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The following study serves to develop consciousness about the smaller, not very well-known,emigration from the two southern Swedish cities of Växjö and Kalmar, which are situated inthe province of Småland, to Germany between 1865 and 1914. By using the digital archive ofEmiWeb, the gender, age and marital status of the emigrants have been analyzed and theyhave been categorized into three different social classes depending on the title or occupationthey had at the time of emigration. Furthermore, the results of the research of the two citieshave been compared with each other which resulted in a lot of similarities between the citieswhere the greatest part of the emigrants were between the ages of 20 and 29, unmarried, andpart of the working class. Overall, every age group was represented which also includedindividuals over the age of 50 and children between the ages of 0 and 9. Members of themiddle class and bourgeoisie were also present but to a lesser extent. Concerning the gender among the emigrants, the results of this study show that the proportion of women is greaterthan that of men, foremost in the first of the five periods in which this study is divided. Altogether this study provides a deeper insight and understanding of which people emigratedto Germany. However, the number of unregistered emigrants hinders the capacity to present areliable and comprehensive generalization about them.

This thesis on the Swedish voluntary women’s defence organisation Riksförbundet Sveriges lottakårer (SLK), studies how the board and the members of SLK discussed the problems and the meaning of voluntary defence work during the 1960s and 1970s. Furthermore the thesis aims to engage with previous research and give an explanation to why people may be interested in voluntary defence. Views varied greatly within SLK: some meant that the voluntary grounds of participation gave a sense of elite status to the organisation; however others saw voluntary work as untenable, since more women at the time had both work and family obligations. Another issue was professionalisation versus socialisation. While some members wanted to see a centralisation and professionalisation of the organisation, others found it more important to safeguard the social functions and independence of the local corps unit. The results suggest that gender structures as well as individual agency create multiple reasons and meanings behind voluntary defence work.

El estudio sobre la historia en Michael Oakeshott como forma peculiar del conocimiento humano sub specie praeteritorum constituye no sólo una relevante explicación de la naturaleza de esta materia sino que, además, se erige en la piedra angular para comprender los problemas filosóficos que trata este pensador. El presente artículo pretende exponer la defensa que Oakeshott hizo de la historia en un sentido idealista poniéndola en relación con su teoría general sobre el conocimiento humano. The study of Michael Oakeshott’s concept of history as a form sub specie praeteritorum of human understanding consti tutes not only an important explication of this subject but also serves as the corner stone of his treatment of other philosophical topics. Thus the purpose of this article is to present his idealistic defense of history in relation with his more general theory of human knowledge.

