anniversary celebrations. The performance was sponsored by the Virginia Tech History Council with support from the School of Performing Arts. The performance begins with a soundscape overture featuring a new version of “Tech Triumph” (the Virginia Tech Fight Song composed in 1919 by Wilfred Pete Maddux and Mattie Eppes) adapted for this event by The Ume Group’s Kate Douglas, along with excerpts from the VT Stories Oral History Project (vtstories.org) and other found texts voiced live by the Ume Group actors. Production Credits: Conductor｜Jordan Rosin Musician｜Kate Douglas Actors｜Jorge Luna, Keelie Sheridan, Karina Sindicich, Kaitlyn Samuel Rosin, Yokko Producer / Director｜Jordan Rosin Community Partners｜Robert H. Leonard, VT History Council & the School of Performing Arts; Christina Miller, College of Liberal Arts & Human Sciences; Ren Harman, VT Stories Duration: 1 hr, 18 min Forms Used: Fluid Sculpture｜Perspectives｜ 3-Part Story｜If This Were A Dream｜3-Minute Poem This performance in featured in "Storytelling on Screen: An Online Playback Theatre Archive and Guidebook" by Jordan Rosin and Heidi Winters Vogel, which is available at http://hdl.handle.net/10919/104420. University Libraries VT Stories VT History Council School of Performing Arts College of Liberal Arts & Human Sciences

[ES] Películas que resumen las campañas realizadas en el marco de los proyectos hispano-argetinos de investigación etnoarqueológica en Tierra del Fuego. Agencias financiadoras: CSIC, CONICET, Ministerio de Educación y Ciencia (España) y Ministerio de Cultura (España). [EN] Videos about the field campaings in Tierra del Fuego Peer reviewed

Películas de la crónica de los trabajos de campo del proyecto de la UE "Marine resources at the Beagle Channel prior to the industrial explotation: an archaeological evaluation" y las conclusiones sobre el cambio global en el litoral del Canal Beagle. Agencias financiadoras: UE, CSIC, CONICET, Ministerio de Educación y Ciencia (España) y Ministerio de Cultura (España). Peer reviewed

The video recording of the presentation is available here: https://youtu.be/mtkFR5fVtkM The end of the 19th and early 20th centuries saw great archaeological activity in Egypt, a period that came to be known as the ‘Golden Age’ of Egyptology. Our digital project began in 2010 with the unpublished diaries of Mrs. Emma B. Andrews, who traveled the Nile for over two decades between 1889 and 1914, and whose work is an important yet underutilized resource for the history of this time. Her writing provides a detailed record of excavation often lacking in contemporary publications, while also giving an overview of the social, geographical and political history of Egypt at the time within the broader context of history of archaeology and Egyptology, gender studies and the social, cultural and political history of the Victorian era. The objective of our project work is to transcribe, encode and publish open digital editions of this primary source material for scholarly and public audiences. Since the beginning, undergraduate and graduate student interns have contributed to the project output. This past year has been challenging with the pivot to online learning, but we have successfully reinvented the internship as a fully virtual experience, and this Winter Quarter 2021 we have 15 students in the team. This digital demonstration will showcase our virtual project workflow, including our project’s Historical Markup Tool which automates the process of TEI encoding and named entity recognition in our primary source texts. The output forms the basis of digital editions of the diaries created in TEI Publisher, which the demo will also showcase.

Sponsored by Arcadia Fund, a charitable fund of Lisbet Rausing and Peter Baldwin

Sponsored by Arcadia Fund, a charitable fund of Lisbet Rausing and Peter Baldwin

Sponsored by Arcadia Fund, a charitable fund of Lisbet Rausing and Peter Baldwin

Sponsored by Arcadia Fund, a charitable fund of Lisbet Rausing and Peter Baldwin

Galsanpuntsug says that the Qing court originally permitted the Ejine Torghuts to live in a place called Anxi Gobi outside of the Jiayuguan Pass. Repeatedly, however, the Ejine Torghuts tried to return to Kalmykia but the Qing dynasty held Arabjur as a hostage. Caught between the Jungar Khanate and the Qing dynasty, some Torghuts, such as Mergen Tsorj, a commander under Danzan Noyan, joined the Jungar Khanate against the Qing dynasty while they were in Gasin Aman. Danzan then parted company with Mergen Tsorj and moved to Shar Tal with permission from the Qing. The Ejine Torghuts made their final migration in 1958 when the Chinese army took their land for military use. That winter, hundreds of military trucks were sent in to ship Torghut herders deep into the Gobi desert. A new banner centre was built at the Dalaihöv town. They have been suffering from ecological problems ever since. Sponsored by Arcadia Fund, a charitable fund of Lisbet Rausing and Peter Baldwin