Esta tesis analiza las principales características de la construcción del contexto artístico barcelonés desde inicios de los años noventa. Estudia los elementos que caracterizan la aparición de una nueva generación de artistas en el contexto de Barcelona, el corte frente a la producción artística anterior que supone y su continuidad hasta hoy. Un contexto artístico que desde los años noventa mantiene elementos en común con las producciones artísticas de otros ámbitos y lugares. De hecho, participa y es fruto del fenómeno de la globalización y la manera en la que ha afectado tanto a las prácticas artísticas como a la construcción institucional del arte La tesis reconstruye el contexto de globalización que se inicia entonces y cómo afecta a la práctica artística: la multiplicación de centros de actividad artística, la construcción de un tejido institucional del arte o el uso de la cultura como marca de prestigio de las ciudades. En este sentido, desarrolla una teoría contextual del arte poniendo en relación Barcelona con otros centros artísticos. A partir de ahí, la tesis analiza los rasgos principales de la producción artística desde los años noventa hasta la actualidad en tres aspectos relacionados: el retorno de las prácticas herederas del arte conceptual y la adopción de la transdiciplinariedad en un contexto en el que se implementa el entramado institucional del arte en Barcelona. El examen de esas características principales de la construcción del panorama artístico de Barcelona en el contexto de la globalización se realiza a través del análisis de una serie de casos de estudio: desde la comparativa con el contexto de Londres, el rol jugado por instituciones como el MACBA y los elementos que definen los trabajos de artistas como Mabel Palacín, Ignasi Aballí o Antonio Ortega. La investigación concluye que la construcción del contexto artístico en Barcelona desde los noventa es paralelo al de otros centros y guarda similares características. Así, participa de las características de la producción artística internacional instalada en el paradigma de la globalización. Un paradigma que ha generado un nuevo academicismo del arte contemporáneo caracterizado por un triple eje: despliegue institucional, retorno de prácticas conceptuales y transdiciplinariedad. Es decir, que el paso de los años ochenta a los noventa del siglo XX supuso un corte epistemeológico en las artes que ha continuado vigente y dentro del cual Barcelona es un contexto más. Aquesta tesi analitza les principals característiques de la construcció del context artístic barceloní des d'inicis dels anys noranta. Estudia els elements que caracteritzen l'aparició d'una nova generació d'artistes en el context de Barcelona, el tall enfront de la producció artística anterior que suposa i la seva continuïtat fins avui. Un context artístic que des dels anys noranta manté elements en comú amb les produccions artístiques d'altres àmbits i llocs. De fet, participa i és fruit del fenomen de la globalització i la manera en la qual ha afectat tant les pràctiques artístiques com a la construcció institucional de l'art La tesi reconstrueix el context de globalització que s'inicia llavors i com afecta a la pràctica artística: la multiplicació de centres d'activitat artística, la construcció d'un teixit institucional de l'art o l'ús de la cultura com a marca de prestigi de les ciutats. En aquest sentit, desenvolupa una teoria contextual de l'art posant en relació Barcelona amb altres centres artístics. A partir d'aquí, la tesi analitza els trets principals de la producció artística des dels anys noranta fins a l'actualitat en tres aspectes relacionats: el retorn de les pràctiques hereves de l'art conceptual i l'adopció de la transdiciplinariedad en un context en el qual s'implementa l'entramat institucional de l'art a Barcelona. L'examen d'aquestes característiques principals de la construcció del panorama artístic a Barcelona en el context de la globalització es realitza a través de l'anàlisi d'una sèrie de casos d'estudi: des de la comparativa amb el context de Londres, el rol jugat per institucions com el MACBA i els elements que defineixen els treballs d'artistes com Mabel Palacín, Ignasi Aballí o Antonio Ortega. La recerca conclou que la construcció del context artístic a Barcelona des dels noranta és paral·lel al d'altres centres i guarda similars característiques. Així, participa de les característiques de la producció artística internacional instal·lada en el paradigma de la globalització. Un paradigma que ha generat un nou academicisme de l'art contemporani caracteritzat per un triple eix: desplegament institucional, retorn de pràctiques conceptuals i transdiciplinariedad. És a dir, que el pas dels anys vuitanta als noranta del segle XX va suposar un tall epistemeológico en les arts que ha continuat vigent i dins del qual Barcelona és un context més. This thesis analyzes the main characteristics on the construction of the Barcelona artistic context since the early nineties. It studies the elements that characterize the appearance of a new generation of artists in the context of Barcelona, ​​the cut against previous artistic production that it entails and its continuity until today. An artistic context that has maintained elements in common with artistic productions from other cities since the 1990s. In fact, it participates and is the result of the globalization and the way in which it has affected both artistic practices and the institutional construction of art. The thesis reconstructs the context of globalization that began then and how it affects the artistic practice: the multiplication of centers of artistic activity, the construction of an institutional net of art or the use of culture as a prestigious brand for the cities. In this sense, it develops a contextual theory of art by linking Barcelona with other artistic nodes. From there, the thesis analyzes the main features of artistic production from the 1990s to the present in three related aspects: the return of practices inherited from conceptual art and the adoption of transdisciplinary in a context in which it is implemented the institutional framework of art in Barcelona. The examination of these main characteristics of the construction of the artistic panorama in Barcelona in the context of globalization is carried out through the analysis of a series of case studies: from the comparison with the context of London, the role played by institutions such as the MACBA and the elements that define works of artists such as Mabel Palacín, Ignasi Aballí or Antonio Ortega. The research concludes that the construction of the artistic context in Barcelona since the nineties is parallel to that of other centers and has similar characteristics. Thus, it participates in the characteristics of international artistic production installed in the paradigm of globalization. A paradigm that has generated a new academicism of contemporary art characterized by a triple axis: institutional deployment, return of conceptual practices and transdisciplinary. In other words, the passage from the eighties to the nineties of the twentieth century supposed an epistemeological break in the arts that has continued until today and within which Barcelona is another context. Premi Extraordinari de Doctorat concedit pels programes de doctorat de la UAB per curs acadèmic 2020-2021

This is part 4 of the Rchon statistics course. It continues the basics of statistical testing in R. In this tutorial, we will treat the following statistical testing methods: Mann-Whitney test Kruskal-Wallis test Kolmogorov-Smirnov test Follow the instructions in Instructions Tutorial 4.pdf to start the tutorial. This course was originally created for Archon Research School of Archaeology by Philip Verhagen (Vrije Universiteit Amsterdam) and Bjørn P. Bartholdy (University of Leiden), and consists of an instruction, a tutorial, a test and two datafiles. All content is CC BY-NC-SA: it can be freely distributed and modified under the condition of proper attribution and non-commercial use. How to cite: Verhagen, P. & B.P. Bartholdy, 2022. "Rchon statistics course, part 3". Amsterdam, ARCHON Research School of Archaeology. https://doi.org/10.5281/zenodo.7458108

The model for lemmatisation of standard Slovenian was built with the CLASSLA-StanfordNLP tool (https://github.com/clarinsi/classla-stanfordnlp) by training on the ssj500k training corpus (http://hdl.handle.net/11356/1210) and using the Sloleks inflectional lexicon (http://hdl.handle.net/11356/1230). The estimated F1 of the lemma annotations is ~99.0. The difference to the previous version is that now it relies solely on XPOS annotations, and not on a combination of UPOS, FEATS (lexicon lookup) and XPOS (lemma prediction) annotations.

Namngiven entitetsigenkänning (eng. named entity recognition) innebär att identifiera och kategorisera nyckelord i text. En ny lovande teknik för identifiering av namngivna enheter är att finjustera Transformerbaserade språkmodeller för denna specifika uppgift. Dessa modeller kräver dock stora mängder märkt data för att prestera väl. Detta kan begränsa antal områden i vilka de kan användas då manuell märkning av data ofta är kostsamt och tidskrävande. I denna avhandling undersöker vi inlärningskurvan för manuell annotering och för en språkmodell under en halvövervakad bootstrapping process. Särskild vikt läggs på hur modellens och annoterarnas inlärning påverkas av antal klasser och mängden träningsdata som används i processen. Vi annoterar först en samling jobbannonser och tillämpar sedan en bootstrapping process med både märkt och omärkt data i vilken en förtränad svensk BERT-modell kontinuerligt finjusteras. Det första klasssystemet förenklas under processens gång beroende på modellprestation och interannoterar-överenskommelse. Modellen presterade bättre med mer träningsdata och uppnådde en slutlig micro F1-score på 54%. Detta resultat ger en bra baslinje, och vi föreslår flera förbättringar som kan göras för att ytterligare förbättra modellprestationen. Vidare identifierar vi även klasser som hanteras olika av annoterare och potentiella faktorer till vad detta beror på. Förslag för framtida arbete inkluderar att justera det nuvarande klasssystemet ytterligare genom att ta bort klasser som identifierades som lågpresterande i denna avhandling. Named entity recognition (NER) is a task that concerns detecting and categorising certain information in text. A promising approach for NER that recently has emerged is fine-tuning Transformer-based language models for this specific task. However, these models may require a relatively large quantity of labelled data to perform well. This can limit NER models applicability in real-world applications as manual annotation often is costly and time-consuming. In this thesis, we investigate the learning curve of human annotation and of a NER model during a semi-supervised bootstrapping process. Special emphasis is given the dependence of the number of classes and the amount of training data used in the process. We first annotate a set of collected job advertisements and then apply bootstrapping using both annotated and unannotated data and continuously fine-tune a pre-trained Swedish BERT model. The initial class system is simplified during the bootstrapping process according to model performance and inter-annotator agreement. The model performance increased as the training set grew larger with a final micro F1-score of 54%. This result provides a good baseline, and we point out several improvements that can be made to further enhance performance. We further identify classes handled differently by the annotators and potential factors as to why this is. Suggestions for future work include adjusting the current class system further by removing classes that were identified as low-performing in this thesis. 

Abstract: PoHis-blogpost (in Dutch) about the tirailleurs sénégalais in rural Burgundy during the Second World War and the broader tensions within their memorial culture revealed by local celebrations.

Lately, the artistic world and the social world are more strongly linked. This article presents social dance being used as an instrument, a bridge and/or tool for groups of vulnerable people exhibiting the social characteristics of risk and/or exclusion. In social dance groups, dance is oriented towards different purposes; among one of which is therapeutic. In this paper, a sample obtained between 2010 and 2021 from support groups for female victims of male violence against women using dance therapy (DMT) is analysed. From this investigation, we observe the participants’ evolution and the benefits gained through employing dance and movement as a support for reorganizing and restructuring situations, joining the trichotomy of thoughts, feelings, and acts so these women are empowered to make vital decisions that will positively affect their recovery. The results show that one of the keys for this recovery is the connection between movement and emotion.